![]() ![]() Then we catch a glimpse of Sally, and as we chase her everything falls apart. We’re now playing as Elizabeth, and everyone says hello and offers compliments as we explore the streets. Mixing it upĮpisode Two begins in an idyllic Paris. ![]() On the bombshell that we’ve been playing as a post-Comstock DeWitt all this time, we’re impaled by a Big Daddy’s drill, and the first part ends as we fall to the ground and the screen fades to black. At this moment, Elizabeth calls us Comstock and berates us for trying to snatch Sally as we took her previously. When DeWitt tries to pull Sally out of the vent, he remembers his struggle with Anna at the tear - but from the wrong side. Eventually the Big Daddy falls lifeless to the ground and we can turn our attention to Sally.īut here, at the finale of Episode One, comes Burial at Sea’s first big twist. The fight that ensues is as prominent a collision of the two worlds as we get, with a particular favourite moment coming when I pitted the subnautical beast against a Motorised Patriot summoned through a tear by Elizabeth. Sally calls for Mr Bubbles, her Big Daddy, to help. We do so, despite Elizabeth’s protests, but when she comes out of the exhaust we see that Sally has transformed into a Little Sister. Splicers are trying to lure her out to harvest her ADAM, so after closing all but one of the exits Booker insists that we turn up the heat to flush her out. It’s enough to keep you on your toes, peeking around each corner as you proceed.Īfter picking up a new ice plasmid named Old Man Winter (located amongst some really nice store promotional displays), we see Sally climb into a vent in housewares. ![]() The sounds of the city are back too – from the demented dialogue enemies spout as they roam around to the Circus of Values vending machine jingle. They aren’t quite as crazy as they will eventually be, and much of their speech parrots libertarian messages from Ryan’s propaganda. The store is decaying and creepy, and is populated by splicers. Rapid decayįrom the moment we land in the lobby, this feels more like the Rapture we know. Cohen tells us over the capsule’s radio that we will find Sally in the houseware department. He says he’ll help if we dance so he can paint us, but when we do he shocks us and we wake up in a bathysphere on our way down to Fontaine’s department store, which Ryan has separated from the rest of the city and sunk to serve as a prison for Fontaine and his followers. The highlight of our time in mainstream Rapture is an encounter with the neurotic artist Sander Cohen, who we’re told might know where Sally is. It really is fascinating to see how Rapture worked at its peak, blending mid-century style with its ominous superhuman technologies. We use a fire plasmid to light Elizabeth’s cigarette, Little Sisters are being trained to do their grim jobs, and a waiter teleports around a bar like a Houdini splicer to take patrons’ orders. The game guides us past some familiar elements in their fully functional forms, which until this point we’ve only ever heard stories of. We exit our office, and we get something I’d always wanted – a chance to explore Rapture in the kind of thriving splendour that Columbia displayed for most of the main game. DeWitt, a private investigator, is hired by Elizabeth to find a girl named Sally. Humble beginningsĮpisode One is the lesser of the two in terms of both length and quality, and begins on New Year’s Eve in 1958. And while it is not successful at everything it tries to do, by transplanting the more engaging characters of Infinite into the creepy corridors of an underwater metropolis on the brink provides some of the best BioShock segments ever, at least in short bursts. This new extension continues the story of Booker DeWitt and Elizabeth “Comstock”, but takes place predominantly in Rapture. Next up came Burial at Sea, a downloadable add-on campaign for Infinite that was released in two parts between 20. This allowed for a more character-driven story, but I felt that overall the game lost part of what BioShock was, leaving behind the allure of Andrew Ryan’s city and the horror elements that kept you on edge. I wrote in my BioShock Infinite retrospective that if the first two games were about the city of Rapture, the trilogy’s conclusion was about the individuals connected to Columbia. But when I heard that BioShock Infinite had a two-part supplement to its story that took players back into Rapture, I couldn’t resist giving Burial at Sea a go. Most of the time I’m ready to put a game down by the time I finish the main story, and paying half the price for a fraction of the content doesn’t appeal to me. I rarely bother with downloadable content. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |