Discussing Evolve: Part 2 - Content

Enough? By What Standard?

Part 1 examined Evolve's DLC but left an open question: Is the content of the base game worth the $60 price tag? Unfortunately, that's a subjective question and there is no right answer for everyone. I don't believe you can quantify value in terms of some objective measure, like the number of hours it takes to complete a game.

That puts us in a bit of a quandary, then. I cannot judge for you whether or not Evolve, or any game, is worth $60. But what I can do is compare Evolve's content to another well known and somewhat similar game. Since Evolve was developed by Turtle Rock the natural comparison is to Turtle Rock's previous game, Left 4 Dead. With that measure, if you thought Left 4 Dead had content worth $60, then Evolve has content that is worth $60.

Here's why.

Maps

Admittedly, Left 4 Dead has a slight advantage in the number of maps. Each of the four movies had five chapters, so there were twenty maps overall. Evolve has sixteen maps, four of which are only for Defend mode (more on modes in the next section). So I'll give the content edge to Left 4 Dead here, but with one caveat.

The modes in Evolve are such that the maps are not as linear. The exceptions are the Defend maps which are similar to the final map in each of Left 4 Dead's movies. That is they are shorter and focused on a last stand scenario. For the remaining twelve Evolve maps though, the route you take the second time you play Hunt on a map will be totally different than the route you took the first time you played. Likewise, the route you take the third time will be different still. This is somewhat offset by the fact that in any match you may cross back over a previous path multiple times. How often, if at all, will depend on the game mode (it's more likely in Hunt than in Rescue or Nest) and how long the game takes.

Still, I'll give the nod to Left 4 Dead here, if only by a slight margin. 

Game Modes

But maps are where the advantage for Left 4 Dead, in terms of content, ends. Both Evolve and Left 4 Dead can be played cooperatively against bots or in asymmetrical multiplayer. However, whether in coop or in multiplayer Evolve offers four modes compared to Left 4 Dead's one (Survival was a DLC mode not available at Left 4 Dead's launch). Evolve's four modes are Hunt - the mode in the beta; Rescue - the hunters are attempting to help survivors escape while the monster tries to kill them; Nest - the hunters are trying to destroy monster eggs; and Defend - where the hunters are protecting a ship that contains the evacuating colonists.

The first three of these modes can be played on any of twelve maps while Defend, as noted earlier, is played on one of the four remaining maps. They can be played as a stand alone game on one map (Skirmish) or played as a series of five rounds (Evacuation). In Evacuation the match starts with a Hunt round and ends with a Defend round. In the three rounds in between there is a vote for the next mode.  Defend and the mode just played are not an option. So, for round two the options are Rescue and Nest. If Nest was chosen for round two, then in round three the options are Rescue and Hunt.

There is a real difference in these modes requiring different strategies. In Nest the monster can chose to open an egg spawning a minion to fight by it's side. It sacrifices an egg in doing so, but it makes it much riskier for the hunters to take the fight to the monster. That means finding the eggs and destroying them. In Rescue it may be best for the trapper to go solo and capture the monster in the mobile arena, not in an attempt to kill it, but merely to buy time for the other hunters to get survivors to the transport.

Therefore, Evolve's four modes offer significantly more content than the single mode that was in Left 4 Dead.

Characters

The other area where Evolve's content compares favorably to Left 4 Dead is in the characters. Evolve has twelve hunter characters broken into four classes; Assault; Trapper; Medic; and Support. Each class has three different characters and each one has different weapons that make a difference in how they play.

I'll compare two medics to illustrate. The game starts with Val unlocked. Val, like all the medics, has a burst heal that grants some level of healing to herself and any other character in close proximity. She also has a med gun. This can be used to restore any other character to complete health over a short period of time. Val has a sniper rifle that is used to create a weak point on the monster that the other characters can target for bonus damage. Finally, Val can fire a tranquilizer dart which slows the monster and allows the hunters to track it.

