You still get to save or devour Little Sisters on a whim despite being a Big Daddy, and Vita-chambers still work for you despite lacking the clever story connection they had to the protagonist of the first game. Similarly, your own story has very little to invest you aside from chasing your mystery MacGuffin daughter. She’s more of a serial villain, coaxing splicers to fight for her with the magic of psychology words and monologuing at you about your impending death by pre-announced trap. Sofia Lamb is clearly meant to be the mad socialist mirror to Andrew Ryan’s mad libertarianism but is not nearly as well-defined as the pencil-stached captain of the freely-submerged market. Right away you’re going to notice some serious faltering in this title compared to the last. You’re back to find your darling daughter, now a key in Sofia’s plot to rule Rapture, and so it is war across the ruins of a twice-ruined metropolis using every vicious, nasty weapon and plasmid you can get your mighty hands upon. Your presence is that of Delta, an atypical Big Daddy who had stewardship over a very special child in the olden days, but got iced by Sofia for a decade. Sofia Lamb has united the spliced-up crazies of the city as part of a psychologically-manipulative “family”, and your presence is a threat to that unity. Ten years out from the original game, Rapture is under new management and she’s a mad goddess with a silken voice. Assuming the Remaster doesn’t crash like wild on you, that is. Honestly most of those changes are steps back, but the places where they aren’t are such dramatic steps forward it’s enough to save this one from fading away in the shadow of its precursor. Despite the similar trappings the two games diverge wildly in level design, story, and combat, all defining features of the series. Coming to it now in the Remastered edition is a bit of a surprise, namely in how it differs from its predecessor. I enjoyed the original BioShock well enough, but not enough to spur me on to play the sequel when it was released.
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