After the success of the first two BioShock games, the team at 2K Marin had several concepts for what could be the studio's next release. One of them sounds fascinating, because it would've been an attempt at a Destiny-like project several years before Bungie's own shared-world shooter came out.

On BlueSky, David Lindsey Pittman, a programmer on BioShock who worked at 2K Marin, spoke a little about what was known as Project Richmond. "Imagine: the team that made BioShock 2 made Destiny before Destiny existed," he says in the thread.

"But it was a BioShocky [magic-hand-and-gun-hand] game, and co-op, in an open world tundra environment," he describes. "Brightly colored geometric buildings, containing social experiments with subjects in a late '60s/early '70s suburban timeloop."

Imagine: the team that made BioShock 2 made Destiny before Destiny existed. But it was a BioShocky magic hand + gun hand game, and co-op, in an open world tundra environment. Brightly colored geometric buildings, containing social experiments with subjects in a late 60s/early 70s suburban timeloop.

— @dphrygian.com (@dphrygian.com.bsky.social) 2026-06-11T14:26:28.448Z

This sounds incredibly appealing, and I'm not just saying that because I'm a sucker for time-travel and timeloops. "The player is in an early 70s suburban environment, then the sky cracks open and futuristic rangers arrive to rescue them," he adds.

This was one of four games that got to the prototyping stage, where it became known as "'The Experiment.'" He calls the game his "Everest," and mentions he actually kept his job at 2K Marin specifically in case this got the greenlight.

"I stuck around at [2K Marin] longer than I should've because I wanted to make that game so badly. It never happened," he says.

What could've been, huh? Bungie put out Destiny in 2014, creating a new standard for merging FPS and MMOs, and ultimately leading to Destiny 2's final update, which just came out roughly 12 years later.

2K Marin was closed sometime in 2013, and Pittman has since worked on the Neon Struct series, South Park: Snow Day!, and Schloss der Wölfe.

Killing a main character in Baldur's Gate 3 on his second playthrough had a massive impact on how BioShock creator Ken Levine approaches new game Judas

We've been waiting over a decade now for Judas, the next game from BioShock mastermind Ken Levine. It's another first-person affair, but with different ambitions on the storytelling front, favoring player-choice and such, an endeavor he's found further inspiration for in Larian's Baldur's Gate 3.

Speaking IGN, he talked about having two contrasting play-throughs of the hit fantasy RPG. "Playing Baldur's Gate, I really understood the power of that," Levine says, referencing the depth of choice-driven storytelling on offer. "I played a second playthrough, and like one of the main characters got killed very early."

The thing is, he only understood that character's significance because he'd already completed the threequel once. Otherwise, he'd just think this is how things are meant to be.

"I only knew he was a major character from my previous playthrough, and then I did something different, and he was gone, and I saw his dead body there," Levine explains.

That kind of narrative possibility isn't something Levine's favored previously. BioShock and BioShock: Infinite are both mostly linear, with certain forks in the road that offer binary good or evil choices. System Shock isn't much different.

He's championed the "narrative lego" of Judas, the debut release from his new studio Ghost Story Games,a number of times before. It all sounds appealing, and savvy considering the popularity of Baldur's Gate 3, but it's something I'm eager to see in action before getting too excited.

At the very least, I'm now wary of what can happen the second I get control of someone in the project. It seems like everyone's lives will be in my hands in one way or another. At least I won't have Big Daddies to deal with.

Baldur's Gate 3 fans behind OG Baldur's Gate remake mod revamp Candlekeep to give it "the massive visual overhaul it truly deserves"

Ken Levine, BioShock creator and the creative director behind upcoming first-person shooter Judas, doesn't think prioritizing the most up-to-date technology in game development is all that important – in fact, he finds realism doesn't "age well" at all.

The BioShock mastermind – who isn't working on BioShock 4 but rather new title Judas – reveals as much during an interview with IGN.

"I don't think we've ever been a company that was like, 'Oh my god, we need the latest and greatest technology,'" he begins, referencing what was previously Irrational Games (now Ghost Story Games). "In the rendering space, we've never been a company." They've "never really tried to do ultra realism," apparently.

Why, though? "It's expensive, and it doesn't age as well as sort of more stylistic things." That reason is also why Levine thinks games like BioShock still look so good – they prioritized their own unique style over top-of-the-line graphics.

The dev then brings up the Switch 2 and the ever-elusive Steam Machine, explaining they're "not massive technological upgrades," as it wasn't their creators' "strategy." There's a bit of stagnation regarding visual capabilities, too.

"I think people are realizing that we've sort of hit a bit of diminishing returns with that," as Levine puts it. "I think if you have the right art director and the right approach, you don't need to be on the cutting edge of technology all the time."

He then admits Judas won't be "CPU-intensive," with Ghost Story Games placing a stronger focus on narrative design and the like – similar to Baldur's Gate 3, which manages to appear stunning nonetheless.

It's certainly a perspective to think about. I'm also interested to see what director Judas takes, seeing as Levine has said it lets you "truly inhabit a character" in a way BioShock didn't – but I suppose only time will tell how the FPS does so.

Curious about what else there is to be excited about right now in the gaming sphere? Here's a handy roundup of all the most eye-catching new games coming this year and beyond.

Take-Two CEO Strauss Zelnick tells reporter Stephen Totilo in a new edition of his Game File newsletter that he's never shocked when studios like Rockstar inevitably delay GTA 6 to the moment of Christ's resurrection. Though, he wasn't fond of BioShock developers stalling on the next title in the creepy shooter series.

Zelnick explains to Totilo, "I tend to default to being very calm," since "I have no trouble distinguishing between, like, a business challenge and an emergency." So, even though the next BioShock game has been in development for nearly 10 miserable years, Zelnick repeats he was "never" surprised by how the team handled the dystopian franchise. He did, however, feel "deeply disappointed."

The last time Take-Two subsidiary 2K published a BioShock game, people were wearing infinity scarves while doing the Harlem Shake – it was 2013. 2K Games eventually announced follow-up BioShock 4 in 2019, but years kept passing, and BioShock 4 started to feel as real as a ghost, which may or may not exist.

"I think we, in retrospect, wasted a lot of time and money chasing down some creative alleys that turned out to be dead ends," Zelnick says. He summarizes this approach as the "nature of entertainment," adding that, "with big team activities, you can't necessarily tell how it's going to be until it all comes together, or begins to come together, and that can take a while and can be very costly."

Having experienced this many times in his 40-year career as an executive, Zelnick says, "I don't run the business" in a way that lends itself to surprise – "That's like, one day, everything's awesome, and the next day, I'm like, 'Holy shit.'"

He says he's more pragmatic than that. 2K ultimately hit BioShock 4 developer Cloud Chamber hard with layoffs in 2025 and brought in former Diablo boss Rod Fergusson to lead the project, taking over for fired studio head Kelley Gilmore, a Firaxis veteran.

With more than 80 positions now evaporated, "I'm feeling a lot better," Zelnick says. However, BioShock 4 still doesn't have anything close to a release date.

Netflix and Take-Two are "very anxious" for the BioShock movie to coincide with the release of "potential new incarnations of the game."

BioShock 2's supercharged Big Sister enemies could have been a lot freakier if the shooter's developer 2K had gone with an abandoned concept from designer David Lindsey Pittman. Actually, maybe it's better that 2K didn't – after more than a decade, Pittman's using his idea of a "dynamic 'Big Sister scare' system" for his own new game.

"Way way back in the day on BioShock 2," Pittman writes on Bluesky, "me and [senior designer] Kent Hudson talked about doing a dynamic 'Big Sister scare' system, where we'd spawn the ostensible villain at the edge of your vision any time the game's tempo slowed down."

Bioshock 2 released in 2010, the same year as Frictional Games' Amnesia: The Dark Descent, which introduced oppressive stalker monsters that pursue you on sight. With Pittman's scare system, BioShock 2 would have been in good company while innovating relentless video game enemies.

But, "It didn't end up happening," Pittman says, "and the Big Sister's appearances were all scripted." So the toddling enemies are more predictable (though the weapons of minor destruction they wear like a uniform are just as intimidating). That could be why "that idea has stuck around in my brain ever since," Pittman continues.

The designer is now using his dynamic scare idea for The Killing Stone, his just-released occult deckbuilder about "outwitting the Devil himself," as its Steam description says.

"CJ (artist) and Gretchen (engineer/designer) built a scare system, and it has added so much life to the level," says Pittman. "It's very fun as a gamedev to be surprised by something in your own game."

6 years since BioShock 4's announcement, South of Midnight star thinks she might have had a role in the long-awaited FPS but there were so many NDAs she's not actually sure.

We've barely even heard whispers about the next BioShock game, aside from that it's been in some form of production for at least six years, and even the game's maybe-cast is unsure about its status.

You see, Adriyan Rae, who starred as Hazel in this year's great South of Midnight, tells TheRespawn that she recorded lines for what might have been BioShock 4, but she's not totally confident that's what it was. Asked if South of Midnight was her first game project, Rae says: "I think it was BioShock 4. I don't know. Allegedly. I literally have no idea."

One thing she is certain on is that she "worked on it very hard" and was often attending a production studio in San Francisco.

"I had superpowers, I had telekinesis, and I was… getting people and throwing them against walls and stuff," Rae continues, which does, in fairness, sound very BioShock-y. "It was great. But it never came out. And then there were so many NDAs, so I had no way of telling. I probably never even worked on it, who knows?"

As Rae points out, BioShock 4 or whatever it ends up being officially called, hasn't even been fully unveiled, so it's unclear if her recorded lines are for a version of the long-awaited shooter that's since been scrapped or if she was working on something that has nothing to do with BioShock. I suppose it'll remain a mystery until a new BioShock does eventually come out.

BioShock 4 is "going to take the franchise to the next level," which is why publisher Take-Two is "shifting some things around" to make sure it exceeds expectations.

BioShock 4 is in the works and has been for over a decade now, leaving fans curious about the uncertain future of the iconic franchise – but according to Take-Two Interactive, the next FPS game is going to impress and outdo its predecessors.

A solid 12 years or so have passed now since BioShock Infinite swept us off our feet in 2013 (and took hundreds of hours of 13-year-old me's time), but BioShock 4 is still nowhere in sight. The new shooter, which arguably stands as one of the most highly anticipated new games underway, is still set to arrive at some point, though – and according to Take-Two Interactive president Karl Slatoff, it'll be big when it does.

Speaking during a recent financial results conference Q&A, he first discusses the structure of Cloud Chamber – the AAA studio heading the new BioShock game's development – starting with Rod Fergusson's role. Fergusson, who recently took over as head of the BioShock franchise and 2K senior vice president, is described as "an incredible industry veteran" by Slatoff: "He's got history with the BioShock franchise, specifically with Infinite."

The Take-Two lead references Fergusson's work on beloved video game gems like Gears of War and Diablo then, going on to admit, "BioShock is a very important franchise for us. It's one of our biggest franchises, and we're very excited about the release of the next BioShock." That's why internal structural changes – like Fergusson joining the team and the over 80 or so reported layoffs that followed – took place. Now, "the game is on a great track…"

As Slatoff explains, "We've made some changes in the organization. We're shifting some things around, but right now, we feel that the game is on a great track for us to deliver something that's going to exceed consumers expectations. The next BioShock is going to take the franchise to the next level, which is always our ambition with all of our franchises." It's difficult to consider as a fan, however.

Not only has BioShock 4 been in development hell for over a decade now, going on to apparently fail an internal review with a story "in need of improvement," but the layoffs and leadership shakeup have understandably left us wary. Despite all of the "ups and downs along the way," though, Take-Two CEO Strauss Zelnick has offered assurances that "it's going to come out" – I'm just hopeful it's as revolutionary as Slatoff makes it sound.

"I don't think it works super well": BioShock creator Ken Levine hasn't been involved in BioShock 4's development, and he's not sure if people would want him to "come in and punch things up" anyway

Original BioShock creator Ken Levine says he's not helping out with the development of BioShock 4 – or whatever the next game in the series ends up being called – and he's not sure if anyone would want that, anyway.

Speaking in an interview with content creator MrMattyPlays (below), Levine – who's now working on Judas at Ghost Story Games – is asked if he's offering any input on the next BioShock game, and if that's something he wants. The short answer is no, but the developer goes on to explain his feelings a bit further.

"It was much harder when BioShock 2 happened because I wanted to go in a different direction, and for a while it wasn't clear whether that was going to happen, and there was some disagreement there," he begins. "On this one, I decided that I didn't know what else I had to say in the BioShock front, and so I walked away from it.

"Part of that was not related to the franchise or the people, it was just that feeling I had the whole time, that I was competing against myself, and it made me wonder whether I want to do sequels anymore," he continues. "It is a strange thing. It can be really liberating but it also [can] be kind of a trap. So this time I, you know, with my blessing, I said 'please make something cool.'"

Levine notes that the BioShock team has "a lot of smart people," including head of franchise Rod Fergusson "who really helped us finish Infinite." But "no," he continues, "I haven't been involved."

Cloud Chamber – the studio working on the next BioShock game – and Judas developer Ghost Story Games are both ultimately owned by Take-Two Interactive, but Levine notes that the labels "don't really interact that much," adding that "we're almost like small little separate groups, and we help each other out where we can."

He continues: "I think the thing is, me just coming in and skydiving in and saying X, Y, and Z, that's not really how games are made. You know, you want to be there every day. You can have a great idea one day and the next day when you look into it further, turns out you're the biggest idiot in the world. So, I don't think you can come in like, 'oh, let's bring in Ken who's going to come in and punch things up,' or something. I don't think, even if anybody wanted that, which, you know, I don't know if they would, I don't think it works super well."

BioShock 4 is still shrouded in mystery – much of what's been said about it is rumor, and it's still not clear when we can expect it to release. Meanwhile, Judas was supposed to launch back in March this year, but it's been pushed back, and there's no further word on when it might actually come out.

Netflix's BioShock movie is "definitely" based on the first game says producer – and the script is still being worked on.

2K Games is laying off an unknown number of developers at Cloud Chamber, the studio currently at work on BioShock 4. As part of the leadership shakeup reported earlier this month, the studio has also brought in former Gears of War and Diablo boss Rod Fergusson to help get the game on track, a role similar to the one he played on BioShock Infinite over a decade ago.

2K president David Ismailer informed staff of the layoffs, and of Fergusson's appointment as head of both Cloud Chamber and BioShock, in an email to staff which was reprinted in part by IGN. Ismailer acknowledges that the upcoming game "has been underway for several years," but 2K has nonetheless "made the decision with studio leadership to rework certain aspects that are core to a BioShock game" – which means that some number of developers are losing their jobs.

"I recognize that today is a day of mixed emotions," Ismailer says. "We’re excited to have Rod joining us, and are equally grateful to everyone at Cloud Chamber who has helped us get this far. These changes are rooted in 2K’s firm confidence in BioShock as one of the most beloved franchises, and our commitment to deliver the best game in franchise history."

Fergusson announced his third departure from Microsoft earlier this month, leaving his role as head of the Diablo franchise in favor of a then-unspecified new venture. He worked at OG BioShock studio Irrational Games as executive vice president of development during the final months of work on BioShock Infinite, and by some accounts was instrumental in getting that game across the finish line.

BioShock 4 has "had some ups and downs along the way," but Take-Two CEO promises "hand on heart, without question" that the immersive sim is "going to come out"

BioShock 4 is apparently in some trouble, as even publisher Take-Two has acknowledged recent reports of a big development shakeup on the long-awaited immersive sim. You'd be forgiven for worrying that the game might never come out, but Take-Two CEO Strauss Zelnick is promising in no uncertain terms that the game will, indeed, see the light of day.

"It's going to come out," Zelnick tells IGN. "That I can say hand on heart, without question."

Zelnick acknowledges that BioShock 4, which was announced six years ago and is still yet to reveal a single shred of gameplay, has "had some ups and downs along the way," and that "we have had changes in studio leadership. That said, we have very big shoes to fill on BioShock because of the legacy of Ken Levine, the legacy of what has gone before, which has been so successful. And we need to make sure that this experience is true to the BioShock DNA on the one hand, and a massive step forward on the other hand. That's always challenging. We think we're up to the challenge, but it has not been seamless."

It might be tough for some BioShock fans to imagine the series without Levine's touch, though we got exactly that with BioShock 2, which has become a dark horse favorite in some circles of the fandom. I imagine Levine himself is too taken up with Judas these days to worry much about BioShock in any case.

But as for BioShock 4, that internal shakeup suggests it might still be a long, long time before we actually see it in action. Personally, I'm considering taking up bets on whether it, The Elder Scrolls 6, or the heat death of the universe will land first.

Here are the new games for 2025 and beyond you need to know about.

A new report suggests 2K shelved a BioShock remake earlier this year, and that the publisher ordered a major shakeup in the development of BioShock 4. 2K has confirmed the latter part of the report, and it seems we might still be a long, long way off from seeing a new entry in the beloved series.

The fourth entry in the BioShock series, which has not yet been given a proper title, was announced in 2019. Developed by the then newly-founded Cloud Chamber, the game has very few details revealed, even as the years dragged on from its initial announcement.

Among notable people involved were studio head Kelley Gilmore, a former executive producer and marketing director on an array of Firaxis games, including XCOM and several Civilization titles, as well as creative director Hogarth de la Plante, a veteran BioShock dev going back to his time as an environment artist and level architect on the original game.

Gilmore has been "ousted" by 2K with de la Plante moved to a publishing role, according to a new report from Bloomberg's Jason Schreier. The report says this follows a failed internal review of the game, where "the game's narrative was identified as an area that was particularly in need of improvement and will be revamped in the coming months."

"We are working hard to set BioShock up for the best possible future," 2K said in a statement to Bloomberg, while also confirming the leadership change. "Right now, we have a good game, but we are committed to delivering a great one. We are working closely with leadership at the studio to define this path."

The report also says that a remake of the original BioShock was in development at 2K, but "was shelved earlier this year." We've reached out to 2K for additional comment, and will update if we learn more.

There hasn't been a new BioShock game since the launch of BioShock Infinite back in 2013. Irrational Games, which developed the original title and Infinite, shut down in 2014, with a handful of developers moving to director Ken Levine's new studio under 2K, Ghost Story Games, a few years later. The studio's first game, Judas, very much looks like a spiritual successor to BioShock, but we still don't have a clear idea of when it will launch either.

Would you kindly check out our list of the best video game stories you can play?

It feels like it's taken the same amount of time to get BioShock to the screen as it does to create an underwater city. The history of adapting the beloved first-person shooter stretches back to 2008, only a year after the original game was released, when Gore Verbinski was attached to direct. Flash forward to 2025 (hey, that's us), and now director Francis Lawrence, who has been appointed to the proceedings by Netflix in 2022, has given a new update on who has been tasked with penning the latest effort to send us to this world of Big Daddies and Little Sisters.

In an interview with IGN, The Long Walk director confirmed that Justin Rhodes is the latest to jot up a live-action version of the story. Rhodes wrote Terminator: Dark Fate and contributed to the CGI anthology series, Secret Level on Prime Video. “I just actually just got a draft. We have a meeting with the writer tomorrow [May 7th], so that's definitely a very strong possibility as well,” Lawrence said.

It'd be great if this creative duo finally cracked the code and brought the beloved franchise to life after so long. When gamers were initially introduced to the world of BioShock, they stepped into the 1960s shoes of Jack, a passenger of a downed plane who finds refuge in this underwater world that has been left abandoned and fallen into ruin by its inhabitants, who have become murderous lunatics.

“It's a tricky adaptation, so there's lots of things to figure out and to get right.” It's a task that might've become even trickier following the changing of Netflix Film Chief from Scott Stuber to Dan Lin. This alteration led to the film's producer, Roy Lee, announcing at the San Diego Comic-Con 2024 that the project was set to be "reconfigured" and we'd be getting a "smaller version" of the story than initially planned.

“There's regime changes at Netflix and so things stall out and get re-energized and stall out and get re-energized, and I think we're in a pretty good place, honestly,” Lawrence explained. Whatever happens, we just ask that they kindly get a move on and finally bring us the BioShock film fans have always hoped to see. While we wait, why not check out our list of the 10 best video game movies ever here.

What makes a game like BioShock? A weird world gone bad? First-person, superpowered shooting? Creepy, slightly off-the-wall enemies? Other bits and bobs that actually came from System Shock first? Either way, I'm more than confident in calling Twisted Tower very, very BioShock-y after playing its new demo released just ahead of Steam Next Fest.

Steam Next Fest is flooding the storefront with countless more demos for us to try out, and Twisted Tower in particular grabbed my attention because it was recommended by BioShock and BioShock Infinite's director Ken Levine on social media.

Twisted Tower isn't exactly subtle about its influences, either. The game's creator thanks Levine "for being such a massive inspiration," and Twisted Tower's Steam blurb says it's set in "an abandoned 1950’s resort reminiscent of BioShock and Disney World." What a pitch, eh?

Levels are designed around different theme park mainstays like a fairy tale castle or a water park - this time packed with pig-mask enemies whose heads will pop with blood and confetti after a well-placed shot. The game also promises multiple unique paths you can take in each playthrough, while you experiment with whacky guns like a sniper slingshot, a farting shotgun, or a whack-a-mole mallet, which is as good a replacement for Half-Life's crowbar as any.

Twisted Tower's free demo only introduces you to the game's first few floors, three beginner weapons, and four goosebump-inducing enemies, but it made enough of an impression to court over 500 user reviews, 92% of which are positive, before Steam Next Fest has even properly begun.

I loved the hour I spent with Twisted Tower, too. It obviously recalls BioShock in its tone and gunplay and enemy design, but that crazy carnival setting and a bigger emphasis on traversal (put a grapple in every game, why don't you?) also work massively to set it apart. I just hope the zig-zagging corridors and interlocking paths that imsims are known for show up more prominently when the full game releases.

In the meantime, why not check out everything we know about BioShock 4?

You don't often see game developers knock down their most iconic work, but Ken Levine recently called his famous, sometimes infamous, shooters "basically a corridor" while hyping up his next BioShock-but-in-space game Judas.

That comes from a chat with Gameindustry.biz where Ken Levine broke down how he wants Judas (the game) and all the characters living inside its utopian/dystopian space colony ship to remember and react to all the little things the player might do.

"BioShock and BioShock Infinite, if you look at them from a development standpoint - and this may be a bit alienating to some readers - but they're basically a corridor," Levine says. "A very, very long corridor with a bunch of trigger points that make story elements happen. Judas is made very, very differently and that makes it much more hopefully reflective of players agency, but also much, much harder to make." (Good spot, RPS.)

