These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
YMMV: BioShock Infinite
8.8: IGN's exclusive early review "only" gave the console version a 9.4/10; the PC version got a 9.5.
Abandon Shipping: Many, many people who were not spoiled by early leaks of the game shipped Booker and Elizabeth in the opening acts of the game. As soon as The Reveal that Elizabeth is Booker's daughter happened, they quickly dropped it like a hot potato and warned other players that haven't got to that point yet about The Reveal. It didn't stop some shippers from changing their father-daughter relationship altogether and making sure that they're not biologically related in fanfics through. Or just going "Hooray for Parental Incest!"
With Death of the Author, one could easily turn the game into an elaborate Christian parable. Booker, essentially, living through hell until he accepts a "meaningful" sacrificial baptism that cleanses his soul. You could even argue he dies at the end and The Stinger is Booker in heaven.
From a Christian perspective, Comstock can be seen as an excellent example of what happens if you follow false prophets and worship idols.
Anvilicious: The writing seems to pick from the worst excesses of racism, religious fanaticism (Comstock), unchecked capitalism (Fink), revolutionary movements and communism (Fitzroy) exhibited within the last 150 years and adapt them to Columbia. If there's any kind of moral to take away from the story, it's probably "Extremism in any direction is bad." Which is perfectly in line with the message of the other games, really.
Concepts Are Cheap: The caricature of the same, compared to the more sophisticated and even look at Objectivism in the first Bioshock game is one point of contention.
The more recent trailers offer a minor example, in that it tends to show Elizabeth in more "conventional" Edwardian-period attire compared to the Of Corsets Sexy look in earlier ones. That said, her corset still appears in the release. She changes outfits across the game.
The "Burial At Sea" Downloadable Content brings the series back to Rapture. They even got the original developers to do it.
The ending is either the best thing ever written and a perfect example of how to do Time Travel correctly as well as a fascinating metaphorical exploration of the "world" of a story in progress (or a game played by many people), or a confusing Gainax Ending that cheapens the moral choices of the game since they retroactively never happened.
The plot turn during the second half of the game, where the focus shifts from the city and its society to a more personal story centered around alternative dimensions. Was it a more original and interesting concept that gave the main characters more depth, or was it a patchwork of plotholes that turned the setting and its inhabitants into footnotes?
The revelation that Elizabeth is Booker's daughter has ticked off players who, until the last ten minutes of the game, thought they were playing a romantic story.
Many people have complained that the final game doesn't reflect what they saw in 2011 E3 demo; rather odd, considering that really the only thing that the final game lacks compared to the demo is the excessive amount of dialogue and heavily condensed storyline.
Whether or not comparing Daisy Fitzroy to Comstock is a false equivalency.
The last mission in the game is either a fun and epic final battle that changes up the gameplay by giving you the power to direct Songbird at key targets or an annoying tower defense mission that requires trial and error to be beaten consistently.
The lack of multiple endings and the main character's death. Allows for a more focused plot and a definitive ending, or shoves the player onto a single path where none of the choices they make matter?
The "Bird or Cage" decision has fueled factioned argument over which choice is better. A choice in the game meant to illustrate how the choices aren't important has become fuel for argument.
Whether or not Columbia could actually destroy the world. A lot of information is unknown about the 1984 attack, so no truly decisive calls can be made. Doesn't stop everyone from arguing over it.
Even though Burial At Sea is receiving largely good reception pre-release, several players have expressed annoyance about going back to Rapture, instead of looking at various alternate realities mentioned already.
A lot of players were discouraged by the fact that in Burial at Sea, the Carbine looked great but fired a three-round burst instead of a powerful single shot.
Critical Dissonance: A minor example comes in the form of its gameplay. While a lot of professional critics found the gameplay to be fun and satisfying, it received a much more divided response, with some feeling that it was shallower and lacking in comparison to the previous Bioshock games.
The Handymen. Wide AOE attacks, high damage, immunity to Shock Jockey, high health, a weak spot that can be extremely hard to hit, the ability to leap huge distances, and the ability to electrify sky lines make the rare encounters with them a nightmare.
Also any enemy with a Volley Gun (Flak Cannons, as Elizabeth calls them). Thanks to their high rate of fire, infinite ammunition, very good accuracy, and the fact that they keep shooting at areas where you take cover, a single Flak Cannon can effectively seal you in one spot and force you to stay there taking potshots until you can manage to kill it. Oh, and they are heavily armored and can take multiple hits from a sniper rifle before going down.
