Honestly, I do not remember the story. It had powers, crazy people and "pew pew".
I know it was suppose to have some meaningful message but I was not paying attention back then, something something unchecked science, other then that I have no clue.
I have not played infinite, although I still have it.
I heard infinite was woke but I never got around to it and now I will probably never will.
So if Bioshock 1 had some deep message about feminism and inter-racial relationships it was way to deep for me and most likely most of the player base at the time.
As is often the case with media, leftists willfully misinterpreted almost everything about this game’s story.
Set in 1912, the game is centered around a floating steampunk city called Columbia. The middle and upper class residents are explicitly racist and white supremacist. They exploit a lower class of non-whites for cheap labor. Sounds like retarded woke fanfic, right?
But here’s the thing: this fictional city of Columbia literally seceded from the United States. In one possible future, Columbia even attacks and destroys major American cities. So right from the jump, anyone who says that Columbia represents America’s racism and white supremacy is objectively incorrect. America exists in this game, and it is literally the enemy of Columbia.
Yes, the Christians and whites depicted in this game are awful, but so is everyone else. The moment the underclass gains any semblance of power, they turn into murderous commie psychopaths. They immediately reveal themselves to be every bit as evil and savage as their “white supremacist” enemies.
In the end, the game isn’t even about race or class. It’s about multiple dimensions and time travel and family. All that other stuff falls away in the latter half, which is why wokies who actually finished the game tend to hate it. Everyone else checked the tin and raised their thumbs.
Edit: having watched some of the video linked below, it’s safe to say my own recollection of this game was apparently far too kind.
Basically "but they're both evil" is a smokescreen. The hatred directed towards whites is particular and orders of magnitude greater and the depiction of other factions as also morally suspect serves to obfuscate just how deep the hatred for whites is.
I don't expect anyone to actually take the four hours to sit through that, but the refutation is there if you care to engage with the perspective.
I don't agree that the Vox are just some kind of mild misdirection when they're the antagonists, if not outright enemies, throughout a lot of the game, and I don't think that it's all canceled out because Comstock is the villain. It doesn't matter who started it when you're just as bad as they are.
As an aside, since I watched five hours of this,
The assertation that the game's dumbass ending is about killing all white people is a bit far fetched.
All the stuff about how the Irish weren't mistreated was odd for what I imagine American Krogan's political leanings are. The only people I've ever heard arguing for what he does were progressives trying to keep the vaunted noble title of "victim" out of their hands (and also probably trying to justify hating them under their usual purview).
Similarly, his default reading of everything in the game being made for a young white male audience is also something I've only ever heard progressives do.
The moment the underclass gains any semblance of power, they turn into murderous commie psychopaths. They immediately reveal themselves to be every bit as evil and savage as their “white supremacist” enemies.
Honestly I'd say the underclass are even worse then their masters. The second you free them, after risking your ass to do so, they immediately turn on you and straight up start slaughtering people in the streets. Sure the masters were evil fucking slavers but they weren't shiting where they slept.
Sounds similar to how the leftards were disappointed that Far Cry 5 wasn't the "MAGA Hillbilly Hunting Simulator" they somehow thought it was advertised as.
I don't give much a shit one way or the other about the Jewish stuff and I've only seen one other American Krogan video (which made me seriously consider the similarities of Communists and Facists). I am, however, a fan of Bioshock, regardless of, or despite, what has been done to it since its release.
I struggle to explain how ridiculous it is to believe that there are two separate messages in the game, one front facing to the gentiles, and the other a secret message only picked up by the Jews with their Jewish decoder rings. KA acts like Ken Levine is some kind of supergenius auteur, able to effortlessly weave dual import together into one story, (with one of them not having any, y'know, examples or support in the game itself or any way to decipher any of it) and not just some guy making shit up a decade later because he's a hack.
Every character is Jewish? Sure they are Ken. You're really having to take a guerrilla approach to ruining this game nowadays, aren't you?
This video is an example of how you can take literally anything and apply THA JOOS. Incredibly, AK appears to recognize and understand the commonly held themes and messages of the game, and yet he refuses all of it for crazy Jewish conspiracy angles.
Ryan's use of "parasite" is a fantasy reversal and projection of Jews and Gentiles. Now, I've heard capitilists call people "parasite" all the time, which would make sense what with Ryan being an ur-capitilist, but clearly that was just cover to subvert an entirely different term I'd never heard of from the fucking Enlightenment.
The Greek names everywhere is a cover. Because every character is Jewish and everything they do is a sign of Jewishness and everything that isn't Jewish is a trick.
Ryan being the guy keeping civilization together is a joke considering all the shit he does before and during the game. He betrays his principles, tries to murder everyone in the city multiple times, and enslaves them with mind-altering pheromones. He isn't any better than Fontaine who just wants to loot the place.