How much harder? Well, apparently the game will be "observing the players" and then reacting to a bunch of different stuff, so Levine probably needs to keep track of enough variables to fill a few Excel sheets. "Even just characters observing a long range of player action and commenting on it," he explained. "'Hey, you saw this and you did that and then you did this and that was interesting because that caused that' - we're doing that kinda stuff right now."

Levine calls the process "a huge amount of work because you have to think of all the things a player can do and then write in-character response for different characters to those actions in a way that feels organic." Characters aren't just going to be commenting on, I dunno, whether you decided to shoot fire or bees out of your palms, though. How you get to certain places "and [the] places you'll get to are very different from one player to the next." 

The BioShock games were a touch more fun than your average Xbox 360 shooter since you weren't just plopping in and out of cover until your enemies had to reload, but they sometimes did feel like being funnelled through back-to-back shooting ranges with, admittedly, the most immaculate vibes imaginable. We'll see how much Judas differs when it eventually comes out on PC, PS5, and Xbox Series X|S. I also wonder how strictly the next, still untitled BioShock is following the formula, too.

Check out all the video game release dates of 2025 to not miss a single beat. 

An apparent early BioShock 4 screenshot has leaked, offering a look at UI elements, various powers, and a punchy shotgun.

The image, which was originally shared by MP1st, reportedly comes from "a 2K visual artist," but the outlet isn't sharing the name or online profile of the artist "for the sake of privacy." It's also thought to be from a 2021 build of the game, so there's every chance it's not entirely up to date.

The picture doesn't give away much. Visually, the main event is the central object, which suggests something of a return to the series' classic art-deco look, and also seems to be holding up a flaming sphere. There are so many things that this could be, so few of which might still be present in the game all these years later, that I'm not prepared to even guess at what's going on here.

What's a little more interesting, however, is the stuff around the edges. There's a very punchy-looking weapon, dubbed the 'Ricochet Shotgun', which comes complete with a big fat barrel and some pleasing glowing elements that beef it up nicely. On the other side, there's what appears to be three powers, reminiscent of the plasmids and vigors from previous BioShock games.

A magnet, a lightning bolt, and a stopwatch all feature in the icons attached to those powers. I'm a little more prepared to take a guess at what's going on with those - one power likely pulls either enemies or metal objects towards the player, while the lightning bolt seems likely to deal some decent electric damage. Given the stopwatch symbol's activation via both the LB and RB buttons, it looks like a more powerful ability, and I'd suggest it's probably bullet time.

As ever, early in-progress screenshots - particularly those that are hard to even identify - are rarely indicative of the final project, and much is likely to have changed by the time BioShock 4 actually arrives. There's still no real sense of when that might be - it's been four years since the game's announcement, but developer Cloud Chamber recently said it was "ramping up"  development. Either way, the team seems likely to be beaten to the punch by original series creator Ken Levine, whose new game, Judas, is set to launch by March 2025.

Levine recently revealed that BioShock was nearly canceled just before launch, and even getting it off the ground in the fist place was a struggle.

BioShock and BioShock Infinite director Ken Levine has opened up about early troubles that the series faced when it came to budgets, low sales expectations based on the genre, and a close call with cancelation. 

Speaking to Edge Magazine's 400th Issue, Levine recalls that many of the original developers came to Irrational Games "because they liked" immersive sim classic System Shock 2 and wanted to make something similar to the 'get bullied by AI' shooter, but Levine supposedly vetoed the idea early on because of financial concerns. "'We can't make those games because they don't sell,'" he supposedly said to the new coming staff. "Finally, they wore me down."

Irrational Games then made a "cheap prototype" to pitch to publishers, who had an expected response at the time and rejected the game because games like System Shock didn't "make any money." Eventually, the team came up with the idea of pitching BioShock to journalists instead, who covered the game as part of a retrospective on System Shock 2. "The next day, people saw the article, and we started getting phone calls," Levin says. "I think it created a sense of demand in the publisher."

Rockstar Games and 2K parent company Take-Two grabbed publishing rights for the soon-to-be hit, setting it up with a "modest budget," before outright acquiring Irrational Games and throwing "a bunch more money into BioShock." The 2007 shooter was still "extremely cheap" compared to today's blockbusters, but that didn't stop it from being "almost cancelled" due to "going over budget and over time," according to Levine. There were also apparently publisher concerns about the game's infanticide - BioShock gave players the option to kill and harvest 'Little Sisters' for more resources - though, anyone that's played that game knows it did eventually make the cut.

Lucky for Take-Two, the project wasn't canceled. In fact, it became a bonafide hit, spawning two sequels and selling over 41 million copies. Netflix is also working on a live-action film adaptation that promises some "new little twists" on the series about utopias turned to shit. A fourth game in the series is also "ramping up" development without Levine at the helm, since Irrational Games shut down about a decade ago and the director left to make another BioShock-like called Judas.

For now, check out the biggest video game releases of 2024.

We may have heard next to no information about the next BioShock game since its announcement back in 2019, but rest assured that it's still happening, and the team at developer 2K Cloud Chamber is now "ramping up" with 30 new positions at the studio.

BioShock 4 doesn't have an officially announced name, premise, or even vague release window – it's been quite a mystery since its initial confirmation. What we do know is that Irrational Games – the team that made the series' previous three installments – isn't making this one. Irrational Games was rebranded as Ghost Story Games back in 2017, still led by founder Ken Levine, and is currently working on the BioShock-like first-person shooter, Judas. Meanwhile, 2K Cloud Chamber is new to the series (although there are veteran BioShock devs on the team), but it sounds like things are definitely cooking behind the scenes. 

Last week, 2K Cloud Chamber senior cinematic designer Jeff Spoonhower took to LinkedIn to advertise a selection of new roles which have opened up, noting: "The BioShock team at 2K Cloud Chamber is ramping up! We have many positions open across a variety of disciplines including art, animation, engineering, design, narrative, and production."

Spoonhower teases that the team is "working on a really awesome project," which is admittedly vague, but it's nice to hear one of the devs be so optimistic, especially one who's credited on both BioShock 2 and BioShock Infinite.

For the time being, we'll just have to watch this space. Even if there's been very little official information revealed about the next BioShock, there've been quite a few rumors – it was claimed back in 2021 that it might be set in a fictional Antarctic city in the 1960s, for example. Either way, we do know that 2K Cloud Chamber is looking to "push the boundaries of what is possible in the video game medium," suggesting that there are very high hopes for what the next installment in the series can achieve. 

Judas is taking inspiration from XCOM and Civilization to turn BioShock into a "pseudo-procedural" take on single-player narrative games.

In 2013, a BioShock Infinite dev gave NSFW fan artists some tips on how to make the clothes laying on the floors of their drawings more historically accurate. In 2023, she says she'd make that advice "so much hornier."

That dev is Claire Hummel, an artist who did concept work on BioShock Infinite, including the design of the Lutece Twins. She even has a neat little breakdown of that work on her personal portfolio site, with some interesting notes about the design process. She's clearly got a lot of affection for Robert and Rosalind Lutece, which is why it shouldn't be too surprising to learn she was talking about fan art on Tumblr a decade ago.

But what might be more surprising is that this 2013 Tumblr post was all about encouraging homemade Rosalind porn to be more historically accurate. "I’m not one to discourage this sort of thing - no no, I have sketchbooks full of Remus/Sirius stuff from high school - but I figured I might as well give everyone a leg-up with a more detailed guide to Rosalind Lutece’s potential underthings," Hummel said. "I’ve seen a ton of drawings of her in corsets from a good 50 years before her time and I… I needed to step in."

This is all coming back around because Del Walker, a Naughty Dog character artist, was reminiscing about Hummel's old Tumblr post on social media recently. Hummel herself responded, saying "this would have been so much hornier had I drawn it in the year of our lord 2023! We’ve come a long way, baby."

Funnily enough, Hummel wasn't the only BioShock Infinite dev talking about horny fan art back in 2013. Director Ken Levine had a much different take on the topic in a Reddit AMA a few months after Hummel's Tumblr post, saying "seriously, whoever is doing the Elizabeth porn on deviantart, please stop it. You're killing me. It's like coming across a picture of your daughter. I die a little inside with every page view."

2013 was admittedly a pretty awkward time for the game industry, where it was becoming just mature enough to get embarrassed over how it had spent its early years designing female characters almost exclusively for the fantasies of teenage boys, but not yet quite mature enough to embrace the fact that people of every stripe tend to be unquenchably thirsty. These days, everyone's much more willing to admit that they're horny for Lady Dimitrescu or the Hades cast.

I'm not gonna spend this video game news article offering moral judgment one way or the other on our more open modern horniness, but I've gotta say I'm broadly with Hummel - if you're gonna draw Rosalind in her skivvies, at least make sure you've got the corset right.

Thirsty fan art or no, BioShock Infinite's legacy has changed dramatically in the past decade.

A decade after launch, many Bioshock Infinite players aren't that fond of the acclaimed FPS. 

BioShock Infinite launched on PC, PS3, and Xbox 360 ten years ago this month. It marked a radical change of direction for the series, shifting it from the gloomy underwater setting of Rapture to the colourful airborne city of Columbia. Despite being very different from what came before, it garnered high praise from fans and critics alike when it initially launched. Yet, a decade later, players seem to feel differently.

In a tweet, game developer Dave Oshry wrote, "Not sure any game in history has had such a negative shift in opinion since it originally launched to unanimous praise and every GOTY award imaginable."

He refers to an earlier tweet posted last week by our friends at PC Gamer, which asked fans what score they would award Bioshock Infinite today. Looking at the responses, most players would seemingly now give it around a five or a six, though others would go even lower than that.

Players have a multitude of reasons for rating it down, not least of which is its story. "It tries to make racism a 'both sides are bad' styled argument which is... gross, even if unintentional," says one player in the comments. They add, "I also think the game dragged in some places. I was getting really sick of it around the 8 hour mark." Another writes, "It has identity issues gameplay-wise, and the plot is a messy mix of dysfunction, both sides are bad, diet racism, and aggressive self-aggrandizement. The DLC does not improve things. Barely feels like Bioshock. 5/10. Unremarkable and inconsistent."

Others have found some positive points but are still unimpressed with Bioshock Infinite overall. User @RazielZnot writes, "Even though this is the most beautiful game on UE3 I didn't like it at all and my score is 5/10. This game has no soul, it's just a product." Meanwhile, @SotirisGalanos gives it a 6/10 saying, "the only good thing from this game is Elizabeth. Anything else is mid at best. And it doesn't even give me any Bioshock vibes." User @NateKeww feels similarly, "6/10, and like 5 of the points it manages are art and environment design (not level design)," they write. "Game sparks no remembrance at all when it comes to specific gameplay moments or genre innovation. Felt like a downgrade from the previous entries in multiple ways."

Elsewhere in the comments, a user describes it as the "weakest in the Bioshock series," while another says that it's "maybe the only 9/10 game that, with time, everyone can agree is a bad, boring and half-baked 6/10.

During last year's Game Awards, Ghost Story Games, the studio co-founded by BioShock creator Ken Levine, unveiled its debut game, a narrative-driven single-player shooter called Judas.

Check out our Bioshock 4 guide for everything we currently know about the series' next installment.

Ghost Story Games, the studio co-founded by BioShock creator Ken Levine, has revealed its debut title, the narrative-driven single-player shooter Judas.

Ghost Story Games took to the stage during The Game Awards 2022 to show off the first trailer for Judas, and it looks like a very faithful follow-up to the BioShock series, with creepy robots and a protagonist struggling to survive a bleak situation. And yet, while it undoubtedly bears a resemblance to BioShock, Ghost Story Games says it's set in a whole new universe and stars new characters. 

"We founded Ghost Story Games to build upon the legacy of System Shock 2, BioShock, and BioShock Infinite," said Levine, who serves as creative director on Judas. "With Judas, we've created an entirely new world and set of characters while exploring different approaches to single-player, narrative first-person shooters."

If you remember - and I don't blame you if you don't - Ghost Story Games parent company Take-Two Interactive filed a trademark for Judas way back in 2016, when the studio was still called Irrational Games. If you're rightfully wondering just what the heck happened to push the game's reveal back all the way to the year of our lord 2022, a Bloomberg report from January described a game going through "development hell." For those reasons, it seems a minor miracle that we're seeing the first official trailer for Judas tonight.

There's no release date for Judas just yet, but it's been confirmed for release on PS5, Xbox Series X, and PC.

Meanwhile, here's everything we know about BioShock 4, which is likely still years from releasing.

BioShock 4 has been in development for a long time, with the next entry in the series first getting announced back in 2019.

Still set to come our way sometime in the future, the team at Cloud Chamber working on BioShock 4 - which is yet to get an official title - has gone radio silent for quite some time. In fact, we haven't had much in the way of a big update on the project since news dropped that layoffs sadly hit the studio last year, which was followed by reports that the new game was said to be undergoing a narrative overhaul.

Take-Two's CEO, Strauss Zelnick, soon after offered assurances back in August 2025 that "without question" the game "is going to come out". Elsewhere, with a BioShock movie also in the works, Netflix and the parent company are said to be "very anxious" for the film to coincide with the "potential new incarnations of the game", but whether that includes this iteration remains to be seen. While we await further news, you can find a full breakdown of everything we know so far about BioShock 4, from its development, to supposed leaks, and more.

Does BioShock 4 have a release date?

No official release date has been announced just yet for BioShock 4, and it looks like we'll be in for quite a wait.

In a August 2025 report from Bloomberg that Cloud Chamber was hit with the layoffs of over 80 developers and a leadership shakeup, it also detailed the long development journey of the new BioShock game, which reportedly started all the way back in 2014 following the release of BioShock Infinite.

Back then, it's said that it was in the hands of FPS co-op developer Certain Affinity, before 2K formed Cloud Chamber Studios to work on the game in 2017. The report also suggested that internally, BioShock 4 was projected to release in late 2026 or early 2027, but it's now said to be delayed from that planned launch window.

We also have to take into account that, according to another report from Bloomberg that same month, the game failed an internal review with 2K Games execs, and was then in the process of having its narrative completely revamped. In response to this new setback, we got a statement from 2K:

"We are working hard to set BioShock up for the best possible future," explains 2K Games. "Right now, we have a good game, but we are committed to delivering a great one. We are working closely with leadership at the studio to define this path."

Since then, we've yet to get another update on BioShock 4's progress, but we'll keep a close eye out for more developments. In the meantime, you can read our BioShock review to get a refresher on the original story!

Who is working on BioShock 4?  

BioShock 4 is currently being developed by Cloud Chamber, a studio founded and owned under the 2K publishing label. Since the studio and game was first announced, former Firaxis Games veteran developer, Kelley Gilmore, had been leading the development of the project.

But in August 2025, a report from Bloomberg surfaced that revealed Gilmore had been "ousted" by 2K, and BioShock veteran developer Hogarth de la Plante, who was creative director, is said to have been moved into a publishing role.

News then followed this report that layoffs have hit the studio, and that ex-Diablo boss, Rod Fergusson, has been brought onto the project as head of Cloud Chamber and BioShock. In the past, Fergusson worked on the original BioShock at Irrational Games, and also joined the development team on BioShock Infinite late into its development.

When BioShock 4 was first officially revealed in 2019, Gilmore said that the studio had strong "BioShock DNA" in an interview with us here at GamesRadar+ - since several members had key roles to play in other BioShock titles – highlighting de la Plante, art director Scott Sinclair, and design director Jonathan Pelling.

Gilmore also added that other developers on the team worked on other notable game series: "Our team also has game development veterans from high-profile franchises like Call of Duty, Assassin's Creed, Star Wars, Battlefield, and Walking Dead. As part of our recruiting efforts, we're looking for people from many different backgrounds and experiences."

"I'm confident that the depth and variety of game development experience at Cloud Chamber will lead to another unforgettable BioShock experience."

We don't yet know how the layoffs will impact the project in the long-term, or what the shape of the current team working on BioShock 4 look like.

Is BioShock 4 set in an open world?

We don't have much in the way of concrete details regarding the BioShock 4 setting, but a Cloud Chamber job listing seemingly suggested a few years into developement that the upcoming game may possibly be set in an open world. The job listing for a senior writer, which was posted back in April 2021, called for someone who can "weave impactful, character-driven stories in an open world setting."

With BioShock and BioShock 2 submerging us below water in Rapture, and BioShock Infinite taking us to the clouds, we can't help but wonder where BioShock 4 will take us next - or what an open world installment might look like. Maybe we'll have a new addition to add to our list of the best open world games one day.

What will BioShock 4's gameplay be like?

Gameplay-wise, the initial official 2K press release suggested that BioShock 4 intends to retain the series' first-person perspective. At least, that was the developer's intention back in 2019.

This is inferred by 2K president David Ismailer's mentioning of the core pillars the series is known for, with the press release touching on Cloud Chamber's plans for BioShock 4: "We can't wait to see where its powerful narrative and iconic, first-person shooter gameplay head in the future with our new studio team at Cloud Chamber leading the charge."

Of course, it's been some time since the press release came our way, and there's always the chance that the initial plans or direction has changed over the course of development. Here's hoping an update on the project comes our way soon.

What is BioShock 4 going to be about?

At this point in time, we don't yet know much about BioShock 4 story or its place in the timeline of the series. But thanks to a statement from Gilmore in the initial press release, the Cloud Chamber team was said to be looking "to create yet-to-be-discovered worlds – and their stories within – that push the boundaries of what is possible in the video game medium". This suggested that we were set to see the story and setting of BioShock 4 go in a new direction.

"BioShock defined what a compelling narrative and immersive world can bring to a video game. Players interact with it in their own unique ways and have unforgettable experiences," Gilmore told GamesRadar+. "That will remain at the core of our design vision for the next BioShock, and we have a myriad of ideas on how best to achieve it."

As of August 5, 2025, though, everything we thought we knew about BioShock 4 could change since the game has reported been undergoing a major narrative overhaul under new leadership. Following the news of a big shakeup at Cloud Chamber, Take-Two Interactive president Karl Slatoff spoke on BioShock 4 and the internal changes during a financial results conference Q&A, saying that, "we feel the that the game is on a great track for us to deliver something that's going to exceed consumer expectations". Slatoff then added that "the next BioShock is going to take the franchise to the next level". What this means exactly remains to be seen.

Have there been any BioShock 4 leaks and rumors?

Since the game was first announced, there have been some supposed BioShock 4 leaks and plenty of rumors doing the rounds, too.

Speculative rumors came to light in 2021 claiming that BioShock 4 may take place in a fictional 1960s Antarctic city supposedly called "Borealis". So far, though, nothing official has been confirmed.

In our interview, Gilmore touched on how "environments have played a critical role throughout BioShock history and are incredibly important to the gameplay experience." While not much more was said on the topic, Gilmore did add that "there are many creative directions to explore." With so many possibilities, we really can't wait to find out more.

There were also uncorroborated rumors in 2021 that BioShock 4 would be called BioShock Isolation, with one Twitter user claiming that the game would be set in an "isolated dystopian city."

On July 13, 2024, there was a supposedly leaked BioShock 4 screenshot of the upcoming game. The image isn't super interesting, but it does show off some sort of tower, which is topped by a glowing sphere and a new weapon called the "ricochet shotgun." The alleged leaked BioShock 4 screenshot is rumored to be from a 2K visual effects artist. However, it's of course worth taking everything with a grain of salt as nothing has been confirmed just yet.

Is BioShock 4 being developed on Unreal Engine 5?

Thanks to a job listing posted back in May 2021, BioShock is seemingly being developed on Unreal Engine 5, but we're still awaiting official confirmation.

Still, the prospect of seeing a new-gen BioShock game is exciting, to say the least. In the aforementioned Cloud Chamber listing for a Senior gameplay programmer, there was the mention of being able to "work within Unreal Engine 5", which may suggest BioShock 4 is using the latest generation game engine from developer Epic Games. While no platforms have been confirmed for the new BioShock, we're certainly eager to see how Cloud Chamber brings the next instalment to life using the latest hardware and software.

As Gilmore said in our interview back in 2019 during the early stages of development, "One of the great things about our industry is how much it evolves on a regular basis. We constantly have new technology and innovations to explore, as well as expanding ways to reach and interact with our fans. We can't discuss any specifics yet, but we're excited about the possibilities."

While we wait, why not check out some of the exciting upcoming PS5 games and upcoming Xbox Series X games on the horizon?

The BioShock 2 Power to the People weapon upgrade locations are vital to getting the best out of your weapons. As we mentioned in our BioShock 2 tips, the key to really maxing out your guns is to upgrade them whenever you can, and preferably focus on a few super powered weapons, rather than upgrading everything a little bit.

There are 14 BioShock 2 Power to the People upgrade terminals in total, and although some of them are sat in plain sight there, some are hidden away. If you miss one, you miss a valuable chance to gain the upper hand on the threats ahead. So. if you want to upgrade your weapons to unlock things like an electrocuting shotgun, a bullet-reflecting drill, or a cluster firing grenade launcher, then follow this guide to all the BioShock 2 Power to the People weapon upgrade station locations in Rapture.

• BioShock 2 audio diary locations

BioShock 2 Weapon Upgrade Station #1, Ryan Amusements

This first station is impossible to miss as you’re attempting to get a park ticket to Ryan Amusements. You’ll see it right after passing a fenced security case full of machine guns.

BioShock 2 Weapon Upgrade Station #2, Ryan Amusements

The second station inside Journey to the Surface, right past the animatronic diorama of the parents and child watching television.

BioShock 2 Weapon Upgrade Station #3, Pauper's Drop

Inside the Hamilton, in the Downtown area with the crashed train car. The weapon upgrade station is right before the staircase that leads up to R. Flanagan’s office.

BioShock 2 Weapon Upgrade Station #4, Pauper's Drop

The office of the Limbo Room, near Grace’s dressing room.

BioShock 2 Weapon Upgrade Station #5, Pauper's Drop

The first landing (second floor) of the Sinclair Deluxe. You’ll spot this weapon upgrade station through a hole in the wall while making your way through the apartments. To get to it, head down the hallway with the turret.

BioShock 2 Weapon Upgrade Station #6, Siren Alley

In a locked and gated room on the bottom floor of the Mermaid Lounge. To access, go upstairs, shoot a hack dart through the bar window to unlock the door and drop through the hole in the floor.

BioShock 2 Weapon Upgrade Station #7, Siren Alley

In the last hallway before Father Wales’s church, there’s a door on your left leading to Sofia Lamb’s office. The weapon upgrade station is there, along with an audio diary.

BioShock 2 Weapon Upgrade Station #8, Dionysus Park

You’ll pass this locked room near the very beginning of the level. Once you’ve found the little boy Billy’s audio diary a few rooms later, you’ll have the code – 1080 – to enter.

BioShock 2 Weapon Upgrade Station #9, Dionysus Park

On your way to the train station to meet Stanley Poole, you’ll pass through the room above, with two Splicers attempting to open a safe. The weapon upgrade station is there.

