#judas game

[lulu2992]

As someone who’s played the entire BioShock series, “Oh?!”

[demifiendrsa]

Judas — Trailer #2 | Who is Judas?

Judas is in development for PlayStation 5, Xbox Series X|S, and PC (Steam, Epic Games Store). A release date was not announced.

Screenshots

Overview

The “Who is Judas” trailer offers a deeper look at the game’s setting aboard the Mayflower, a spacefaring city whose citizens are trained to tear each other apart for even the most minor infractions, and where machines control every aspect of business, art, and government. You, as Judas, are the driver of every event in a mysterious story with a new cast of characters to get to know—and to change—in a world where every decision you make affects how the story unfolds. The leaders tried to turn you into something you’re not: a model citizen. And you sparked a devastating revolution to tear it all down. Will you fix what you broke, or leave it all to burn?

[macbethz]

[hyperboreandad-82]

JUDAS State of Play 2024

[smh0217]

My top 10 most anticipated games of 2023

Honorable Mentions

What are some of your most anticipated games of 2023?

[bioshook-wynand]

OKAY WAS ANYONE GONNA TELL ME THERES A BIOSHOCK SPINOFF OR??????

[superectojazzmage]

Thinking about doing a BioShock replay so getting this old essay/observation thing I had in my drafts for awhile and actually making it, but something I’ve kinda realized is that the reason (or maybe just one reason) that BioShock Infinite isn’t as fantastic and well-constructed compared to the iconic original (or even 2) and has had people souring on it a lot in the years after it’s release is that it forgets the real core that BioShock was built around.

Namely that what BioShock is really about is video games themselves as a medium. BioShock is a story about video gaming, a meta exploration of video games and their gameplay, narratives, and developments. The world of Rapture is carefully constructed entirely around this idea.

Rapture is a small, isolated, contained location where people are free to do whatever they want within the confines of the “system”, just like the world of any video game. A playground where people can be whatever they want to be and do whatever they want to do without fear of consequences, even things that would be regarded as evil in a normal world.

Things like plasmids and vita-chambers and Adam and Eve are all video game mechanics taken to their logical conclusion — upgrades/spells you have to genetically modify yourself into a monster to use, checkpoints that literally stitch your mutilated body back together when you come close to death so you can keep “playing”, experience points that are an actual physical substance you need to acquire to become stronger, power-ups and health pickups that are literally just addictive drugs in hypodermic needles.

And, of course, the famous “would you kindly” twist and everything involving Atlas/Fontaine and the way you can do things/use items that all the NPCs and enemies can’t is all one big warp on the idea of player characters and how players behave in video games. Your character is basically a human robot, a living weapon bred and altered and programmed from birth to be able to be like that.

You can use checkpoints and do all these freakish upgrades to your body because you’re built to be able to. You do everything the objective marker/weirdo over the radio tells you to is because that’s what you usually do in video games you’re programmed to do it, and it’s engrained so thoroughly in you that even after the spell is ostensibly broken, you just instinctively default to following a different voice’s orders. And the splicers, those dumb enemies you’re fighting? Previous players of the “game” who got in too deep and now stalk the maps, killing everything in sight and obsessively hunting for more experience points and unlockables.

The characters of Rapture, the people who built it, are twisted parodies of game developers. A controlling, hypocritical, and narcissistic auteur director, Andrew Ryan, who doesn’t believe in anything except himself and his “vision”. The pretentious prima-donna artists and writers like Sander Cohen who pour their neuroses into the work and on their coworkers. Character designers represented with a crazed surgeon, Steinman, who views people like paintings. An environmental designer, Langford, so obsessed with getting every detail right and perfecting the trees that she doesn’t notice or care about the office around her burning. Uncaring, abusive managers and producers like Suchong who don’t care what they have to do to get the project done. Cutthroat meddling executives like Fontaine who slip into the artistic world and play it for their own ends. And all around them, hapless programmers and play-testers and interns responsible for the actual nuts and bolts that make the game function suffering under the crunch or being discarded at a moment’s notice when they’re “outmoded” or try to unionize.