Of course, he got the "Shiksa" part all wrong. See, Ken isn't using that all to deploy the trope of Jewish men fucking white women. Because the exotic dancer Ryan was enamored with ended up bringing about his downfall, what Ken was secretly (unless you were "in the know" and had knowledge like "Steinman is a Jewish name" in order to unlock all the secrets) relaying to the congregation of Jews was that Jews shouldn't fuck white women at all. See, he wants to keep the races pure. Or maybe the message was about not having promiscuous premarital sex? Or possibly something about not being wrapped up in celebrity. I don't know, none of those are quite conniving and hateful enough. Oh, I got it, the message is "just do whatever you want. Sure it'll kill you eventually, but who cares? You can just blow everyone up like Samson, and then die to not do that for some reason."
By the way, I'm pretty sure Fontaine was also fucking Tenenbaum (I remember the paparazzi calling her a "beansprout" and saying that Fontaine could have any dish he chooses). Then she betrays him. Which is exactly what happened with Ryan, including the violence after. Strangely, this is not mentioned. Allow me to now go on a seven minute rant about the trafficking of Israeli women.
On and on and on. The Big Daddys are golems and are a sign of how non-Jews are unable to handle the golem's power, even though only Suchong is harmed by them and Fontaine uses them just fine (and Lamb's daughter in the second game and Elizabeth in Infinite). Oh, but Fontaine is killed by the player character who is a golem and a Jew, who also turns himself into a golem later in the game, but by that logic every character other than Tenenbaum is also killed by the player character, so I guess they couldn't handle it either.
Why is a message of not seeking power and instead liberating little girls from slug oppression the message for the non-Jews and not the Jews? Isn't it being done by a golem Jew golem?
TL;DR: Ken Levine is a hack, don't believe his lies. You can twist anything you set your mind to, especially when that mind has Jews in it living rent free.
I would have to find the quote again in order to make an actual argument, but from what I remember, it boils down to the concept of rich people exploiting and destroying the people for their own interests and that the people need to rise up against them, etc.
I can't imagine any Communist worth their salt would have a different take on wealthy foreign investors.
Honestly, I do not remember the story. It had powers, crazy people and "pew pew".
I know it was suppose to have some meaningful message but I was not paying attention back then, something something unchecked science, other then that I have no clue. I have not played infinite, although I still have it. I heard infinite was woke but I never got around to it and now I will probably never will.
So if Bioshock 1 had some deep message about feminism and inter-racial relationships it was way to deep for me and most likely most of the player base at the time.
Bioshock Infinite spoilers ahead.
As is often the case with media, leftists willfully misinterpreted almost everything about this game’s story.
Set in 1912, the game is centered around a floating steampunk city called Columbia. The middle and upper class residents are explicitly racist and white supremacist. They exploit a lower class of non-whites for cheap labor. Sounds like retarded woke fanfic, right?
But here’s the thing: this fictional city of Columbia literally seceded from the United States. In one possible future, Columbia even attacks and destroys major American cities. So right from the jump, anyone who says that Columbia represents America’s racism and white supremacy is objectively incorrect. America exists in this game, and it is literally the enemy of Columbia.
Yes, the Christians and whites depicted in this game are awful, but so is everyone else. The moment the underclass gains any semblance of power, they turn into murderous commie psychopaths. They immediately reveal themselves to be every bit as evil and savage as their “white supremacist” enemies.
In the end, the game isn’t even about race or class. It’s about multiple dimensions and time travel and family. All that other stuff falls away in the latter half, which is why wokies who actually finished the game tend to hate it. Everyone else checked the tin and raised their thumbs.
Edit: having watched some of the video linked below, it’s safe to say my own recollection of this game was apparently far too kind.
Beginning of a four hour refutation for those who care: https://www.bitchute.com/video/8wfVImc4cV00/
Basically "but they're both evil" is a smokescreen. The hatred directed towards whites is particular and orders of magnitude greater and the depiction of other factions as also morally suspect serves to obfuscate just how deep the hatred for whites is.
I don't expect anyone to actually take the four hours to sit through that, but the refutation is there if you care to engage with the perspective.
This was an enlightening series. Thanks for sharing.
American Krogan makes some very well researched content.
I don't agree that the Vox are just some kind of mild misdirection when they're the antagonists, if not outright enemies, throughout a lot of the game, and I don't think that it's all canceled out because Comstock is the villain. It doesn't matter who started it when you're just as bad as they are.
As an aside, since I watched five hours of this,
The assertation that the game's dumbass ending is about killing all white people is a bit far fetched.
All the stuff about how the Irish weren't mistreated was odd for what I imagine American Krogan's political leanings are. The only people I've ever heard arguing for what he does were progressives trying to keep the vaunted noble title of "victim" out of their hands (and also probably trying to justify hating them under their usual purview).