BioShock 2 Weapon Upgrade Station #10, Fontaine Futuristics

Inside the security office that you spend half this level trying to enter. Unlocked after destroying the four security relays and thwarting “Alex the Great.”

BioShock 2 Weapon Upgrade Station #11, Fontaine Futuristics

This weapons upgrade station is in the Adam Research Laboratory where Gil Alexander resides in a giant tank. Head to the “Holding Cells” half of this area and look for a locked surveillance office. The Power to the People unit is inside… you just need to circle around the hallway until you reach the office’s broken window and hack the door panel through it.

BioShock 2 Weapon Upgrade Station #12, Persephone Outer

Directly along your path into Persephone. You should notice it on your left at the moment Sofia Lamb says she “envies your ignorance.”

BioShock 2 Weapon Upgrade Station #13, Inner Persephone

Inside the locked security tower with Sinclair.

BioShock 2 Weapon Upgrade Station #14, Inner Persephone

The Quarantine Area of the Infirmary, behind a locked metal door. To open it, look for a switch on a column… but beware, hitting the switch will release two Alphas from their nearby padded cells. Congratulations, you've found all of the BioShock 2 Power to the People weapon upgrade stations!

Ready for a new adventure? Good news – the next BioShock game is officially in the works from a brand new studio at 2K Games.

These Bioshock 2 tips will help you get to grips fast with a game that is definitely a Bioshock sequel, but one with its own ideas. From new Big Daddies and Little Sisters, to expanded plasmid effects and more. There's a lot to learn and while you can probably figure it all out yourself eventually, some pointers to speed up the whole process aren't going to spoil your day. Coming up we're going to cover the basics and give you a head start in Rapture - so have a read of our BioShock 2 tips and give yourself a big advantage over the other Daddies.

• BioShock 2 Power to the People weapon upgrade guide
• BioShock 2 audio diary locations

1. Ration your ammo so you don't run out when you really need it

Fight smart. Make sure you hack every vending machine you come across to lower the prices (be sure to invest in some gene tonics to make it easier), and stock up when you can. Learn all the weapons, because you never know what you’ll be left with at the end of a tough fight, and use the hypnotise plasmid regularly, so you can fight alongside security bots and even other Big Daddies.

2. Master the new hacking system to give you an edge

Hacking has changed completely, so get ready to stop the needle in the green area (or the blue for an extra boost). They gradually get harder as the game progresses, so be sure to invest in some gene tonics to slow the needle down. The best thing about hacking this time around is that you can do it in real time, while fighting enemies. You can also hack machines remotely by firing an auto-hack dart – useful for bypassing troublesome security systems.

If you trigger an alarm, it’s not necessarily a trip to the Vita-Chamber sin bin for you. There’s almost always a bot shutdown device nearby. The tricky part is reaching it in the first place…

3. Listen to the radio to find secrets and rewards

Follow the sounds of the radios littered around Rapture – they’ve been placed there specifically to lead you to top secret hidden areas!

4. Specialise in a few weapons to get the most out of them

Weapons can be upgraded at selected Power to the People machines, but these are exceedingly rare, and worse still, they’re a one-shot only deal. For this reason, it’s best to specialise by ploughing all your money into one or two weapons; once maxed, they’re capable of delivering elemental damage – for example, the rivet gun spits out flame-tinged bullets, while the buck gives out an electrical shock. An additional benefit is that you can spend your money exclusively on weapons for just a select number of guns.

If you primarily use plasmids but are frustrated by how quickly they run out, you might want to consider the specialist gene tonic, which disables the guns entirely but makes both the EVE hypos and the drill fuel significantly more economical. If this is your bag, you can use the Power to the People machines to improve the drill so it can freeze targets and deflect bullets.

5. Be prepared before taking on Rumblers

These are a new breed of Big Daddy, capable of long-range attacks courtesy of deployable mini-turrets, but inevitably, they’re no slouch in the close-range combat department, either. Despite all that, the best defence with a Big Daddy is a good offence. You can pick and choose when to start the fight, so make sure you’re stocked up on drill fuel, pick a plasmid capable of temporarily disabling him (such as Winter Blast), and bore away. Big Daddies with Little Sisters in tow can now be healed if you leave them alone long enough, so be sure to stay on top of things.

6. Deal with Big Sisters

The Big Sisters in Bioshock 2 are an utter pain to deal with, and to make matters worse, you can’t hypnotise anyone else to fight alongside you, as they'll dispatch them in double quick time. The best thing you can do is keep them at arms’ distance by defending yourself with plasmids such as Cyclone Trap or Telekinesis, neither of which will deliver much damage, but will allow you to get some potshots in before retreating to another safe spot. When she closes in on you, make sure to position your back against a wall, but avoid being boxed in as she’ll finish you off in no time. She only arrives after you’ve dealt with a Little Sister, so be sure to stock up before doing so. Later in the game, you’ll encounter two Big Sisters in one go – now’s the time to use that Hypnosis plasmid!

7. Defend Little Sisters to make Adam retrieval easier

If you have a Little Sister in your possession, you can get her to lead you to the nearest ADAM goldmine by following the on-screen scent. It’ll take her a little while to pump the ADAM out of its previous owner, however, and the smell will attract the entire world to her, so it’s your job to prevent the splicer hoard from distracting her from her work. She can’t actually die, but her progress bar will be severely disrupted if you let anyone get too close, and if you die, you’ll need to start again. Place trip wires and turrets around strategically before starting the process, stock up on first aid kits, and hack any nearby health stations beforehand to help your chances of success. Cyclone traps and Insect Swarm pouches are also your friends.

8. Get the right gene tonics to suit your playstyle

Plasmids are self-explanatory and you’ll probably already have an idea of what ones you wish to use, but what of the gene tonics, the other goodies you can purchase with ADAM? They use slots separate from those of the plasmids, and are not only considerably cheaper, but in the long run, every bit as beneficial. But which ones to buy?

That depends on your playing style, but we recommend tonics that will have a constant benefit, such as lowering vending machine prices, or fixing it so first aid kits restore EVE as well as health. We’ve already extolled the benefits of ploughing your money into making hacking easier, so do that and extra slots are a given. Lifting the limits on how many EVE hypos and first aid kits you can carry will pay dividends in the long run, too.

9. Try all the Plasmids to see what works for you

It’s tempting to stick with the obvious choices – Incinerate, Winter Blast, Electro Bolt – but good things come to those who experiment. The joys of the Hypnosis plasmid have already been explained earlier, and even seemingly useless ones, such as the Insect Swarm, can be used in creative ways if fully upgraded – in this case, any splicer killed by the swarm becomes an impromptu trap – anyone who blunders into their corpse will reawaken the insects. Plasmids can be combined to good effect – for example, a firestorm can be created by firing Incinerate into a Cyclone Trap – but both slots and ADAM are at a premium, so it’s best not to spread yourself too thin.

Look around the desks located deep within Fontaine Futuristics. On one, you’ll find an unstable transportation plasmid. It’s a tricky blighter to track down, but it’s totally worth it. While you're in Fontaine Futuristics, try making use of the demonstration machines during the fight in the plasmid testing zone. You can whip up some hair-raising results!

Towards the end of the game, you’ll earn a brand new plasmid, which we’re not going to spoil for you here. It’s the most powerful plasmid in the game, so use it as much as possible.

Ready for a new adventure? Good news – the next BioShock game is officially in the works from a brand new studio at 2K Games.

The best BioShock plasmids to find and use will depend on how you're playing this versatile game. While most are offensive, there are traps and support options that can enhance a variety of playstyles. You can also combine different plasmids to stack their effects, or set up a chain of consequences that can make them even more lethal against your enemies if you understand the interplays you can use.

Because there are all these layers, battles can play out differently depending on which BioShock plasmids you equip. And because you can't carry them all you want to really understand what's possible before you leave a useful option behind. With careful preparation you can make things a lot easier which is why we're about to go through all the BioShock plasmids options, what they do and how best to use them.  

Every Bioshock plasmid

• Electro Bolt
• Telekinesis
• Incinerate!
• Winter Blast
• Enrage
• Security Bullseye
• Cyclone Trap
• Target Dummy
• Insect Swarm
• Hypnotize Big Daddy

Electro Bolt Plasmid

What is it?

The Electro Bolt Plasmid is the first thing you'll ever splice. The power of electricity is fused to your genetic makeup and, suddenly, firing lightning bolts out of your fingertips is as effortless as shooting a pistol.

When should I use it?

This is the most useful and versatile of all the plasmids. Electrocuting Splicers not only deals damage, it temporarily immobilizes them and leave them open to attack. For BioShock's first couple of levels, in fact, most enemies can be dispatched instantly with one two blast of Electro Bolt and a swing of the wrench.

This electrical blast also carries through water so catch Splicers in a puddle, or flooded room and you can stun multiple enemies at once just by blasting the water. And, Electro Bolt can short circuit Rapture's machinery. That includes non-combination locks, cameras, turrets, flying drones and more. Door can be opened and the rest will fritz out for several seconds, giving you time to hack it, destroy it or run away.

Does it work against a Big Daddy?

Yes, beautifully. Electro Bolt will stop a Big Daddy in its tracks, giving crucial seconds to dodge or attack. 

Telekinesis Plasmid

What is it?

With Telekinesis practically any object not nailed down can be pulled towards you and then fired out with lethal velocity. 

When should I use it?

Whenever you want to weaponize whatever you have to hand. Pull down the plasmid trigger and watch as strange and unexpectedly dangerous objects float into view: crates, signs, liquor, tennis balls, syringes, teddy bears, dead cats... The red gas tanks you see lying around can be grabbed and thrown to explode and burn an enemy on contact. The ceiling-crawling Splicers first introduced in Neptune's Bounty toss fishing hooks that can be reversed and returned. Same goes for the bomb-hurling doctors featured in Medical Pavilion and beyond. Finally, Telekinesis is the only way to grab certain valuable and out-of-reach power ups.

Does it work against a Big Daddy?

Throwing random stuff at the Big Daddies certainly works, but it's a slow and risky process. Gas tanks will do the job better, but you can't rely on finding one at the right moment. However, the glowing green grenades they lob so often can easily be grabbed and thrown back.

Incinerate Plasmid

What is it?

As you might have guessed this lets you shoot fire from your fingers, with all the offensive potential that offers. 

When should I use it?

Incinerate is nearly as all-purpose as Electro Bolt. The basic attack is both extremely damaging and similarly debilitating. Any Splicer, Big Daddy or boss you ignite will panic until the flames subside, leaving you to plug away with other plasmids and weapons. Or you can increase the heat as the more you use it on a single enemy, the faster his life will burn away.

This plasmid is at its best, however, in combinations. Oil spills should be torched at every opportunity, as the larger, hotter fire can wipe out several Splicers at once. Producing makeshift Molotov cocktails is also possible - simply set an object on fire and then throw it with Telekinesis. Enemies on fire will also try and run to water, where you can then fry him with Electro Bolt.

Does it work against a Big Daddy?

A Big Daddy will react the same way as a Splicer when Incinerated although his moment of frenzy is usually much shorter, and he's much angrier afterwards. Electro Bolt and Winter Blast are better options for stunning. Unless you're attempting one of the combination methods described above, we would not recommend going at a Big Daddy with Incinerate alone.

Winter Blast Plasmid

What is it?

The opposite of Incinerate. Rather than burn enemies to a crisp, you freeze them into solid ice. Hack and shatter the stationary sculptures before they thaw for a clean and efficient kill.

When should I use it?

While extremely useful against acrobatic Splicers like the cart wheeling, back flipping ones in Fort Frolic, Winter Blast should never be used by itself. The ice you unleash will freeze your foe, but it will not harm him. Instead, hammer away with traditional weapons for long enough and the ice - including the body within - will fall apart. Fail to finish the job and he will thaw, untouched.

At first, shattering a frozen enemy is easy; one gunshot or a few wrench swings will do the trick. But as BioShock progresses and the enemies get tougher, you will definitely need to upgrade your plasmid to Winter Blast 2 and Winter Blast 3 for continued success. That costs Adam and, potentially, Little Sisters' lives.

Winter Blast also has the same effect on security devices as Electro Bolt - it puts them out of commission until you can destroy or hack them. It can also put out fires, but not freeze water. 

Does it work against a Big Daddy?

As a tool, but not as a weapon. Freezing Big Daddies is perfect for buying time - with the upgrades, Winter Blast could halt one for even longer than Electro Bolt. Shoot the icy sculpture with anything less than a few heat-seeking RPGs, however, and you probably won't complete the special progress bar before he thaws.

Enrage Plasmid

What is it?

This sends any creature it hits into a blind wrath. As soon as the pheromones - or whatever's in the blob it fires out - make contact, the target will turn against the nearest living being and begin attacking it mercilessly.

When should I use it?

First, let's emphasize when NOT to use Enrage. If you're battling a single Splicer, hitting him with this will only cause him to assault you with more ferocity. In groups, however, Enrage can be a life saver. Mobs of Splicers don't appear often in BioShock, but when they do, it's overwhelming. Splatter one with this plasmid and - bam! - you have one fewer foe and one brand new ally. Better yet, peg them all with the red orb and watch as a blood-soaked, curse-laden cage fight ensues. Just remember to retag the Splicers occasionally if you want the freak show to continue.

A final note: Enrage only affects organic targets, so don't bother with cameras or turrets.

Does it work against a Big Daddy?

Regular enemies rarely beat a Big Daddy one-on-one, but Enraging a Splicer can still distract him for awhile, giving you loads of preparation time. A crowd of Splicers, on the other hand, can whittle away a good chunk of the Big Daddy's health before he dispatches them. Just resist the urge to join in the fun, as the Big Daddy might decide to ignore them and turn on you.

Security Bullseye Plasmid

What is it?

A glowing blue orb that marks enemies as threats to Rapture's security system. Cameras, turrets and bots will hunt a Splicer tagged with Security Bullseye as fiercely as they would you. Sweet, sweet vengeance!

When should I use it?

Security Bullseye is probably the most useless plasmid in your arsenal - or at least the most inconvenient. When you happen to discover an enemy wandering in view of a security device and happen to have the power equipped, everything proceeds fantastically. Nothing's more satisfying than watching a few of those blasted turret bots chase someone else for a change. But opportune moments to use Security Bullseye don't crop up very often. We suggest playing around with Security Bullseye when you first receive it, as the game will provide you with a few obviously perfect chances to test it out. After that, consider it dead weight.

Does it work against a Big Daddy?

Our snide dismissal of the Security Bullseye plasmid doesn't apply to Big Daddies. If you catch one stomping through a heavily monitored area, tossing a Security orb at him will cue a light-and-smoke stunt show the likes of which you have never seen. Seriously, grab some popcorn - these matches are even crazier than a mob of Splicers on Enrage.

Cyclone Trap Plasmid

What is it?

Pinpoint a spot on the ground and this plasmid will produce a swirling tornado there. Anyone who passes through it will be rocketed helplessly towards the ceiling.

When should I use it?

Cyclone Trap is designed for ambushes. You're not shooting gusts of wind straight at enemies, but placing dangerous hot spots on the ground like you would with proximity mines or trip wires. Therefore, the best time to employ this plasmid is when you know - or think you know - exactly where a Splicer is going to go. Door frames, narrow hallways, catwalks and any other confined space is perfect.

The trick is to aim not at the enemies themselves, but at the patch of ground directly in front of their feet. The tornado takes half a second to appear, so you'll need to lead your prey like you would with a sniper rifle. NEVER use Cyclone Trap in close quarters combat.

Does it work against a Big Daddy?

If used correctly, yes. The Big Daddies are far too massive to be troubled by a little gust of wind, so don't expect to send one flying through the air. For some reason, though, they can't move through the tornadoes.

By creating multiple Cyclones in a row, you can form a wall that effectively and permanently blocks the Big Daddy's progress. He'll still be able to shoot and lob grenades at you, but the threat of charging is removed. With enough space and maneuvering, you can even build an elemental prison around the Big Daddy, trapping him in one place forever.

Target Dummy Plasmid

What is it?

A ghostly decoy that stands, wherever you place him. Splicers will forget all about you and concentrate on the bait instead.

When should I use it?

When losing to a large group of monsters, this plasmid can buy you precious seconds as Splicers will invariably prefer bullying the poor Target Dummy instead of you. After you've shot them enough however, the Splicers will remember you, so make sure to choose weapons that can finish them off quickly. It can also be used to set traps by luring enemies to a specific position. 

Does it work against a Big Daddy?

When you and a Big Daddy are the only guys in the room, the Target Dummy is your only option for distraction. Conjure him a good distance away from you and the Dummy can keep a Big Daddy out of your face for much longer than Electro Bolt or Winter Blast. 

Insect Swarm Plasmid

What is it?

This lets you produce an army of angry bees from your arm and send them swarming at your enemies.

When should I use it?

This is a perfect Plasmid to create chaos and distraction. The bees will attack anything and is the only plasmid that can harm multiple enemies at once. Don't worry about lining up a shot - just unleash the cloud of poisoned stingers as fast as possible.

Insect Swarm, like many plasmids, is only a short-term solution though. The bees take awhile to finish monsters off, so you'll want to use other weapons to do the job while everyone's distracted. Oh, and stay away from the buzzing chaos, because you're as likely to get stung as everyone else.

Does it work against a Big Daddy?

The bees will bother a Big Daddy for the same amount of time they do regular enemies, and nothing's funnier than watching a guy in a giant diving suit swat blindly at teensy tiny insects. Like Incinerate, however, Insect Swarm will only make him angrier at you. If you have enough Eve, the game's equivalent of mana, feel free to pile on more and more bees. But if you run out and he's still not dead, you'd best have a Plan B ready.

Hypnotize Big Daddy Plasmid

What is it?

Nail a Big Daddy with this gooey green orb and you'll get a brainwashed bodyguard who believes you're his Little Sister and who will pound anyone who tries to mess with you.

When should I use it?

If you have the plasmid handy and a Big Daddy nearby, there's no reason not to use it. Fighting alongside BioShock's iconic bad boy ranks among the coolest moments of the entire game. Not only will he assail your enemies, he'll follow you from room to room and sacrifice himself to protect you, putting his own body in the Splicers' line of fire. 

A note of caution: Do not hurt the Big Daddy while he is on your side. Hitting him with a single attack... even accidentally, even splash damage... will immediately turn him against you. You'll know you've made a mistake when the happy green glow inside his helmet transforms to stop sign red. For that reason, you should never, never use Insect Swarm in these situations. The bees' attack patterns are just too unpredictable.

Does it work against a Big Daddy?

Well, obviously it works on a Big Daddy, but you can't really use it to kill him unless you have him fight as many Splicers as possible. Eventually, he'll be taken down.

The entire BioShock series is currently free on the Epic Games Store, and you'll be able to keep it forever if you grab it in the next seven days.

Epic revealed its latest mystery freebie earlier today. The collection, which will be available to claim for free until June 2, includes Remastered versions of both BioShock and BioShock 2, as well as the Complete Edition of BioShock Infinite, which comes with both the Burial at Sea expansion episodes, and arena mode Clash in the Clouds.

Epic has given away a vast number of major titles in the past, including the likes of GTA 5, and, very recently, Borderlands 3. This might, however, be one of the best value offerings the store has put forward since its launch - grabbing the entire collection via Steam would currently set you back more than $75, and you're getting three full games (plus an impressively-received expansion in Burial at Sea) all for absolutely nothing.

To claim the impressive collection, you'll need an Epic Games Store account, but once you've logged into the store, simply scroll down to its Free Games section, and redeem your copy. While you're there, you might decide to invest in the platform's ongoing sales, which knocks a decent amount off the price of several major games, including 20% off Tiny Tina's Wonderlands and 50% off Far Cry 6.

If you've missed out on the series thus far, this is a great opportunity to catch up, not least because BioShock 4 is on the way. Developed by a Cloud Chamber Games, a studio lead by former Firaxis dev Kelley Gilmore, it's being worked on by several of the big names from the original games.

You're arguably picking up one of the all-time greats with this giveaway, but if that's not enough to satisfy your craving for PC gaming, here are some more of the best PC games out there.

BioShock Infinite has been receiving hidden updates on PC for a number of months now, and no one knows why.

Over the past weekend, BioShock fans noted that the SteamDB database listing for BioShock Infinite had seen a slate of updates, stretching back a fair way. Ever since September 2021, someone has been quietly adding hidden updates to the PC version of BioShock Infinite, and they've only been increasing in quantity with each successive month.

Just last week, for example, 12 updates were implemented for BioShock Infinite on PC, and in the week preceding that, 13 updates were made to the PC version of Irrational's 2013 action game. A developer under the expansive Take-Two umbrella appears to have been repeatedly updating BioShock Infinite for some mysterious purpose.

What's interesting is that earlier this month, the updates appeared to be testing BioShock Infinite against the Linux operating system. The tests apparently took place on March 15, and it's intriguing to note this because Valve's recent Steam Deck hardware utilizes a Linux-based operating system. 

It could be that BioShock Infinite is gearing up to launch on the Steam Deck. Right now, all games on the new hardware that run without any hinderance are included in the "Steam Deck Verified" program, but BioShock Infinite never made the list among the 1,000+ titles. There's games both old and new running seamlessly on Valve's handheld, so it wouldn't be a surprise to see BioShock Infinite popping up.

For what we made of Valve's latest hardware launch last month, you can check out our full Steam Deck review for more.

The origin of the bemusing yet loveable dancing bread boy from Bioshock Infinite has finally been explained by the animator responsible.

You'll no doubt remember the jubilant subject of this here article from Bioshock Infinite's Burial at Sea DLC, where he can be found acting exactly as one should after acquiring a baguette in France. Legend says he's still dancing around that column today.

It's all thanks to a tweet from Pocklecool that we now have an explanation for baguette boy - not that we needed one, of course. Again, there's nothing here to suggest anything but a wholly healthy relationship with bread, but since it stands out as such a flagrant indulgence in the stereotype that French people like baguettes, it's good to have a definitive answer at last. And, yeah, it turns out there probably wasn't  a whole lot more thought put into it than that.

As animator Gwen Frey explained in a response to the above tweet, Bioshock Infinite's bread boy was put there to liven up the Parisian scene. Frey said most of the game's background characters were referred to as "chumps," which means they're programmed to loop through a basic animation instead of wander around with AI pathfinding, and bread boy is no exception.

"I thought the Paris scene was too static & needed more motion, I but couldn't afford another AI walking around," said Frey. "I figured a chump running in a circle around that cylinder could work since I could just expand the collision of it to prevent the player from running through them."

Since Frey didn't have a canned running-in-circle animation on hand, she used the dancing animation from this Bioshock Infinite scene and thus began bread boy's carb-fueled tango. Originally, there were two kids dancing around together, but they were clipping into the ground and each other, which would make for a very awkward dance.

