[HILO OFICIAL] BioShock: Infinite

alfon1995 escribió:

Derhelm escribió:

alfon1995 escribió:Hombre importante importante no es... pero nunca gusta encontrar esos fallitos...

La perfeccion no existe alfon, y tu siempre la vas buscando. Ojo no es malo, pero nunca la encontraras, y eso no te permitira disfrutar de muchas cosas

Hombre, te recuerdo que Bioshock es uno de mis juegos favoritos de esta generación y no es que precisamente no lo haya disfrutado, simplemente me molestan estos fallos tan tontos de guión...

alfon1995 escribió:BioShock Infinite wins IGN’s Game of Show at Gamescom 2010

http://irrationalgames.com/insider/bios ... scom-2010/

Una foto del poster que había en la antesala de la habitación donde tuvo lugar la demo en la gamescom.



Y que probablemente estará en la versión final del juego. De nuevo vemos el tema de la protección de fronteras, xenofobia y tal.

fR1k0 escribió:Pedazo de cuadro. Daría lo que fuese porque viniese en la Edición Coleccionista.

Subo la imagen al wiki, gracias de nuevo goldenaxeband. La verdad es que este hilo sin la info tuya y de alfon1995 no sería lo que es

alfon1995 escribió:Os dejo con una larga y muy interesante entrevista a Ken Levine, está en inglés, aunque no es muy difícil de entender, y siempre podéis usar un traductor para ayudaros un poco.

In an industry filled with rumors and leaks, last night's reveal of BioShock Infinite managed to take nearly everyone by surprise. After nearly three years of silence, designer Ken Levine and the Irrational Games team unveiled their new title -- an extension of the BioShock franchise. We had a chance to talk to Levine after the reveal to discuss his inspirations for the heavily guarded title, and why the team chose not to pursue a completely new IP. While BioShock Infinite may share a name with its predecessor, Levine explains how Infinite has the spirit of a completely new game. Watch our video interview above, or read the full transcription below.

Joystiq: BioShock went through a lot of prototypes, even late in development. How static has Infinite been?

Ken Levine: Unfortunately, we're no better at knowing exactly what we're doing at the very beginning than we were with BioShock. The notion of American exceptionalism, that didn't even exist until six or eight months ago. It was always a city in the sky from the very beginning. But very similar to BioShock 1, where we didn't have Andrew Ryan and the notion of objectivism -- we leave ourselves very open for evolution. When we build these demos, they teach us things about what we're making. We don't just work from a design document; it's just not our way.

BioShock had a strong philosophical influence. You see a lot of the same things in Infinite. What's the philosophy behind it? What would be a good reading guide for someone to get caught up?

BioShock 1 wasn't historical, but it was set in the context of history. There was a feeling in America that we were trying to represent. And very much the same here. At the turn of the century, there was this feeling of optimism. All these technologies came in place in the span of twenty years. You go from people with cows and outhouses and growing wheat in fields, to having radios and cars and movie stars, and all these incredible things. It's almost as if they felt a city was suddenly floating in the sky. That's how much the world had changed.

There's a lot of books you could read. I think Teddy Roosevelt is a great place to start. He really is the center of where America was at the time, and America's role from being a small provincial power to placing itself on the world's stage. This feeling of optimism -- we can do all these huge things -- we have the technology, we have this incredible democratic system, which really was a beacon of hope at the time. It was a world filled with monarchies and despots. And Columbia [Ed's note: fictional city of Infinite] came out of that. We really wanted to base something on that time, which people haven't really seen before, but also, in a lot of ways, feels very familiar to some things that are very much in our consciousness today.

The settings have been major characters in your games. Going into designing Infinite, was building that locale an early part of the game's inception?

We knew we wanted a city in the sky because that's what they thought would happen at that time, at the turn of the century. The same way BioShock 1 had a sense you could create these utopias, you could create these perfect worlds based on these radical systems or ideals. There was this sense that America had this mission at the time. Even aside from the American aspect, there was a sense that technology will transform everything. Because it was transforming everything! So this notion of putting this -- almost ridiculous concept, perhaps no more ridiculous than a city at the bottom of the ocean, maybe even less ridiculous -- city in the clouds struck us as a great visual metaphor for certain ideas. That was fairly early. But everything else has been evolving ever since.



How does Infinite's team and budget compare to the original BioShock? Is this a far bigger project?