After reaching the first level of mastery with each of Val's unique items, Lazarus is unlocked. As a medic he also has the burst heal. But, instead of the med gun, Lazarus wields the Lazarus device allowing him to bring dead comrades back to life. Lazarus has a silenced sniper rifle which can be fired more rapidly than Val's but does less damage. Complementing this he has a personal cloak, allowing him to hide in the open while he shoots the monster.

Playing as Val means spending much of your time while fighting the monster using the med gun to keep teammates health up. Lazarus, on the other hand, tends to stay hidden, doing as much damage as possible, and then resuscitating teammates that have died (note: when all health has been lost a character will go down and start to bleed out; any teammate can revive the downed character during this time. But only Lazarus, not even the other medics, can resuscitate a character after they have bled out).

This compares to Left 4 Dead's one survivor character, which had four different skins (there was no gameplay difference between Zoey, Bill, Louis or Francis). Left 4 Dead offered some variety in giving the player a choice of which weapons to use. The weapon options included a couple of shotguns; an smg; an AR; a scoped hunting rifle; and single or dual wielded pistols. This allowed some variety in gameplay and, notably, allowed you to change your load-out in game.

While not as significant as Evolve's mode advantage, the characters provide more content in Evolve than they did in Left 4 Dead. 

Monsters

On the other side Evolve has three monsters (Goliath, Kraken, and Wraith) compared to four for Left 4 Dead (boomer, smoker, hunter, and tank). Comparing these is more difficult than the characters. The boomer, smoker, and hunter were all relatively weak and were intended to wear the hunters down with repeated respawns. The tank, on the other hand, typically showed up just once per map and could wreck havoc or die without having much impact. But each of Left 4 Dead's monsters were essentially one trick ponies.

Conversely, Evolve's monsters have four different abilities, each with three different levels of strength. The game's title reflects that the monster can progress from relative weakness (Stage 1) to relative strength (Stage 3). This is true for all modes except Defend, where the monster is at Stage 3 throughout the match.

Using Goliath as an example, the four abilities are rock throw, charge, fire breath ("Oh no, there goes Tokoyo..."), and leap smash. A player taking on the role of Goliath is given three points at Stage 1. The player can distribute these points however they want. They could put one point in three of the abilities or all three in one ability - fully leveling it up. After evolving to Stage 2 the monster becomes tougher and the player is given three more points which can likewise be freely distributed. This is repeated again when evolving to Stage 3.

Kraken and Wraith also have four abilities, but they are different from Goliath's abilities and from each other's. Additionally, how each monster traverses the map is different. Goliath is a brute who runs, climbs and leaps; Kraken flies; and Wraith darts about in quick bursts.

Therefore, just as with the characters, the level of variety for the monsters is greater in Evolve than it was in Left 4 Dead (or even Left 4 Dead 2).

Conclusion

So I can't tell you if this content is worth $60 to you. But if you look at the slight difference in map content, the greater variety of game modes in Evolve, and the greater variety of playable characters, it is hard to see how anyone who was satisfied with the content of Left 4 Dead wouldn't be satisfied with the amount of content in Evolve.

A point of clarification is in order. Just because Evolve may have more content than Left 4 Dead does not, de facto, mean it is the better game. Left 4 Dead 2 clearly had more content than Left 4 Dead and a lot of people would say Left 4 Dead is the better game (in part because it is simpler and more straight-forward). Any number of factors besides the amount of content will determine how much a game is liked, or hated. Being fresh off of the grind of leveling up characters in Destiny and doing all the missions in Dying Light I sometimes think I would have preferred less in Evolve; something closer to the original Left 4 Dead.

But it's too soon after release of Evolve to say which is my preferred game. Evolve scratches many of the same itches that Left 4 Dead did and playing with friends is a lot of fun. Early concerns that the characters were going to be a bit flat in Evolve compared to Left 4 Dead have lessened as we have mixed characters from different teams and gotten more dialog out of them.