"So I deleted the boy's dancing partner and attached a baguette to his hands. Bam! Boy dances with baguette! Ship it! 

"I figured if anyone asked I'd just say 'bread is great right?!' I didn't think anything of it at the time, but this boy is the most viral thing I've ever made"

Ultimately, Frey is 100% correct; the scene is self-explanatory. Still, we appreciate the clarification as well as the reminder to show the same level of enthusiasm every time we get our hands on some fresh-baked bread.

Grab a baguette in the name of bread boy and get hyped for these new games of 2022.

BioShock creator Ken Levine's next game is reportedly in "development hell."

The new information comes courtesy of a report from Bloomberg, which claims to have spoken to 15 current and former employees at Ghost Story Games, the studio which Levine founded in 2014. According to the new report, Levine's new game still doesn't have a name or release date after eight years in development, and has reportedly suffered from numerous reboots.

Chiefly, this is said to have been the case because of the significant level of autonomy provided to Levine by publisher Take-Two Interactive, which has now worked with the BioShock lead for over 14 years. This is allegedly because Take-Two views Levine as an "auteur" in the video game space, "capable of producing something magnificent," but former employees say this management style leads to burnout.

Despite numerous setbacks, the report from Bloomberg reveals that one current employee at Ghost Story Games believe Levine's project is finally on track. The employee apparently believes that although the finish line might finally be in sight for Ghost Story Games' debut, we could still be waiting two years before we finally see what Levine and company have been working on for the past eight years.

It's entirely possible that we could see another BioShock game before Ghost Story Games launches a title. Developer Cloud Chamber is currently tasked with development of the new BioShock 4 under publisher Take-Two, and while the project was announced back in December 2019, we've heard nothing about the new entry in the shooter series since. 

Check out our new games 2022 guide for a schedule of titles a little closer on the horizon.

The next BioShock game will reportedly take place in a fictional Antarctic city. 

Though only speculation at this time – so don't take this as gospel just yet – Sacred Symbols' Colin Moriarty reports that the game returns to its 1960s roots, this time in a city called Borealis, which seemingly tallies with what other journalists have been told about the project off-the-record, too. 

While we knew the fourth game – which will apparently be set in an open world – was in development – this is our first tease about where the next BioShock game will take us.

There's no confirmed name for the game yet – which will be the franchise's fourth installment – but it's been internally codenamed Parkside. Moriarty believes the team at Cloud Chamber "has incredible latitude to get it right" and the game will tie in with previous BioShock games.

"It takes place in a 1960s Antarctic city called Borealis,” Moriarty said (thanks, VGC). "[The game is] codenamed Parkside… I’ve been told that the development team has incredible latitude to get it right. That seems and sounds right to me.

"Internally the game is very secret and apparently, totally locked up. Apparently the inclination there is that they understand full well that this game will be compared to what Ken Levine does. And by the way, [Take-Two] is also publishing Levine’s next game."

ICYMI, we recently had more evidence that the heavily-rumored BioShock RTX remaster from the Nvidia leak was genuine when Redditors noticed that the SteamDB database entries for BioShock, BioShock 2, and BioShock Infinite had all been recently updated. Why? Well, we're still not sure. But it does suggest something is currently going on at publisher 2K, whether it's a fourth installment of the fan-favorite series or another remaster.

Bethesda's Todd Howard recently surprised us all by confirming that Fallout 4 had a "BioShock-style vault" under the waves of Boston Harbor, but it was cut before the game was released.

He made the revelation during a Reddit ask-me-anything thread celebrating 10 years of Skyrim, during which Howard also confirmed that the Fallout TV show is still "moving ahead".

"Unfortunate cut content," Howard responded when a fan questioned him about it. "BioShock style Vault. With massive sentient octopus living outside it."

We spoke to Cloud Chamber studio head Kelly Gilmore about the new BioShock.

The BioShock 4 release date might have been leaked by the recent Nvidia GeForce datamine.

According to WCCFtech, the leak, which Nvidia has acknowledged as containing "released and/or speculative" PC titles, features a listing for 'Bioshock 2022'. That could mean that the new BioShock game announced by 2K Games and Cloud Chamber Studio in December 2019 might be releasing next year. There's also a listing for something called 'Bioshock RTX remaster', but no further reference to a release date or any other details.

When it comes to the new game, information is still pretty scarce - all we really know is that 2K said it would be in development "for the next several years," and that the Cloud Chamber had been quietly working on the project for at least 18 months before the announcement - a Kotaku report from April 2018 mentioned a new BioShock title in the early stages of development.

In late 2019, late 2022 was still three years away, which could still fit under that "several years" banner. It's also possible that 2022 refers to the financial year, which would end in early 2023. Either way, with no word from 2K and disruption from the Covid pandemic causing a number of public projects to be delayed, there's no guarantee that we'll get to see - let alone play - anything BioShock related next year, even if that was the team's original target.

While the next BioShock game is a pretty sure bet to come to PC, many of the rest of the games mentioned in Nvidia's list are a little less likely, with ports of everything from Demon's Souls to Super Mario Bros. With that in mind, take this information with a heavy pinch of salt, at least until we get even the slightest teaser from 2K.

We spoke to Cloud Chamber studio head Kelly Gilmore about the new BioShock.

Have you ever seen a Big Daddy from BioShock without his helmet on? If not, consider this the first/worst day of the rest of your life.

PC Gamer writer Andy Kelly made the grim discovery and shared it on his Twitter account, spreading far and wide the image which the BioShock fan wiki attributes to former Irrational Games senior concept artist Robb Waters. The BioShock games deliberately conceal what Big Daddies look like under the hulking frame of their metal dive suits, but they imply that the maintenance personnel turned Little Sister guardians have changed a lot from the people they once were.

The helmet-less Big Daddy in the concept art has pink, wrinkled flesh, sunken eyes, and a strange yellow light emerging from his forehead. According to the lore of BioShock, Big Daddies start out as the human undesirables of Rapture and are converted into their new form in an irreversible procedure which grafts their skin and organs directly to the inside of their suit. That would explain why this poor meat man has such a swollen-looking head, since Big Daddies wear those oversized helmets. As for why his third eye chakra is glowing… I dunno, Plasmids? It's probably Plasmids.

Big Daddies have a tragic mystique to them; even as their whale-like groans and moans become part of the background noise of Rapture, you can't help but wonder how aware they are of who they once were and of what they are now. It's probably for the best that we never knew what they looked like under those bathysphere-like helmets, and I'm not just saying that because I'm going to be seeing the meat man's face whenever I close my eyes for the next few weeks.

While the BioShock series has lain dormant for years, it looks like it's gearing up to give us some more tragic monsters: a new job listing indicates that BioShock 4 developer Cloud Chamber is working with Unreal Engine 5, the new game engine which recently became available in early access to developers outside of Epic Games.

It looks like BioShock 4 may buck series tradition by sending players out into an open world.

An artist who worked on the now canceled BioShock movie has shared some concept art from the project online.

Jerad Marantz, a concept artist/creature designer who has credits on films like Black Panther, Spider-Man: Far From Home, Avengers: Endgame, plus so many more, shared the designs to their online portfolio with the caption: “Another great canceled project. [...] it just wasn’t meant to be.” 

The concept art depicts several zombie-like creatures, who look as if they’ve just stepped out of a Resident Evil game rather than a BioShock title, and gives fans an idea of what the since-axed BioShock movie could have looked like if production hadn’t ended on the project.

The BioShock movie was first announced in development back in 2011 and was set to be directed by Gore Verbinski (who is known for his work on The Ring and Pirates of the Caribbean) however, pre-production was halted in 2011 due to no studio being found “who was willing to invest in an R-rated version of the tale” according to Eurogamer.

Although the film is yet to see the light of day, other than some concept art and a supposed leaked script, hints that the film may get made after all have circulated online for years. As of March 2020, it was reported that the film was supposedly back in development, and as of 2021, ScreenRant reported that actors Eddie Redmayne and Jaime Dornan had auditioned for a role in the movie. Fingers crossed for more BioShock movie news to come our way soon. 

In the meantime, take a look at our everything you need to know about the next BioShock game post

A spate of job listings for BioShock 4 may point to a Fallout-esque dialogue system and a more open-world design, according to a ResetEra post. 

As we previously reported, the next BioShock game is being developed for Xbox Series X and PS5 and will likely be in production for a few more years. However, a handful of job listings may point to what we can expect whenever BioShock 4 drops. 

New job openings from developer Cloud Chamber Games include Senior Voice Designer and refers to the upcoming game they'd be working on as an "ambitious, narratively-driven project full of character and personality." The applicant, who must have RPG experience, would help design the game's "dialogue systems" which the ResetEra poster MauroNL suggests the dialogue system may be similar to the Fallout games, which offer a selection of responses to prompts that can shift gameplay or NPC's opinions of you.

A listing for Systems Designer describes the game as an "emergent sandbox world" which includes "interactive world systems and non-AI systemic ecology, player growth systems and progression and game balance and economy." MauroNL suggests this could mean BioShock 4 will have a more open-ended level design akin to BioShock 1 and 2, which had a hub-based world that was somewhat open for exploration. BioShock Infinite was far more linear and on rails than the previous two games.

The job listings also state that Cloud Chamber Games is trying to create "a meaningful AI urban crowd system" and think of "new and ambitious things with AI." Considering the denizens of Rapture used to scare the crap out of me when they jumped out of nowhere wielding a wrench, I'm excited to see what new and ambitious BioShock AI will do.

"We have a myriad of ideas": Cloud Chamber's Kelley Gilmore reveals everything you need to know about the next BioShock game.

Ghost Story Games, Ken Levine's studio, is recruiting for work on a "new immersive sci-fi game with RPG elements", and it's apparently in the "later stages of production".

The information comes from a new job listing posted on parent company and publisher Take-Two Interactive's careers website (spotted by GameSpot), with the small team recruiting for a Senior Producer on its debut project.  

In addition, the vacancy also reiterates that Ghost Story Games, which was founded by Levine in 2017 after leaving the now shuttered BioShock Infinite developer Irrational, is "dedicated to making immersive story driven games for gamers that like a challenge".

We know little about the studio's first title beyond that, though the post does suggest watching Levine's 2014 GDC about "narrative Legos" for insight into how it's designing its upcoming experience. 

Hopefully we'll learn more soon, especially as this latest hiring spree suggests Ghost Story is ramping up development this far into its creative pipeline. As always, GamesRadar+ will keep you informed as soon as we hear more news. 

Of course, if all you want is a BioShock 4, then there's a team working on that too; it's called Cloud Chamber, and we spoke to its creative head Kelley Gilmore all about it last year, so be sure to check out that while you wait. 

For more, read up on the biggest new games of 2020, or watch the video below for the latest episode of Dialogue Options. 

BioShock is a series, as the Lutece twins might say, of constants and variables. If the franchise's fascination with exploring big ideas through the medium of interactive storytelling is its constant, for example, then the ideas themselves are the variable, ranging from the writings of Ayn Rand to Solipsism and the death of the American Dream, to name but a few. 

With the news that 2K has officially greenlit the development of a fourth BioShock installment under nascent studio Cloud Chamber, the question of what ideological subject matter its creators will turn to next is understandably the source of much speculation amongst fans. While it's fun to spitball personal favourites (Dataism in 1980's Silicon Valley, please and thank you), who better to ask than some of the brightest minds in the contemporary philosophical field? Their answers, listed below, are as intriguing and insightful as you might expect. 

Relativism - Christopher Bartel, Appalachian State University 

At the top of my list would be the idea of truth. As we live in an age where truth and belief are difficult to tell apart, I think BioShock could do some interesting stuff with it. Many people find it compelling to believe in a relativistic view of truth where something is "true for me" just because I strongly believe in it. So, I would love to see a game that addresses what a relativistic world would look like. 

Maybe it would be a game where the basic physics of the environment are dependent on what you believe about that world, where just changing your belief system (maybe through changing your association with different NPCs) actually changes the truth of how the world works. When the player sides with one group of NPCs in the game, then the physics of the world changes, which leads to some advantages and some disadvantages. In this kind of world, a person might just change their beliefs for the sake of convenience as easily as changing our clothes. 

 Utilitarianism - Nathan Wildman, Tilburg University 

Roughly, utilitarianism is the view that we ought to bring about the 'greatest good for the greatest number', where 'good' is characterized in terms of maximizing pleasure and minimizing pain. Pushed to its limits, utilitarianism leads to the idea that all society/individual actions should be driven by a kind of utility calculus: roughly, just plug in the relevant potential pleasure/pain values for the relevant individuals, then do whatever results in the biggest number of 'pleasure points' (and the smallest number of 'pain points') regardless of the other consequences. This often conflicts with deeply held intuitions about the value and rights of individuals.

I'd love to see this rights-utility tension played out in the game, and suspect that Cloud Chamber would do a great job with it. As for setting, one fitting option would be one based on Industrial Revolution Britain. You could have a utility-focused AI running on Babbage's Difference Engine, installed in a version of Bentham's panopticon, controlling society and dictating how people should behave, poor children working 18 hours days in smoke-filled factories, old money conflicting with the nouveau riche... The options are endless!

 Virtue ethics - Shelby Moser, University of Kent 

Philosopher Robert Nozick once claimed that if you were given the option to plug yourself into a "machine that would give you any experience you desired", you would ultimately reject the offer, still preferring the unpredictable experiences of real-life instead of guaranteed pleasurable sensations simulated by a machine, suggesting our well-being and desire for meaning are comprised of more than just pleasure.   

Many different worlds could explore the concepts brought forward by that thought experiment, but it would make the most sense to incorporate both 'real' and 'virtual' NPCs belonging to the game world who become friends (and enemies) of the protagonist. This sets interesting moral dilemmas, including opportunities where the player, after cultivating various relationships, must decide if they should save a bio-organic friend over a robot friend, or whether they prefer the 'real world' versus simulated environments in the game world. 

Perhaps players have an opportunity for the character to create virtual realms and NPCs in-game, thus making them reflect on the ethics behind virtual creations. Such questions would be interesting for a video game such as BioShock to explore because they allow the player, knowingly or unknowingly, to 'do' philosophy as they play.

Artificial intelligence - Jere Surber, University of Denver 

So far, BioShock has explored ethical, economical, political, and finally metaphysical themes, so it seems like the next logical step would be some combination of multidimensionality and artificial/super intelligence; Are we living in a digital simulation? How would we know? And what difference would this make?  

As far as setting, it could maybe involve time travel or parallel histories via the form of multi-settings where events in one dimension may somehow influence events in another or not. I teach a course called 'Extreme Philosophy", and have a module on this exact topic that is always popular, so it seems like a good case study for a video game. 

 Communism - Joshua Horn, University of Wisconsin 

In the first game, they brilliantly explored themes in objectivism and the worship of human excellence (understood in one way) under the sea. In BioShock Infinite, they explored jingoism and the worship of American founding fathers as deities in the sky. Both of these are far right political utopian ideologies (of different kinds, to be sure), but those themes are in some sense intuitively absurd and scary. 

If I were the developer, I would swing the other way and try to problematize different leftist utopian themes. How would people in this new city act if they shared everything in common and possessed no private property? How would people behave if they weren't worshipping… anything? In other words, where do we find values if not in humans or the divine? 

 Eugenics - James McBain, Pittsburg State University 

I take the core of the BioShock series to revolve around the issue of freewill, personal choice and its connection to social responsibility in a political-ideological setting. Each game has been eerily apt to describe a past social dynamic at just the moment that the current US has faced such thinking from often powerful voices in the country. I thus think it would be perfect for the next BioShock story to explore the ethics and social problems of eugenics. 

While many games attempt to address eugenics, it often lacks sufficient reflection on what it wants to say. But BioShock could take previous attempts to justify the American eugenics movement of the late 19th/early 20th century, and juxtapose it with the future use of biotechnology.

This would allow the player to move through social movements of history (e.g., social Darwinism of the "gilded age" in the US) while asking the player to think about one's future decisions and what we owe our children and future generations in terms of health, wellbeing, biological prosperity, and the past dangerous reasoning of one's community members being a biological "burden" on others. This would preserve the retro-futuristic character that has always defined the series, but also address a current pressing issue. 

 Ecofascism - Rick Elmore, Appalachian State University  

I think that the next logical step is to take place under the backdrop of a failed attempt to deal with the climate catastrophe and the rise of an ecofascist society. Whether this is framed as a failed experiment, or one that has been successful but has a dark underside, I think that this theme would let the game explore not only the political ideology of fascism but also political ecology. It would allow for the continued exploration of the link between questions of freedom, economics, nationalism, racism, etc., which all the games explore, but would also add questions of speciesism, globalization, transhumanism, posthumanism, and the limits reality puts on the possibilities of human society. 

As in all the games, I think the question of resistance would also be important. How did we get here? What could have been done differently? What chance is there to avoid this outcome? The BioShock games have always been great on these points, and I think this framing would allow for all of that to continue.  Since the theme I'm suggesting is a bit more global than previous installments, there is a lot of potential to have the setting change as one plays through the game. I think that some of the most interesting political philosophy being done at present asks how we humans are going to have to change in order to remain a viable species on this planet, and it would be great to see the BioShock series tapping into this work.

Democracy – Stefan Schevelier, Radboud University

Obviously there is more than one way Cloud Chamber could go, but as a political philosopher I'd like to see the new BioShock take on our ideas about democracy. That concept is so fundamental to the self-understanding of Americans that it is the perfect 'ideology' to examine in the next game. 

I imagine a game that magnifies our hopes and dreams about democracy and ask the player 'How can a people rule, if so many people are happy to be ruled by others?', 'How does my individual freedom relate to that of other people (players)?', 'How does my agency relate to that of the group?', or Rousseau's famous problem, 'Is democracy even meant for fallible beings like us?'. The first setting that comes to mind is ancient Athens, or a town hall meeting in the New England colonies, but I'm sure the developers can come up with something more interesting. In any case, the game should be about a man, who uses a lighthouse, to get to a city where every form of individual choice is supplanted by democratic decision-making.

Utopianism – Christopher Yorke, Open University

Imagine if the setting of BioShock's new installment was a functioning utopia, rather than some twisted nightmare world. Further: imagine that the protagonist's main goal were to minimize their own impact on that environment, in order to conserve as much of the utopia as possible. That would open up a ton of novel game design space, and would count as a story not read before.

Or, stranger yet, imagine an anti-dystopia wherein diabolical and tyrannical fiends are plotting their worst against the honest citizenry of their society in the hollow center of the Earth, but the results of all of their actions inadvertently make life better for everyone they intend to torment (a possible variant on The Good Place). Now picture that the protagonist's duty was to protect these inept fiends at all costs against their own self-destructive practices, for the overall good of the greater society, who rely on the unintentionally nourishing fruits of their ill-intended labors. This would be a genre-busting development worth looking forward to, rather than yet another run-and-gun in an abandoned amusement park.

For more, check out the biggest new games of 2020 and beyond still on the way, or watch below for our latest episode of Dialogue Options.

With so much history behind the sky city of Columbia, it would be impossible for the game to pack everything into the main story, which is why the BioShock Infinite telescopes and kinetoscopes are handy for fleshing out events and giving you extra information from the past. Kinetoscopes show you old timey video reels of significant historical happenings, while telescopes let you scope out symbolic city landmarks. Of course, there's also the bonus of unlocking the "Sightseer" trophy or achievement once you've peered through all 37 unique eyepieces, so read on and we'l show you how to find all of the BioShock Infinite telescope and kinetoscope locations.

Note: There are some kinetoscopes which appear more than once in the story – we've included them all for completeness but marked in italics any which you should have already collected if you're following this guide from the start.

• BioShock Infinite Infusion locations
• BioShock Infinite voxophone locations

New Eden Square

New Eden Square - "Father Comstock's Gift of Prophecy"

Take a right at the massive statue to enter Hudson's Suit Cloaks. Your first Kinetoscope is on the left side of the counter.

New Eden Square - "Beware the False Shepherd"

After the parade goes by, cross the bridge and follow the stairs to spot this poster. Next to it is another Kinetoscope.

New Eden Square - Telescope #1

After the boy gives you a telegram, head left to find the Telescope. Use if for a nice view of Monument Island.

New Eden Square - "The Envy of All His Peers"

Just before entering the Fairgrounds, you'll head up a set of stairs to find Jeremiah Fink peddling his wares. Opposite him is another Kinetoscope.

Comstock Center Rooftops

The Blue Ribbon Restaurant - "A Look Back at Opening Day!"
The Blue Ribbon Restaurant - "The Prophet Stands Up to Foes: Within and Without!"
The Blue Ribbon Restaurant - "We Secede from the So-Called 'Union'"

These three Kinetoscopes can't be missed. Upon entering the restaurant, the machines will be by the dining room entrance.

Comstock Center Rooftops - "Danger on All Sides!"

Just after exiting the Montgomery Residence, head right and go past the Dollar Bill vending machine. Behind the tent in this back area is another Kinetoscope.

The Fraternal Order of the Raven - Telescope #2 

Immediately after exiting the building, hop onto the gondola to the left. At its bow, you'll find a Telescope.

Monument Island Gateway - "Uncanny Mystery in Columbia"

Immediately upon entering, turn right. This Kinetoscope rests against the wall.

Monument Island Gateway - Telescope #3

While riding your first skyline, dismount onto the archway where the enemy is firing at you. On the ledge here, you'll find another telescope.

Battleship Bay

Battleship Bay - "Battleship Bay"

After waking up on the beach, you'll soon enter a white building. Around the first corner, you'll spot this Kinetoscope.

The Arcade - "A Look Back at Opening Day!"
The Arcade - "The Prophet Stands Up to Foes: Within and Without!"
The Arcade - "We Secede from the So-Called Union"

Once you enter the Arcade proper, head toward the prize desk. Opposite it you'll find these three Kinetoscopes.

The Arcade - "Solving the Irish Problem"

Once you enter the Arcade proper, head to the other side of the Duke and Dimwit machines. Over here is a long hallway. You'll find this Kinetoscope at the end.

The Arcade - Telescope #4

This is found between stepping off the gondola and entering Soldier's Field. Look to the ledge just above the docked gondola to spot a Telescope that gives you a nice view of Battleship Bay.

Soldier's Field

Soldier's Field Welcome Center - "A City in the Sky? Impossible!"

Once you enter the main building, head right. You'll find this Kinetoscope near a model of the park.

Soldier's Field - "Mighty Songbird Patrols the Sky!"

Cross the bridge to the park proper, then make two quick left turns. This Kinetoscope stands next to the walkway you just crossed.

Patriot's Pavilion - "Who Are the Vox Populi?"

