Irrational’s influential work ends as it began, unfortunately

“There is a thin line between a martyr and a fool.” – Rosalind Lutece

With BioShock Infinite, Ken Levine and Irrational Games created a shooter wrapped in an intricate science fiction story. The ultimate shape of its narrative and the staggering possibilities of the story’s conclusion hinted at wonderful things to come. Of particular significance in the game’s crescendo was a short detour to Rapture, the underwater city of the original BioShock, from 2007. After that game’s release, the two-part DLC Burial At Sea promised, upon its announcement, to more fully explore the possibilities created by that juxtaposition, sending the characters of Infinite to Rapture for good.

And the first episode of Burial At Sea delivered on that, returning Booker and Elizabeth to the underwater, capitalistic metropolis. It saw the return of Little Sisters and Big Daddies, of Ryan and Fontaine. There were small visual details that not only gave you the feeling of that world but directly referenced both Infinite and the original BioShock. It was a pleasant swim in a pool of Elizabeth’s oft-cited constants and variables.

Now comes the second episode of Burial At Sea, in which get to take on the role of Elizabeth—this physical manifestation of the concept of possibility. But consider those possibilities unfulfilled. The game is obsessed with the past, not with potential.

Read the full article at Kill Screen.