Sneaking Around in Burial at Sea--Episode 2

I've been continuing my journey under the briny seas in the crumbling utopia of Rapture.  BioShock:  Infinite's two part DLC takes the story of Booker and Elizabeth and plunks them far, far away from the floating magnificence of Columbia.  Part one of the DLC introduces a very film noir version of Rapture with Elizabeth playing the role of the mysterious woman who is seeking out the assistance of the washed up, struggling private eye who just happens to be Booker DeWitt.  Elizabeth and Booker are trying to locate a missing girl, Sally, who both of them have some sort of connection to.  There are some twists in the story and in the end we learn that Elizabeth is out for blood.  But, as it turns out, things aren't as simple as they appear, and Elizabeth's quest for vengeance is about to get infinitely more complicated.  (Possible spoilers ahead.)

Pros:
--A completely different playstyle.  The second part of the story sees you taking on the role of Elizabeth.  Unlike Booker, Elizabeth isn't some combat hardened warrior--she's an intelligent woman who knows that facing enemies head-on is a good way to die.  Rather than continuing the game spitting lead and throwing plasmids around, the game switches to a stealth game.  Elizabeth must sneak through the shadows and utilize her small frame to navigate the complex system of heating vents that run through the splicer-infested halls of Fontaine's Department Store.  Players have to make choices about how to deal with groups of splicers--do you try to pick them off one by one or do you use distraction to sneak by them?  Elizabeth still possesses some of her unique abilities--namely breaking codes and picking locks.  One ability she no longer possesses is opening tears.

Elizabeth can utilize the crossbow for quick, silent takedowns.

--New weapons and plasmids for a stealthier playstyle.  Elizabeth needs to be stealthy so she doesn't get overwhelmed by splicers, so traditional weapons won't do the trick.  Early on, players gain access to the crossbow.  The crossbow can be equipped with several different kinds of bolts--tranquilizer bolts will knock enemies out, gas bolts release a cloud of gas that can be used to incapacitate groups of enemies, and noise makers (which can be salvaged from success in the lockpicking minigame) are useful for distracting groups of splicers.  Since Elizabeth needs to remain in the shadows, several new types of plasmids are introduced.  Peeping Tom allows players to see through walls and track the movements of enemies or to briefly turn invisible to sneak past them.  In order to see through walls, players must remain motionless, which can be a little tricky.  The other new plasmid is called Ironsides and it allows players to activate it as a sort of defensive bonus.  While active it will shield Elizabeth and, if you find the right modification upgrades, it can also be used to catch ammunition and restore some health and Eve.

--Another mind bending story.  The base game revealed that Elizabeth possesses the unique ability to navigate through time and space--in her words she can see "all the doors" and everything that is behind them.  Every possibility, every outcome--the past, the future....it's completely mind-boggling.  At the beginning of episode two, we learn that there are some rules about her insanely powerful ability--if she has died in the current world, she cannot linger there or she will be stuck.  No powers, no ability to see...well, basically everything.  Elizabeth decides that rescuing Sally is worth giving up her powers and sets out to find her.  The path isn't a simple one though--she has to deal with Atlas to find Sally and she will run into many citizens of Rapture who we've heard about before--Dr. Yi Suchong, Sander Cohen, Andrew Ryan--and even a few from Columbia--Daisy Fitzroy, the Lutece's, and Jeremiah Fink.  As Elizabeth investigates, we learn that there is a clear link between Columbia and Rapture.  Constants and variables....

Cons:
--I greatly enjoyed the change to playing as Elizabeth, but I could definitely see some people not enjoying the stealthier playstyle.  It's a big switch from running and gunning to patiently waiting in the shadows for the right opportunity to strike.

--Like the first episode, it's also fairly short in length.  Maybe 3-4 hours or additional content.

--If you're a fan of Elizabeth (which, I am...even though she took awhile to grow on me) you will probably be disappointed by the ending.  It's not some horrible cliffhanger or some more weird meta-physical mumbo-jumbo, but it definitively ends the story and completes the link between Rapture and Columbia.

Of the two parts of Burial At Sea, episode two is definitely the highlight.  The change to playing as Elizabeth combined with the interesting story are enough for me to recommend buying and playing the DLC.  I really enjoyed the way that the story and connection of Columbia and Rapture are linked together--it's something that I would not have predicted.

