It feels like a spectacular and elaborate show staged just for you, and all it asks in return is that you sit back and accept that, even here, Rapture is not quite truly alive.
If you wish to take the time to drink in the atmosphere and the wonder of Rapture, then Irrational has included much that will make you smile. These opening 30 minutes are crucial to your enjoyment of Burial at Sea. It's not only Elizabeth's appearance and Rapture's architecture that lets us know that we're not in Columbia anymore.
As the constants and variables coalesce time and again, it's a delight to sit outside of it and observe, to pick at the many threads of BioShock's richly woven fiction. This opening also serves to highlight the myriad ways in which Rapture is the inverse of Infinite's skybound setting, Columbia: from the crushing black of its horizon to the false freedom of its societal ideals from Booker's transformation into one of Rapture's own to Elizabeth waltzing into his office with talk of jobs and debts before leading purposefully from the front, rather than following timidly behind. Throughout the opening act of Episode One's 150-minute run-time, Irrational serves up a cornucopia of references to Rapture's most evocative themes, places and characters, spinning variables around the many constants that we believe to be fixed. It's exciting to guide them through surroundings to which they are connected but do not belong. It's compelling to look in on Infinite's Booker and Elizabeth, a pair we know to be inextricably tied and yet who appear here as relative strangers. Irrational has had tremendous fun with the notion of taking characters with whom we are familiar and transporting them to a time and place that we have only imagined - Rapture, the undersea city from the first two BioShock games, before its explosive fall. BioShock Infinite's first story add-on does a staggering job of weaving a vivid and memorable tale around these core concepts.
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