And even outside of thematic and historical concerns, characters don't always act in consistent ways. This alteration is an overt contrivance, given how Burial at Sea otherwise goes out of its way to present its version of Rapture as otherwise adhering to the history we've already learned. Granted, vigors are called plasmids here, but there's no obvious explanation for why they're named as they were in Columbia, or why they differ from the original BioShock's plasmids. And I say "story" rather than "game" purposefully: combat is more of an afterthought here than it has ever been in the BioShock games, and the action elements aren't easy fits in a world that wasn't thematically or architecturally designed for them. On the whole, however, Burial at Sea comes across more as a who's who of Rapture than as a powerful story on its own. I will also remember Burial at Sea's ending, though not just for its symbolic and visual impact, but also for how plainly the game telegraphed it. I will remember his theater for its red velvet curtains, its stoic audience members, and its smoky air-not to mention, for the horrors that I witnessed there. An angelic walk down a sterile white corridor turns to horror as you come face-to-face with performance artist Sander Cohen, whose painted mustache and piercing brown eyes remain ever menacing. Nonetheless, there's true power in seeing known characters and places in a novel light. Booker remains an efficient killing machine. The idea of melding the universes which contained Columbia and Rapture sounds fascinating because of what new insights into the human condition it could offer, but Burial at Sea fails to delve further than the series has already gone before. They living automatons parroting the same themes of individual righteousness that BioShock had already fully explored. As wonderful as it was to see a vibrant city nearing its inevitable collapse, these people weren't telling me anything I hadn't heard before, or giving me new perspective. This is because I had discovered Rapture already. In this 90-minute side story, I was struck by how scripted the conversations were. As one aspect of a fully imagined adventure, BioShock Infinite's dialogue contrivances barely registered with me. The difference is that BioShock Infinite was an entirely new world, and overheard conversations were part of the discovery process. The result is an adventure with fantastic sights and sounds that don't come together in a meaningful way. Of course, you could say the same about the citizens of Columbia, who spoke their lines only when you neared them, and otherwise remained in their poses, silent as mannequins. But it soon became obvious that these people weren't living in this world, but functioned only as audiologs, created for my consumption. Men in bowler hats discussed the philosophies of the day ("What does Ryan say? Petty morality? You can keep it"), and women occupied themselves by applying makeup outside of busy department stores. I was drawn in at first this was a side of the city I hadn't seen. This is not the largely abandoned Rapture of BioShock. And when Booker follows Elizabeth out of the office, suspense is briefly replaced by nostalgia. Elizabeth's high heels clatter on Booker's wooden floor, and the office's half-closed window blinds cast a band of shadows on the dingy wall. Striking visuals and sounds at first intimate suspense. It's a cryptic opening that shares thematic ties with BioShock Infinite: again, you are off to find an unknown girl for reasons that you don't yet comprehend. You, too, know this girl, and her identity is the mystery that catalyzes this short, story-driven adventure. Elizabeth wants Booker-that is, you-to find this girl. Elizabeth blows smoke from the side of her mouth and shows Booker a photograph of a young girl and the girl's doll. Booker lights Elizabeth's cigarette with his bare flaming finger, rather than a lighter. It is December 31, 1958, a storied date in Rapture's history, and Elizabeth is not a wide-eyed young woman, but a femme fatale who slinks into the room seeking Booker's assistance. Elizabeth enters Booker DeWitt's office, but she is not the Elizabeth you once knew. They often tug at your heart or stimulate your imagination, but fail to coalesce into a lucid whole. Beautiful moments, sad moments, perplexing moments. Now Playing: BioShock Infinite: Burial at Sea - Episode 1 Video Reviewīurial at Sea is about moments. By clicking 'enter', you agree to GameSpot's
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