8/9/2023 0 Comments Burial at sea booker![]() ![]() “My purpose here is none of your concern,” she says when pressed. At the same time, this is an Elizabeth that keeps her cards close to her chest. In the jewellery store, she accuses the owner of selling stolen goods, while in the art gallery she plays the role of the ditz, asking the shop keeper to explain the works to her. These sequences showcase a confident, assured Elizabeth. As you visit three separate stores, she distracts the shop keepers to enable Booker to search out back. During Burial at Sea’s opening section, for instance, you’ll largely be following Elizabeth as you move around the city. For the most part she’s also the problem solver and decision maker. She’s the one with the lead on the girl Booker had given up for dead. Nothing to do with Cohen, sorry.Ī whole new perspective on ElizabethElizabeth is very much the story’s driving force. It’s incredibly framed and a clever reflection of Cohen as a character. A huge sculpture of his face – complete with changing expressions – leers at you as you pass all the while the actual Cohen's shouting and ranting as he paints two dancers with marionette-like strings trailing up to the ceiling his muse. Inside the club itself, Booker and Elizabeth descend a spiral staircase from the mezzanine above to the stage below, and it’s like descending into the insane mind of Cohen himself. Upon gaining access, a stark white cube of a room flows into a pitch-black corridor, with glowing white mask-shaped outlines. Columns flank the path to the entrance, each of which has a figure posing atop it. Sander Cohen’s club, for instance, is a visual tour de force. In other areas the art team really cut loose, and the results can be staggering. As in the original, water is very much an ever-present theme too – it cascades in luminous sheets down into ornamental fountains, while in the depths of Fontaine’s department store turned prison, it’s leaking from the walls and pooling on the floor. Glancing outside, luminous green footlights illuminate the underwater cityscape, while whales and turtles swim past, further emphasising that this is a city that’s truly alive. Brassy browns and deep reds evoke a real sense of the era, while the lighting has a hazy, dreamlike quality. As you’d expect, the art deco architecture - one of BioShock’s signature design choices - is hugely evocative, but it’s the incredible use of colour and lighting that really sells it. Play Stepping outside is another world entirely. Andrew Ryan has sunk Fontaine’s department store to the bottom of the ocean (even more so) and turned into a prison: it’s now home only to Splicers and other nasties, and when Booker and Elizabeth’s investigation takes them there, we enter more familiar BioShock territory: dank, leaking environments, a tense atmosphere and combat aplenty. Of course, it’s not long before that undercurrent becomes all-consuming. “When Fontaine went down, the city was louse with ‘em… she started showing up… should have known if I started to feed her she’d never leave.” Pre-fall Rapture, then, echoes BioShock Infinite’s Columbia – immaculate, bright, colourful, yet with a dark undercurrent beneath it. “She’s just another orphan,” says Booker about Sally. The wider backdrop is centred around the conflict between Andrew Ryan and Frank Fontaine (aka Atlas), and the ramifications for the city one of which was the closing of Fontaine’s orphanage. “Adam factories,” Booker comments, while later Elizabeth notes that “This world values children, not childhood… there’s a profit to be made and men who make it.” Childhood is a major theme in Burial at Sea – the story is driven by Booker and Elizabeth’s search for Sally, an orphan that Booker became attached to that he believed dead. It’s an insight into the dark heart of Rapture before the fall. In one area, rows of Little Sisters stand in a group they’re dressed identically, their faces eerie white masks. ![]()
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