I spent approximately 15% of my game-playing energy willing them to make-out. Elizabeth is 18 or 19, naïve and good-intentioned with a heaving bosom. The small bit we see of Booker is that he’s maybe mid-30’s, all gruff and sexy and rugged. In any film that scene is where the dude is suddenly struck by the chick’s traditional feminine beauty which, for some reason, he’s never noticed until now. Nevertheless I still felt those tropes were there, and in abundance- the guitar scene is a prime example.
![bioshock infinite ending bioshock infinite ending](http://www.abload.de/img/bioshockinfinitetimelwqyyh.png)
Sadly that intellectual venture is lost to us possibly the writers were aware of it, and felt that to indulge in the at-times blatant Disneyfication would be to plant too many romantic tropes between Elizabeth and Booker. If done right, we would’ve questioned who was the more monstrous: Elizabeth’s captor, or the prince who saves her. I’ve said previously that Songbird, properly used, would’ve played off this perfectly. The storybook Disney princess aspect of Elizabeth is marvelous and I dug her delight, her dresses, and her wide-eyed earnestness.
![bioshock infinite ending bioshock infinite ending](https://i.ytimg.com/vi/PbpADJGP8OU/maxresdefault.jpg)
Elizabeth and Booker’s relationship was, sadly, a casualty of this rushed pace, and given the nature of the game that is a tragedy indeed. I mentioned in part 2 that Infinite left me wanting in the story department-I didn’t feel like the pacing allowed for the necessary emotional beats to be realized, meaning that the story never really seemed to get where it needed to go. If there are still any die-hard fans I haven’t yet alienated this blog post will probably be where we part ways, which is fine, because I’ll have nothing more to say about Infinite and we’ll be done here. We’ve come to the final chapter in our magical journey through BioShock Infinite.