Once you enter the large courtyard area where the cops are getting a speech, enter the building to the right - this is the Patriot's Pride Pavilion. In the back of the store on the ground floor, you'll find another Kinetoscope.

Hall of Heroes Plaza - "Who Needs the Power Company?"

Once you reach the courtyard entrance to the Hall of Heroes, battle your way to the doors. Before entering, turn right to find a Kinetoscope against the wall.

Hall of Heroes

The Courtyard - "The Lamb Is the Future of Our City"

Just before entering the Gift Shop, two Kinetoscopes will be sitting on either side of the entryway.

The Courtyard - "Behold the Miracle Child! A Prophecy Is Fulfilled!"

Just before entering the Gift Shop, two Kinetoscopes will be sitting on either side of the entryway.

Hall of Heroes Gift Shop - "A City Mourns..."

This is found in the room where you fight your first Motorized Patriot. It's right in the middle of the room.

Continue to Return to Soldier's Field

Jump to Section:

• New Eden Square
• Comstock Center Rooftops
• Battleship Bay
• Soldier's Field
• Hall of Heroes
• Return to Soldier's Field
• Finkton Docks
• Finkton Proper
• Shantytown
• Return to Finkton Proper
• Port Prosperity
• Downtown Emporia
• Comstock House
• The Hand of the Prophet

• BioShock Infinite Infusion locations
• BioShock Infinite telescope and kinetoscope locations

• BioShock Infinite Infusion locations
• BioShock Infinite telescope and kinetoscope locations

Return to Soldier's Field

The First Lady's Aerodome - "A City Mourns..."

Just after you get off the gondola, you'll battle some enemies in a lobby area. Centered under the stairs is another Kinetoscope.

Finkton Docks

Finkton Docks - Telescope #5

Near the end of the zone, a Handyman will throw you onto a suspended crate. After being rescued by Elizabeth, you'll be on a new docking area. Turn around to find a Telescope that gives you a nice view of Fink Manufacturing.

Worker Induction Center - "The Path of the Vox Populi..."

The first area of Finkton Proper is the Worker Induction Center. Immediately upon entering the area, look left to spot a blue hallway. Midway down the hall is another Kinetoscope.

Finkton Proper

The Good Time Club - "Crime Comes to 'Shanty-Town'..."

Once you head up the curved stairs to enter the club proper, turn around to spot this Kinetoscope next to a vending machine.

The Good Time Club - "The First Lady"

After battling Fink's selection of minions in the main area, all the doors will unlock. In the back middle of the lower area is a newly opened hallway. At the end, you'll find this Kinetoscope.

The Good Time Club - "Gun-Smith Set Free!"

After stepping through the tear, start making your way out of the club. When you reach the entrance lobby, note that the Kinetoscope is now on the other side of the vending machine. That's because this is a different one.

Shantytown

The Bull Yard - Telescope #6

As soon as you enter the area, look up and to the left to spot a freight hook. Use it to reach the balcony above, where you'll find a Telescope along the railing.

The Bull House - "Fitzroy Spotted!"

As soon as you enter, look right to spot a desk area behind some windows. Head back there to find a Kinetoscope among the desks.

Return to Finkton Proper

On to the Factory - Telescope #7

You'll find this during the massive Vox Populi attack on the factory. After taking down the zeppelin, head up the stairs past the statue of Jeremiah Fink. At the top, turn to the center to see this Telescope. Hop on to get a view of the enormous Fink statue in the distance.

The Office of Jeremiah Fink - Telescope #8

Wait for the battle to end, then head to the edge of the platform opposite the elevator. There's a Telescope over here that will give you a nice view of the burning factories.

Port Prosperity

Port Prosperity Station - Telescope #9

Just before taking the gondola to Emporia, head to the walkway opposite the Gun Automaton tear. Over here is a Telescope that will give you a great view of the gondola's destination.

The Salty Oyster - "Lutece's Brother Arrives in Columbia!"

On your way to Comstock's house (just before entering Grand Central Depot), you'll come to a small courtyard. On the right side from where you enter is The Salty Oyster bar. Have Elizabeth pick the lock to give you access, then head to the back right of the building. Between the bathrooms, you'll find this Kinetoscope.

Downtown Emporia

Victory Square - Telescope #10

This one is easy to miss. It's just outside the gate for the path between Victory Square and Memorial Gardens.

Bank of the Prophet - "A Look Back at Opening Day!"
Bank of the Prophet - "The Prophet Stands Up to Foes: Within and Without!"
Bank of the Prophet - "We Secede from the So-Called 'Union'"

After the huge firefight in the Financial District, you'll be presented with several locked doors. The one in the central area leads to the Bank of the Prophet (you'll come here later anyway). Have Elizabeth pick it open, then head inside. Head to the lobby area to find several Kinetoscopes along the wall.

Comstock House

The Atrium - "Sunrise"

After stepping off the elevator to look for the warden's office, head left. A Kinetoscope rests against a column in this back area.

Where We Work - "Hummingbirds"

This one can't be missed - it's in the hallway on your way through Where We Work.

Where We Learn - "Battleship Falls"

Just before leaving the area for the Warden's Office, this Kinetoscope will be along the opposite wall.

The Hand of the Prophet

Comstock House Roof - Telescope #11

Just before boarding the gondola to the airship proper, look left to spot the game's final Telescope.

Jump to Section:

• New Eden Square
• Comstock Center Rooftops
• Battleship Bay
• Soldier's Field
• Hall of Heroes
• Return to Soldier's Field
• Finkton Docks
• Finkton Proper
• Shantytown
• Return to Finkton Proper
• Port Prosperity
• Downtown Emporia
• Comstock House
• The Hand of the Prophet

It can be hard to keep track of what's going on in Columbia, and the events that have lead the sky city to its current situation, which is why having a listen to the BioShock Infinite Voxophones can help fill in the blanks. There are 80 of these funky-looking recording devices hidden throughout the game, and activating them will build up a rich backstory to the events happening as well as granting you the Eavesdropper trophy or achievement once you've bagged them all. As you'd expect with collectibles, you're going to have to go out of your way to hunt down every one of them, so follow our guide to all of the BioShock Infinite Voxophone locations and complete your listening experience.

• BioShock Infinite Infusion locations
• BioShock Infinite telescope and kinetoscope locations

Welcome Center

Welcome Center - "Love the Sinner"

Once you've arrived, make a left at the large statue of Father Comstock. In this large purple room, head into the alcove in the right corner to find your first Voxophone.

New Eden Square

New Eden Square - "Undeserving"

Take a right at the massive statue to enter Hudson's Suit Cloaks. This Voxophone is behind the counter.

New Eden Square - "Everyman, All at Once"

Once the parade goes by, head up the stairs and bear left. Cross the short bridge to the garden supply store, and head to the umbrella in the back. A Voxophone lies under it.

Path of the Scroll - "For I Am Lonely, Too"

Early in the area, you'll pass a bench with a Songbird toy on it. A Voxophone also sits on the bench.

Raffle Park - "Solution to Your Problems"

After receiving your first pistol, you'll be near a vending machine. Next to it is two cages, where you'll find a Voxophone sitting on a table.

Comstock Center Rooftops

The Blue Ribbon Restaurant - "Half a Jew"

Immediately after receiving the shield upgrade, you'll enter the kitchen. This sits on the counter to your left.

Lansdowne Residence - "Otis' Nimble Fingers"

After crashing through the roof into the bedroom, head down the steps. To the right at the end of the hallway is another bedroom with a large locked chest. On the desk across from the chest is another Voxophone.

Comstock Center Rooftops - "A New Hunt!"

Just after exiting the Montgomery Household, head down the stairs to find a stage. This sits atop a small table on the left side of the stage.

The Fraternal Order of the Raven - "The Gift of the Emancipator"

Upon entering area, take a left at the statue of John Wilkes Booth. You'll find this atop the bar at the far end of the large room.

The Fraternal Order of the Raven - "The Lie of the Emancipator"

After encountering Zealots, you can find this in a pew in the center of the room.

The Fraternal Order of the Raven - "Symbols of Our Lady"

After riding the elevator, you'll be in a room with a projector. Head left to find a room full of desks. One near the back (the one with the green lamp) holds another Voxophone.

Monument Island Gateway - "Another Ark for Another Time"

Ride the skyline until you reach the top of the tower, where a gondola blocks your way. Head to the right, then turn right again to find this Voxophone atop a desk.

Monument Island

Monument Island Tower - "Tiger by the Tail"

As soon as you enter the tower proper, turn left to find a set of lockers. You'll find this inside the open one.

Monument Island Tower - "To: R. Thompson Re: Fuses"

Just after passing the three switches labeled "Siphon Passive," you'll enter a long hallway. Turn left at the first opportunity and move through the door to enter a laboratory. This sits on the desk just ahead of where you enter.

Monument Island Tower - "A Reward, Deferred"

Continue until you reach a chalkboard in front of a huge electronic device. This one is hard to miss - it's dead center on the table.

Specimen Observation - "The Source of Her Power"

This is one is hard to miss. Continue moving through the observation rooms until you spot this Voxophone on a chair near the lever.

Battleship Bay

Battleship Bay - "Born in the River"

When you wake up on the beach, there will be several red striped wagons around. Under the one by the closed stand, you'll find another Voxophone.

The Arcade - "Heaven"

After you reach the Dollar Bill vending machine where Elizabeth tosses you a coin, head straight ahead and through the double doors. You'll find a Voxophone in the wicker basket in the corner of the room.

The Arcade - "A Dog's Loyalty"

Once you enter the Arcade proper, head to the other side of the Duke and Dimwit machines. Over here is a long hallway with bathrooms. Enter the men's room on the left, and you'll find this on the desk inside.

Park Ticketing - "Take Her Alive"

After Elizabeth runs away and the cops open the gate, exit and move right. You'll find this Voxophone atop a desk.

Park Ticketing - "The Golden Path to Heaven"

Now turn around and follow the hallway left around the corner. Keep straight ahead and enter the white double doors. Follow the steps all the way down, and keep left to find a little alcove under the stairs. A Voxophone sits atop a box down here.

Soldier's Field

Soldier's Field Welcome Center - "A Place in the World"

Once you enter the main building, head left. Over here is a locked door Elizabeth can pick. Have her do so, and head to the right of the room. You'll find a bunch of guns, a locked safe, and an open safe. This Voxophone rests inside the open safe.

Soldier's Field - "I Am His Mirror"

Once you've entered the park proper, move left and enter Dimwit & Duke Ice Cream Shoppe. This sits atop a table inside.

Soldier's Field - "Viewing the Infinite"

This lies in a building across the park from the ice cream shop. When you spot Founder's Books, enter. Inside, you'll find this Voxophone atop the ledge in the back of the store.

Soldier's Field - "Never Seen the Face"

Continue to make your way to the Hall of Heroes. Once you exit the elevator, you'll be in a room with some mechanical patriot displays. In the left corner of the room is a locked door. Have Elizabeth pick it, and head to the desks in the back. A Voxophone rests atop one.

Patriot's Pavilion - "A True Soldier"

Once you enter the large courtyard area where the cops are getting a speech, enter the building to the right - this is the Patriot's Pride Pavilion. Climb the stairs to the second floor, and you'll find a Voxophone along the railing.

The Fellow Traveler - "Vox Contraband Inventory"

Exit the Patriot's Pavilion and enter the building across the street - this is the Fellow Traveler. Head to the back left of the bar to find the kitchen. Hanging on a cabinet in here is another Voxophone.

The Fellow Traveler - "Their Sun Is Setting"

On the other side of the bar, you'll find the bathrooms. Inside one, a Vox Populi cipher is scribbled onto the wall. Elizabeth can decode this, but you'll need a code book to do so.

The code book is found in the cannon on the ground floor of Patriot's Pavilion. The code book is found in the cannon on the ground floor of Patriot's Pavilion. Grab it, return to the cipher, and activate the hat in the next bathroom to open a secret chamber. You'll find this Voxophone on a table inside.

Hall of Heroes Plaza - "A Final Stand"

As soon as you arrive via the skyline, head down the stairs to the docked airship. Inside the bow of the ship is another Voxophone.

Continue to Hall of Heroes

Jump to Section:

• Welcome Center
• New Eden Square
• Comstock Center Rooftops
• Monument Island
• Battleship Bay
• Soldier's Field
• Hall of Heroes
• Return to Soldier's Field
• Finkton Docks
• Finkton Proper
• Shantytown
• Return to Finkton Proper
• Port Prosperity
• Downtown Emporia
• Comstock House
• The Hand of the Prophet

Hall of Heroes

Hall of Heroes - "Comrades of Necessity"

Once you enter the Hall of Heroes, follow the hallway as it heads left to reach the dead ticket taker. Just a little further is a door. Head through, then immediately cut left to find this atop a desk.

The Murder of Our Lady - "Unconditional"

As soon as you enter this diorama, make a right. This sits atop a chair near the faux fireplace.

Return to the Courtyard - "A Soldier's Death"

During the battle with Slate, some soldiers will burst through a Shock Jockey door on the ground level of the battle area. Enter the door and go to the back of the room to find a Voxophone atop the desk.

Return to Soldier's Field

Return to Soldier's Field - "Calling You Out"

Once you've gained the Shock Jockey power and returned to the main area of the park, look for the large hotel in the middle of the area. Attach to the hooks above and use Shock Jockey on the power sphere to open the doors. Inside, follow the rooms to the bloodied bed where a Voxophone sits atop the sheets.

Finkton Docks

Beggar's Wharf - "God's Blueprint"

Once you arrive, make a left to spot the red brick building labeled "Delivery Center." Enter and move left to find a pair of desks with a Voxophone between them.

Fort Franklin - "Shame of My Service"

Once Elizabeth is snatched up by the cops, you'll need to find another way in. Instead of heading right, look left to find a series of desks. This rests atop one of them.

Worker Induction Center - "A Product Like Any Other"

Quite soon after starting the zone, you'll spot a large glass containment area. Inside, a Voxophone rests on a desk.

Worker Induction Center - "Seed of a Lie"

Proceed until you head to the lower area to access the service elevator. When you reach the elevator, look for the green lockers. Inside the open door is another Voxophone (Elizabeth will later single this spot out as Slate's locker).

Finkton Proper

Plaza of Zeal - "The Invisible Color"

Once you step off the elevator and into Finkton, you'll be in the Plaza of Zeal. Head to the far back right, beyond even the double doors marked "Shantytown." In the farthest part of the area, you'll find this against a crate.

Plaza of Zeal - "A Truer Allegiance"

Once you step off the elevator and enter Finkton, you'll be in the Plaza of Zeal. Turn right, head forward, and turn right again to find some docks. Over here is a locked door Elizabeth can pick. On the far wall inside is a Vox Populi code.

Continue on your adventure until you reach the Good Time Club. In the lower rooms, Elizabeth will point out Chen-Lin's prison cell. In the very next room, the code book for Vox Populi spot rests on a stack of posters for Chen-Lin's shop. Pick it up, and return to the spot in the Plaza of Zeal. The secret safe will contain a Voxophone.

The Great Chen-Lin, Gunsmith and Machinist - "We've Need of a Shepherd"

Just before entering the shop proper, look to the counter near the entrance to spot this Voxophone.

The Good Time Club - "Changing My Tune"

After battling Fink's selection of minions in the main area, all the doors will unlock. The main curtain will also rise, so head back there to find the backstage area. You'll find this on a mirror desk back here.

The Good Time Club - "His Design for Cruelty"

Proceed through the level until you reach the prison area below. In the room immediately after the projector screen, you'll find this atop a stool.

Shantytown

The Graveyard Shift - "Fanning a Flame"

Once you step off the elevator into the Bull Yard, head straight forward until you reach the Graveyard Shift bar. Enter and head down to the basement. On the other side of the wooden shelf near the guitar, you'll find this Voxophone.

The Bull Yard - "Trapped"

During the huge firefight before entering the police station, pay attention to the skylines. One runs higher than the others, and it loops behind a building. Ride that one to the rear of the building and hop off. You'll find a Voxophone back here.

The Bull House - "That Goddamn Key"

Once you enter the police station proper, head upstairs. In the center is a large area filled with desks. Head to the back left office to find this next to a locked chest.

The Bull House - "Terminated"

On the main floor of the station, head to the back left corner to find the interrogation room. Near a series of lockers sits another Voxophone.

The Impound - "Kindling"

As you ascend the stairs after stepping through the tear, you'll spot this on a desk on your way back from Chen-Lin's tools.

Return to the Bull Yard - "That Eternal Shore"

When you leave the police station, you'll be in an alternate version of Shantytown. Return to the Graveyard Shift bar to find a dead Handyman outside. In its grasp is another Voxophone.

Return to the Graveyard Shift - "Drawing Dead"

Now enter the bar proper and approach the counter. You'll find a new Voxophone here.

Return to Finkton Proper

Return to the Great Chen-Lin, Gunsmith and Machinist - "All Debts Paid"

When you ride the elevator up from Shantytown, you'll be in a third version of Finkton you haven't yet seen. Cross the Plaza of Zeal to Chen-Lin's shop and enter to find a new Voxophone by the newly blocked door.

Office of Jeremiah Fink - "A Child Needs a Protector"

Once you've stepped out of the elevator and cleared the room, head to the right of the locked door. In front of the small chalkboards lies another Voxophone.

Office of Jeremiah Fink - "Apology"

After the huge gunfight in the outer area, you'll have access to the central tower. Enter and head through the double doors on the right to find this Voxophone on the floor.

Port Prosperity

Port Prosperity Station - "Coming for Comstock"

Once you disembark from the gondola, follow the path to the hallway with two discarded trunks. Atop one lies a corpse (in front of the window that reads "The founders will bleed!"). Next to it, you'll find another Voxophone.

The Salty Oyster - "One and the Same"

On your way to Comstock's house (just before entering Grand Central Depot), you'll come to a small courtyard. On the right side from where you enter is The Salty Oyster bar. You'll have to have Elizabeth pick the lock to enter, and you won't be able to find the room where this Voxophone waits until you find the "Sally" Voxophone.

Once you do so, you'll learn about the switch by the cash register. Hit that switch to open a kitchen area. In here, you'll find this Voxophone in a bucket.

Grand Central Depot - "Whispers through the Wall"

Once you enter the area, prepare for a large firefight. When things die down, head to the left of where you entered the area to find the door to a ticketing office. Head inside, then follow the room to another door. In here, a Voxophone rests atop a stack of crates.

Founder's Books - "A Window"

Just before heading through the turnstile to exit Grand Central Depot, look for a blue hallway under the bridge. At the end is a locked door Elizabeth can pick. Have her do so, and enter the store - Founder's Books. Once you enter, look right to spot this Voxophone on a countertop.

Founder's Books - "Sally"

Now head to the basement. After taking out the Vox Populi that come in after you, look for two green sofa couches in the middle of the room. This sits on an end table near them.

Continue to Downtown Emporia

Jump to Section:

• Welcome Center
• New Eden Square
• Comstock Center Rooftops
• Monument Island
• Battleship Bay
• Soldier's Field
• Hall of Heroes
• Return to Soldier's Field
• Finkton Docks
• Finkton Proper
• Shantytown
• Return to Finkton Proper
• Port Prosperity
• Downtown Emporia
• Comstock House
• The Hand of the Prophet

Downtown Emporia

Financial District - "A City, Suspended"

This area will present you with a huge firefight and several locked doors. Have Elizabeth pick open the door on the highest platform. In here, you'll find a Voxophone among some crates.

Harmony Lane - "Beyond Redemption"

Harmony Lane* is clearly marked by a locked gate in the Financial District. Proceed until you spot an open shop under a piece of cover Elizabeth can tear. Enter and head to the basement to find a few more Vox Populi. Nestled in a shelf near them is another Voxophone.

*Note: After the battle in the Financial District, you can take either Harmony Lane or the Market District to reach the Comstock House. We recommend using the Harmony Lane route, as you must enter the Market District later in the game anyway.

Downtown Emporia - "The True Color of My Skin"

Proceed down the Harmony Lane route until you spot a store beside a large green awning. Have Elizabeth pick the lock, then head inside to find this on the main counter.

Magical Melodies - "Out of the Thin Air"

This can be found on the path from the Market District.* Just before entering Victory Square (alternatively, before entering Memorial Gardens to find Lady Comstock's crypt), a building hovers next to a split sidewalk. Hop into the hole in the wall to get inside. In here, a Voxophone rests atop a piano.

*Note: After the battle in the Financial District, you can take either Harmony Lane or the Market District to reach the Comstock House. We recommend using the Harmony Lane route, as you must enter the Market District later in the game anyway.

Victory Square - "Pen Pal"

You can't miss the memorial to Lady Comstock in this area, but you could miss the Voxophone hidden there. It's next to her portrait by the candles.

Laboratory Lutece - "Child of Science"

Once you open the first tear on the ground floor, this will appear on the floor in the same spot.

Laboratory Lutece - "On the Entropy of Genes"

Connected to the room with the first tear is a kitchen. You'll find this on a covered table inside.

Laboratory Lutece - "A Theory on Our 'Death'"

Now head upstairs to the bedroom. This lies between the bed and the nightstand.

Bank of the Prophet Main Hall - "The Imagination of God"

Rather than heading down into the vault, head down the hallway to the opposite area. In the back, under the bloody words that say "Hoarder," is a Vox Populi cipher written on a notepad.

The code book for this cipher is just inside the entrance to the Market District from the Financial District. In this spot is an open store called Hudson's. Head to the basement to find the code book atop a shelf in the corner room. Now return to the cipher and use the typewriter to open a secret chamber containing a bunch of goodies, including this Voxophone.

Bank of the Prophet Vault - "No Longer"

When you reach the second tear, head to the back left of the area. Behind a small safe, you'll find this Voxophone.

Bank of the Prophet Vault - "A Broken Circle"

This appears on the statue behind the second tear.

Cunningham Photography - "The Customer Is Late"

This appears on a desk behind the third tear.

Comstock House

Her Loving Embrace - "A Leash"

Once you call the elevator for the warden's office, you'll spot this one on the floor inside.

Where We Weep - "The Value of Choice"

Once you enter the lab area with green lighting (Where We Lie), look left to spot a morgue area. Head there, and you'll find a Voxophone in the coffin nearest the incinerator.

Where We Work - "Debts"

Before leaving this area for the Atrium, head to the back of the room. You'll find this one a table back here.

Security Center - "A Last Chance"

Upon entering, you'll be on the lower level of the office. In a smaller corner office - the opposite corner from where you entered - is a projector. This Voxophone lies next to that projector.

Warden's Office - "Smothered in the Crib"

This is one is easy to spot. Once you reach the office proper, it will be sitting in the wooden chair by the switch you need to throw.

Atrium - "Ending It"

This appears in the elevator when leaving the area.

