More Bioshock Infinite. I've gotten to the bit where you're trying to track down the gunsmith, and you do the first hop between different universes. After that stellar start, it's starting to drag a bit. Even on my first run I felt like this spot was a bit of a slog though, so this isn't exactly new. While the aesthetics are still extremely strong, the structure and combat start to really show their flaws at this point I think. I remember a lot of the early popular criticisms of this game were around the idea of it focusing too much on violence, popularising the notorious phrase "ludonarrative dissonance". Which spawned what I've always thought was a silly controversy. It's a completely fine and useful phrase to use that describes a real thing, but one which I don't think really applies well to this game.
But without getting too sidetracked, this time through I actually think part of the problem is that there isn't enough combat. It's a new side to something I've always felt this game suffers from, which is how it follows trends from other popular shooters for seemingly no good reason, in ways that clash against the remnants of the design of the old Bioshock games that were carried over. Here the levels are linear like in a Call of Duty or Halo, and you are fed in to combat arenas where battles take place, rather than them happening more organically as you explore around like in the old games. Except the game still tries to make exploring levels and scavenging supplies a large part of the experience. This leads to a lot of walking around arenas that you already cleared out after a short firefight, and going back and forth between the linear paths you've already been down. It also doesn't help that the slow default run speed and large open arenas make getting about and looting feel clunky too. It's easy to look back to the old games and compare this to how they were designed and see how those were better, but now I can see how it would also have been improved by committing more to this newly adopted style, and moving you more briskly between fights, and making the fights themselves more numerous and longer. A lot of the fights here feel like they are kind of pointless, against only a few isolated enemies that don't stand much chance against you, and that don't provide an interesting challenge due to them not moving around much or having interesting behaviour.
I'm not quite sure what to think of the social commentary stuff right now. Having moved past the early moments, it feels like it's lost its impact somewhat. But I don't think that's because it's become toothless or tired, but simply that it's not new anymore. But it does feel like it's in this weird limbo at this point in the game, where sometimes it still feels biting and well considered. but at other times it feels cartoonish and silly. Like during this Finkton section, there are scenes like people bidding at an auction for a job because they are so desperate, corpses from public executions of labour agitators, and insidious propaganda blasting out of loud speakers about how awful it is to expect something like a living wage. Some of that may seem a bit exaggerated, but taking things to an extreme conclusion has always been part of how Bioshock does its thing, and from some of the stuff that actually has happened in the real world, it's not really that extreme at all in comparison. But on the other hand, you walk in to the area passing lines of workers who are literally all moving like robots in unison to a metronome, and you see giant clocks on the wall where half the day is marked as "work", and only a sliver devoted to things like "rest" or "food". It's so on the nose that it feels a bit like a joke. Putting that right next to the gruesome (albeit exaggerated) reality stretches the tonal consistency a bit.