A Note on Longevity

Do I have concerns about longevity? Yes, I do. But the reason why is not lack of content. Much like Left 4 Dead 2 marketing mistakes and gamer over-reaction have marred the perception of Evolve (Left 4 Dead 2 also suffered from a horrible launch from a server stability side; Evolve has been rock solid thanks to alpha and beta tests). It remains to be seen how much this will impact Evolve's sales. Valve stuck with Left 4 Dead 2, particularly on the PC side, but the game never fully recovered from those initial perceptions. The perception of Evolve may likewise always be tainted. But I'm hoping this is not the case and that Turtle Rock and 2K will weather the initial negativity allowing Evolve to regain the audience it deserves.

Discussing Evolve: Part 1 - DLC

Too Much DLC on My Hands
 
Much like the monsters in the quote above, angry gamers have feasted on a flailing marketing strategy for Evolve, Turtle Rock (developer) and 2K's (publisher) 4v1 monster hunting game. The game has drawn criticism from gamers and game journalists, primarily because of the downloadable content (DLC) strategy that has been employed for Evolve. A good example of this criticism, in part because it cites some of the other critics, is the recent Forbes article by Erik Kain.

According to these criticisms Turtle Rock, previously best known for developing Left 4 Dead with Valve, and 2K have short changed gamers by not selling a complete game. Instead, content has been held back to be sold as DLC in a blatant attempt to milk gamers out of extra dollars. These criticisms are unfair. This post will look at the DLC piece of this and then a subsequent post will deal with the content question.

Critical Questions

It's not that the criticisms are not factual. If you look on Steam there's the base game ($60) plus several DLC packs available now (totaling $61) and a season pass for forthcoming DLC ($25). With a cursory glance it looks bad. No one can deny that Turtle Rock and 2K are looking to make money from Evolve and related content. These are facts that the criticisms have gotten right.

Why then the claim that the criticisms are unfair? Because before railing against something, one should step back and take a deeper look and not judge based on just a cursory glance. This deeper look reveals that most of the criticisms miss the mark (or, perhaps more accurately, don't tell you what the mark is).

The criticisms have not, from what I've seen, dealt with the crucial details needed to answer questions like, "What is this extra content that is being offered?" and "How would not buying this content effect the experience of playing the game?" The answers to these questions will help us make an informed decision about whether or not Evolve's DLC policy is a dramatic increase in charging gamers for content or just another flavor of existing practices.

What's in the Launch DLC?

So, what is this extra content that is being offered? That $61 of DLC that is available now? It's all skins. There are weapon skins for the hunters and skins for the monsters. But they are just skins. No perks like a higher fire rate on the weapons or greater armor for the monsters. It's cosmetic.

Therefore, the answer to the second question (How would not buying this content effect the experience of playing the game?) depends on how important you think skins are. This DLC does not affect how the weapons or monsters play at all; the gameplay is the same whether you have these skins or not. Personally, I can't get excited (either positively or negatively) about skins. If it is a big deal to you, you are free to criticize Turtle Rock and 2K for doing this but please be clear you're complaining about skins.

The Season Pass

As for the season pass? Most season passes are around $30, which gets you maps in the majority of multiplayer games. For Evolve the season pass will get you four additional hunters (one for each class, presumably) and some monster skins. Whether this is an equivalent value or not is up to the individual but a few points should be noted.

First, unlike most map packs, if you choose not to buy Evolve's season pass it will not prevent you from playing with those who do choose to buy it. They can play, for example, as the DLC Trapper while you continue to play as one of the original 3 Medics. Therefore those who do not want to buy the DLC are not under as much pressure to buy it. This is a DLC model that does not to split the community into the haves and the have-nots the way map packs almost always do.

Second, according to Turtle Rock additional maps are coming and they will be free. Additional game modes will also be free. This is other other part of the DLC model that keeps from splitting the community. While people are harping on Turtle Rock and 2K charging for skins (a common practice) they quickly skip over that there will be no charge for additional maps and game modes.

A Closing Question

So a question for you if you are complaining about Evolve's DLC policy; would you be happier if, for Evolve, Turtle Rock and 2K reversed themselves and and gave away the skins but charged for the additional maps (i.e. used the traditional DLC model)? Would this and the subsequent dividing of the community be preferable? I prefer the current Evolve model where the community is kept together and the cost for developing additional maps and modes is covered by selling skins or other items, like additional hunters and monsters.