The BioShock series is frequently featured in sales on Steam and the whole thing can typically be grabbed for a song.  Be sure to grab the DLC for Infinite if you want to see how the story of Booker and Elizabeth is resolved.  (Also, avoid the remastered version of BioShock 2--it tends to crash often.  The regular version doesn't look as pretty, but it runs like a charm).

Messin' With Your Mind--BioShock: Infinite

I've been on a bit of a BioShock kick lately.  The remastered versions of BioShock and BioShock 2 were automatically given to anyone who had already purchased the original games (on Steam) and I wanted to see if the old gems were even shinier (I didn't notice a great difference and would recommend against playing the remastered version of the second game--it's prone to crashing).  After I finished both of those games, it still didn't feel right to not to play all three games in the series, so I decided that a refreshing trip to Columbia was in order.  Now, I'm fresh off my trip to the clouds in BioShock:  Infinite and still trying to figure out what the whole thing means.  There could be some spoilers, so just be aware.

One of your first glimpses of Columbia.

Pros:
--Amazing environment.  My favorite part of the  BioShock series has always been the magic of the worlds where the stories take place.  The underwater utopia of Rapture is one of the best settings in gaming and Infinite definitely continues the trend of awesome worlds.  The floating city of Columbia is another utopia, but this time it's hanging up in the clouds.  If it wasn't a shooter, it would be a great place to simply explore.  I love the fact that it's set in 1912 and that it manages to capture an old fashioned feel while also incorporating a variety of weapons and a whole steampunk-esque type of technology.

--Bonkers story.  I have played through the entire game at least 4-5 times and trying to figure out exactly what happened still makes my head hurt.  There's a lot of quantum physic-y mumbo jumbo but that mind bending aspect is what makes it so out of the ordinary and thought provoking.  I will often find myself thinking about random parts of the story and having epiphanies about something that I've finally nailed down...like the fact that the Lutece twins aren't really twins at all, but are the same person--err, people.  When I first played it, I was completely baffled and had to play through the ending twice.

--Elizabeth as a companion.  At first, there's something slightly grating about Elizabeth.  She has this Disney princess type of look and voice and she seems like exactly the most ridiculous type of companion that typically gets thrown at you.  There's something brilliant about her character though and the way she matures and changes throughout the game.  I enjoyed watching the subtle changes in her character as the game progressed--it's something that I haven't really paid attention to in the past--and I discovered myself really liking her as a character.  One refreshing part of having her by your side throughout the game is the fact that she's not some feckless, weak idiot who cowers when battle starts--sure, she doesn't fight, but she helps you fight by throwing you items and opening tears which can be useful for providing cover or weapons.

--BioShock combat that is different enough to be fresh, but remains true to the series.  There are still plenty of special abilities--though in Infinite they are elixirs rather than plasmids--and to be successful in combat players will need to utilize a combination of elixirs and weapons.  The fresh part comes from the addition of skylines (throughout different parts of the game) which are a ton of fun to zip around on and leap down onto enemies.  Fully utilizing Elizabeth's ability to open tears is also a new challenge that helps keep things new.

--No jump scares!  The original games are chocked full of hideously deformed splicers and so many creepy settings that I find myself jumping at my own shadow.  It's nice not to feel so freaked out.  (Some people might disagree with me here.)

--No minigames or puzzles.  Simply equip Possession and enjoy some free cash--no other actions required.

--Movement required.  Enemies keep you on your toes and you need to shoot and scoot to stay alive.  You will become adept at shooting on the move--whether it's while you are gliding down a skyline or running for your life.

What does it all mean?

Cons:
--Your brain hurts from trying to figure out the story and all the possible links.  Are Rapture and Columbia the same place in different worlds?  They seem oddly similar--two worlds led the fanatical leaders--the "prophet," Comstock, and the visionary, Andrew Ryan.  What about the "lamb?"  The Lamb is an actual person in BioShock 2--Eleanor Lamb--and Elizabeth fills the role in Infinite.  Is Booker DeWitt just another Big Daddy guiding a lost little sister?  My brain!