The Boys of Silence in the final level. They act like security turrets from the previous games, except on steroids. Instead of summoning a couple regenerating turrets that wear off after a minute, they summon a large group of resilient human enemies that will melee you to death. Mercifully, only one absolutely needs to be fought, and the second will only summon normal mooks.
Draco in Leather Pants: Daisy Fitzroy, due to a combination of tragic backstory and completely understandable motives for destroying the Founders, not to mention a bit of The Revolution Will Not Be Vilified. She has a following on Tumblr, and is often cited as an example of Unfortunate Implications in the game among social justice advocates who found the game's message racist (a minority as a villain doesn't help), on top of getting an unceremonious death by a white woman and feeling that her attempting to kill a child was ham-handed. Said advocates also say that Booker's "the Vox are bad for their violence" is a false dichotomy.
Ken Levine also cited the RAF, the Red Army Fraktion or the Baader-Meinhof Gang, German terrorists who attacked ex-Nazis and who provoked the same ambiguity in real life as Daisy, in a far smaller way, does to her fans and whose final fates remain controversial to this day.
Hell, most of the anachronistic covers count. There's also that hideously racist but immensely catchy song that plays in Soldier's Field coaxing children to enter military service.
In Burial at Sea, the new jingles for plasmids.
"Bu-u-u-ucking Bronco! The law of grav-i-ty... defied!"
Ensemble Darkhorse: The Lutece twins are rather endearing with their odd behavior and speech mannerisms. They even won the recent VGX award for "Best Character of the Year."
Game Breaker: Not as many as in previous games, but there are still a few which arguably break the game even harder.
The Sheltered Life hat gear, which makes you temporarily invincible for about 10 seconds every time you pick up food or a first aid kit, and since pretty much every battle field is littered with food and healing items either in crates or on corpses, it is possible to spend large portions of a fight completely unkillable.
Similarly, the Winter Shield gear, which makes you invincible when you jump on or off a Sky-Line. The "jumping-on" trigger is a little glitchy, but since you can jump off and retrigger it anyway it makes little difference. There are very few places this can't be horribly abused.
The Electric Punch Gear (obtained by purchasing the Season Pass) allows you to stun-lock enemies while punching them to death. You can even defeat a Motorized Patriot just by using your melee attack. The non-DLC alternative sets them on fire instead, For Massive Damage.
The Shotgun is also notoriously overpowered, being able to kill anything short of a Handyman or Motorised Patriot in 1 or 2 shots. This is balanced out by the fact that you're inevitably forced to go through several sections of the game without it.
The Undertow Vigor has the ability to perform massive knockback on enemies. In a game where a vast majority of time is spent right next to ledges, that spells instant doom (and au revoir). While more powerful enemies may usually take a few rounds of bullets and Vigors to deal with, just knocking them off the ledge will instantly take them out of the picture. If that wasn't enough, the Vigor also has the ability to drag distant enemies towards you; aside from instantly getting Snipers out of the picture, this also just generally makes it easy to pick off enemies, via pulling them over one at a time and gunning them down in their frozen, vulnerable state.
A fully upgraded Charge vigor + the Overkill gear + the Burning Halo gear + the Brittle-Skinned gear = "Congratulations! You can now Falcon Punch with a Skyhook. God help your enemies." And then it just becomes merciless cruelty if you throw the Blood to Salts gear into the mix. If you replace the Overkill gear with Vampire's Embrace, you'll probably end up out-healing any damage that does make it through your shield.
The Return to Sender vigor is pretty darned effective, especially after you buy upgrades to decrease the amount of salts you need to power it. With a fully upgraded salt bar, you can use it almost constantly. The last mission becomes un-Godly easy. Just throw traps on the core, stand in front of the device collecting hundreds of motorized Patriot chain-gun ammo and throw it back at enemies, annihilating them. You can just spend the whole time rushing enemies, practically invincible and blow them away with the shotgun while killing the rest with their own bullets.
The Bucking Bronco vigor makes fireman and Crows extremely easy to kill. Just get the gear that increases critical damage by 50% or shoot them until they hover over a bottomless pit and let them fall to their doom.