If those ranting about Evolve made this choice clear, I wouldn't feel the need to respond to their criticisms.


Part 2: But is Evolve's base game really worth $60?

Side Note:

Jim Sterling, cited in the Forbes article mentioned above, makes a big deal about how purchases are being made simpler. He points to downloading movies that are just the movies without all the extras that are used in an attempt to sell different versions of DVDs and Blu-Rays. First, I don't disagree that for some people simple is better. But I don't think this can be stated as a universal market principle, particularly in gaming.

Borderlands 2 offers a large number of character skins for sale. In Team Fortress 2, hats are bought and sold on a regular basis. Payday 2 releases additional content, for a fee, on monthly basis (yes, that's an exaggeration but it sure seems like every month). Steam trading cards can be traded, as the name implies, but they are also bought and sold with a small part of the sale price going to Valve for facilitating the exchange. Sony and Microsoft have both sold digital clothing items for avatars. Some people may not like it but let's not fault the companies. These things are being offered because there is a market for them.

Jim and other gamers are free to dislike this and rant in videos and in writing about how gamers should stop buying these items. But please don't make it seem as if this is something unique to Evolve or as if this is some new phenomena that hasn't been seen before. It smells of Captain Renault saying he's shocked to find there is gambling in Rick's cafe right before he's handed his winnings.

Five Most Memorable Moments in Bioshock Infinite (Spoilers)

My third play through Bioshock Infinite is nearly complete and there are some moments in the game that have come to mean a lot to me. While more than five could be included, these five (with a little cheating) stand out. These events are not in order of impact but in the order in which they occur in the game. This does not mean there will not be heavy spoilers early, because the first one is significant because of the ending and is memorable in many ways only after you have beaten the game.

First, the row boat ride to the light house. Intentionally made to parallel the plane ride at the start of the first Bioshock, the boat ride has even more significance. As the Lutece's started to repeatedly show up in the game I started to realize that the couple in the row boat were in fact them. But it wasn't until returning to the start of the game that I realized just how loaded their conversation was with meaning. Rosalind telling Robert that one does not undertake an experiment that has already failed, for example. Or the discussion between them about how Booker doesn't row. Not that he can't row, nor that he will not row, but that he simply never does row. Also to realize that they hand you your box. Where did they get it? Did it belong to that Booker DeWitt or was it something they scavenged from Comstock? Also, the delightful conversation they have if you just sit there for awhile. It's a great start the first time because of the lighthouse, but it gets much better on subsequent play throughs.

The second moment is the one pictured at the top. You are allowed a period to just explore Columbia and the wonders of the city, and one of the first things you come across is a barbershop quartet. Yes, a barbershop quartet in 1912 that is singing a Beach Boys song from the 1960s. That would be odd enough, but if you stop and listen, and then read the billboard behind them, it says:

"The music of tomorrow ... today."

As if a floating city were not enough, now we are talking time travel. "Toto, I don't think we're in Kansas anymore."

A moment is being skipped here. It is being skipped because it is tied to two other moments, the last of which is the pay-off; so we'll save it for when the last one occurs.

Third, then, is my favorite. A quiet moment that takes place in the basement of The Graveyard Shift, a bar in Shanty Town. After coming down the stairs, Elizabeth is excited that there is a guitar. She laments that she never learned to play, then goes about trying to coax a young boy out from under the stairs. As Booker, you walk over to the guitar and interact with it. Booker picks up the guitar, sits down, and begins to play. Elizabeth then begins to sing "Will the Circle Be Unbroken" as you play. She picks up an orange and the combination of her singing and the fruit lure the child out briefly. It's a special moment. It links Booker and Elizabeth to this song. A song, the last verse of which included in the official soundtrack, goes:

"One by one their seats were emptied
And one by one they went away
Now the family is parted
Will it be complete one day?"

That is the question that is left answered at the end of the game. Is Anna back with Booker? Has their family circle been restored/remained unbroken? This scene is a wonder foreshadowing that Booker is not there simply to bring Elizabeth back to some unknown person; he's there to restore their relationship.