It's a reasonably big team. We're still not as big as the Ubisofts of the world, not even close. We're not 350 people. We got, like, 80. We like to stay relatively smalls. Not compared to a bunch of indies that do amazing things with five people. We used to do that, but the scale is obviously very large. There's not a single shared asset between this and any previous BioShock game. All the code we're writing is entirely new. It's an entirely new engine.

In our engine, buildings actually float. Buildings can actually collapse. Buildings you're standing on can collapse out of the sky. Every surface is floating.
Rapture was a bit of a fake, in a sense that you never engaged with the ocean in a real way. That was a function of the engine
and the time we had to make it. I think people, with some justification, criticized us for that. And we said that if we're going to do a city in the sky, it has to be in the sky. In our engine, buildings actually float. Buildings can actually collapse. Buildings you're standing on can collapse out of the sky. Every surface is floating. The scale of the space. The fact that you can fight fifteen enemies at once, where you're used to fighting one or two guys in a corridor in BioShock 1.

We have this saying: "when all you have is a hammer, everything looks like a nail." That's why some of the combat in previous BioShock games got to be a tiny bit samey is because when you're fighting just one or two guys in a tight corridor, electro-bolt with shotgun tends to work really, really well. Well, let's really open up the kinds of challenges you can face. Okay, maybe you will have some of those tight spaces. Maybe you'll have much broader spaces, where long-range weapons are a lot more important. Maybe you'll have lots of enemies at once, where area of effect weapons become really important. Maybe you'll move at 60 miles per hour along the sky lines, where weapons that can be used in that context become really important. So, we want to demand more out of the player, so they had to be much more engaged in their tool set.

The first game was built on a heavily modified version of Unreal Engine 2.5. Is this fresh tech, from the ground up?

It's built on Unreal 3 this time, but there's no shared code between any of our previous games and this. This game was about getting out of our comfort zone for us, because we had used that engine on several games before. It was used on SWAT, Tribes, BioShock 1, and we were very comfortable with it. But it was also a limitation which didn't allow us to do the things we wanted to do with this game. It was a lot of work, and that's one of the reasons here we are, two and a half years talking about it.



What were some of the hard choices you had to make with Infinite? Do you have any anecdotes about the concept or the dev process that was specifically difficult?

I think the first rule we made for ourselves when working on this game -- and this is a hard rule -- is there's no sacred cows. There's no BioShock sacred cows. Anything that doesn't fit in BioShock Infinite, doesn't belong in BioShock Infinite. So people say, "what about this? You gotta have that in a BioShock game!" But we say, how does it fit? Does it belong? Is it telling the story we want to tell? Is it the gameplay experience we want to say? There are probably some very iconic things that when you think of BioShock that you didn't necessarily see tonight.

What's an example?

You probably didn't see a large guy in a diving suit and a little girl walking around.

There was a big guy with big hands!

If you know our previous games, it's very much an extension of the DNA of the stuff we've done before. I think you'll see this game has evolved as much from BioShock as BioShock had evolved from any previous games we've done.
That wasn't ... um, what you think it was. That guy was not a Big Daddy. For a BioShock, that's the guy on the cover! That's the little girl on the cover in both games. I think that's a big thing, when you think of Rapture, that's another key thing. How do you take all these things you've created -- everything about how the game was presented was tied into that -- and I think that, for us, we didn't have a choice. We felt like we said what we wanted to say about Rapture. Not about BioShock, not about the gameplay motifs, not about the narrative motifs. But we said what we wanted to say about Rapture, and that kind of space and the kind of combat you have there, and some of the kind of experiences you have there. We created this franchise, and we love this franchise. If you know our previous games, it's very much an extension of the DNA of the stuff we've done before. I think you'll see this game has evolved as much from BioShock as BioShock had evolved from any previous games we've done.

Why call it BioShock, then? What not call it something else? Is that marketing? Is that artistic option?

I think it's both because I think BioShock is a lot more than just Rapture. This is a game; it's a first-person shooter set in an amazing place with a story wrought with – from our perspective – ideas that are tied with history. And everything else really is up for grabs. But we felt that if we made this game and it wasn't a BioShock game, that would be a bit of a cheat. To say, "Oh, it's a totally new thing." But it is a new thing, but it's also a continuation of the things we've done before.

It has a shared heritage.

Final Fantasy is a very similar thing. They have some similar elements. But it's a little strange because usually when you do sequels, the reason it's so similar is because there's a lot of the same assets, a lot of the same gameplay systems.

BioShock 2, for example, versus BioShock Infinite.