Burial at Sea gives us the Gear combo of Ticket Puncher (Hat) and Death Benefit (Pants). The former gives you triple the reach and double damage on melee attacks, but costs 20% of your shield on a hit. The latter nets you health on melee kills. Combine these and you can melee your way through every encounter. Your shield won't really matter; each kill will provide enough health to put the next guy down. You can also add High and Mighty (Boots) and Roar to Life (Shirt), which gives you a less reliable version of Winter Shield and increases speed/damage for five seconds on a shield break, respectively, which is even more broken.
The Radar Range, a portable microwave oven in the form of a giant ray gun. Intensely powerful on its own, with very cheap ammo - but factor in the upgrades for stopping power and increased damage, plus the fact that focusing on enemies for more than a second turns them into super-heated proximity bombs that wipe out whole crowds of Splicers, and suddenly it's the most valuable weapon in Rapture.
Makin' Whoopee is the first song heard on a radio. Most gamers won't know that it's anachronistic.
The lyrics used for "Will the Circle Be Unbroken?" are from the 1907 hymn. The tune used, however, is anachronistically from the country-style reworking of the song. The original tune does make an appearance in this game, in the piano solo during Welcome to Columbia.
Comstock's ideas have an interesting extra dimension when compared to the Ghost Dance religion that was involved in the massacre of Wounded Knee. In both cases, a prophet spoke of a return to traditional customs and values that would save his race largely by causing the extermination of all other races. The difference being that Comstock's race was the oppressor while Wvoka's was the oppressed.
There's also a way to get infinite Silver Eagles and Gear, by means of going to Soldier's Field after defeating Slate, going to the electric door within the toy store (the one where a Heater Replica can be found early), and then returning back to the Hall of Heroes, and go out again (every Vending Machine, container, and so forth in the general area is reset).
Booker gets really pissed off throughout the story about Elizabeth being locked up by her father, and abandoned completely by her 'mother'. Turns out he sold Elizabeth to them in the first place, albeit under heavy duress and major regret.
After Booker is baptized in order to get into Columbia, he says "That idiot priest needs to learn the difference between baptizing a man and drowning one." Guess what happens to Booker at the end of the game.
The entry for Adorkable on the main page compares Booker's relationship to Elizabeth to something out of a Dating Sim. It was written before players found out Comstock, Elizabeth's father, is an Alternate Universe counterpart to Booker. It's really more like family bonding time, mostly because it is family bonding time.
Booker: I gotta get into the prophet business.
Yahtzee's review of BioShock 2 includes this quote: "Just as the original had a surprisingly intelligent undertone that deconstructed the very nature of linear gameplay, BioShock 2 is a sophisticated satirization of the very concept of a sequel that HAR HAR I'm just messing you." By the end, it almost seems like Infinite went out of its way to be that sophisticated satirization of the very concept of a sequel. In his review of Singularity, which was in many ways Bioshock with time travel, he commented that he expected a big plot twist at the end like the Big Bad turning out to actually be a future version of the hero. Then along comes Bioshock Infinite with that exact plot twist at the end. Double points for Singularity's best ending requiring that you die.
Some critics complained that the main character of the game should have been a woman. It is later revealed you get to play as Elizabeth in the second episode of "Burial at Sea" DLC.
In Eurogamer's Bioshock 2 retrospective, the author comments "I still want a BioShock Noir game where you're a private detective instead of a super commando wizard." Cue Burial At Sea, wherein Booker is cast as a detective in a noir-flavoured Rapture.
In this interview for the game, Ken Levine makes a brief mention to Oldboy before the interview ends. One can't help but feel that Levine was foreshadowing one of the game's big twists by mentioning that, considering the way Oldboy ends.
Much like the first game, Infinite has received excellent reviews and sales, but there's a very good chance you will come across videos and articles that go on about how the game failed to immerse its players in its world or those being hyper critical on its gameplay mechanics. The ending also divides players, though not to the extent of the third Mass Effect'sending - pretentious Mind Screw for the sake of Mind Screw, or hauntingly beautiful and breathtaking? There's also a great deal of social justice warriors who attack the game for having a minority as one of its villains and the racist imagery of Columbia's segregation.
Due to It's Short, so It Sucks , Burial At Sea is getting even more. Combined with the existing backlash about Infinite itself and the DLC had a fair amount of hatedom from the getgo.
It's Short, so It Sucks : The general reception towards the DLC Burial at Sea is that it is very well done. However, it has received poor reviews from video game journalists due to its price-to-hours ratio.