The Operating Theater - "Pavlov's Bell"

After freeing Elizabeth, head to the locked door in the back of the area - this leads to the way out. Before leaving, have her pick the locked door opposite this one. Head up the stairs to find a bunch of goodies atop a desk, including this Voxophone.

The Hand of the Prophet

Comstock House Roof - "An Ultimatum"

During the massive firefight up here, you'll notice a large locked door on your way to the airship. Have Elizabeth pick the lock once the fighting ends, and enter. Head left and through the doors to find another Voxophone atop a stack of papers.

The Hand of the Prophet - "What's Done Is Done"

At the center rear of the second deck is a locked door - it's marked by a sign that says "Engineering." Have Elizabeth pick it, then head straight ahead (around the headless patriot) to find a Voxophone atop a table.

The Hand of the Prophet - "The Mirror of Sin"

After confronting Comstock, head up the right staircase and enter the first door you come to. This is Comstock's office. In here, a Voxophone sits on his desk.

The Hand of the Prophet - "The Prophet Is Dying"

The next door on the walkway leads to Comstock's bedroom. The game's final Voxophone sits on Comstock's bed. Congratulations – you've found all of the BioShock Infinite Voxophones.

Jump to Section:

• Welcome Center
• New Eden Square
• Comstock Center Rooftops
• Monument Island
• Battleship Bay
• Soldier's Field
• Hall of Heroes
• Return to Soldier's Field
• Finkton Docks
• Finkton Proper
• Shantytown
• Return to Finkton Proper
• Port Prosperity
• Downtown Emporia
• Comstock House
• The Hand of the Prophet

As you journey and battle your way around Columbia, you're going to rely heavily on your health, shields, and salts to get you through – the good news is you can boost Booker's levels of those three qualities by consuming BioShock Infinite Infusions. Each of these magical bottles you find will let you choose one ability and let you upgrade it a maximum of ten times, so finding all of them will really give you a competitive edge over your enemies, as well as unlocking the "Infused with Greatness" trophy or achievement in the process. If you want to push your stats to the limit, follow our guide to all of the BioShock Infinite Infusion locations and you'll be stronger than ever!

• BioShock Infinite telescope and kinetoscope locations
• BioShock Infinite voxophone locations

Comstock Center Rooftops

Lansdowne Residence - Infusion #1

After crashing through the roof into the bedroom, follow the stairs and hallway. On the right at the end is another bedroom. Inside you'll find a locked chest, which holds your first Infusion. The key is found near the second Infusion.

The Fraternal Order of the Raven - Infusion #2

After encountering the Zealots, you'll find this power up at the altar in the center of the room. Grab the key at the same altar. Now you'll be able to backtrack to the locked chest and grab Infusion #1.

Monument Island Gateway

Monument Island Gateway - Infusion #3

Ride the Sky-Line to an upper platform with a telescope on it, then head inside and around to the right to find Infusion #3.

Monument Tower

Monument Island Tower - Infusion #4

Continue until you reach a chalkboard in front of a huge electronic device. Between the chalkboard and the desk lies another Infusion.

Battleship Bay

Park Ticketing - Infusion #5

After Elizabeth runs away and the cops open the gate, exit and follow the hallway around the corner to the left. Make another left to enter the ticketing office. You'll find this power up on a desk in the middle of the room.

Soldier's Field

Soldier's Field Welcome Center - Infusion #6

Once you enter the main building, head left. Over here is a locked door Elizabeth can pick. Have her do so, and head to the back of the room. You'll find an Infusion on a desk.

The Fellow Traveler - Infusion #7

Across from Patriot's Pavilion is the Fellow Traveler. Head to the back right to find the bathrooms. Inside one, a Vox Populi cipher is scribbled onto the wall. Elizabeth can decode this, but you'll need a code book to do so.

The code book is found in the cannon on the ground floor of Patriot's Pavilion. Grab it, return to the cipher, and activate the hat in the next bathroom to open a secret chamber. You'll find this Infusion on a side table inside.

Hall of Heroes

Hall of Heroes - Infusion #8

As you make your way through the stage, Slate will speak over the intercom and send some soldiers through a set of double doors to attack you. Enter the room they came from and head to the back. You'll find an Infusion back here.

Hall of Heroes Gift Shop

Return to the Courtyard - Infusion #9

During the battle with Slate, some soldiers will burst through a Shock Jockey door on the ground level of the battle area. Enter the door and go to the back of the room to find a toolbox atop the desk. Expertly hidden inside the toolbox is another Infusion.

Return to the Hall of Heroes

The First Lady's Airship - Infusion #10

After riding the elevator, you'll be at the airship proper. Board and turn right to find this power up on a writing desk.

Fort Franklin Pier

Fort Franklin Pier - Infusion #11

Once you are tasked with rescuing Elizabeth, move to the glass wall you saw her through. There are two doors in this hall that lead to a jail cell area. You can grab this Infusion through the bars inside.

Finkton Proper

Worker Induction Center - Infusion #12

Walk past the blocked elevators and keep left to find a locked door. Have Elizabeth pick it, and you'll find this Infusion atop a desk just right of the door.

Continue to Infusions #13-24

Jump to Section:

• Comstock Center Rooftops
• Monument Island Gateway
• Monument Tower
• Battleship Bay
• Soldier's Field
• Hall of Heroes
• Hall of Heroes Gift Shop
• Return to the Hall of Heroes
• Fort Franklin Pier
• Finkton Proper
• The Good Time Club
• The Plaza of Zeal (Return)
• Shantytown
• The Factory
• Emporia
• Port Prosperity
• Downtown Emporia
• Memorial Gardens
• Operating Theater

The Good Time Club

The Good Time Club - Infusion #13

After battling Fink's selection of minions in the main area, all the doors will unlock. Look for the one near the Dollar Bill vending machine on the lower level. In here is a large bar where the next Infusion waits.

The Plaza of Zeal (Return)

Plaza of Zeal - Infusion #14

Once you step off the elevator and enter Finkton, you'll be in the Plaza of Zeal. Turn right, head forward, and turn right again to find some docks. Over here is a locked door Elizabeth can pick. On the far wall inside is a Vox Populi code.

Continue on your adventure until you reach the Good Time Club. In the lower rooms, Elizabeth will point out Chen-Lin's prison cell. In the very next room, the code book for Vox Populi spot rests on a stack of posters for Chen-Lin's shop. Pick it up, and return to the spot in the Plaza of Zeal. The secret safe will contain an Infusion.

Shantytown

The Bull Yard - Infusion #15

Once you step off the elevator, bear left. You'll find this atop a table covered in rotten fruit, just past the sign that reads "Keep yer guns, we need food."

Bull House Impound

The Bull House - Infusion #16

Once you enter the police station proper, head upstairs. In the center is a large area filled with desks. Head to the back left office to find a locked chest. You'll need to find the keys to get the Infusion inside.

The keys can be found in the basement of the Graveyard Shift bar. The bar is a straight shot from the elevator from Finkton, so head there and descend the stairs. The keys are sitting on a barrel in the corner opposite the guitar. With keys in hand, you can return to the locked chest and claim the power up inside.

The Bull House - Infusion #17

Once you enter the police station proper, head upstairs. To the left is a locked door Elizabeth can pick. Head through to find this atop a table in the small room.

The Factory

Office of Jeremiah Fink - Infusion #18

After the huge gunfight in the outer area, you'll have access to the central tower. Enter and head through the double doors on the left to find this on a table by the window.

Emporia

Port Prosperity Station - Infusion #19

Once you enter the station, make a left at the fallen statue. Over here is a large locked gate Elizabeth can pick. Do so, and follow the hallway to the right. At the end, you'll find an Infusion in a bucket.

Port Prosperity

The Salty Oyster - Infusion #20

On your way to Comstock's house (just before entering Grand Central Depot), you'll come to a small courtyard. On the right side from where you enter is The Salty Oyster bar. You'll have to have Elizabeth pick the lock to enter, and you won't be able to find the room where this Voxophone waits until you find the "Sally" Voxophone.

Once you do so, you'll learn about the switch by the cash register. Hit that switch to open a kitchen area. In here, you'll find this power-up atop the center table.

Downtown Emporia

Market District - Infusion #21

After the huge firefight in the Financial District, you'll have several locked doors you can investigate. Head to the one clearly labeled for the Market District* and have Elizabeth pick her way through.

Follow the path until you spot Wilson Bros. & Company Bottling Works. Have Elizabeth pick the locked door, then look left to find this Infusion by the window.

*Note: After the battle in the Financial District, you can take either Harmony Lane or the Market District to reach the Comstock House. We recommend using the Harmony Lane route, as you must enter the Market District later in the game anyway.

Memorial Gardens

Laboratory Lutece - Infusion #22

Once you reach the lab, head upstairs to the bedroom. You'll find this atop a desk in the corner of the room.

Bank of the Prophet Main Hall - Infusion #23

Rather than heading down into the vault, head down the hallway to the opposite area. In the back, under the bloody words that say "Hoarder," is a Vox Populi cipher written on a notepad.

The code book for this cipher is just inside the entrance to the Market District from the Financial District. In this spot is an open store called Hudson's. Head to the basement to find the code book atop a shelf in the corner room. Now return to the cipher and use the typewriter to open a secret chamber containing a bunch of goodies, including this Infusion.

Operating Theater

The Operating Theater - Infusion #24

After freeing Elizabeth, head to the locked door in the back of the area - this leads to the way out. Before leaving, have her pick the locked door opposite this one. Head up the stairs to find a bunch of goodies atop a desk, including this Infusion. Congratulations – you've found all of the BioShock Infinite Infusions!

Jump to Section:

• Comstock Center Rooftops
• Monument Island Gateway
• Monument Tower
• Battleship Bay
• Soldier's Field
• Hall of Heroes
• Hall of Heroes Gift Shop
• Return to the Hall of Heroes
• Fort Franklin Pier
• Finkton Proper
• The Good Time Club
• The Plaza of Zeal (Return)
• Shantytown
• The Factory
• Emporia
• Port Prosperity
• Downtown Emporia
• Memorial Gardens
• Operating Theater

We all know how collectibles work by now, and although many of them are merely a checklist exercise that unlocks a trophy or achievement, there's much more to the BioShock 2 audio diaries than that. These hidden recordings basically reveal the entire story of the game, so if you ignore them then you're missing out on a huge part of the plot line and the reason your journey is happening in the first place. It's absolutely worth your while finding these devices in Rapture's dark corners to learn the full truth about the city’s history, including the origins of the Big Sisters, the Little Sisters, and the Big Daddies. There are 129 of them in total, which means tracking them all down yourself can become a real slog, and that's why we put together this guide to every one of the BioShock 2 audio diary locations so you can get the full story.

• BioShock 2 tips
• BioShock 2 Power to the People weapon upgrade guide

BioShock 2 Audio Diaries: Adonis Luxury Resort

Audio Diary #1 – “Attention Workers!”

Located in the large pool room where you first see a Big Sister. On the left side of the room, right next to the sparking generator that you use to restore power.

Audio Diary #2 – “Fitness”

Inside the locked steam room. Just use the code written on the window to enter.

Audio Diary #3 – “To My Daughter”

After restoring power and entering the unlocked area, you’ll walk by two restrooms. The audio diary is at the back of the women’s, or “Dames,” room.

Audio Diary #4 – “Return”

Inside the room with the wading pool and fancy arched bridge. Find the corner with the “Best and Brightest” poster and look on the bench below for the audio diary.

Audio Diary #5 – “They Called It Rapture”

Before moving into the room with the Little Sister, go through the door marked Rapture Metro. The audio diary is on the floor with some teddy bears. The other end of this hallway holds a body with “Stay Away” graffiti scrawled above it.

Audio Diary #6 – “Generation”

Following the first Big Sister fight in the spacious foyer, check the corner of the bar for this audio diary.

Audio Diary #7 – “Escape from Rapture”

During the first underwater walking segment, watch your left for a crashed bathysphere pod. It’s right before the Adonis pillar forces you to jump. Search the corpses inside to grab the audio diary.

BioShock 2 Audio Diaries: The Atlantic Express

Audio Diary #1 – “The Great Chain Rattles”

You’ll enter a large station and watch as a train car falls to the ground. To the left of that wreckage is a door leading to a Train Workshop. The audio diary is on a desk inside.

Audio Diary #2 – “Mr. Tape Recorder”

Once you’ve obtained the Telekinesis plasmid, return to the area where you emerged from the water. Next to those steps is a huge fan, with the audio diary hidden behind it. You’ll need to use your newfound power to pull the diary towards you.

Audio Diary #3 – “Just a Fad”

On an upper balcony lined with gas tanks. The game is strongly suggesting that you use your newfound Telekinesis power to throw those tanks at a gathering of Splicers below. Before doing so, grab the audio diary off the drafting desk.

Audio Diary #4 – “What Happened to the People?”

This audio diary is in the second large train station – the one in which the train car doesn’t fall to the ground. To the right of that train car, up some stairs and near a mattress, is the tape.

Audio Diary #5 – “Ryan vs Lamb: Reality”

Go to the very back of the cafeteria, past the kitchen with the burning stoves. The audio diary is in a dark storage room with windows looking out on water.

Audio Diary #6 – “Know the Beast”

Once you’ve removed the wrench from the gears using Telekinesis, a big door will open. Go through and turn left, circling through some short hallways back towards the room with the gears. Along that path is the audio diary.

Audio Diary #7 – “Improving on Suchong’s Work”

Upon exiting the lengthy elevator ride, you’ll be in a room with Trap Rivets. Up some stairs and to the left is a Manager’s Office with the audio diary tucked in a filing cabinet.

Audio Diary #8 – “The Situation”

Talk to Tenenbaum, then fight off the Splicer group attack. Before leaving on the train, however, search the benches for an audio diary.

BioShock 2 Audio Diaries: Ryan Amusements

Audio Diary #1 – “Eleanor’s Progress”

This one’s hard to miss. It’s part of the “We Will Be Reborn” candle altar as you make your from the train station into the park.

Audio Diary #2 – “The Old Sheepdog”

In the security basement, immediately before you remote hack through a broken window to gain access to the park ticket.

Audio Diary #3 – “Volunteer”

The middle of the Rapture Museum, beneath a bench that is directly between the doors to the Gift Shop and to the Hall of Future.

Audio Diary #4 – “Eat Dog”

Can’t miss this one. It’s in the same gift wagon as the Drill Power tonic Eleanor leaves for you.

Audio Diary #5 – “’Child’ and Guardian”

Located near the far windows of the El Dorado Lounge, where you fight your first Big Daddy.

Audio Diary #6 – “You, Me, and 1959”

Before entering the Journey to the Surface ride, head to the Ride Maintenance room on the left for this audio diary.

Audio Diary #7 – “Escape Plan”

On floor next to the second harvest corpse.

Audio Diary #8 – “Lamb the Problem, Sinclair the Solution”

Across from the last audio diary is a pile of crates with an Eve Hypo, .50 Caliber Rounds and another audio diary. It’s right behind some falling water, and also near a large neon arrow sign that says “Conformity & Co.”

Audio Diary #9 – “Truth is in the Body”

This one’s well hidden. Near “Chaos Corner” and just a bit before the second Andrew Ryan robot is a stairway leading to a series of balconies overlooking the track. Diary is on a workbench between two of those balconies. If you reach the Scientist and Artist animatronic dioramas, you’ve passed the staircase and should go back.

Audio Diary #10 – “Deterioration”

To the right of the animatronic scene with the parents and child is a storage room full of giant hands. Climb the one in the center as if it were a ramp and you’ll find the audio diary on an upper balcony. (Thanks to reader “EngieIndeed”)

Audio Diary #11 – “Working for Sinclair”

Past the animatronic scene with the parents and child watching television is a water-filled room with a Power to the People weapon upgrade station. In a room to the right is an ammunition vending machine and the audio diary.

Audio Diary #12 – “Doctor Lamb”

Near the end of Journey to the Surface, under a security camera, is a Ride Maintenance passage with a Bot Shutdown panel. Continue in here and to the left to find a door covered in wooden boards. Break the boards with melee to reveal a hidden room with the audio diary.

Audio Diary #13 – “Efficacy”

At the end of Journey to the Surface is a miniature lighthouse scene. The door to your left holds a pile of rubble and an audio diary.

Audio Diary #14 – “Dating Tip”

You might have noticed this door before entering Journey to the Surface. Once you’ve opened / unlocked all maintenance doors in order to exit Journey to the Surface, this door will finally open. Head inside for the audio diary.

Audio Diary #15 – “A Father’s Love”

Halfway through the Hall of the Future, next to a Vita-Chamber.

Audio Diary #16 – “Cutting Corners”

Back of the Gift Shop, near a safe.

Audio Diary #17 – “Rapture is Deliverance”

Restroom of the Gift Shop… “Dames” side. You have to Electro Shock the locked door to enter.

Audio Diary #18 – “Disappeared”

Trapped in ice near the beginning of the level. Once you have the Incinerate plasmid, you can melt the ice and get it.

Audio Diary #19 – “Wooden Nickels”

When Sinclair boards the train, you’ll be attacked by a Splicer swarm. Finish them off, then look for a newly opened door to the left of the previously frozen door. It was locked when you were here before. Inside is an audio diary – make sure to grab before leaving the level.

Jump to Section:

• Adonis Luxury Resort
• The Atlantic Express
• Ryan Amusements
• Pauper's Drop
• Siren Alley
• Dionysus Park
• Fontaine Futuristics
• Persephone Outer
• Inner Persephone

BioShock 2 Audio Diaries: Pauper's Drop

Audio Diary #1 – “Ryan vs Lamb: Religious Rights”

Inside Marlene’s Flower Emporium.

Audio Diary #2 – “Better Times with Lamb”

On the ceiling of Marlene’s Flower Emporium. Access this area by climbing the wooden ramp at the back of the Fishbowl Diner, then crossing the roof and another wooden ramp.

Audio Diary #3 – “Wrong Side of the Tracks”

The front office of the Sinclair Deluxe. You can collect this audio diary before clearing the Brute Splicer’s debris.

Audio Diary #4 – “The End of the Line”

At the makeshift altar to Prentice Mills, in the corner of the large Downtown area with the upended train car.

Audio Diary #5 – “Clinic Code at the Fishbowl”

Sitting right outside the door to Fontaine Clinics, below the code input.

Audio Diary #6 – “Camera in Hock”

On the desk of R. Flanagan. His office is on the second floor of the Hamilton.

Audio Diary #7 – “Arrangements”

After exiting the top floor of the Hamilton, on your way to the Pawn Shop, you will encounter another Little Sister altar full of blue butterflies. The audio diary is there.

Audio Diary #8 – “Therapy With Grace 1”

Before dropping through the hole in the roof of the Pawn Shop to get the research camera, cross the wooden walkway to the Luxury Rooms. An audio diary is here.

Audio Diary #9 – “Blood and Lamb”

Go to the “Books” store in the Skid Row section of the level. The door will be locked until you access and hack through a hole in the back of the neighboring Pharmacy.

Audio Diary #10 – “Mole”

The Skid Row section of this level has a hallway connecting the Pharmacy and Books area to the Limbo Room area with the researchable Brute Splicer. In the middle of the hallway, with a dead Big Daddy and a bunch of fire, is this audio diary.

Audio Diary #11 – “Sunday Services”

Next to the harvest corpse in the upper apartments of Skid Row. Same room as a record player and Tonic.

Audio Diary #12 – “Pauper’s Drop”

In a hidden room off the roof of the Pharmacy. Get there by taking a wooden walkway from the Skid Row apartments where you got the last audio diary.

Audio Diary #13 – “Closing the Limbo Room”

Grace’s dressing room in the Limbo Room.

Audio Diary #14 – “A Gift From Lamb”

Bathroom at the back of Room 106, which is on the first landing (second floor) of the Sinclair Deluxe. Go here before heading down the long, dark hallway.

Audio Diary #15 – “Profit Coming, Profit Going”

Before moving to the second landing (third floor) of the Sinclair Deluxe via a collapsed floor ramp, head right and go up some stairs. You’ll find yourself above the room with the sacrificial corpse and Little Sister vent. Jump across to grab the audio diary.

Audio Diary #16 – “Where Has Harry Gone?”

An apartment room with a safe and turret, on the second landing (third floor) of the Sinclair Deluxe.

Audio Diary #17 – “The Butterfly”

Right before climbing to the third landing (fourth floor), you should notice this blue-hued butterfly room. The audio diary is inside.

Audio Diary #18 – “What A Snap”

On the third landing (fourth floor) balcony. Opposite end as Grace’s apartment door.

Audio Diary #19 – “Barbarism”

Tucked under Eleanor’s bed in Grace’s apartment.

Audio Diary #20 – “Failing Lamb”

Lying on Grace’s bed in her apartment.

Audio Diary #21 – “Field Trial #1”

While escaping Pauper’s Drop after dealing with Grace, kill the Brute Splicer you encounter in the Fishbowl Diner area. Search his corpse for an audio diary.

BioShock 2 Audio Diaries: Siren Alley

Audio Diary #1 – “A Silent God”

Hanging next to the painting of the first BioShock’s plane crash. On your left as you enter Little Eden Plaza from the airlock.

Audio Diary #2 – “Misbehaving”

The counter of the Poisoned Apple bar in Little Eden Plaza. To get inside, you must climb up any of the nearby staircases and drop through the roof.

Audio Diary #3 – “The Rumbler”

Inside the restroom of the Mermaid Lounge, under a mound of frozen ice.

Audio Diary #4 – “Plasmid Shipment”

On a table in the slot machine room. Upper floor of Mermaid Lounge.

Audio Diary #5 – “Farther to Fall”

Right next to the Mermaid Lounge’s weapon upgrade (Power to the People) station. To access, go upstairs, shoot a hack dart through the bar window to unlock the door and drop through the hole in the floor.

Audio Diary #6 – “’Father Simon Wales’”

In an office on the first floor of the Pink Pearl brothel.

Audio Diary #7 – “Double Standard”

Second floor of the Pink Pearl, in the central room with the bed, dead hooker and purple flickering light.

Audio Diary #8 – “Wales ‘an Wales”

Daniel Wales’s desk on the highest floor of the Pink Pearl. His office is next to the hole in the floor that Daniel drops through.

Audio Diary #9 – “The Date is the Code”

Search Daniel Wales’s corpse after defeating him.

Audio Diary #10 – “Lamb’s Salvation”

Outside the entrance to Plaza Hedone, propped next to the door you’ve spent the first half of this level trying to open.

Audio Diary #11 – “The Pair Bond Mechanism”

In Plaza Hedone, the second shopping center of Siren Alley. Near the door to the Little Sisters Orphanage, as well as a Gatherer’s Garden and security camera.

Audio Diary #12 – “Bury Her Memory”

Second level of Plaza Hedone, in a northwestern room with a desk and a fridge.

