By Guest Contributor Denis Farr, cross-posted from Border House
BioShock 2 started off at a slow, plodding pace that made me wonder if I would regret my decision to purchase the game. As many reviews note, it is a game that picks up steam and finishes strongly, in opposition to its predecessor. For myself that moment happened in Pauper’s Drop when I started to encounter Grace Holloway.
At first I was slightly concerned. You go to Pauper’s Drop and are instructed to obtain a key from one Grace Holloway, so as to progress along the Atlantic Express trains. It slowly dawned on me that my target was a jazz singer, with very obvious roots in African American history. Her first messages to you are antagonistic, and given the game’s still primary function of shoot and kill to progress, I thought I would be given little choice as to my actions. However, as you explore the level, you are given a view of Rapture that was not wholly afforded in the first game. While the common worker seemed a motif raised by Atlas in the first game, it never seemed fully fleshed out, instead seeming like a power struggle between two figureheads with citizens caught in between, with little word from those persons directly; in Pauper’s Drop you are given the story of a part of the city that was not built into the original design, but constructed by those who were unfortunate enough to not be able to afford the luxuries the rest of Rapture had to offer. This is where Grace Holloway finds herself.