![]() ![]() ![]() Yup but whats interesting is that if you wake up as booker in a different dimension where comstock never existed because of the drowning so that booker cn be with anna. Originally posted by Dwerklesberry:You watched the entire credit sequence right? Its still a stupid ending, why not make a simple ending not a quantum entanglement ending that literally makes THE ENTIRE STORY POINTLESS Search "Quantum Entanglement" to get a better understanding of this. Elizabeth says something like, "All different versions of us, but we've ended up in the same place." Of course each choice you make has a minor change and thus, another universe is created in which you did NOT make that choice. This is strongly supported when Booker and Elizabeth arrive at the area with all the lighthouses near the end of the game. Every 'choice' you make in the game leads to the same ending. This correalates the main central theme, which I'll leave for you to interpret. This suggests that Booker has been here many times in order to save Elizabeth and every time he has choosen heads. He says, "Heads" and what do you know? He gets heads! Then you see Robert turn around and 'heads' has been marked a ton (123 times to be exact) and 'tails' has not been marked a single time. Take the scene where Rosalind Lutece and Robet Lutece tell Booker to flip a coin for example. It would make sense that there is no alternative ending, for the game suggests at many points that this has and always has been. Originally posted by SPIKEYMIKEY:Just finished it myself. This correlates to the central theme, which I'll leave for you to interpret. ![]() One that takes chances and makes changes, but almost always for the better.Just finished it myself. One that gives the player devastating new power, but balances that with devastating new fear. One that introduces fascinating new settings and characters, but doesn’t forget or neglect those previously established. One that expands the mythology, but doesn’t lose any of the mystery. Somehow, with less than three years of development time and without the direct involvement of creator Ken Levine, the BioShock team has pulled off another masterpiece. To us, BioShock was one-of-a-kind, not one-of-a-franchise. While we desperately wished to revisit the haunting underwater dystopia of Rapture, we suspected that doing so would ruin, or at least diminish, the thematic significance of the initial trip. Though we longed to experience another game with that level of mature, masterful storytelling and with that number of unique, unusual ideas, we seriously doubted such brilliance could be captured again. As much as we worshipped the original, we worried about the possibility of a sequel. ![]()
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