Yes, and that's one of the reasons BioShock 2 wasn't the right project for us and, as we agreed with the company, we didn't have the timeframe or the scale to make the product of the ambition we had. But we felt very much it was a BioShock game. There is connective tissue to this and previous titles we've done as well.

What's "infinite" mean?

That's something you're going to have to find out.



Are you concerned with disappointing fans that were really looking forward to a new IP from Irrational? Do you think there's going to be a backlash, like "Oh, it's a BioShock game? Why isn't it something else?"

I think if we had made a game that's very similar to what we had done before and tread very similar grounds, I think there is definitely a chance of that. We never know what people are going to think, but our viewpoint here is: It's a franchise that people like; I think people love. A lot of people love. We had more to say to it but we wanted to do it in a way that we weren't bound by any ideas that had come before.

Can you explain the codename "Icarus"?

Mostly we wanted to be able to talk about the game and say it without just saying "this thing we're working on." And have a name that we could use. And if you think about the name, we wanted people – and I think there are some people on the internet who kind of sussed out what we were doing because of the name, and that's okay. Like any good mystery, you want people afterwards to feel like they had some information to suss out what the solution to the mystery would be if they had some data to figure that out.

You guys had a fun podcast feature where people called in and guessed what you were working on. Did anyone guess "BioShock in the sky"?

I don't know. I don't think so. Maybe, but I could be wrong. I'm looking at my director of marketing here.

Some people did? Are you going to give them a special award, or a prize? A badge on the site or something.

The "icarus" name does hint towards that a little bit.

The game was running on PC today. Are you handling PC development yourself? I know that was handled by 2K Australia for BioShock.

No, we're handling everything.

How about a morality system? That's one of the major components of the first BioShock game, where you were able to choose whether you wanted to harvest Little Sisters or not. Is that same type of decision and morality system present in Infinite?

I think all BioShock games are set in a context of morality. They're not games about "the bad guys" and "the good guys."
I think all BioShock games are set in a context of morality. They're not games about "the bad guys" and "the good guys." We're not going to talk specifically about if we're doing anything with that kind of system or what we're doing, I think it's safe to say we're not looking to repeat ourselves there because we think we've said what we wanted to say with that and I think that's been very well expressed in two games now. If we were to do something, it would be quite different.



The city of Columbia seems a lot less devolved than Rapture was. Is this still a city full of crazies? Full of hopped-up Splicers? The people seemed a little more ... natural.

I think that's one of the things we're trying to do. One of the cheats we've given ourselves over the history of the company is sort of being in this world that's almost dead. It's completely destroyed in many ways. And you just have the sort of crazies wandering around who you can't really interact with in any meaningful way.

I think, and I could be wrong, I think I invented the "see the guy on the other side of the glass window and interact with him" thing. And that's a dubious distinction, as an invention. And that's one of the things that we said we're not going to allow ourselves to have a game that's entirely run by that. Where you see a guy and he immediately attacks you.

You saw a sequence in the bar, where you come in and people don't immediately attack you. And that's actually meaningful to what we're trying to do with this game. I'm not going to go into a huge amount of detail here but this is not a city that's as devolved as Rapture and I think that presents real challenges for us on the development side and it also presents real new opportunities for the gamer and a very different experience than BioShock.

So last question, and it should be really obvious at this point. BioShock: under the sea. BioShock Infinite: in the air. BioShock X: in space?

We're announcing three more games tomorrow and we know all the places they're going to be.

Is that another event we have to go to?

No, look. It took us this long to sort of think and evolve this. We have no idea in terms of the future, that's not even something I'm thinking about right now.

I think a "shock" game in a ship with an AI is going to do really, really well and that's something you should think about.

That's sounds like a great idea. You should make that game.

Link: http://www.joystiq.com/2010/08/12/video ... -infinite/

alfon1995 escribió:Entrevista a Ken Levine en 3Djuegos

3DJuegos: La ambientación y la historia de vuestros videojuegos en Irrational Games siempre han sido dos grandes pilares para construir vuestros conceptos jugables. ¿Cuál es el argumento de Bioshock Infinite?

Ken Levine: Principalmente, en este entrega vamos a llevar a los jugadores a un nuevo lugar, a la ciudad de Columbia, situado en el cielo en algún momento del siglo veinte. Este enclave no tiene unos orígenes como los de Rapture, que estaba oculta y fue construida por entes individuales. En nuestro caso, Columbia fue contruida por el gobierno de los Estados Unidos como gran demostración de hegemonía económica, política y social. Esta urbe es un ejemplo de los valores norteamericanos de deber, intelecto y democracia.