Audio Diary #13 – “The Requirements of Utopia”

In the southwest, ground-level corner of Plaza Hedone are two small alleys that meet in a loop. One side of this loop drops down to a watery sewer with a Vending Expert tonic hanging from a noose… and the audio diary right after that.

Audio Diary #14 – “An Empty Niche”

Find the illegal plasmid lab by hitting the “conspicuous switch” at the Green Grocery. At the very back of this area, in a dark room with dead bodies in bathtubs, you’ll find the audio diary on a table.

Audio Diary #15 – “Lamb’s Operation”

Located in the smugglers’ hideout, which is above the Green Grocery, past a turret and through a steel door. Most any walkway on the 2nd or 3rd levels of Plaza Hedone will lead you to this area eventually.

Audio Diary #16 – “My Name is Eleanor”

Last bunk bed in the group sleeping quarters of the Little Sisters Orphanage.

Audio Diary #17 – “Shackled to the Great Chain”

Enter the first part of Pump Control Substation #5. On the upper level, in the northwestern corner, is a locked office. Hack the door through the grate and grab the audio diary.

Audio Diary #18 – “Guidance of Lamb”

At the candle altar, before heading into the “Temple of Lamb.” It’s underneath the paintings of the first BioShock protagonist’s hands.

Audio Diary #19 – “Therapy with Grace 2”

In the last hallway before Father Wales’s church, there’s a door on your left leading to Sofia Lamb’s office and a Power to the People weapon upgrade station. The audio diary is tucked in a filing cabinet.

Audio Diary #20 – “The Creed of the Faithful”

At the main altar of Father Wales’s church, beneath the large painting of the butterfly-headed woman. Grab before the place floods.

Jump to Section:

• Adonis Luxury Resort
• The Atlantic Express
• Ryan Amusements
• Pauper's Drop
• Siren Alley
• Dionysus Park
• Fontaine Futuristics
• Persephone Outer
• Inner Persephone

BioShock 2 Audio Diaries: Dionysus Park

Audio Diary #1 – “Patronage”

Fight the first Houdini Splicer in the large room with the covered statues. East of that room, in the area that leads to the exit staircase, is the audio diary.

Audio Diary #2 – “A Gift From Billy”

Climb up the stairs to exit the first big room with the covered statues and Houdini Splicer encounter. Before leaving through the door here, however, continue back down the stairs on the other side. This way ends with rubble, but also the most unlistenable audio diary in the game.

Audio Diary #3 – “Lamb’s Time is Over”

When you use Billy’s code to unlock the door above, you’ll find a rose (aww), a weapon upgrade station and another audio diary.

Audio Diary #4 – “Lamb’s Idea of Art”

In the room after climbing a frozen stairwell, but before reaching the carousel. Some Splicers will be arguing over a ruined vending machine. The audio diary is at the feet of one of the statues.

Audio Diary #5 – “Lost and Found”

Center of the carousel.

Audio Diary #6 – “Lamb Flouts the System”

In the arched promenade that connects the three artistic areas. The audio diary is near the central statue, tucked under a fallen trash can.

Audio Diary #7 – “Learning Poker”

Head to the Triton Theater, then to the basement lounge. At the back, through a locked door that you must hack open, is this audio diary.

Audio Diary #8 – “Growing Up”

In the Triton Theater, follow signs up to the Projection Booth. Across from the booth room’s door is a pile of rubble with the audio diary.

Audio Diary #9 – “A Spy”

The edge of the theater balcony.

Audio Diary #10 – “A Secular Saint”

Go through the door to the left of the theater screen. The audio diary is at the end of the hallway.

Audio Diary #11 – “The Voice of the Self”

On the piano in the Piano Bar.

Audio Diary #12 – “Falling Into Place”

Inside the frozen Imago Gallery, near the Little Sister vent in the back. You’ll have to thaw some ice to grab the audio diary.

Audio Diary #13 – “Gotta Keep It Together”

Back of the J. Fischer Gallery, next to the Drill Specialist tonic.

Audio Diary #14 – “Dionysus Park’s Weakness”

In the first room of Basement Storage. Climb up the short stairs on either side and you’ll find the audio diary propped against a flooding door.

Audio Diary #15 – “A Plan”

At the very end of the level, in the newly opened security booth with Stanley Poole.

BioShock 2 Audio Diaries: Fontaine Futuristics

Audio Diary #1 – “Alone at Last”

Walk through the first door of this level and the audio diary is immediately to your left.

Audio Diary #2 – “Agnus Dei”

Pretty sure you won’t miss this one. It’s the password from Gil Alexander that you use to progress through the level.

Audio Diary #3 – “Means of Control”

After “Alex the Great” prevents you from accessing the security office, a door will open behind you leading to the rest of the level. The audio diary is on a couch immediately upon entering this door, to the right of the “Fired” corpse hanging from the wall.

Audio Diary #4 – “Prototype”

When you’re first entering the Plasmid Showroom (Fontaine’s Plasmid Spectacular Theatre), you can look through a hole in the wall and see a corpse tied to a chair with a code written in blood. Access that area and you’ll find the audio diary.

Audio Diary #5 – “Life After Sisterhood”

On the second floor of Fontaine Futuristics Tower. You’ll notice it next to the Little Sister vent as soon as you climb the central stairs.

Audio Diary #6 – “A New Cognitive Model”

In the Plasmid Presentation Room with the voice recording of the doctor talking to the patient. To get inside, go to the second floor and look for a hole torn in the wall. Crawl through, follow the passage and drop into the presentation room.

Audio Diary #7 – “Source of Volunteers”

Head to the Marketing Department of Fontaine Futuristics – the area with the Splicer board meeting that comes to life. The room to the left of this area is flooded with electrified water. The audio diary is on one of the submerged desks.

Audio Diary #8 – “Goodbye to Fontaine”

Inside the Office of Frank Fontaine. Turn the boar head to reveal a hidden safe, as well as this audio diary.

Audio Diary #9 – “Abort the Experiment”

After shutting down security and entering the Plasmid Laboratory, this table with an audio diary and Big Daddy helmet will be immediately upon your left. If you enter another underwater section, you’ve gone too far.

Audio Diary #10 – “Solving for X”

Under one of the circuit breakers you use to restore power in Gil Alexander’s giant tank room.

Audio Diary #11 – “Gil’s Place in the Plan”

Next to the Gatherer’s Garden in Gil Alexander’s giant tank room.

Audio Diary #12 – “Outlived Usefulness”

“Pacification Chamber” side of the laboratory. On the control deck of the observation room.

Audio Diary #13 – “Goodbye, Dr. Alexander”

“Holding Cells” side of the laboratory. Below one of the Little Sister vents… on your map, it’s the left vent in this area.

Audio Diary #14 – “Big Sister”

“Holding Cells” side of the laboratory. Next to the Power to the People weapon upgrade station in the locked Surveillance Office.

Audio Diary #15 – “Betrayal”

“Holding Cells” side of the laboratory. Below your feet in the Live Test Facility is a hallway full of prison cells. The northwestern cell (when looking at the map) contains the audio diary, but is also frozen shut. Go through the back of the northeastern cell and Incinerate the ice through the bars.

Audio Diary #16 – “Meltzer’s Choice”

“Holding Cells” side of the laboratory. When you kill the Big Daddy in this area, make sure to search his corpse carefully. There’s an audio diary with a nasty surprise.

Audio Diary #17 – “The People’s Daughter”

Use the genetic key at the Oxy-Fill station to open the entrance to Lamb’s hideout. The audio diary is in the hallway leading to the level-ending elevator.

Jump to Section:

• Adonis Luxury Resort
• The Atlantic Express
• Ryan Amusements
• Pauper's Drop
• Siren Alley
• Dionysus Park
• Fontaine Futuristics
• Persephone Outer
• Inner Persephone

BioShock 2 Audio Diaries: Persephone Outer

(Note: These audio diaries are categorized under “Lamb” in the Messages section of your menu.)

Audio Diary #1 – “Selling Ryan Short”

Before reaching the Control Room with Eleanor’s cell, you’ll pass by a couple of examination rooms with banks of television monitors facing chairs. The audio diary is near the Little Sister vent here. You’ll wake up in this room later, so don’t worry if you miss it at first.

Audio Diary #2 – “Withholding Visitation”

After you pull the lever in Sofia Lamb’s office, continue down the hallway past the bookshelves. The audio diary is sitting on this chair at this desk. If you start climbing a long set of stairs, you’ve gone too far.

Audio Diary #3 – “Blessing in Disguise”

In a toy submarine to the left of the red Dr. Alexander statue.

Audio Diary #4 – “Behind Mother’s Back”

On the same desk as the Big Sister helmet you acquire for Eleanor.

Audio Diary #5 – “Freeing Father”

Check behind Eleanor’s bed when you’re bringing her the three pieces of the Big Sister suit. Do so before giving her the pieces.

BioShock 2 Audio Diaries: Inner Persephone

(Note: These diaries are categorized under “Persephone” in the Messages section of your menu.)

Audio Diary #1 – “Out With the Old…”

In the same room (Security Checkpoint A) as the panel you hacked through a broken window. Once you’ve unlocked the doors, just make sure to circle back around to this area through the glass tunnels before hitting the Prisoner Admittance Button.

Audio Diary #2 – “The Definition of Despair”

One of the cafeteria tables near the window.

Audio Diary #3 – “First Two Digits”

The next six audio diaries are located in the Holding area where you fight Sinclair. This one is on the upper level, in a Cell Block D toilet.

Audio Diary #4 – “A Trade”

Also in Cell Block D. This time, in the cell next to the turret.

Audio Diary #5 – “No More Hope Left”

Search the hanging corpse in Cell Block B, which is only accessible through a hole in the wall of Cell Block C.

Audio Diary #6 – “A Generous Offer”

In Block A, first cell on the left as you enter. There’s a corpse stuck in a wall hole.

Audio Diary #7 – “Last Two Digits”

Lower level of the Holding / Sinclair area. Follow the signs to Cell Block South Quad and look for the dark cell in the corner. The audio diary is through the glowing hole.

Audio Diary #8 – “Magic Sauce”

Inside the locked security tower with Sinclair.

Audio Diary #9 – “Legs, Mouths, Arms, and Eyes”

The next five audio diaries are located in the Therapy section of Persephone. This one is in the Recreational Therapy room, where you’ll see a Splicer painting. Behind her is a corpse lying on a couch. Search the body for the audio diary.

Audio Diary #10 – “A Simple Question”

Across from the Recreational Therapy room is the Intensive Therapy room. The audio diary is near one of the electric chairs.

Audio Diary #11 – “Destructive Learning”

Also in the Therapy section. Before heading down the hall to the Pediatric Ward, check the door you see above, surrounded by falling water. The audio diary is inside.

Audio Diary #12 – “Sacrifices”

Also in the Therapy section. Follow the signs to the Administration Office and, once there, go through the first door you see to find this room full of white cabinetry.

Audio Diary #13 – “A Stratagem for Sinclair”

Also in the Therapy section, on the bottom floor of the Administration Offices. Look left of all the Pneumo mail tubes.

Audio Diary #14 – “Such Freedom”

The final four audio diaries are located in the Infirmary section of Persephone. To grab this one, follow the signs to Ward A. You’ll pass through a long hallway with hospital room doors on either side. The last room on the left, next to the window, holds the audio diary.

Audio Diary #15 – “My Prison”

The Quarantine Area of the Infirmary. The audio diary is in the same room as the Power to the People weapon upgrade station. To get the door open, look for a switch on a column… but beware, hitting the switch will release two Alphas from their padded cells.

Audio Diary #16 – “They Feel Pain”

The Surgery section of the Infirmary. Located in the dark room with all of the bizarre X-rays on the wall.

Audio Diary #17 – “Alleviating Pain”

The Autopsy section of the Infirmary. On a draining table in the middle of the dark room, behind the hanging doctor corpse. Congratulations, you've found all of the BioShock 2 audio diary locations!

Ready for a new adventure? Good news – the next BioShock game is officially in the works from a brand new studio at 2K Games.

Jump to Section:

• Adonis Luxury Resort
• The Atlantic Express
• Ryan Amusements
• Pauper's Drop
• Siren Alley
• Dionysus Park
• Fontaine Futuristics
• Persephone Outer
• Inner Persephone

BioShock is back. The beloved first-person shooter series is officially returning with another installment from Cloud Chamber Studio, a new team at 2K headed up Firaxis Games' alumnus Kelley Gilmore, alongside several key members of BioShock's original development crew. This is big, big news for BioShock fans, who've been waiting for the arrival of a new chapter for over half a decade since the release of 2013's BioShock Infinite. 

While specifics of where and when this new BioShock game will take place are light (although you could certainly interpret Cloud Chamber's logo as a potential setting tease), we got to speak with Gilmore about what this next chapter might look like in the hands of her talented team. We touch on everything, from next-gen to the question of Ken, so read on for everything you need to know about this surprise new chapter in 2K's acclaimed shooter series.

What was it that drew you to this opportunity to lead Cloud Chamber on the development of a new BioShock project?

Kelley Gilmore: I've had a wonderful gaming career in the 2K family through my 18 years at Firaxis. When the company decided to make the next BioShock and started assembling a new team, I was thrilled to be asked to consider leading the studio. The chance to shepherd such an iconic franchise and become the first woman to lead a studio for the company was exciting, a bit daunting, and an opportunity of a lifetime. I'm incredibly grateful and honored to be in this position and look forward to building the next great 2K studio. 

What does BioShock mean to you, and how does that inform the kind of new BioShock experience you want to make at Cloud Chamber? 

Gilmore: BioShock defined what a compelling narrative and immersive world can bring to a video game. Players interact with it in their own unique ways and have unforgettable experiences. That will remain at the core of our design vision for the next BioShock, and we have a myriad of ideas on how best to achieve it. 

Why is now the right time for a new BioShock game? 

Gilmore: 2K has been thinking about extending the BioShock franchise for some time. The company has a stable of great studios that are already dedicated to working on some amazing games. When the decision was made to make the next BioShock, 2K began assembling a new group of talent to make it happen. 

It's been awhile since the last release, but BioShock is still one of the most popular, critically praised and highest-rated franchises of the last console generation. The franchise has a lifetime sell-in of over 34 million units, and Cloud Chamber is honored and excited to create the next great game in the series. 

Bioshock has famously dissected different philosophical theories through its storytelling. Is this a tradition you plan to continue and, if so, is there any particular subject matter you'd like to explore? 

Gilmore: Narrative has been one of BioShock's most notable strengths throughout its history. We already have several amazing storytellers on our team who will have much more to share down the road about where we're taking the next game. 

How do you think your previous work at Firaxis might influence this new instalment of Bioshock? 

Gilmore: Firaxis has been recognized over the years as one of the best video game developers in the world, as well as a wonderful place to work. In my time there, I gained a very important understanding of what makes it great, and that's putting people first.

Steve Martin and Sid Meier have created a place where people genuinely enjoy coming to work every day, and as a result, the studio continues raising the bar on making amazing games that we all want to play. My nearly two decades working on Firaxis' award winning AAA franchises like Sid Meier's Civilization and XCOM have prepared me well for the exciting challenges ahead of us at Cloud Chamber.

How do you hope or plan to utilise next-gen technology to enhance and further explore the core pillars of BioShock?

Gilmore: One of the great things about our industry is how much it evolves on a regular basis. We constantly have new technology and innovations to explore, as well as expanding ways to reach and interact with our fans. We can't discuss any specifics yet, but we're excited about the possibilities. 

A lot has changed since BioShock: Infinite, most notably with the growth of live service games focused around replay value and online interaction. Is this something you've considered for this new project? 

Gilmore: This is another area of our industry that continues to evolve as players are looking for more from their gaming experiences. There isn't a 'one-size-fits-all' solution, so it will be incredibly important early in our development process to listen to our audience and understand what they're hoping to see in the next BioShock. 

How important was it to bring back many of those involved in the original creation of the BioShock series for the development of this next iteration? 

Gilmore: We're excited to have some BioShock DNA in our roots. Several members of our team played key roles in other BioShock titles and are now leading development at Cloud Chamber, including Hoagy de la Plante (Creative Director), Scott Sinclair (Art Director) and Jonathan Pelling (Design Director). 

Our team also has game development veterans from high profile franchises like Call of Duty, Assassin's Creed, Star Wars, Battlefield and Walking Dead. As part of our recruiting efforts, we're looking for people from many different backgrounds and experiences. I'm confident that the depth and variety of game development experience at Cloud Chamber will lead to another unforgettable BioShock experience. 

Have you considered consulting Ghost Story Games, and particularly Ken Levine, to assist in the formulation of this new story?

Gilmore: Ken and his team at Ghost Story Games are fully engaged in developing a new experience that will surely be another incredible game for all of us to enjoy. He is not affiliated with Cloud Chamber or the development of our BioShock title. 

So far, the BioShock series has submerged itself underwater and risen above the clouds. How challenging is it to land on an equally inspired setting for the next chapter? 

Gilmore: Environments have played a critical role throughout BioShock history and are incredibly important to the gameplay experience. There are many creative directions to explore, but you'll have to wait a bit longer to see where we go next.

Check out the biggest new games of 2019 and beyond still on the way, or watch the video below for our latest episode of Dialogue Options. 

“Would you kindly?” On the surface, it was always a simple quandary to wrestle with. We answered the call dutifully, locking ourselves into a wicked sense of forward momentum at the whim of an omnipotent narrator, pushing ourselves ever deeper into a submerged metropolis steadily taking on more and more water. But, as BioShock players would soon discover in the autumn of 2007, the question itself was loaded. A smoke-and-mirrors tactic that has come to define a certain era of first-person shooters – particularly in the hearts and hands of console-bound gamers.

One of the greatest magic tricks game developers ever pulled off was making it feel as if you ever were free inside of their worlds. There is, in any player-driven narrative experience – be it linear or otherwise – merely the illusion of choice and control. The medium is inevitably limited by the amount of content a team is able to create and implement; making players believe that they have even the slightest amount of influence on how events and story unfolds is all a part of a good narrative. BioShock turned this on its head entirely. It turned a trusted narrator against us; it forced us to confront the relationship between the sentience of the protagonist and the invisible guiding hand of the developer.

While the late game twist forced players to consider their own agency – to weigh up the numerous violations of trust and our inherent inability to question them throughout – the world of Rapture is appropriately established to drive reactive player emotion from the moment that the bathysphere first opens its doors. It’s a beautiful, wondrous place; its rusting 1950s aesthetic inviting us to explore the chaos beneath the waves, begging you to hope that the wrench you get your hands on will one day have another use besides beating in skulls – that perhaps by the end of this you can restore Rapture to its former glory. But soon that feeling is replaced with something else entirely: oppressive, aggressive fear. As, one by one, the layers are peeled back on the city, its citizens and the dark politics fuelling the disarray, any hope you have is quickly replaced by a desire to escape it all as quickly as humanly possible.

On your way to freedom, guided by the warring of words between Atlas and Fontaine, empathy with the citizens of Rapture is established, largely through environmental storytelling. It’s the first of many emotional tethers Irrational Games creates throughout the experience as it builds towards its twist reveal. While this manifested itself in fairly rote fashion – rooting through bins and listening to scattered audio diaries across the world – it helped the world feel real, like it had existed before you arrived and that it would continue to be after you eventually left it all behind. Forcing you to empathise with the very villains you were so intent on crushing only made the emotional moments – between deciding whether you would save the tortured Little Sisters or harvest them for resources – all the more impactful. 

Deep seas, and an even deeper game 

BioShock brought the immersive sim to console in a way that we hadn’t quite experienced before. The game does invariably share its DNA with the likes of System Shock and its sequel, on which director Ken Levine first cut his teeth, and that ensured that BioShock had a prociency to its core systems lost on many other genre games of the time. The feel of the weapons, their combination with the array of otherworldly Plasmids at your disposal, was a real delight. 

The action was fast and kinetic, but nuanced enough to let us experiment with the tools you had found along the way – the enemy AI smart and aggressive, the depth to the combat system only expanding the further you dared push it. Seeing a Big Daddy wade into battle was forever a thrill, particularly as the various warring factions would converge as if by completely accident. BioShock offered some of the biggest thrills the infant console generation had seen, and its impact on the story-driven shooter is difficult to quantify.

Its lacklustre ending aside, BioShock was able to convincingly tell a story that any other medium would struggle to deliver. Irrational capitalised on the strength of the interactive format and delivered a narrative that is as challenging as it is unique; in playing with perception, trust and consequence, BioShock made players more aware of their agency than ever before. To be betrayed by your own actions – your own lack of awareness or perception – was startling. The action and combat sublime, the character development and world-building unrivalled.

A decade on and it’s as wonderful today as it was then; BioShock is a startling example of what can be achieved when a bold vision is achieved wholeheartedly by a group of passionate creatives. 

This article originally appeared in GamesTM magazine. For more great coverage, you can subscribe here.

You may think you have a tight grip on the storyline threaded through your current game, but things are not always as they seem and developers love pulling the rug from under you to subvert your expectations. From fake protagonists to existential subplots, here are 10 staggering Xbox plot twists that will teach you never to trust games ever again. Spoilers incoming, obviously!

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10. Spec Ops: The Line

Spec Ops is a tricky one. Some people revere it as one of the smartest shooters ever made – others feel that the rough combat isn’t worth the emotional payoff. Even if it doesn’t cohere into something wholly satisfying, it’s still one of the most thoughtful investigations of warfare in games, based largely on Joseph Conrad’s Heart Of Darkness. Playing as Captain Martin Walker, you battle through a war-torn Dubai to reach rogue Colonel John Konrad (geddit?). When you get there, you discover that he’s actually dead and the whole thing is a figment of Walker’s damaged imagination. A smart take on how we rationalise violence in war.

9. Mass Effect

This is one of those twists that makes you want to put down the controller and give up, but in a good way. It’s enough of a shock to learn that Sovereign isn’t just a weird ship, but an ancient, implacable cosmic squid. It’s another to learn that he’s one of many, and everything every sentient creature in the galaxy does is part of a hopeless cycle of destruction. It’s a brilliant way of making you feel wholly insignificant, tempering everything Shepard does in the following games with a vivid sense of desperation. Mass Effect proves that cold indifference is scarier than pure evil.

8. Call of Duty 4: Modern Warfare

It’s hard to look at Call Of Duty 4: Modern Warfare now and imagine a time when it surprised anyone. These days it’s just immaculate multiplayer and numbing bombastics. The first Modern Warfare was different. Just as you’re getting to grips with Sgt Paul Jackson, you experience the horror of an atomic bomb firsthand. You see your colleagues wiped out before you and have to watch as Jackson slowly expires, all the while thinking that some deus ex machina will save you from nuclear annihilation. Jackson’s shock death gives a fresh dramatic impetus to the campaign that follows, and teaches you that anyone in CoD can die.