Many players saw Columbia as the main attraction of Infinite, even disparaging the twists and turns the plot takes to draw attention away from the wonders of the city, and a few articles that popped up post-release that balked at the undo violence that "ruined" the serene beauty of the environment. Of course, like the original BioShock before it, those people who seemed obsessed with the superficial elements of the series tended to miss that the narratives have had a more "games about games" slant to their focus, either condemning (the original) or celebrating (Infinite) the inherent tropes of the FPS genre. Even more basic then that, though, it's about Elizabeth.
"Some people just hate musicals because nobody goes and bursts into song. But that's not a problem with musicals."
Not for some gamers who feel she was a fascinating character who deserved more focus and attention and certainly better treatment than being used merely for Elizabeth's angst and who feel that the Designated Hero Booker and by association, Elizabeth are no one to pass judgment and are no worse than her.
Aside from these, a Tea Party group used, unironically, one of the images found in Columbia that depicts the "foreign hordes".
Moe: She's definitely less helpless than other examples, but Elizabeth's appearance and personality more or less fits this trope.
Daisy crosses this when she puts a gun to a young child's head and prepares to kill him. Fortunately, she is killed by Elizabeth before it can happen.
Comstock is such a monster that it's hard to tell when he exactly crosses it. Having Elizabeth tortured both physically and mentally for many years in an alternate timeline might count though.
Several players have said they felt a lot less bad about taking Columbia down when they found out what the raffle was.
Booker selling Anna to Comstock is a completely subverted/averted example. Were it any other character selling his or her child to pay off his or her gambling debt, this would certainly qualify as an example. However, Booker never knew who was going to take his daughter and he immediately regrets doing this once the transaction was finalized, and likely considers it a Moral Event Horizon for himself and is thus filled with even more self-loathing. Given his ill-fated attempts to get his daughter back and the depression that came as a result of this horrible event, one ends up feeling more sorry for Booker than feel revolted. It's lampshaded a little:
When Elizabeth realizes Booker is trying to take her to New York instead of Paris, she starts sobbing. Appropriate, as he's been deceiving her the whole time. However, it's rather badly voice acted and sounds like intentionally comical Crocodile Tears. It's a forgivable offense, as the rest of her voice acting is incredibly nuanced, but that does kind of make this scene stick out like a sore thumb. Possibly Stylistic Suck, if one goes with the interpretation that she's deliberately faking the crying in order to catch Booker off-guard. Which she does.
In the middle of the drama created by the appearance of The Siren, Booker asks Elizabeth unintenionally funny question: "Elizabeth, why is your mother a ghost?"
In Burial at Sea, during the flashback when Comstock is trying to steal Anna away from Booker, the scene is very dramatic, with the Luteces and Elizabeth trying to make him stop. However, the goofy expression on Booker's face, like he's on drugs or drunk, is pretty funny.
Older Than They Think: "Will the Circle be Unbroken," considered by many to be an Award Bait Song, is an actual gospel number originating from sometime around the early 1900's. The lyrics are adapted for the game's plot, though.
Paranoia Fuel: The 'Columbia: A Modern Day Icarus?' trailer is not only dripping with this itself (it's done in the style of those really cheap yet really creepy 1970s/1980s educational/conspiracy theory shows), but it suggests that Columbia became this for the world in-universe — even decades later, aside from a few hints and fragments that literally fell out of the sky (including part of a building that landed somewhere in the Alps) no one seems to know precisely what the hell went wrong, where the hell Columbia went and whether or not it's still lurking around up there somewhere... Then there's the alternate timeline where Columbia bombs New York, so the very people who watch that show get to witness first hand the horror those people wished onto "Sodom".
Play the Game, Skip the Story: Kind of an inversion. The game has gotten critical acclaim for its amazing setting and story (though the ending is still divisive for some) but to a few online reviewers like Kotaku, the combat felt like the weakest part of the game and kind of detracted from the overall setting and story.
Comstock House. The very creepy and distorted music, tears of Elizabeth screaming her guts out as she's mutilated until she's a shell of herself, the old recordings of Elizabeth bitterly accepting her new role as Comstock's successor. An then, to cap it off, seeing an old evil version of herself destroying the world. If you didn't hate Comstock earlier, you will now.
The ending. Elizabeth is your daughter and you're an alternate universe version of the game's Big Bad. Then you get drowned by multiple Elizabeths until one by one, they fade away from existence.
