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In the safety of his box, he admitted he knew he merely wept.Ĭohen's theatre is unsurprisingly the highlight, though I won't say what actually happens there, and the design and cinematography throughout is astounding. He told his fellow splicers it was a prototype water plasmid.

while the player gets to lead, Elizabeth doesn't exactly follow - taking charge by remaining ahead at all times. DeWitt', and ominously describing herself as being in the debt collection business. She's still the same person, but much more her own woman - sharper of tongue, less inclined to charitable thinking, and occasionally downright cold, now refusing to call Booker anything less formal than 'Mr.

This is also where you really start to see that Elizabeth now has much more of an edge than the fairy tale ingenue we spent most of the original game with. I absolutely adored this chunk of the DLC, and while it is a bit of a shame that the only real objective during it can be summed up as 'go into three shops to find a key', its goal of giving us Rapture is otherwise an unqualified success. Finally, Rapture is a city worth giving up the surface for. Sander Cohen's theatre, providing his usual mix of masked artistry and open sadism inside and out. Details like the two men sharing a loving embrace as they stare out at the endless ocean, and the art deco/abstract artworks stuffed into the corners of rooms with no bearing on the plot whatsoever. The restaurant where Houdini spliced waiters serve drinks with a burst of smoke. This is a world that, as much as it does admittedly follow Columbia's somewhat animatronic approach to people and doesn't actually offer much interaction, sells itself with every flourish, big and small.

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This is a city of towering space of artistry that touches everything from the whales and sea turtles swimming outside the huge windows to the proud slogans imprinted on the waterfalls. Forget the claustrophobic hallways of old. Irrational devoted its entire team to this DLC, and absolutely no expense has been spared crafting a small but tightly packed slice of Andrew Ryan's utopia. Burial At Sea is our first chance to be part of the dream. The first two BioShock games showed us the failure of Rapture.

For all intents and purposes though, we're indeed returning to the same utopia doomed to become Jack and Delta's ruined playground.Īnd it is glorious. In an odd but easily ignored time-saver, it does opt to use Infinite's vigors/gear rather than the original game's plasmids/tonics, offering a handwave involving Suchong stealing Fink's research and the city then deciding to go back to injections, and there's a deeply misjudged attempt to retcon in skylines that are then barely even used. To answer the basic questions without any spoilers though, yes, while the DLC is set in Rapture, it's absolutely a piece of BioShock Infinite content, yes, it is 'our' Elizabeth rocking the femme fatale look, and yes, this is Rapture Prime rather than an Elseworld. In practice though, having played through the whole thing from start to finish, it wasn't what I expected - and I suspect that's going to be a common reaction. Of all the classic noir posters Irrational could have chosen to homage for Burial At Sea, guess which it picked.

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My ringtone has long been the main theme from the movie This Gun For Hire. Everything else though was terrifyingly close, down to tiny details. Sure, in my head, it wasn't Elizabeth smokily asking for a light and Booker gracing her cigarette with a plasmid-fuelled burst of flame from his thumb. Playing Burial At Sea was a strange experience for me, not least because in theory it's the BioShock Noir that I've longed to see since wandering into the PI's office in BioShock 2 - its original trailer feeling less like something Irrational had made than something I'd inadvertently yanked through a dimensional tear.

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The only variable is how much trouble both will inevitably turn out to be - and in the underwater city of Rapture, you don't need to be a professional s**t-magnet like Booker deWitt to find plenty of that. In the world of film noir detectives, the constants are somewhat simpler. In the BioShock multiverse, there's always a lighthouse, there's always a man, and there's always a city.