The fourth moment is at the end of the last big fight. Booker has sent the Songbird to destroy the siphon, but the resulting explosion causes him to drop the whistle. You can hear the panic in his voice as he tries to draw Elizabeth's attention to the bird. Every time, he had been told, the Songbird would stop him. Is he about to fail again?

Elizabeth, always curious, angry, frightened, or some other high emotional state, is now serene. With a wave of her hand she deals with the Songbird. She might have just sent him somewhere else. But instead she takes you to Rapture. Early we had seen that the Songbird could not survive underwater. Now, he's too deep to get out. His passing is sorrowful as Elizabeth talks gently to him. But we are in Rapture. It is one of the greatest tensions in video game history. The joy at being back with the mournfulness of Songbird's death.

Fifth is something that occurs (at least) three times in the game. The first time is when Booker first meets Elizabeth in the library. When she finally stops pelting him with books she asks "Are you real?" and then reaches out to him with her right hand. Clearly we are meant to notice the missing pinky and the thimble but she is reaching out to Booker. The next time that it occurs prominently is when Elizabeth sacrifices herself for Booker. To keep the Songbird from killing him she willing goes with the Songbird. We know how big a sacrifice this is because she had asked Booker to kill her before letting the Songbird take her back. Now, to save him, she goes. But as she goes, she stretches out that right hand and reaches for him. That hand that, ever since she was a baby, has been reaching for her father.

The last time we see it, she is not Elizabeth, but Anna. A baby about to be whisked into another world away from her father. But she reaches out for him, stretching that right hand, and the tear closes on the pinky and part of it remains in her father's world. While the ending of the game stands as it does, I was hoping that after the credits, as Booker approaches the crib, we would see that hand reaching for him one more time. Whether Booker saw it after the curtain closed for us is up for debate, but I would like to believe the circle was unbroken; the family was complete; and the Lutece's succeeded in their thought experiment.

Maybe the DLC will answer the question, but I kind of hope not.

Five Things I Love about Bioshock Infinite (Spoilers)

Irrational Games most recent release is a masterpiece. This isn’t to say that Bioshock Infinite is flawless (it's not) but it is one of my favorite games. The following five items are just some of reasons why it rates so high for me. The list could have easily been longer, including the voice acting of Courtnee Draper and Troy Baker, but I have to save some things for the Additional Things I Love about Bioshock Infinite post.

1. The use of “Will the Circle Be Unbroken” – Many have pointed out the meta meaning of the song asking if the loop of Booker attempting to rescue Elizabeth can be broken. But the basic meaning of the song itself focuses on whether or not the family circle (not The Family Circle) can remain unbroken. Can Booker be reunited with Anna? Ken Levine has said this is Booker and Elizabeth’s story and while the meta implications of the story are fascinating, I’m more enamored with Booker and Elizabeth’s basic story.


2. The questions that the game raises about the possibility of atonement – Can we ever “wash away” the evil that we have done? Booker refuses baptism because he doesn’t see how the act offers him any real change. Comstock accepts baptism but doesn’t really change. After Elizabeth kills Daisy Fitzroy she asks Booker, essentially, “How do I wash this blood off my hands?” Booker tells her that she can’t, she just has to live with it. But he still fights to end to wipe away his debt.


3. How perspective shifts after your first play through  – There are a number of little things, on top of all the big ones, that gain addition meaning or shift in meaning during your second (or maybe even third) play through. The initial conversation in the boat between the Lutece’s is entirely based on the fact that this has already happened. She says you don’t undertake an experiment which has already failed. He says that Booker does not row and when questioned by Rosalind emphasizes the does not. It’s not that Booker can’t or will not but that he never does. Near the end when you are searching for Elizabeth you find voxophone recordings she made. In one she says that her father failed her. Not knowing better the first time through you assume this is a reference to Comstock but on the second play through it is easy to see it is a reference to Booker.