Lo que ocurre en el juego es que esta ciudad se ve involucrada en un incidente internacional. Columbia resulta no ser una ciudad flotante sin más, sino una auténtica Estrella de la Muerte, un arma increíblemente poderosa. Después del incidente, Columbia desaparece entre las nubes y nadie sabe donde se ha metido. Es entonces cuando tú, el jugador, tomas el papel de Booker DeWitt. Al contrario que en el primer Bioshock, ya no somos un individuo desconocido, sino que somos miembro de la Pinkerton, una agencia de seguridad privada. Un buen día, en nuestra oficina, situada justo encima de un bar en la ciudad de Nueva York, recibimos la visita de un misterioso hombre que nos propone la misión de rescatar a una joven con poderes especiales que se ha pasado recluida 15 años en la ciudad de Columbia.

Una tarea extraña, sobre todo si no sabemos donde ha ido a parar el enclave, pero nuestro visitante lo sabe, y nos guiará allí para rescatar a la chica, pero no será tarea fácil, ya que ella es el centro del conflicto internacional que se ha desatado. Y el gran problema es que nadie quiere dejarla escapar de la ciudad sobre el cielo, pero tú deberás colaborar con ella para conseguirlo.

En el primer Bioshock existió una alta carga política en el argumento, con una crítica hacia la tiranía de una clase opresora. ¿Tendremos de trasfondo algo semejante en esta entrega?

Tengo que aclarar algo. Algunas personas creen que en el primer Bioshock hicimos una crítica del comunismo y otras creen que lo que dijimos era prácticamente que el capitalismo apestaba, y eso dependía de sus propias opiniones personales. Me gusta el hecho de que fuimos capaces de crear un juego donde los jugadores realmente no eran capaces de extraer la opinión real de los creadores, y también nos encantó el hecho de que muchos usuarios creyeron que Andrew Ryan podía ser tanto un héroe como un villano.

Por tanto, lo que ha sido interesante para nosotros en este título no es exponer ideas -nociones de comunismo o nacionalismo- de una época concreta o ideas que pueden estar en España, en los Estados Unidos, en Reino Unido o en cualquier otro lugar. Lo interesante para nosotros es que existen diferentes documentos fundadores de un país (la constitución, la declaración de la independencia...) y no sé si estos nombres os serán familiares, pero Benjamin Franklin y Thomas Jefferson fueron grandes figuras de mi país.

Pues bueno, la cuestión con la que nosotros hemos jugado para este título es que dos personas pueden leer esos documentos y formar diferentes opiniones acerca de lo que significan, e incluso pueden estar dispuestos a matar por esas opiniones. Es algo complejo de explicar, pero lo entenderéis mejor cuando veáis Bioshock Infinite.


La atmósfera también es un elemento esencial en vuestros juegos. ¿Podrías describir qué vamos a sentir en esta nueva obra?

No tengo palabras particulares para describir el juego. En el primer Bioshock la atmósfera fue la de una ciudad acuática en el año 1959, pero en este caso lo que quería como director creativo era conseguir traer la fuerza de la luz a la celebración del Día de la Independencia estadounidense.

Es algo así como un recuerdo histórico, no de un tiempo específico, sino de una sensación que recrea los días de verano norteamericanos idealizados en las mentes de las personas de entonces, con banderas ondeando, la hierba moviéndose y el sol bajando mientras los pájaros vuelan de árbol en árbol y las abejas revolotean. Esa es la sensación que queremos retransmitir, un recuerdo idealizado de aquel tiempo que es el que realmente dibuja el aspecto visual del videojuego.

¿Y cómo es ese aspecto visual?

Hemos querido recuperar toda la inmersión gráfica del anterior Bioshock, pero llevándola fuera del océano, hacia el sol. Cuando Elizabeth aparece en el juego, ella es capaz de transformar todo el sistema climático.

¿Os ha servido la tecnología anterior del primer Bioshock?

No. De hecho, una de las razones por la que hemos adoptado un motor completamente nuevo ha sido para conseguir cosas como la representación del cielo, la tecnología de edificios flotantes, el poder despachar a quince enemigos de una vez tanto con disparos como con ataques cuerpo a cuerpo...

En cuanto a la iluminación y al clima hemos creado un sistema que tiene como último exponente a Unreal Engine 3 y que permite modificar la iluminación de manera dinámica. Podemos ir desde un precioso día de verano con nubes que cubren el sol hasta un paisaje lluvioso y tormentoso en cuestión de segundos. Algo así era estrictamente necesario para llevar adelante nuestro concepto de juego.