The central point of BioShock at its core, is to deconstruct and examine the nature of the medium and genres of video games. It is an exploration of what a world would have to be in order to function like a video game world does, it’s setting carefully constructed around this idea, and the answer is… a horror story. It’s a tale that can only really be told as a video game, because it is so inextricably linked to that medium of storytelling.

Infinite doesn’t have ANY of that.

There’s no consideration for the artform and construction of video games, no commentary on gaming culture and ideas. The worldbuilding has no central theme beyond whatever theme was in Ken Levine’ head at the moment, hence why the game cycles through God knows how many ideas without doing justice to any of them and has a completely nonsensical setting and overall plot that looks superficially smart but falls apart at a moment’s examination. The characters don’t map to anything. The gameplay doesn’t map to anything, and in fact is usually completely incongruous with the setting and story. The only thing that maybe could be seen as a twist on the gaming medium is the multiverse plot point/lighthouse scene possibly reflecting on the idea of sequels, but even then it’s so half-formed that I can’t even really discern what point they’re trying to make.

You mindlessly slaughter thousands of people to get to the next cutscene where your characters suddenly become actual thinking humans again and start responding to death realistically. You down drinkable plasmids that are barely even tangentially acknowledged by the narrative.

Compare how intensely interwoven things like plasmids and vita-chambers are with the story and worldbuilding of OG BioShock with how vestigial and barely acknowledged similar things are in Infinite. Compare the complexity and nuance of OG BioShock’s setting and characters with the cartoonish stereotypes and simplicity of Infinite’s entire cast except maybe Booker and Elizabeth themselves. Infinite can barely pick a single thesis to discuss, let alone grapple with its nature as a video game. If BioShock 1 and 2 are a story that could only be told in video game form, Infinite is like a book or movie shaped peg that Ken Levine is smashing into a video game hole.

I don’t know where I’m going with this other then making this observation but yeah. I am curious if Levine will have learned the lesson with his upcoming not-BioShock game Judas, or if it’s going to be the same pretentious bundle of incoherently jammed together ideas that Infinite was.

[niccamon]

The state of new bioshock is interesting because we have TWO new bioshocks in the ring. On one hand, there's ken levine's new project, Judas. And on the other hand, there's the currently unannounced bioshock four

both new projects have something big potentially working against them. bioshock 4's thing is that it IS a sequel and it has to reconcile being the fourth one in a series. it has to justify itself being in the same running as BS1, BS2, and infinite, which is SUCH a dicey place for you to be

judas, on the other hand, theoretically has a lot less bogging it down. But it seems to be pretty damn bioshock from a guy who said that he's doesn't want to be "the bioshock guy". but he's not just 'the bioshock guy', hes also the 'both sides are bad' guy. the 'infamously can't decide on a direction to stick with' guy. and thats the real thorn weight judas down i think

[mariegreen-2000]

Judas

From the creator of bioshock

[jeff-the-innkeeper]

might go absolutely feral and create the fandom wiki for judas cuz the brainrot is running deep into my spinal cord

[persephinae]

Anyway saw skillup/friend per second video on Ken Levine's "Judas" game

It looks really super cool and I would definitely want to play it

Currently it looks like Bioshock in Space x Cyberpunk roguelike (lite?)

But I'm calling it now, Judas is an AI that gained sentience and accidentally killed all the humans but doesn't realize she's AI

The 3 characters that interact with her are rogue programs in her subroutines and her choices affect how she evolves (more human like or self destructive or everything uploaded to the Net)

Humans on the ship either were all killed and her killing robots is all in her mind or the humans were all uploaded to her databank and that gave her sentience and her choices affect the ultimate fate of the humans (possibly humanity depending on earth's fate)

[thatothergamer]

Bioshock Creator’s Next Game “Judas” Is A Cult In Space.

[roadwanderer]

save me chinese stealth armor… chinese stealth armor save me…

[idkaguyorsomething]

the only stories that ever pulled off the “chosen one girl rebelling against the government caught in a love triangle between a golden-hearted boy and a broody loner” trope were the hunger games and jesus christ superstar

[thegirlinprague]

am i late

did we win

someone update me

[threepercentmiilk]