4. The visit to Rapture – The whole game the question looms of how this game relates to the first game. But at the end, when you are wrapped up in an epic battle that looks like it just took a massively bad turn, boom, you are in Rapture. The game had already established parallel universes and the flexibility of time, but to actually be in Rapture was something I didn’t see coming. It was a wonderful turn that fit the narrative and led us to a sea of possibility.


5. The ambiguous ending – After leaving Rapture you eventually travel to the site of Booker’s almost baptism. A baptism he refused in his dimension but that Zachary Comstock accepted in his dimension. When you return to a representative place later, representative Elizabeths drown you in the attempt to erase Zachary Comstock from all existences. One by one they wink out of existence themselves. But then after the credits, Booker wakes up, back in his office, and hears music coming from Anna’s room. He goes into the room, calls her name, but we never see if she is actually there. Did the “thought experiment” (as Rosalind refers to it at the start of the game) succeed? Were they able to put Anna/Elizabeth back where they found her (with Booker)? Or was Rosalind right in her voxophone recording that reality is like an ocean and if you could make the tide come in it will eventually go out again? The game doesn’t answer that question. I’m kind of hoping the DLC doesn’t answer it either.

Sorting through Bioshock Infinite's Story

Do not read unless you have completed Bioshock Infinite; total spoilers below.

A Recounting of What Occurred

Rosalind Lutece grows up in the mid to late 1800s and studies Quantum Mechanics. Eventually she is able to use Quantum Mechanics to suspend objects in air. Exactly when the early experiments occur is unknown but she has sufficiently advanced her progress so that in 1893 Zachary Comstock is able to use it build and launch Columbia, the floating city, as part of the World’s Fair in New York City.

Comstock has the resources to build the city because of the backing of the US government. According to one of the recordings there was a revival among congressmen that lead them to support the project. Therefore Columbia was an official US city until Comstock takes it to China in attempt to free US citizens during the Boxer Rebellion during the summer of 1900. Because the U.S. government refused to sanction his actions Comstock declares Columbia a free city (at least this is the official story).

Rosalind Lutece continues her work in Quantum Mechanics and is able to make contact with a parallel dimension. Her counterpart in that dimension is Robert Lutece. After some further work she is able to open a window large enough to pull Robert into her dimension. The effects on him are unsettling and he has to create false memories to keep himself sane (and perhaps even alive). Rosalind begins passing him off as her twin brother.

Comstock maintains a close relationship with Rosalind and is privy to all of her findings. In fact, due to proximately to her machines he becomes sterile (this is probably also the source of the tumors that are killing him during the game). He now has no natural way of getting an heir to run Columbia. But through Lutece’s machine he learns that there is a version of himself in an alternate dimension that has a daughter.

Let’s go back in time in that alternate world. A soldier named Booker DeWitt is a member of the force that was at the Battle (some would say Massacre and it is a more appropriate description) of Wounded Knee. Some undefined time after this he became a Pinkerton Agent and helped quell labor uprisings. He then went out on his own.

In Rosalind Lutece’s dimension, after Wounded Knee Booker DeWitt seeks redemption and comes to be baptized. He receives the baptism and comes up believing he is a new man. So he changed his name to Zachary Comstock and goes on to found Columbia. But in the parallel dimension, Booker cannot see how baptism will cleanse him from his guilt and he refuses it. At some point he gets married and has a child named Anna. Unfortunately, his wife dies during childbirth (he admits this to Elizabeth during the game). He is now a single father, deep in debt, and raising a young child in less than ideal conditions.

Then a man, Robert Lutece, comes to him and offers to wipe away his debt if he will give over his daughter. We don’t know the details but it is easy to imagine that it was pitched to Booker that his daughter would be raised by loving, wealthy parents who would provide for her far better than Booker ever could. As for Booker, he would be able to start clean. Perhaps even remarry and have other children. Booker agrees and eventually gives Anna to Robert.

But he changes his mind. He tracks down Robert, who is with Zachary Comstock waiting for Rosalind to stabilize the window back into their dimension. Booker attempts to take Anna back but is unable to prevent Comstock from taking her through the window. But the window closes just slightly too quickly and Anna loses the end of her right little finger, which remains in Booker’s dimension.

