I loved to Bioshock Infiniti. It was a great game. The ending made sense to me but was bittersweet. I'm partial to happy endings in my games <glares at Casey Hudson>, however unrealistic they might sometimes be.

What's ironic for me personally was how unvested I was in Columbia vs. Rapture. Playing Bioshock, I was very interested in what happened in Rapture and the stories of Ryan vs. Atlas / Fontaine. In Columbia, I thought things started to seem superficial and I really only cared about Booker and Elizabeth.

I think part of that is intentional. Bioshock Infiniti has more emphasis on the Infiniti than the Bioshock. It isn't yet another story of hubris, city-building, and social revolt surrounded my questions of choice and agency. It's primarily a story, a deeply metaphysical story, only of choice and agency surrounded by the superficial trappings of Columbia's fall. At first I started to care about the outcome of the Vox uprising but the problem was I wasn't playing through one Vox uprising but several uprisings as Elizabeth took me from one universe to another and from one point of time in one universe to a later point of time in another. All that shifting started to detach me from what was going on with the politics of Columbia. Columbia's fall really stopped mattering for me.

I think part of it is a little confusing and might have been unintentional ramifications of developer choice.

• I personally feel that there weren't enough audio diaries in Bioshock Infiniti. I know I didn't find some of them and maybe some eagle-eyed player can point to an achievement that shows that were as many available to be found in Infiniti as there were in the original Bioshock. I felt I heard a lot more from Ryan, Tenebaum, Fontaine, etc. during the original Bioshock than I heard from any character in Bioshock Infiniti (excluding Elizabeth)
• I was also surprised that some NPC's with memorable character design (The Songbird, The Handyman, the Boys of Silence) didn't get much direct attention to their backstory in the game. I really expected their to be a level where I explore a Handyman factory and I see that Comstock was using Fink to transform outsiders in Columbia (Irish, Italian, etc.) into monstrosities forced to keep the city functioning. or level where I entered Songbird's lair. Maybe Irrational Games was playing with expectations and knew players would expect game design like that based on the original Bioshock.

As someone who loves Bioshock games, I now wonder "Where does Irrational Games and Ken Levine go from here?". After you've made a critically and commercially successful sequel that basically explores any permutation of the themes from your original critically and commercially successful game, does the franchise have anywhere else to go?

P.S. To those in the thread that have communicated an appreciation for Bioshock 2, I'm definitely in your camp. I actually thought Bioshock 2 was a good game, not as good as the original Bioshock, but not some glaring attempt to wring money out of a successful franchise. 2K did a nice job telling a heartfelt story of one special Big Daddy and a Little Sister amidst the chaos of Rapture. I don't know if that format could work for an Infiniti spin-off as there really isn't a canonical Columbia. Of course, someone at 2K could be pitching such a game right now "You know guys, we need a game where you are just a lost Handyman trying to reunite with your original family"

Didn't realize it could be construed as youtube spam. 
 
Google search if you need to find it again.

I know some people don't like the idea of being unable to resell their games or lend games to friends but i love the convenience of downloadable games. The only downside is no discounts on the downloadables vs. the traditional disc from retailers.

Some video from my Texas Instruments platform of the vintage Munch Man game.