This game removes the ability to save anywhere except predesignated checkpoints. While this does prevent save scumming and avert Death Is a Slap on the Wrist, it means you can't easily replay past chapters you've already completed. This can be especially bad if you're the type of person who unplugs your console at night, as the game loads the autosave with the latest time/date. Unplugging the console can, in some cases, reset the time and date, meaning you have to load from the chapters menu and potentially lose a lot of play-time. Setting the time and date on the console again fixes this, however.
Being forced to adhere to a two weapon limit. This means that you won't be as tactically flexible in fights as you were in the first two games. Also, this means you're constantly forced to swap out weapons because the enemies you encounter always seem to be using weapons different from the ones you have equipped. It also doesn't help that you're pretty much forced to dedicate one of your weapon slots to a heavy weapon in case you run against an elite enemy like a Handyman or Motorized Patriot. Ammo looted from dead enemies is never enough to top you off, requiring you to either find a Dollar Bill or switch weapons - most likely intentionally.
The total absence of hacking. The first two games let you dial down prices at vending machines and create allies out of sentries. In this game, Possession has taken over the effect of hacking, except it costs salts to use and it isn't permanent for sentries (or even effective on anything bigger than a turret), nor does it turn down prices (you get a bit of free cash, instead). As a result, you pretty much have to destroy most every turret you come across, and they are a lot tougher than the ones in the previous games ever were.
Spiritual Licensee: Some have noted that game plays out, at times, like a dark Disney movie, which isn't helped by Elizabeth channeling Belle and Rapunzel as well as just about every other Disney princess ever.
In Monument Island, you can see a bloodied piece of cloth in a bell jar labelled as "Age 13: Menarche". Yup, that's right: the scientists saved Elizabeth's first period. In the same area, you can also see pictures of Elizabeth developing in a dark room, one of which is clearly of her naked, while changing. These pictures, let us be clear, presumably being taken under the instruction of her father. There's probably a reason Booker never told her of this...
That One Boss: Lady Comstock, the Siren fight. Recycled two more times after the first initial boss fight. Her Undead Mooks are almost infinite (yet almost none of them drop ammo) and she can drop your shields and a large chunk of health every time she gets near you. Plus she leaves you absolutely nothing when you win. Also qualifies as a Goddamned Boss since she flies all around the arena and is hard to actually target. It helps to remember that she needs a body to resurrect, so the Shock Jockey can vape her goons at a high salt cost, but that's still a lot of goons to vape. It should also be noted that while this does work, it isn't foolproof and you will catch her reviving piles of ash occasionally.
The Good Time Club "interview". Three waves of heavily armed enemies, a demonic spider in each wave, and absolutely terrible cover.
The final mission, to some. While it lets you order the Songbird around and fight wave after wave of Vox Populi, the fact it's the closest thing to an actual Escort Mission in the game makes it annoying to many players, exacerbated by the fact that the stage is large enough that a single enemy might be off somewhere that you overlooked chipping at your ship's health while you deal with Motorized Patriots with whatever weapons you still have ammo for. What's even worse is that unlike all of the game's other set piece battles, this is the ONLY one where you don't have access to vending machines, so any money you stockpiled up to that point is essentially useless. You're forced to scavenge weapons and ammo from whatever you can find on them or from what enemies drop.
Despite being introduced as a major threat early on, Songbird is absent for vast swathes of the game, only to show up at the end as The Unfought, while having very little direct bearing on the plot.
The Vox, as a whole. Fitzroy's little more than a bloodthirsty monster who's a small obstacle, and the previews promised more glimpses at the Vox. Instead, we get a palette swap of the Columbian forces.
They Wasted a Perfectly Good Plot: This is more of a case of a story having too many good ideas. The idea of a class war in a whacked-out flying American Utopia takes a back seat to all the quantum shenanigans and interesting characters like Fitzroy and Fink are almost non-factors in the narrative.
Elizabeth's big eyes and small waist make her look almost doll-like in comparison with the more realistic NPCs, and her body animation is occasionally less than great. Moreover, Elizabeth will sometimes get stuck or lag behind you, which can lead to situations where you try looking for her behind you, only to turn around and find that she's been teleported right in front of you. Penny Arcade notes how disconcerting it is commit horrifying acts of violence in front of Elizabeth, who looks exactly like Belle from Beauty and the Beast.