This changes Anna, whom Comstock renames Elizabeth in the same way that he renamed himself. Elizabeth now exists in two dimensions and so she is able to create and open tears in the fabric of reality. These tears may lead to parallel worlds or to different times. Rosalind Lutece says the phenomenon is not explainable, but she surmises that the “universe does not like having its peas mixed with its porridge.”

Elizabeth’s presence, perhaps only after she reaches puberty, open up tears throughout Columbia. Enterprising individuals, particularly the Finks, use these tears to their own advantage. One, a musician, takes songs from the future and releases them. That’s why you hear The Beach Boys, Tears for Fears, and others in 1912. His brother uses information he has gained from the tears (perhaps from a place called Rapture) to create Vigors and fantastical machines, like the motorized Patriots and the Handymen.

Lady Comstock, meanwhile, becomes jealous when Zachary shows up with a baby. She accuses Rosalind Lutece of having an affair with Zachary. Rosalind denies it but at this point will not share with Lady Comstock the baby’s origin. So Lady Comstock remains unconvinced.

Zachary starts to become paranoid. He has went through so much to get Elizabeth and Lady Comstock will not let the issue go. A story is concocted about a miracle seven day pregnancy but Lady Comstock knows it is a lie and despises the child. So Zachary has her killed and frames Daisy Fitzroy, their African-American servant for the crime. Eventually his paranoia grows until, to protect Elizabeth’s secret, he has the Luteces killed as well. He is now free to raise up Elizabeth to take his place, with the intention that one day she will “cleanse” the earth with fire as a compliment to Noah’s flood (he considers Columbia a “new ark”).

But the Luteces are a bigger problem than he could have predicted. They have become so adept a manipulating the quantum universe that death is essentially meaningless. According to at least one theory, time doesn’t really exist; it is merely a perception that we cannot break free from perceiving. But they have learned how to break free of that perception.  They decide the only solution is to try to put Elizabeth back where they got her. But is that possible?

When the game starts (1912), Booker is in a boat with the Luteces. Robert is complaining that he has to do all the rowing and Rosiland tells him that it’s his experiment. She doesn’t believe in it and therefore he can do the rowing. Here is part of that exchange.

(He) One goes into an experiment knowing one could fail.
(She) One does not undertake an experiment knowing that one has failed.

The implication here, and later with the coin flip, is that this is not the first time they have tried this. What this is, we learn at the end of the game, is that Booker has been pulled by Robert Lutece from his (Booker’s) dimension into Zachary Comstock’s dimension. This explains why, later, Booker tells Elizabeth he’s never heard of Columbia before. It didn’t exist in his dimension. But, as it was with Robert when Rosalind pulled him through, the experience was traumatic for Booker and he has reconstructed some of his memories to make sense of what has occurred. He has incorporated the original request for Anna (“Bring us the girl and wipe away the debt”) into his search to find Elizabeth and bring her back to New York.

That this is not Booker’s home dimension is foreshadowed by his first encounter with Comstock, who pushes him to realize the truth of who he is. When this happens, Booker’s nose begins to bleed. An effect, we learn later in the game, of those who have changed dimensions and are struggling to rationalize their memories from their dimension with the conflicting reality of their new dimension. The game begins with this quote on the subject from Rosalind Lutece.

“The mind of the subject will desperately struggle to create memories where none exist….” Barriers to Trans-Dimensional Travel, – R. Lutece, 1889

So, part way through the game Elizabeth opens a tear so that they can get to a place where Chen Lin is still alive. Later she opens up another tear to another dimension to “move” some equipment. We find that in that dimension Booker failed to reach Elizabeth and became the leader of the Vox Populi. It is in that dimension that most of the rest of the game is played.

Near the end Elizabeth is recaptured by Comstock. When Booker finds her again it is a much older Elizabeth, who, having been broken by Comstock’s training, is now overseeing the destruction of 1984 New York City. She tells him this cannot be stopped. That the Songbird always finds them and stops Booker from rescuing her (indicating again that this has been tried many times before – the experiment has failed) but she gives Booker a paper to give to the younger version of herself and sends him back in time.