¿Puedes describirnos ese nuevo motor?

Lo hemos diseñado en base a Unreal Engine 3, pero en realidad sus características quedan por encima de este motor, utilizando una tecnología de iluminación conocida como "The Third Lightning". Eso nos ha permitido crear esos cambios de luz dinámicos que con un motor estándar nunca hubieran sido posibles. Realmente, hemos modificado todo el sistema de luces, y esa ha sido precisamente una de las razones por las que ya llevamos trabajando en el título dos años y medio.

Desde el punto de vista de la jugabilidad, ¿cuál va a ser la experiencia predominante que va a recibir el jugador?

En el primer Bioshock nuestro objetivo estuvo representado por el denominado "Motion Art Effect", que nos permitía movernos y luchar dentro de un océano, creando una experiencia completa. Era arte encerrado entre cristales; y funcionó bien, pero ahora queremos crear una experiencia de juego sobre el cielo, y el vértigo forma parte de esa experiencia. Todos los edificios se mueven y flotan como barcos balanceándose por el oleaje en el mar, y conseguir eso ha sido muy difícil desde un punto de vista tecnológico.

Podemos también circular a toda velocidad (80 millas por hora) a través de raíles flotantes, creando esa sensación de vértigo que también te permite sentir estar en una plataforma que puede desplomarse bajo tus pies en cualquier momento. Esa experiencia de estar en el cielo es muy importante para nosotros, de manera que gastamos mucho tiempo y tecnología hasta conseguir el efecto que deseábamos, así como los artworks necesarios.


Los raíles que flotan sobre el cielo y que comunican Columbia parecen suponer otra gran dinámica de juego. ¿Nos puedes hablar más sobre ello?

Los raíles sobre el cielo que hemos visto en la demo son sólo un aperitivo de lo que nos encontraremos en el juego final. Realmente, para hacernos una mejor idea hemos de imaginarnos a una montaña rusa que está sobre otra montaña rusa que también tiene otra montaña rusa acoplada... y todo ello con armas de por medio. La sensación que queremos retransmitir a los jugadores es la de saltar de vagón en vagón a 80 millas por hora.

Además, los raíles de estas montañas rusas suponen un sistema de transporte libre que interconecta la ciudad flotante de Columbia. Pero como ocurre en muchos casos, estos sistemas se adaptan a las necesidades propias de cada época, como fue el caso de Londres cuando el metro de la ciudad fue utilizado para llevar a cabo las purgas. En nuestro caso en particular, el sistema de transporte pasa de conectar la ciudad a convertirla en un lugar violento.

En Bioshock Infinite habéis conseguido crear un nuevo mundo. ¿Era vuestra intención o tiene esta ciudad algo que ver todavía con Rapture?

Para nosotros el éxito del primer Bioshock residía en que, cuando los usuarios lo veían, les venía a la mente la expresión "What the fuck?". Se preguntaban por qué estaban allí, qué era ese lugar... No lo entendían. Era extraño y sorprendente, y queremos devolver a la franquicia otra vez a esa dinámica, a un lugar que los jugadores no conocen para que sientan lo mismo que cuando llegaron por primera vez a Rapture y no entendían nada, pero les parecía extraordinario y necesitaban averiguar más cosas sobre él.

Eso es lo que deseamos recuperar, y esa es nuestra misión en este juego: hacer que las personas que creían que habían entendido Bioshock regresen y se den cuenta de que no sabían todo sobre Bioshock. El misterio ha vuelto, y dentro de un puzle que involucra a una nueva ciudad directamente relacionada con la historia de Bioshock. Pero es algo que deberéis descubrir por vosotros mismos.

¿Y cuándo podremos descubrirlo?

Todavía no tenemos una fecha concreta, pero esperamos tenerlo listo para Xbox 360, PlayStation 3 y PC durante el próximo 2012.

En el link también hay una versión resumida de la entrevista en vídeo subtitulada.

http://www.3djuegos.com/juegos/avances/ ... -infinite/

Irrational has given a name to the giant enemy seen in the recent BioShock: Infinite reveal: he’s called Handyman.

“Obsession” with “large hands” led to the creation of BioShock’s latest icon, Irrational’s confirmed in its latest podcast.

The Big Daddy-alike – seen both fighting a human at the start of the game’s reveal trailer and grabbing the game’s female lead, Elizabeth, at the end – has porcelain, mechanical hands that very nearly weren’t.