There are some wall-eyed dolls in several places that have a high creepitude coefficient, as well as two people in over-sized human mascot heads that even the characters in game think are creepy. In a similar vein, the eight-foot tall George Washington animatronic puppet that you first see in the Battleship Bay arcade has bulging eyes and stiff movements... then you start encountering them in the Hall of Heroes and then on as Motorized Patriots, which spout slogans while trying to give you an acute case of lead poisoning.
Also, there's the people that Came Back Wrong whenever Booker and Elizabeth open a tear into another universe. Their animation is very twitchy, as if two people were trying to co-exist in the same space, one digitally and haphazardly superimposed over the other. It's creepy as hell. This gets ramped Up to Eleven with the later part of the game, where there's inmates at an asylum who are like this but now have oversized puppet heads too.
A poster early in the game warning of the False Shepherd depicts the Lamb's face as a bit... too human◊.
Unconventional Learning Experience: Never heard of the Boxer Rebellion? How about the "Battle" of Wounded Knee? Perhaps the heavy slant towards quantum mechanics has inspired you to look into reading some books on physics? Whether historical or philosophical, Infinite certainly has its fair share of elements that will drive most players to Wikipedia and inevitably end with unintentional enlightenment.
Considering the religious and racial over tones to Columbia and many of the characters therein, some players are going to feel a bit uncomfortable with certain directions the story takes here and there. To summarize: Apart from Elizabeth and partly Booker and the Luteces, there simply is no sympathetic major character, for better or worse. Hell, the Luteces are so jaded as to appear very creepy when they stole Anna from Booker.
And all those horrible things about Columbia were established by Booker himself.
Unintentionally Sympathetic: Daisy Fitzroy. The game seems to expect us to believe that she's just as bad as Comstock for the atrocities she commits, but her back story and the suffering the lower classes of Columbia experience make that hard to swallow for some players. There's also the fact that, while her methods are indeed horrible, the final act of the game makes it extremely clear than Comstock really needs to die.
The Untwist: The incredible amount of Foreshadowing and Tempting Fate moments in the game in regards to Comstock being an alternate version of Booker is a double-edged sword; while it does make a second playthrough full of Fridge Brilliance, it also allows a sufficiently Genre Savvy player to realize this before they manage to pick up a gun.
The game takes on themes such as American Exceptionalism, as well as the racism and xenophobia of the late-19th and early 20th century America. Ken Levine, however, denies claims that the game is a thinly-veiled parody of the Tea Parties and Occupy movements.
Some previews show that Vox Populi (which have the exact opposite ideology as the city's rulers) are just as bad, so it's more of a Take That at political extremism in general. Bottom line is that Levine dislikes extremism in any context. Populism, Objectivism, Nationalism, Fundamentalism, etc. A member of the BioShock Infinite development team even threatened to resign because he was offended by how he thought Comstock basically implied that being religious is evil. The game was later changed to give said character more nuance, incorporating the idea of forgiveness into his motivation and backstory. Which is mitigated anyways when one realizes that Booker and Elizabeth seem to be somewhat religious (Booker yells "JESUS" when the nun burns herself alive and Elizabeth indirectly stated to believe in God multiple times.)
What The Hell, Costuming Department?: Elizabeth's Of Corsets Sexy outfit, considering she is ultimately revealed as Booker's daughter, it's rather...revealing nature might send the wrong message. It's possibly why the outfit (which was originally shown to be much more omnipresent) was pushed back to the tail end of the game.
Booker and Elizabeth. It's hard not to feel sorry for Elizabeth, given she's been locked up her entire life and has no social contact besides the giant cyborg bird man thing that keeps her caged and possibly the scientists who study her. Booker's a man with a lot of regrets in his life, but doesn't see himself as worth redemption; he sometimes takes the attitude that he'll do bad things to stop good people from doing them.
Elizabeth:I'm going to kill Comstock. Booker: No, you're not. Elizabeth: Really. [summons a tornado] And what are you going to do to stop me? Booker: Not a damn thing. I'm going to do it for you.
Oddly, the Handymen are as well. An audio log reveals that they are the sick and infirm stripped of everything other than their vital organs and heads and placed in awkward, metal bodies. At the start, you can see one cowering in front of a crowd and cameramen, desperately trying to cover his face. Then you encounter them, and often beg for you to just go away. They may be Demonic Spiders, sure, but it isn't hard to feel a little sorry for them. Then there's the audio logs of the wife of a Handyman. You find him dead next to cheerful Vox members. Then you go to the future where there's a wanted poster for a Handyman. His crime? Pacifism.