![]() ![]() Areas aren't as broad as in Columbia, but it's still an enormously useful tool for riding the rails in large halls, or to higher ground in multi-levelled areas. The sky-hook from Infinite, rebranded 'Air-Grabber', returns. Of course, unloading a shotgun into a splicer's face is also very effective. The most rewarding moments come from creeping around an area, carefully planning where to put traps, startling your enemies with a plasmid or well placed headshot and looking on as panicked splicers fall into your snares. ![]() Enemies can be heard before they are seen, and every plasmid can be used as a trap, similar to how the Vigors functioned in Infinite. Stealth plays a bigger part than in previous Bioshocks. ![]() Wading in with guns firing and plasmids blazing is an option, but it's not always the best approach. Enemies will rush you if they catch sight of you, merciless in their pursuit. The wide open areas of Columbia are replaced by tighter enclosed spaces. In Burial at Sea it more closely resembles the original Bioshock. You've been comfortably going along with the story beats, lulled into a sense of security, you've let your guard down when suddenly you're in a dark and menacing world where ammo and Eve are in short supply.Ĭombat has been redesigned from Infinite. The change in pace from exploring to combat is quick. When enough of the puzzle has been worked out, players progress to the Rapture we remember, and we get to further explore the underwater city. This is a Bioshock game, so a few things are to be expected. Familiar areas from the original Bioshock, and some previously unseen, invite the player to explore. Instead the player is presented with Rapture in all it's pre-fall glory. The opening hour or so contains very little combat. Not knowing the answers provides plenty to discover. It's a suitable representation for the player-character, and being a detective gives a reason to be involved. Booker may be the detective of this story, but he's less informed than anybody else. He is a reluctant hero with conflicted motivations. Stoic, grouchy, pessimistic - he questions everything, eagerly shedding doubt on Elizabeth's assertions. It's Liz that wants to confront the dangers and Liz who is determined to uncover the truth behind the mystery.īooker is very much the same man we first met when he was on his way to Columbia. Liz is always a few steps ahead urging you to follow her. It used to be that Booker blazed a trail for Liz to follow, leading her further into danger, opening her eyes to violent new experiences. It's the first step into a familiar, yet very different, world.Įlizabeth is a different proposition from the character we met, protected and worried about in Infinite. Driven by curiosity Booker agrees to help find the girl. Something more seems to be bubbling under the surface, something that Booker, and the player, don't understand yet. Elizabeth wants to find a girl that Booker believes is dead. This is just the first in a string of intriguing mysteries intended to draw the player into the experience.ĭialogue exchanged between two characters is sharp and snappy. Bizarrely, Booker and Elizabeth seem like strangers to each other. Recognisable, but notably different than the last time we saw her, this razor tongued, forceful woman is Elizabeth - the girl we saved from the tower in Bioshock Infinite. Her demeanour, her words, her wit - all demands attention. The very first thing that happens is a sultry femme fatale enters the office of private detective Booker DeWitt. A detective, a dame, a missing girl, a string of clues. Those familiar with the genre will recognise the beats within the opening five minutes. Heavy noir influences pervade the beautifully rebuilt underwater city. As we have come to expect from developer Irrational Games, it is an exciting and atmospheric first-person-shooter, supported by a strong narrative.īioshock games have always featured a lot of intrigue and exploration a tone amplified even further in Burial at Sea. ![]()
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