“I think with the original Handyman, there were claws,” said concept artist Rob Waters.

“But in the end, Crabman didn’t end up working out because he couldn’t grab a guy and shove him in a fish tank very gracefully, and he ended up looking a little goofy in-game.”

Before the final Handyman design, the enemy had “giant mechanical crab claws,” according to the artist.

“How would he take a leak?”

Explaining the reason for working the monster’s hands into something more human, lead artist Shawn Robertson said the claws were simply implausible.

“How could this guy exist in any world? Fundamentally, how would he take a leak? How would he eat something?” he said.

Gameplay, as ever, had the final say.

“Levine’s problem was a gameplay thing,” said art director Nate Wells. “Here’s a classic case of a trailer causing one choice to be made which then has repercussions in the game. It actually turns out to be a really good thing.

“The functionality problem was that claws are for grabbing, and not for pushing or punching. This guy’s actual functionality was to punch.

“And that sort of evolved between the time Rob did his first sketch and the designers based funactionality on that sketch, and by the time we’d done a prototype is was like, ‘Well, this guy should grab, not punch.’ You punch with fists. So he evolves again and he actually gets hands.”

“Fundamentally scary”

In addition, the team said hands are more “fundamentally scary” than claws, and that using the porcelain hands you saw in the trailer adds a “humanity” to the character.

In the game’s first play demo, Handyman is seen in action as a boss, right at the end. This early play-test has thus far been shown in New York and Cologne.

Studio boss Ken Levine actually confirmed the character is called Handyman in Cologne last week, speaking to French site GameKult.

BioShock: Infinite was announced in New York earlier this month. It’s a first-person action game set on the floating city of Columbia in 1912. You won’t be playing it until 2012.

Keza caught up with Levine at gamescom last week. Get that here.

With our heads still spinning from the astounding (if heavily scripted) demo of Bioshock Infinite at GamesCom last week, we sat down with Irrational's Director of Product Development Timothy Gerritsen to see if we could squeeze any information out of him. What we got was a tantalising glimpse into the twisted world of Columbia.

GamingUnion.net: How much can you reveal about the story, as it stands?

Timothy Gerritsen: At this point we're not talking in terrible detail. I can discuss essentially the setting and the characters. Columbia is the setting, in 1912. It is a city that was designed as an airbourne World's Fair, intended to show off the American ideals of the time.

However, in reality it actually became a floating battleship that was exporting American idealism whether you wanted it or not. A Death Star, if you like. But then it disappeared completely...

The main character is Booker DeWhitt. He's not a cipher this time, he's an actual character. He's an ex Pinkerton agent. Pinkerton's were a combination of hired muscle and secret agents in the late nineteenth century. However, even by their standards DeWhitt was too much for them, so they kicked him out and now he's an itinerant muscle-for-hire, fixer-for-hire who does dirty jobs that others aren't willing to do.

You get hired to rescue a girl named Elizabeth who happens to be held against her will in Columbia. The man who hires you knows how to get you to Columbia, despite its mysterious disappearance.

Elizabeth herself is more than meets the eye. Actually, there's a reason that they have kept her captive on Columbia. When you arrive there you realise that she is at the centre of the war that is ripping Columbia apart.

GamingUnion.net: You alluded to one of the themes there, the sense that Bioshock 2 explores aggressive patriotic nationalism. It's something that arguably resonates in current affairs. Could you elaborate on what it means to the game itself?

Timothy Gerritsen: As with any Bioshock game one of the things that we like to explore is extremism. So what happens when you have an ideal and you are unfettered and you take that ideal to its extreme.

So in Columbia you have this group that have done just that and it's reflected in what's going on around you as you play the game. One of the reasons that we chose this period is that we are interested in the dark side of it.

So there were to themes to that period; the dark side and the light side. There was this optimism of this time, so it was pre-World War 1, there was this belief that machinery was going to save the world, that technology and science were ultimately harbingers of good. That they could do no wrong and that science would solve all societal ills.

But they didn't realise that machinery can also destroy and that World War 1 was just around the corner. We're exploring that side.

So one of the themes of that period was eugenics. In many countries eugenics was practiced, a scientific approach to racism. It was the belief that if you measured people - their cranium, their ear length, their nose width, their nose height, measuring these kind of things - just like you could breed a dog, you could breed a person. And you could weed out undesirable traits. They believed that through eugenics they could save the world by creating perfect people.

GamingUnion.net: A master race...