I've always greatly enjoyed BioShock:  Infinite.  I think it's a game that manages to combine the fun of a shooter with great storytelling.  The fact that the story is so crazy sets it apart from other games.  I'll take a whacky, mind bending story over bland, run of the mill grist anyday.


 

A Little of This and a Little of That

Lately, my habit has been to bounce back and forth between several games which means that I don't really have one specific game to write about.  I attribute this inability to focus on the fact that it's May--the school year is winding down and my teacher brain is functioning at a fairly low level by the time I get home after work.  Plus, the end of the school year is notoriously crammed full of different events, functions, meetings, and other random obligations that gobble up chunks of time.  Yeah, it all basically amounts to me just picking something generally soothing to play just to relax for a little while.

My beautiful truck.

My first choice for relaxation is EuroTruck Simulator 2.  I had played quite a bit of ETS2, but had set it aside in favor of playing new games I had bought or older games that I've been replaying and reviewing.  The nice thing about ETS2 is that it's easy to hop back into the game after time away.  The other really nice thing about ETS2 is that there are continued updates to content and random events.  Right now there is a in-game EuroTruck racing event going on (read about it here).  No, you're not actually racing trucks, but you are delivering racing components to different locations in Europe.  Your goal is to deliver twelve loads of racing components to twelve different cities (the trips must be over 200 km).  For completing the event players can unlock a variety of in-game and Steam items--a unique racing themed paint job, a racer bobblehead for the interior of your truck, and three different pennants.  These random events are a fun way to keep people involved and the in-game rewards are unique.

SCS seems dedicated to keeping ETS2 fresh and are also updating the game to make it look more modern.  Germany is getting a big revamp and other areas are to follow.  There's also news that the next DLC will add the Baltic States.  All this new content has me excited to grow my company "Keep on Truckin'" and explore more of Europe.

When I'm not driving my EuroTruck, I've found myself back in the floating world of Columbia in BioShock:  Infinite.  I've already played through it several times, so there's no surprises in the story, but I'm enjoying going back and paying attention to the small details.  The skylines are one of the best additions to the game--it's insanely fun to zip around on them and then deliver a leaping death blow to guards below.

Elizabeth is a great companion.

I've been thinking alot about Elizabeth as a character.  At first I wasn't so sure that I liked her much as a companion, but I am finding that there are many things that I enjoy about Elizabeth.  I like how in the beginning she's so naive and that her excitement is so palpable.  It's always heartwarming to break her out of her tower and then watch her dancing on the beach.  As the story progresses you see that innocent charm melt away--she sees all the killing and evil and it very clearly impacts her.  I watch how brilliantly her body language changes throughout the game--she's animated to reflect all those changes in her attitude--she goes from a giddy, prancing girl to a serious, calculating woman all within the span of the game.  It's something I haven't focused on much--there are so many bonkers pieces of the story to figure out--but I am having a newfound respect for.

The fact that Elizabeth aids you in combat is also something that I enjoy.  All too often your video game companions are either squishy escort missions who require extra guarding or are invincible side quests that you can mostly ignore.  Elizabeth definitely falls within the second category, but it's refreshing to see her play a role in the world--she will automatically take cover and help you in combat--throwing you ammo, salts, or health when you need it or opening tears to allow access to weapons, materials, or terrain.  She can pick locks and help you solve codes.  Yeah, she isn't just some daft girl who needs saving and I'm glad she was written that way.

The last game that I've given a little bit of time to is American Truck Simulator.  I decided to buy the New Mexico DLC when it was last on sale and wanted to check out the additional content.  New Mexico adds a lot of stunning scenery to the already beautiful American West as well as many, many more miles of roads to traverse and cities to visit.  SCS has said that they will be adding more states to ATS and I look forward to the addition of my home state of Oregon in the near future.  It's definitely fun seeing the U.S. translated into the game, but I've found that I actually prefer EuroTruck Simulator to its American counterpart.  There's just something really fun and foreign about navigating the European roadways.

Whatever you're playing or doing, enjoy the extra long Memorial Day weekend!

Some more Stealth Game Musings. Do you take the Lethal or Non-Lethal path?

