![]() ![]() ![]() Infinite’s a curiosity among games, in that an engaging and well-structured narrative can bring up a game’s quality, even if the combat isn’t stellar. engaging and well-structured narrative can bring up a game’s quality However, the final reveal of her motives and the plot feels strangely disconnected from Rapture itself – the fact that you’re in an isolated part of the city, desperately looking for ammo while fighting off mutants, has only cursory relevance to the plot’s reveal. In the introductory area, she alternates between several different personalities as scams to provide distraction, and those who’ve played Infinite‘s main game (and you really must if you want any of this to make any sense) will be intrigued as to why she’s doing this. Emerging as a femme-fatale archetype (to evoke the private eye drama motif, which it does well), she is one of the most curious elements of the DLC due to the mystery her shift presents. It’s attempting to make you rely on traps and stealth, as well as the hit-or-miss melee, as an attempt to illustrate the tension of being locked in a broken-down building with a bunch of lunatics.Įlizabeth, who was the heart and soul of the narrative and a driving force of the game, returns as a far different character. Death is common on Hard, as you’re outnumbered and outgunned in every encounter – and this actually makes it more of a problem because death only results in the loss of money. The difficulty, however, is increased: ammo and health are far less common in Burial at Sea, quickly running low on Hard difficulty (the original expected default). Areas can be explored in order to discover secrets, in the form of recordings and upgrades. However, it is somewhat contrived, especially when you reach the climax, acting as an excuse to show off a prettier, more populated Rapture before throwing you back into the old claustrophobic gameplay. It fits in with the already-established events in Rapture at the time like in Infinite proper, they make a serious and successful effort to support the narrative’s direction, giving us reasons for what we’re doing. The game quickly finds an excuse to return to the broken-down hallways and maddened splicers, even if there are some notable differences along the way (drinkable plasmids? Tears in reality? Hmmm!). Familiar faces and propaganda return, evoking the old game’s atmosphere rather well. The city itself isn’t the dingy, soaking hellhole it was in the original Bioshock, but rather a bright city filled with self-important objectivists. The plot begins largely as the core game does, but this time with Elizabeth coming to Booker’s office, offering a chance to find Sally, a girl lost while Booker was at the gambling tables in the great Randian paradise of Rapture. That’s not quite what you get, however what you get is an addendum to Infinite‘s story that happens to be set in Rapture, and doesn’t really need to be. The return to Rapture, however, strikes me as a strange, but not necessarily damning move – recreating the undersea city in its prime, shortly before the revolution that drove it into madness, and presumably showing its downfall. There was a lot of potential in the Bioshock: Infinite DLC – quite literally, due to the presence of quantum uncertaintly and alternate universes as a plot point. ![]()
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