Timothy Gerritsen: Exactly, a master race. This theory was prevalent at the time. It's the dark underbelly to the notion that science was the saviour of the world. They took scientific approaches to popularise racism.

GamingUnion.net: It strikes me that Bioshock Infinite is one of the few shooters out there that could be read as left-leaning and liberal. I've just seen Spec Ops: The Line, for example, which could be considered one of a great many militaristic shooters that almost celebrate the aggressive destruction over other territories and races, or the fear associated with invasion from them. But Bioshock is different, why is that?

Timothy Gerritsen: Well, I wouldn't say we're necessarily left-leaning, because if you look at... [stops himself] you haven't seen all of the game yet. And for every extent on one side, there's an extent on the other. Y'know we're not talking about that yet.

Even in Bioshock 1, we didn't really pick sides. At the end of the day, was Andrew Ryan a villain? Maybe he was, maybe he wasn't. We never picked sides. Instead we created a game where you could explore the extents of those extremes. You got to see both sides, and you were caught in the middle.

Likewise, in this game you'll find that we're not necessarily picking sides. You're caught in the middle between factions.

GamingUnion.net: So thematically Bioshock Infinite relates to the previous games, but what about the narrative. Does it tie-in at all? Is it the same universe?

Timothy Gerritsen: That's something that we're not really talking about at this stage. Obviously, it's a Bioshock game, we always intended it to be a Bioshock game. We don't necessarily believe that Bioshock was tied to any one particular location. There are ideas in Bioshock that are universal. And those were the themes we wanted to explore.

When we finished with Bioshock 1, we were done with Rapture. We told the story that, we felt, needed to be told. It was a completely contained story, there was nothing else to say there. But we thought that the themes we've already discussed, along with exploring the different ways you can combine powers and the combat with exploration that we did in the first game - we weren't down with that, just yet. But we were done with Rapture.

So really we said, 'we're gonna throw out all the rules.' There's not gonna be sacred cows. We're gonna boil down Bioshock to its basic tenets and move forward. We're not going to just bring things over just because they were in the previous game.

Is there a tie-in? It's something we'll explore as we move forward.

GamingUnion.net: It has already been revealed that meaning of the title 'Infinite' is revealed towards the end of the game...

Timothy Gerritsen: Yes, it is.

GamingUnion.net: ...and that it is then that the links to Bioshock will be more fully revealed...

Timothy Gerritsen: There's a specific reason we called it Bioshock Infinite. We didn't just pick that name out of the air because it sounded good. There is a reason for it and that's something we really want players to discover for themselves. If we told you now it would ruin the exploration itself.

GamingUnion.net: Ok, so while there are many recurrent themes from the original, in many ways it is also the complete opposite. So the setting is very public not hidden, it's in the air as opposed to beneath the sea, it's open as opposed to closed and claustrophobic...

Timothy Gerritsen: Yeah, Rapture was very much about that claustrophobic feeling, the weight of the ocean literally crushing down on you. That was a very interesting thing for us to explore with Bioshock 1. With Bioshock Infinite it kinda is the reverse. It wasn't necessarily intentional, it was just what happened.

But this really is the reverse. So instead of being oppressed by this ocean that is bearing down on you, now you are above everything and there is limitless possibilities. You feel like you're above the world, but at the same time, there's this sense of vertigo. You can fall to your death at any time.

So it's a different set of tensions than we had underwater. And that's one of the challenges we have with the game. It's a much brighter, much more daylit experience - obviously there will be different types of day and night, we explore storms in the demo and how that affects lighting - so there will be gloom in this game, but for the most part it is a day time, above the world setting.

So we're exploring how you make that creepy, how do you make that sense of impending doom and you can see hints of that in the demo. Those are the challenges we face.

GamingUnion.net: Speaking of the demo, there are a few moments where objects shimmered. It wasn't clear weather that was the result of the powers that the characters have, or there was some questioning of the reality of the environment...

Timothy Gerritsen: I think once we release that footage, you can kind of go back and do it frame by frame and it will be a little clearer. So you'll have to wait for that. It's not the only place where that happens.

GamingUnion.net: Yeah, I saw it in the painting too.

Timothy Gerritsen: Sure, and there's even more too. We're hoping that people will obsess over that and try to glean something from it. Because there are also things in there that... I'm sorry, I would love to tell you all, we are really excited because what we're showing here is just the tip of the iceberg of what this game is all about. There's so much more.

GamingUnion.net: During the demo I asked about how scripted it was, they said they had to squash it down a little.