There's another aspect of stealth games that I didn't think of earlier.  In most stealth games you are given the option to use non-lethal methods to take down enemies (except bosses--who must die).  In Dishonored, Deus Ex:  Human Revolution, and in Bioshock:  Infinite "Burial at Sea" part 2 you can put the bad guys in ol' sleeper hold as opposed to simply shooting them in the face.  Why is this an option in stealth games but not an option in other games?

That got me thinking about the moral choices I make in games.  Typically when presented with the option to go non-lethal I will take that path.  Those poor guards--they just had the misfortune of being assigned to guard a specific area and cross paths with my Corvo or Adam or Elizabeth (which would mean poor splicers....which might morally be a little tougher choice to justify).  In Deus Ex you are even presented with weapons that are non-lethal or lethal.  Which do you choose?  Strategically going with lethal weapons is probably the better choice--most bosses require shooting and are immune to any stunning/knocking out options.

The rats in Dishonored make quick work of a corpse.

During my short replay of Dishonored I found myself knocking out guards and stashing their bodies in some closet or unseen corner.  Except for one specific guard.  I silently blinked down from a ledge right behind him and proceeded to knock him out.  There were several other guards patrolling the area and no way that I could reach the same ledge.  I decided to grab the body and jump down onto a pipe overlooking an alley populated by a group of ravenous rats.  But what do I do with the body?  Hmmm...those rats would definitely clear up that problem.  So while I specifically went to the trouble of knocking out the guard I unceremoniously dumped his body over the ledge and into the rat pile.  The rats proceeded to make quick work of the poor guard.  Afterward I felt kind of bad about that guard...what a horrible way to die--knocked out and tossed off a ledge to be eaten by a bunch of rats.  Very rarely do I think twice about the decisions I make--especially something so minor as the death of a guard.  This felt morally dubious because I had made the decision to knock out the guards rather than kill them.

Have you ever had a moment similar to this where you thought about the decision you had just made and it's moral implications?

Stealth Games and my Love/Hate Relationship with them.

There's something enjoyable about lurking in the shadows waiting to take out some stupidly inattentive guard.  That ability to be unseen gives players the feeling of superiority that their character is a master of elusiveness.  I revel in that sense for about...oh five minutes.  Then I just get irritated about having to sneak around when it's more than likely I'll be discovered and all the guards are going to come screaming into the room anyway.  Yeah, I'm not the best at stealthy games.  Lately, for some strange reason, I've been playing games that have required me to utilize those sneaking skills.  I enjoy the challenge of hiding and striking at opportune moments but I really lack the patience to be effective at it.

I decided to fully replay BioShock:  Infinite and all it's DLC including "Clash in the Clouds" which I hadn't even touched, but purchased as part of a season pass.  If you enjoy the combat in Infinite and want to compete with your friends you will probably enjoy it.  I thought it was alright--I enjoyed running around and shooting a bunch of stuff.  But what does that have to do with stealth....nothing, in truth.  After finishing the "Clash" DLC I moved on to the more story-based content in "Burial at Sea" parts one and two.  In part one you play as Booker so you get to go in guns blazing but in part two you play as Elizabeth.  Playing as Elizabeth is a nice change but requires you to flex those sneaking skills that you in no way use as Booker.  In order to be successful you cannot face enemies head-on and must knock them out from behind or use your crossbow to deal with them from afar.  I'm not the best at sneaking so I generally ended up sneaking around, being seen and then shooting foes with my crossbow sheerly out of panic.  It's kind of sad.

Waiting for the perfect moment to act....

This is what leads me to hate stealth games.  Most shooter type games reward you for killing foes and some will give you even greater rewards for being stealthy in your takedowns.  But what's the point in being stealthy when most conflicts end up in a shooting match anyway?  There's usually not a boss that requires you to use stealthy attacks to take them down.  At least not in any of the games I can think of.  I think of Deus Ex:  Human Revolution as a great example of this.  You can be stealthy or confront enemies head-on.  I'm sure most players opt for the stealthy approach.  Every single boss requires an in-your-face confrontation--all your sneaking winds up being for not.  Then you have to choose talents that either enhance your stealth abilities, which you will use to take down the majority of enemies, or take less stealthy, more combat ability talents that will benefit you more on boss fights.  It's sort of a lose-lose situation.

