![]() He thinks she’s dead, though Elizabeth insists that she’s merely lost. It’s not clear how at first, but Booker has some connection to her. That’s exactly what Elizabeth needs. She holds up a picture of a young girl, smiling and clutching a doll named Sarah. Booker is no confidante or friend he’s hired help. The sense of innocent wonder that made Elizabeth such a charming companion throughout the events of Infinite is gone, and in its place is an icy appraisal. She’s pale, almost death mask pale, but more than anything else, it’s the eyes. Her tone is serious and her voice is low, husky. Her cheeks are drawn tighter and her mouth seems incapable of flashing a smile. Her face, only lit across the eyes at first by a sliver of light pushed through the office’s tightly drawn blinds, is the same, but it’s also not. It’s when Elizabeth arrives, seeking help from this private investigator that she doesn’t appear to be acquainted with, that things start to feel off. Burial at Sea begins in Booker DeWitt’s dingy office, the same one that we visited so many times during the events of Infinite. She was worth a stare. It all looks so familiar at first. The team at Irrational Games isn’t known for hanging onto the past, but that’s exactly where they take us when we return to the bottom of the ocean in BioShock Infinite‘s first story DLC, part one of the two-part Burial at Sea. ![]() BioShock Infinite introduced the floating turn-of-the-century city of Columbia, and it was in this vibrant space that we saw glimpses of what Rapture might have looked like before its terrible fall. A dead, art deco metropolis of dripping, cylindrical corridors and cavernous interiors strewn with rubble, Andrew Ryan’s failed creation became the most intricately detailed character in a game focused on examining questions of identity and agency. The original BioShock‘s undersea city was a beautiful, if unsettling, location. Share Image used with permission by copyright holder
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