It was difficult for us because we only have 10 minutes to show you all of the things we want to show you. There is so much other stuff we don't even get to in the GamesCom demo. We had to work out how to show it in a compact such a compact time frame. Some really exciting things just had to be left out.

GamingUnion.net: So the game was announced very early, two years from release. Why was that?

Timothy Gerritsen: A couple of reasons. One is that we've kept it secret so long and that was difficult enough, we knew it was going to leak. We really wanted to get out in front of it and reveal it in the way that we felt would have the most impact and in a way that we could get our story across.

If it just leaked people would have gone, 'Oh, they're working on Bioshock 3.' It would have leaked in a way that it wouldn't have had the same impact we wanted it to have.

Also, because it is so new and so different, we also wanted to get it out early, so we could make people away that it is not just the next chapter of Rapture, this is an entirely different Bioshock game. There's so many new themes, there's an entirely new nature to the game.

You're playing a character this time around - we wanted people to be aware of that and comfortable with that. And then finally, like I said there is so much more to this game that we wanted to have a staged release so we could say, "Here's what it's all about, here's what we're doing" and then at different stages along the way we could get into different aspects.

Because the scope of this game is massive. It's terrifying for us because we're building it and it's so massive that we didn't want to compress all of that into a six month time frame.

GamingUnion.net: And you've already been developing the game for 3 years? It's a five year cycle, right? That seems odd at this stage of this generation of platforms.

Timothy Gerritsen: We really started working late 2008. That was when we really actually began production of the game. The themes were explored before that. After Bioshock 1 we sat down and the company said, "What do you want to do?" There was no, 'You have to make the next Bioshock.' And once we decided that was what we wanted to do, there was no, 'Right, we've got to make the next Rapture.'

We decided that we loved Bioshock so much and there was so much we wanted to do with some of the ideas in that game, that if we have the time, the budget and the inclination, how do we do it? Bioshock Infinite is the result of that.

MEZMERIZE escribió:¿Qué ha pasado con la expansión de Bioshock 2, Minerva's Den?

¿Se suponía que saldría hoy, no?

awesomeregi escribió:que ganas de jugarlo y no sale hasta el 2012

alfon1995 escribió:

awesomeregi escribió:que ganas de jugarlo y no sale hasta el 2012

Tío, estás empezando a ser un rato pesado. Solo comentas en el hilo para decir "que guay" "que buen juego" "que gran hilo" Eso tiene un nombre, lo que pasa es que no me acuerdo. El que manda mensajes sin apenas contenido solo para subir su número de mensajes....

Irrational Games has announced it will be releasing the much talked about gameplay trailer for BioShock Infinite later this month.

New Irrational Game's employee Chris Remo posted a blog on the developers official site kicking off the countdown with the first of 10 'things you should know about BioShock Infinite'.

He ended his post by announcing that the gameplay video would go live on Xbox LIVE on September 21st. Sites will begin posting the video on September 22nd.

Irrational Games chief Ken Levine has stated that he wants BioShock Infinite to be know for a "world-shaking narrative experience"

"We want this to go down in the history books as both a world-shaking narrative experience, but also a ‘Holy s---! I was in this combat and let me tell you what happened! It was awesome!’" said Levine, as quoted by Game Informer.

Levine added that some of Irrational's more tried-and-tested narrative techniques would get the boot this time around. "On the story side, one of the criticisms from System Shock 2 to BioShock to BioShock 2 is that whenever you encounter somebody, they’re behind a piece of glass," the designer said. "I invented that trick back in 1999. We’ve gotten rich and fat off of that trick, and we decided, 'no more of that trick.'"

“We want this to go down in the history books as a world-shaking narrative”

Meanwhile Art Director Nate Wells said that the setting (1912 America) would provide plenty of inspiration for the game, set in the cloud city of Columbia. "We wondered if this time period would bear fruit, and it became clear very quickly that it would. We were able to play with history and draw from history in the same way, and cherry pick what we want and leave what didn’t serve us."

Irrational's director of development, Tim Gerritsen recently told NowGamer: “We’re definitely not an open-world game – that’s not who we are as a company. We’re a narrative-driven game."

goldenaxeband escribió:A lo largo del día van a mostrar gameplay de la demo así que... ¡atentos!

goldenaxeband escribió:Tienes toda la razón. Perdón por levantar falsas esperanzas

alfon1995 escribió:VÍDEO GAMEPLAY COMPLETO, DIEZ MINUTOS!!

http://www.youtube.com/watch?v=H0fDEA0B ... r_embedded