I also feel like playing shooters has trained me to opt for the "shoot you in the face" option so adding a stealthy portion just feels wrong.  I think it would be better if stealthy games had a better way to reward players for their sneakiness.  You don't get any loot if you sneak by the bad guys--but could you get a reward for avoiding conflict?  Most games aren't going to reward a player for avoiding a fight.  That's why I feel so weird about games with stealth aspects.  Maybe I'm just impatient, but sneaking just feels so oddly out of place.

I feel like I'm probably kind of weird in my stance on stealth games.  It seems like they're pretty popular.  I also took a bunch of cold medicine last night and feel weird.

Round #2 of BioShock: Infinite Complete. Still confused.

Last night I finished my second full playthrough of BioShock:  Infinite.  I enjoyed it just as much or more than the first time.  I upped the difficulty for this playthrough and found the combat slightly more challenging, but still doable.  1999 mode is my next option.  Even though I finished the game again I am still not 100% clear about the ending.  (Spoilers.  Big spoilers.)

Firstly I must express my complete respect for the powers of Elizabeth/Anna.  She's no superhero, but seriously, the ability to alter time and space has got to be the most amazing set of powers.  After you destroy the siphon she can enter any world that ever existed.  That's....just....so awesome but so confusing.  It's the same confusion I had with the Lutece twins who are technically dead in one of the versions of Columbia that you enter--but they're obviously not dead because they continue to pop up and give you helpful tidbits of information from time to time.  How are they alive in all these possible worlds?

The whole part with Elizabeth/Anna's origins is also confusing.  If Booker is really Comstock then he's stealing his own child?  Where did this child come from?  Did Booker steal it?  I don't get it.  What did the Lutece twins have to do with it?  They designed the device to allow Comstock to go back and get Elizabeth/Anna.

Let me piece together what I think is going on.  There is an initial reality with Comstock and his wife--no baby.  Rosalind Lutece is doing all this quantum physic-y stuff and creates not only the ability for Columbia to float but also the device that creates the tears between worlds.  In doing so she opens an alternate universe where Booker/Comstock has a child.  The real Comstock decides to steal the baby (Elizabeth/Anna) so he can raise his heir to be his successor.  Elizabeth/Anna possesses some special abilities (how she acquired these abilities is also questionable--a result of her exposure to Lutece's device?).  As she matures her abilities develop and Comstock is forced to use the siphon to keep her under control.  Rosalind Lutece sees what Comstock has become or feels some guilt and decides to use her device to bring Booker into the reality with Elizabeth locked in the tower.  Rosalind and Robert Lutece falsely plant the idea of freeing Elizabeth with the intent of Booker breaking her out and unleashing her full powers.  Then Elizabeth can use her powers to eliminate Comstock once and for all.

My one last lingering question is about Elizabeth's existence.  Would she still exist if she killed Booker/Comstock?  Wouldn't she be eliminating her own presence?

Never has a game made me puzzle over so many of the details.  I want to figure it out. Maybe I'm weird that way....

GTA V (PC) Delay and General BioShock: Infinite Confusion

For the last few weeks I've been anxiously awaiting news about the upcoming release of Grand Theft Auto V for PC.  It was slated to be released on PC on January 27th, but according to news yesterday the release has been pushed back until March.  This is disappointing, but not surprising.  I thought it was weird that the Steam page for the game wasn't allowing pre-orders.  Oh well, we've waited for  years, what's a few more months?

I am continuing my second playthrough of BioShock:  Infinite in an effort to not only find things that I missed the first time, but to also gain a better understanding of the game.  Overall I have paid much closer attention to my surroundings and some things are making slightly more sense but I still have many questions.  I am also refusing to look up theories and explanations in an effort to puzzle it out on my own.  Knowing my usual weak will when it comes to looking up information like this I have a feeling I will cave and look up many of the answers I seek.  Here are a few that have been in the back of my mind as I've navigated Booker and Elizabeth through Columbia.  Some of them are new discoveries from my most recent playthrough and some are lingering questions.  (Possible spoilers ahead!)