Booker finds the younger Elizabeth and rescues her. Together they confront Comstock, who in turn asks Elizabeth if Booker has told her about his part in her losing her finger. Booker denies any knowledge of what happened, having blocked it out when restructuring his memory during the dimension jumping. So he kills Comstock. At the end of an epic battle, where the Songbird has been fighting on your side, Booker loses the means to control the Songbird and once again he comes to separate them.

But Elizabeth transports them to the one place where the Songbird is powerless; underwater. Specifically to an underwater city named Rapture. She then leads Booker to a bathysphere and takes him to the surface. There is the lighthouse that Jack Ryan entered. They too enter but instead of the inside that Jack found, they find another outside with a “million million” lighthouses.

These represent all the possible Bioshocks. Elizabeth says there are variables and constants.

“There’s always a lighthouse. There’s always a man. There’s always a city. … You, me, Columbia, Songbird. But sometimes, something’s different yet the same.”

Eventually they pass through a door that leads them to Booker’s baptism. He starts to go through with it but can’t, because he didn’t.  Booker then becomes the one wanting to go to Paris. But Elizabeth says they have to find Comstock, and when Booker objects that Comstock is dead, Elizabeth tells Booker that Comstock is not.

But when they move forward, Booker is forced to remember Anna and the fact that he gave her up. Confronted with his past Booker again bleeds but Elizabeth leads him onward. So in the dark street Booker once again tries to get Anna back but fails. Now back in his apartment, Robert Lutece comes and offers Booker his chance to get Anna back.

Now understand how he got to where he is, Booker realizes the need to kill Comstock at the beginning.  When pushed by the Luteces about how far back to go, Booker, still unware that Comstock is a version of himself, says he’ll smother Comstock in his crib. At the door, Elizabeth asks Booker if he’s sure this is what he wants. He opens the door.

He’s back at the baptism. Only Elizabeth (but not his Elizabeth) says it’s not the same place. Then he realizes, as multiple versions of Elizabeths show up, that he is Zachary Comstock. The Elizabeths then proceed to do what Booker said he would do, smother DeWitt/Comstock by holding him under the water. Then, the deed done, they fade from existence.

After the credits, Booker is back in his apartment. He hears music from a child’s toy. He opens the door to the room with the crib and asks, “Anna, is that you?”  But the screen goes dark before we can see whether or not Anna is in the crib.

But, Did It Work?

So the goal of the Luteces experiment, which Rosalind was sure would fail, was to put Anna back in her crib. Obviously, the ending is ambiguous. We could surmise from the music playing that Anna is in the crib, but the fact that we do not see her in the crib leaves room for doubt. Perhaps she is not. Perhaps this is the point that Booker realizes what he has done by giving her up and chases Lutece to Comstock to stop them from leaving. We just don’t know. Not yet. What the promised DLC will hold is a mystery, but it might shed light on this subject.

As for whether or not it could have worked, some have noted that drowning this singular Booker, who is twenty years past the decision point, would not stop the younger man from having that decision point. The key to this, I believe, is Elizabeth telling him that they were not back at the place of his baptism. Well, it looked like his baptism spot, so what was it? It was the decision point in his life and since time doesn’t really exist, the twenty year older man can make the decision for the younger man.  All the branches that would lead to Comstock could be cut off.

So, when the Luteces pull Booker through the dimensional hole, the following exchange takes place.

(He) I told you it would work.
(She) We already know it works. The question is will he?

Which I interpret to mean pulling him through was not a problem. She’s done that before. The question is whether this Booker can work as a stand in for all the Booker DeWitts and all the Zachary Comstocks. I would like to believe, based on the vanishing Elizabeths and the music from the crib that the answer is yes. If there was not DLC I would hang my hat on it. But, there is still more to the story so I’ll wait until we know those pieces before I take my hat off.


Postscript: Once you know the story, the selection of “Will the Circle Be Unbroken” as the theme song for the game is genius.