Similarly, his default reading of everything in the game being made for a young white male audience is also something I've only ever heard progressives do.
Honestly I'd say the underclass are even worse then their masters. The second you free them, after risking your ass to do so, they immediately turn on you and straight up start slaughtering people in the streets. Sure the masters were evil fucking slavers but they weren't shiting where they slept.
i don't see how columbia plans on winning that fight, since by the time they get around to attacking the united states the air force exists.
Sounds similar to how the leftards were disappointed that Far Cry 5 wasn't the "MAGA Hillbilly Hunting Simulator" they somehow thought it was advertised as.
I just remember Bioshock 1 being "Atlas Shrugged" with a second John Galt who styled himself a mob boss who played both sides.
I don't give much a shit one way or the other about the Jewish stuff and I've only seen one other American Krogan video (which made me seriously consider the similarities of Communists and Facists). I am, however, a fan of Bioshock, regardless of, or despite, what has been done to it since its release.
I struggle to explain how ridiculous it is to believe that there are two separate messages in the game, one front facing to the gentiles, and the other a secret message only picked up by the Jews with their Jewish decoder rings. KA acts like Ken Levine is some kind of supergenius auteur, able to effortlessly weave dual import together into one story, (with one of them not having any, y'know, examples or support in the game itself or any way to decipher any of it) and not just some guy making shit up a decade later because he's a hack.
Every character is Jewish? Sure they are Ken. You're really having to take a guerrilla approach to ruining this game nowadays, aren't you?
This video is an example of how you can take literally anything and apply THA JOOS. Incredibly, AK appears to recognize and understand the commonly held themes and messages of the game, and yet he refuses all of it for crazy Jewish conspiracy angles.
Ryan's use of "parasite" is a fantasy reversal and projection of Jews and Gentiles. Now, I've heard capitilists call people "parasite" all the time, which would make sense what with Ryan being an ur-capitilist, but clearly that was just cover to subvert an entirely different term I'd never heard of from the fucking Enlightenment.
The Greek names everywhere is a cover. Because every character is Jewish and everything they do is a sign of Jewishness and everything that isn't Jewish is a trick.
Ryan being the guy keeping civilization together is a joke considering all the shit he does before and during the game. He betrays his principles, tries to murder everyone in the city multiple times, and enslaves them with mind-altering pheromones. He isn't any better than Fontaine who just wants to loot the place.
Of course, he got the "Shiksa" part all wrong. See, Ken isn't using that all to deploy the trope of Jewish men fucking white women. Because the exotic dancer Ryan was enamored with ended up bringing about his downfall, what Ken was secretly (unless you were "in the know" and had knowledge like "Steinman is a Jewish name" in order to unlock all the secrets) relaying to the congregation of Jews was that Jews shouldn't fuck white women at all. See, he wants to keep the races pure. Or maybe the message was about not having promiscuous premarital sex? Or possibly something about not being wrapped up in celebrity. I don't know, none of those are quite conniving and hateful enough. Oh, I got it, the message is "just do whatever you want. Sure it'll kill you eventually, but who cares? You can just blow everyone up like Samson, and then die to not do that for some reason."
By the way, I'm pretty sure Fontaine was also fucking Tenenbaum (I remember the paparazzi calling her a "beansprout" and saying that Fontaine could have any dish he chooses). Then she betrays him. Which is exactly what happened with Ryan, including the violence after. Strangely, this is not mentioned. Allow me to now go on a seven minute rant about the trafficking of Israeli women.
On and on and on. The Big Daddys are golems and are a sign of how non-Jews are unable to handle the golem's power, even though only Suchong is harmed by them and Fontaine uses them just fine (and Lamb's daughter in the second game and Elizabeth in Infinite). Oh, but Fontaine is killed by the player character who is a golem and a Jew, who also turns himself into a golem later in the game, but by that logic every character other than Tenenbaum is also killed by the player character, so I guess they couldn't handle it either.
Why is a message of not seeking power and instead liberating little girls from slug oppression the message for the non-Jews and not the Jews? Isn't it being done by a golem Jew golem?
TL;DR: Ken Levine is a hack, don't believe his lies. You can twist anything you set your mind to, especially when that mind has Jews in it living rent free.
He had a quote in the video of a Fascist going off about international capital, which seemed really Commie.
I would have to find the quote again in order to make an actual argument, but from what I remember, it boils down to the concept of rich people exploiting and destroying the people for their own interests and that the people need to rise up against them, etc.
I can't imagine any Communist worth their salt would have a different take on wealthy foreign investors.
https://odysee.com/@americankrogan:3/BioShock-The-Hatred-Chapter-1:1