1.) Is Songbird a different version of a Big Daddy?
In this playthrough I have listened much more closely to the many voxophones that I have picked up.  It becomes obvious from listening to many of them that Fink and his brother are taking advantage of the many tears in Columbia.  Fink's brother Albert is stealing music from the future and selling it in the past.  In one of the voxophones Fink mentions that he has seen a Big Daddy and that it would be useful to guard Elizabeth in the tower.  For some reason I didn't catch onto this fact during my first playthrough.  Other things should have stood out--the changing colors of Songbird's eyes, much like the colors of a Big Daddy as you approach it.  Songbird and Elizabeth also seem to have a strong bond similar to that of the little sisters and Big Daddies in Rapture.  But then what does that make Elizabeth?  The original little sister minus all the weird Adam sucking from BioShock?

By coeykuhn.  Nice interpretation of the twins.

2.) Are the Lutece twins the same person?
I do not understand the Lutece twins and the general quantum physic idea of them being able to alter space and time.  In another voxophone it is suggested that Rosalind Lutece was an only child and it was never recorded that she had a brother.  Later you find another voxophone where she mentions that she has gone to a different universe and found her brother "all that separates us is a chromosome."  So in that universe did she have a brother or was she actually born male?  I really like the Lutece twins as characters--they're quirky and fun but I don't understand their relationship.

3.) How are the Lutece twins able to be in all worlds?
In another voxophone clue it is revealed that the Lutece twins were killed by Comstock in an effort to cover up the origins of Elizabeth.  Their device for travelling between worlds was tampered with (also by Comstock?) and they were dispersed to all worlds but are dead in the original world.  I think, anyway.  Ugh--all this quantum physic-y stuff is creating some cognitive dissonance.

My brain hurts from trying to figure out BioShock:  Infinite.

My Gorgeous Re-Introduction to BioShock: Infinite and the history within.

BioShock:  Infinite is a game that seems to exist solely in the black or white for gamers.  It seems to be one of those games that people either completely love or hate.  If you read reviews on Steam there is very little agreement on the game.  Much of that vitriol seems to be directed at the ending.  I'm still not sure I really understand the ending, but I thoroughly enjoyed my first playthrough of the last installment in the BioShock series.  I realized last night that I had only played through it once and decided it was time to go back and see what I missed.  (Possible spoilers ahead.  Read with caution if you haven't finished it before.)

One of the beautiful locales in BioShock:  Infinite

The first time I played through BioShock:  Infinite I was playing on my 6+ year old computer.  Miraculously it could still run the game, but I do not remember it being as detailed and gorgeous.  The hummingbirds flitting around your head as you stand on grassy verandas and the cargo containers gliding along the skylines--I couldn't help but take my time as Booker makes his initial explorations of the floating city of Columbia.  I was immediately taken in by the old-timey atmosphere--the women in their long skirts and huge hats, the kinetoscopes with their silent messages, and the blaring images of the "prophet" Comstock.  Since I had finished the game I also noticed things that should have stood out to me immediately.  A barbershop quartet is singing "God Only Knows,"a song by the Beach Boys which clearly wouldn't have a place in the 1912 world of Columbia.  How come I didn't see that the first time?

Another thing that I started thinking about were the complex and controversial themes that seem to be present throughout the game.  As a historian I can respect the fact that they really tried to accurately portray the era as it would have been.  Columbia, according to a history lesson from a kinetoscope, came into being in the 1890's.  This would have been an time period that was very absorbed in colonialism and Westernizing other cultures.  Americans and western Europeans viewed themselves as being the "civilized" cultures who were tasked with bringing both Christianity and Western values to the rest of the world.  This theme became very obvious as I progressed through Columbia and reached the odd temple belonging to the Order of the Raven with it's messages of "protect our race!"  As you lurk on the balcony you are able to listen to an oration by the leader of this strange group about the duty of white men to civilize other cultures.  I was very strongly reminded of the poem "The White Man's Burden," by Rudyard Kipling (you can read it here).  It's amazing that they included such an accurate depiction of this era which today would be considered racist at best.

That's a little deep for a video game, I know.  I'm going to continue my new adventure through Columbia and try to take in as many of the details as I can.  I always loved Rapture from the earlier BioShock games, but Columbia seems to be just as grand.