7. Castlevania: Lords of Shadow

There was something obvious missing from Mercurysteam’s superb, brooding reboot of the classic Konami adventure. Castlevania: Lords of Shadow had something capey, with fangs. As the doomed Gabriel Belmont, you emote your way through a savage fantasy storybook, accidentally murdering everyone who gets close to you. In the end, you even kick Satan’s ass, but there’s a price: after the credits roll, you learn that Gabriel has become Dracula – the very thing the rest of his offspring will spend their lives fighting – and he’s still around in modern times. Look closely and you can even see famous Castlevania boss Slogra in the carvings leading to Drac’s domain. A cool touch. 

6. Silent Hill 2

The twist in Silent Hill 2 is so good it makes all other horror games look like thoughtless, mewling chimeras. James Sunderland enters the Toluca Lake town after receiving a letter from his dead wife. What follows is a sticky muddle of confusing-sexy monsters and Freudian demons. The truth is fascinating: Pyramid Head, a bad tempered phallus in an apron, was created by James to punish him for euthanising his dying wife. The lithe, scuttling monsters are the manifestation of James’ sexual frustrations. It all ties together wonderfully, making Silent Hill seem almost benevolent in the way it forces people to confront their demons.

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5. Braid

Braid feels like scant reward for hours of thoughtful puzzle-solving, but sweet lord it’s clever. You control spongy cartoon man Tim, on a quest to rescue a princess snatched by ‘a horrible and evil monster’. As you approach the final level, you work together as she flees a presumably evil knight and helps disarm traps in your way. Except that you don’t. Reach the end and the whole scene plays in reverse, revealing that the princess is actually fleeing from Tim, laying traps to hinder him, and escaping with the gallant knight. A slightly smug twist, perhaps, but what do you expect from Jonathan Blow?

4. Red Dead Redemption

Red Dead Redemption has the best post-final boss section of any game, ever. Except that Dutch isn’t the final boss – returning to your family is, and it’s a fight you can’t win. The final hours of Red Dead show a glimpse of the life John Marston has been struggling to preserve, before it’s ripped away when he’s gunned down by the people who he’s been helping. You take control of his son Jack in the epilogue, leaving you with a challenging decision: do you avenge your dad and go down the very path he died trying to protect you from?

3. Bioshock

It’s easy to now scoff at anyone making a ‘would you kindly?’ reference, but few who played Bioshock saw this one coming. It’s brilliant because everything around it connects and confuses. Rapture becomes a more threatening and alien place when you realise you’ve navigated it according to the whims of someone you can no longer trust. Ten years on and the specifics of who’s doing what to whom have blurred, but the impact on player agency remains strong.

2. Knights of the Old Republic

Few twists hit as hard as this, and it’s all down to the perfect pacing of Knights Of The Old Republic. By the time you start your Jedi training, you feel like you’ve already had an adventure. You’ve met dashing hero Carth Onasi; you’ve ‘rescued’ Bastila Shan; you’ve fought crime lords and won Swoop races. You’ve probably lost loads of credits playing Pazaak, too, but let’s not talk about that. The threat of Darth Malak, and the lingering evil of Darth Revan, make your newfound powers feel unwieldy and precarious.

Then, just as you begin to understand who you are and what you’re doing, the truth is revealed. You’re Revan, dreaded Dark Lord of the Sith, turned from the Dark Side and stripped of your memories. Do you revert to your old ways, or fight evil despite the deceit of your allies? It’s a fantastic moment that’s wonderfully veiled, which changes what you do and how you treat your companions. It’s the most nuanced and thoughtful examinations of the Light and Dark Side in games, and a powerfully memorable twist.

1. Metal Gear Solid 2

Every Kojima game could be on this list, but MGS 2 gets the nod because of the immaculate construction and sheer, yes-I’m-actually-doing-this brio of it. Back in 2001 anyone with a passing interest in Metal Gear played the demo, in which you infiltrated a tanker as Solid Snake. It was brilliant. You could smash bottles, hold up enemy soldiers, shoot fire extinguishers – the works.

Imagine the confusion, then, when people got their hands on the finished game and you were playing as waifish, nudey-cartwheeling milquetoast Raiden instead of sandpaper-rugged Snake. It’s delicious. No other developer would have the audacity to pull off such a twist, and we’ll never see anything like it again. Even as you reach the end of the game and Snake reappears, there’s a lingering sense that you’re being toyed with, because... well, you are. Perhaps not the most enjoyable twist on this list, but certainly the most cerebral.

This article originally appeared in Xbox: The Official Magazine. For more great Xbox coverage, you can subscribe here.

BioShock is still such an iconic game - the Little Sisters, the Art Deco style, the unforgettable plot twist - that it's hard to believe it's been a whole damn decade since we first went to Rapture. Publisher 2K is doing a few things to mark the occasion: a party at the upcoming Seattle gaming event PAX West, a new YouTube channel, and a $200 BioShock 10th Anniversary Collector’s Edition that makes other special editions look like Happy Meals. 

For your cash, you get all three remastered BioShock games (BioShock, BioShock 2, and BioShock Infinite), all the various bits of DLC, and an 11" collectible Big Daddy and Little Sister statue. It lights up, the drill moves, and it speaks lines of dialogue from the game. We might never get another BioShock game, but at least you can relive moments from the games while sat at work forever more. Or until Steve in accounting complains and has you fired.

You can pre-order the Anniversary Collector’s Edition now at the 2K Store or at GameStop, and it's available in PS4 and Xbox One flavors. If you don't have $200 in Rapture dollars lying around, then keep an eye out: 2K is promising retailers will be having their own anniversary deals for the BioShock Collection. 

As for Ken Levine, one of the driving creative forces behind BioShock? He's fielding fan congratulations on the anniversary on social media and hinting at his next project: a top secret game from his new studio Ghost Story Games. 

With 2016's BioShock Collection comes the opportunity to revisit arguably the most interesting series to ever grace Xbox. Even when a BioShock game is flawed – because of annoying pipe puzzles, having to retread a setting or an exhausting boss fight with a ghost lady – it’s always worth talking about. But it also gives you the chance to play BioShock Infinite’s superior DLC, which unfortunately got a little lost in the Xbox generation gap. If you’ve been wishing for a fourth game but have never played Burial at Sea, the good news is you basically have one.

To summarise the end of Infinite, (and there are obviously spoilers coming) Elizabeth kills her father, Booker DeWitt, after learning that he and Father Comstock, villain and founder of the floating city of Columbia, are one and the same person (from alternate timelines). Following his grim participation in the Battle of Wounded Knee, Booker undergoes a baptism ritual, where he must choose between being reborn as Comstock or rejecting God. Elizabeth drowns Booker before either reality comes to pass. In Burial at Sea, the Elizabeth you spent hours with in infinite comes to kill the last Booker, who’s been hiding in the underwater city of Rapture.

What happens over the next seven to eight hours connects the timeline of Infinite to that of the original BioShock in a way that’s considered controversial among many fans. A DLC that begins with allusions and references to the events of the first game soon becomes a full-on prequel. But I don’t think you should overthink whether Burial at Sea is meant to be canon or not. Instead, it should be taken as what it is: the most lavish and novel piece of fan service ever created for a game, and a chance to revisit an iconic setting and fight colourful villains. What could be better than that?

Burial at Sea’s second chapter also has the best gameplay outside of the sandbox combat options presented in BioShock 2. It retools Infinite’s relentless shooting into a proper stealth game, where Elizabeth has to avoid the gaze of enemies and use her tools to get the better of them. I can fire a noisemaker dart against a wall, drawing splicers to its location, then follow up with a gas dart, dropping them all, or a blast of ice so I can shatter them with the wrench. Figuring out the best ways to use these tools becomes more like a puzzle than an FPS, and I’m actively engaging with it in a way I couldn’t while spamming vigors at enemies in Infinite. It’s tightly put together and a lot of fun, and makes me think Infinite could’ve benefitted from the option to approach most areas in Columbia in stealth. That, and removing the whole ghost lady bit, which was rather turd.

Andrew Ryan, Rapture’s creator, makes scarce appearances in Burial at Sea - a wise creative choice, maintaining his mystique. The best sequence sees him appearing motionless on a black-and-white screen in the lab of Dr Suchong, who created the Plasmids special serum in BioShock. He threatens Elizabeth and sends in his forces to deal with her. I fail it five times, until I learn the exact combination of possession traps and surprise Old Man Winter freeze attacks that get me the drop on Ryan’s men. It’s moments like this, where Elizabeth has to survive a collapsing dystopian landscape with just basic tools, and without Booker or her powers, that Irrational Games really shine.

As for the ending, Jack’s arrival in Rapture is largely down to Elizabeth’s own actions in the DLC’s second chapter. She’s blackmailed into working with Atlas, the so-called ‘hero of the people’ and Ryan’s enemy in the war for the city. We, as players of the original BioShock, know who he is and what he wants. Atlas – who, in a nice touch, reverts to his real American accent when blinded with rage in Burial at Sea’s finale - gets his ‘ace in the hole’ to help him win whatever is left of Rapture. Like us, Elizabeth knows he’ll ultimately fail.

So, is that really how it happened? Were Booker and Elizabeth really in the background of the first game in some small way? It can be if you want it to be, but I don’t think so. I think Burial at Sea should be enjoyed as a ‘what if?’ scenario, a comic book-y mash-up designed to please people invested in the two worlds of these games.

It would feel hackneyed for me to tie this into Infinite’s ‘there’s always a lighthouse’ possibilities conceit, so I won’t, and I’m sure tons of dweebs have already pointed that out. But I will say this: don’t waste time thinking about whether Burial at Sea is canon, and instead take it as the ambitious and surprising farewell that the BioShock series deserves.

This article originally appeared in Xbox: The Official Magazine. For more great Xbox coverage, you can subscribe here.

Ask people which of the BioShock games is best and, increasingly, they’ll choose BioShock 2. At the time of its release, however, it was met largely with indifference. People felt it was retreading old ground, telling the story of a city that had already been told perfectly. Nobody really wanted it. But time has been kind to 2K Marin’s sequel. As I replay it I’m surprised by how well it holds up – and how, in many respects, it’s a much better game than its acclaimed predecessor. Maybe people are right; maybe it is the best one in the series.

In BioShock we visited the underwater city of Rapture in the wake of a civil war, and the place was just about hanging together. Eight years later, in BioShock 2, it’s really falling apart. The ruins are being reclaimed by the sea, with leaks springing from every surface, and the Splicers – hocked up on the superpower-granting ADAM substance – are even more feral and violent.

Returning to the same location does BioShock 2 no favours. It means the sequel can’t hope to recreate that feeling of exploring a completely new place, the likes of which you’ve never seen in a game before. I still get goosebumps during the bathysphere descent at the start of the first game; as the introductory movie featuring Rapture’s founder, Andrew Ryan, slides away, the stirring music swells and the city is revealed in all its glory. In the sequel it feels too familiar.

But at least you get a new perspective on the city this time. That’s partly because you play as a Big Daddy – not one of the lumbering, groaning diving suits you fought in the first game, but Subject Delta, an early, experimental version who is more capable in combat and can think for himself. That’s a dangerous combination, as icy new villain Sofia Lamb discovers after she tries – and fails – to have him killed.

You also get to explore new parts of Rapture. While BioShock took you on a tour of the wealthy, high-class areas – including the adult playground, Fort Frolic – the sequel reveals its darker, dingier corners. You visit Pauper’s Drop, a bleak housing estate built for the working class, and Siren Alley, a shrine to gambling, booze and prostitution. After all, even idealistic cities under the sea need a seedy underbelly.

A new hero, new locations and a distinctly more dilapidated look can’t help you shake the feeling you’ve been here before though, because, well, you have. While the fresh levels, from Dionysus Park to Fontaine Futuristics, are superbly designed and reveal more about the stricken underwater city’s fascinating politics, history and culture, it’s in the moment-to-moment play that BioShock 2 really shines. Fundamentally, this is a much more satisfying shooter, thanks to one important tweak: you can now dual-wield plasmids and weapons. Simultaneously firing my gun and flinging balls of fire at Splicers is something I always wanted to do as Jack, and it’s brilliant. And instead of a rusty old wrench, Delta uses the famous Big Daddy drill-arm as a brutal melee weapon, giving you combat that’s weightier and... crunchier.

As Delta you can adopt a Little Sister. The girl will sit on your shoulder until she spots a corpse, then she’ll begin extracting ADAM from it. The smell of the magical red gene-juice attracts nearby Splicers and they attack in frenzied waves, but you get a couple of minutes to prepare, by hacking security turrets to turn them friendly or laying traps near doorways.

These sections are fantastic, because they let you experiment with the game’s systems, encouraging you to use as many plasmids and other abilities as possible. Watching your perfectly orchestrated traps, turrets and buzzing security bots deal with the Splicers as they charge towards your Little Sister is a great feeling, although eventually you have to wade in, drill swinging. You can avoid these sections altogether – they’re an optional way to get more ADAM – but they bring out the best in the combat.

BioShock 2 is a fantastic game, but it stands in the shadow of one that made a much bigger impact on the world. Because the story never reaches the same heights and the setting packs less of a punch, it’ll never be as fondly remembered as the original, which is a shame.

So is it the best BioShock? Maybe. While none of its story shocks match the legendary “Would you kindly...” reveal and it doesn’t have any levels as good as the sublime Fort Frolic, its focus on the Big Daddies and Little Sisters – specifically Subject Delta and Eleanor – makes for a much more human, heartfelt story. And mincing up Splicers is so much more fun.

This article originally appeared in Xbox: The Official Magazine. For more great Xbox coverage, you can subscribe here.

The complete BioShock saga is now backwards compatible on Xbox One, meaning you can now fire up your copy of BioShock, BioShock 2, and/or BioShock Infinite on your fancy new Xbox One. This could inspire those who held onto their Xbox 360 copies to take another tour of Rapture and Columbia, and give those who bought BioShock: The Collection maybe just a teensy bit of buyer's remorse.

The addition of the BioShock trilogy also puts the list of games that are backwards compatible on Xbox One over 300. Considering that the program launched mid-November of last year, that's a pretty impressive rate of games being converted; almost one per day. Of course, there are more than 1,100 Xbox 360 games in existence (and that's not even counting download-only titles), so there's still quite a ways to go.

Maybe by the time you've replayed all three BioShocks there will be something new to take up your time all over again?

Seen something newsworthy? Tell us! 

Ah, my first day with PlayStation 4 – the agonising wait for the DHL van, the behind-the-telly swearing during setup... and then, I fire up my new console, only to be greeted by an empty games library. Thank God for that Knack pack-in.

If I’d bought myself a new PC, the situation would have been very different. The purchase of a new gaming rig isn’t just an opportunity to play new games – it’s also a chance to revisit your vast library of purchased titles and give that shiny new graphics card a workout by cranking up every visual preset you can find. Buying a new PC setup injects new life into your games library, rather than wiping it out entirely.

Exactly why loyal PlayStation owners shouldn’t be afforded the same treatment is something of a mystery to me. If I’ve purchased Heavy Rain and Beyond: Two Souls for PS3, why should I have to fork out so much money to run them on my PlayStation 4? Unfortunately, it’s a situation that shows no signs of changing any time soon.

If publishers really want to repackage their ageing wares in the hopes of a second sale, it’s about time they started offering something beyond the basic HD spit-and-polish. After all, anyone purchasing a new PC is already able to boot up their older games at higher resolutions, and they don’t have to pay a penny for the privilege. Instead, console remasters should aim to bring something new to the table: bonus features, development commentaries and documentaries... perhaps even playable pre-release prototypes that provide fans with a reason to get excited over a re-release.

And, in fairness, some companies are beginning to realise this. The recent Bioshock: The Collection, for example, offers not only the trilogy of games alongside all accompanying DLC, but also a digital ‘museum’ of canned content and a suite of developer commentaries. Instead of a hasty repackaging, it offers an attempt to provide fans with a window into the games’ creation. And ultimately, that does more than any swanky visual touch-up to get me excited about a return to Rapture.

This article originally appeared in Official PlayStation Magazine. For more great PlayStation coverage, you can subscribe here.

BioShock: The Collection is released today but, sadly, we didn’t receive review code in time to publish a verdict. In any case, based on our extensive hands-on with BioShock: The Collection at GamesCom 2016 the games are essentially the same, bar the obvious visual upgrade and the addition of DLC – although it isn’t quite the shooter your remember. 

Is BioShock: The Collection Worth Buying?

You can split that decision into three groups, depending on your exposure to the series:

1) If you've never played a BioShock game before, this is nigh-on an essential purchase – at least two of the games are classics, and the third is ambitious, if divisive. 

2) If you've played some of the games, but missed an entry or some of the DLC, it's slightly harder to blanket recommend, so the original reviews below may help your decision. 

3) If you've played every game, and every DLC pack, then this is only worth buying for the visual upgrade which, again, you'll need to make your own peace with. Our suspicion is that nicer visuals alone aren't enough to warrant a re-purchase, but it all depends on your price sensitivity.

You can find a list of everything in BioShock: The Collection package here, but it's basically the three main games, with all their DLC (but no BioShock 2 multi-player mode), remastered in 1080p, with a bonus director's commentary.

We’ve listed our original review of each game in the collection below, and some further reading if you want to explore the mythology, universe and creation of this acclaimed series. When we’ve had time to play more of BioShock: The Collection, we’ll be updating this article with how the visual upgrades affect the experience (if at all) plus any performance issues worth flagging. 

BioShock

Review Published: August 15th, 2007 Rating: 5/5 

“BioShock's story is the best we've witnessed on this console generation to date. The concept, characters and pacing are all leagues above the competition; the genuinely shocking twists are worthy of a feature film. Unlike a movie, however, the experience here is always a personal one – a quest of discovery, a search for identity. Most remarkably, while the answers you desire do exist, the game does not give them away easily. You can play through once, neglecting a particular audio tape or scratched message on the wall, and miss an entire layer of the plot. The more time you give to BioShock, the more it rewards you” 

Read our full BioShock review here.

What we say now:
Time hasn't dimmed but magnified BioShock's bravura introduction (one of the finest game openings of all time, alongside Half-Life, Kingdom Hearts and Uncharted 2), and peerlessly realised universe – even if the mechanics don't quite measure up to today's expectations.

Further reading:
– The 29 best pieces of BioShock fan art

BioShock 2

Review Published: Feb 9th, 2010 Rating: 5/5 

“Is it better than BioShock? We never, ever imagined we’d be writing this, but… yes. In some fairly significant ways, including combat diversity, enemy variety, character depth and emotional attachment to the story, BioShock 2 is superior to BioShock 1. Plus, fans’ biggest criticisms of the original – the pipe hacking and the sagging third act – have been addressed and fixed for this sequel.  But in many ways, the first BioShock can never be surpassed. Everything – the world, the philosophies, the surreal oddity – was new then, and unlike anything we’d experienced before. BioShock 2 can only hope to match that genius. Fortunately for us, it succeeds.” 

Read our full BioShock 2 review here.

What we say now:
Looking back, critical opinion seems to have shifted from people whispering that BioShock 2 might be the best in the series, to that view almost becoming accepted as de facto. 

Further reading:
– BioShock 2 Minerva’s Den DLC review
– BioShock 2 was almost a semi-prequel hybrid
– The Top 7 ways BioShock 2 is better than BioShock

 BioShock Infinite 

Review Published: Mar 25th, 2013 Rating: 5/5 

“BioShock Infinite’s narrative stretches far beyond a mere face-off between the forces serving the self-righteous Father Comstock and the freedom fighters of the zealous Vox Populi. The 15-to-18-hour campaign doesn’t limit itself to the ideas of right and wrong, or force you to make dichotomous moral choices; instead, it’s the kind of tale that subverts your expectations time and time again. Infinite deserves your attention, and it’s the kind of landmark experience that happens only a few times in a gaming generation.” 

Read our full BioShock Infinite review here.

What we say now:
The critical backlash to BioShock: Infinite was savage, interesting and – frankly – a bit OTT, but whatever you think of the game's politics, or its clearly padded third act, the opening of the game inspires wonder like few AAA games that have followed since, and the conclusion is still quite wonderful, even if it suffered under the weight of expectation.

Further reading:
– BioShock Infinite's interesting parallels to BioShock

BioShock: The Collection will be out September 13 in North America (September 16 worldwide), bringing 1080p, 60fps versions of BioShock, BioShock 2, and BioShock Infinite to PS4 and Xbox One. But if you want to feel like a part of the action right now, publisher 2K Games has created a series of short Let's Play videos featuring YouTuber GhostRobo as he plows through each game, one-by-one: 

The original BioShock is still my favorite of the trilogy, so I was quite happy to see it looking sharper than ever, with new touches like better lighting and more environmental objects - as GhostRobo points out while coming down the bathysphere, the school of jellyfish is new to The Collection.

I'm not sure it'll be enough to tempt me into spending another $60 / £40, but hey, that's what these videos are for, right? As long as you feel more informed after watching 'em, I'd say they did their job.

Seen something newsworthy? Tell us! 

Your gaming memory always runs at 1080/60. Nostalgia is invariably well optimised. It doesn’t matter how old the game, how fuzzy the pixels, or however much the frame-rate juddered like a jalopy on cobbles. If you loved the game, your brain will always be playing the remaster. And that’s what makes real-life remasters such a tricky proposition. The developers can rework as much as they like, fine tune as many visuals, and smooth out as many kinks as can be found, but their efforts will always be battling with the false perfection already imbued upon the game by your mind.

That truth becomes immediately apparent upon playing BioShock: The Collection at Gamescom 2016. The pre-demo spiel is exciting. BioShock and its first direct sequel have been tuned up to the holy grail of pixels and frames. Textures have been up-resed. Character models have been improved and replaced where necessary. ‘Holy hell, this is going to look great’, says my brain. And objectively, when viewed side-by-side with the actual original games, it does. But unfortunately, that very same brain is not comparing The Collection to the actual originals, but to the made-up remaster it’s been quietly working on for nine years.

But on the flipside, knowing this means that my self-deluding lack of monocle-popping awe is actually a testament to the quality of the job that has been done. If a remaster is indistinguishable from the version in one’s stupid, rose-tinted brain, then it is a good remaster indeed.

Actually, it’s not entirely true that BioShock: The Collection looks exactly the same as the mind’s eye version. Go looking for the improvements, and you will find them. The geometry of Rapture’s buildings is sharper and more distinct in the murk of the Atlantic. The Splicers’ nightmarish, mannequin rictus grins are even more unsettling now that the edges and shadows of BioShock’s chunky, stylised art are better defined. In fact, in that regard, there’s an interesting tangential effect throughout. With its artistic abstraction now presented more clearly, the feel of Rapture has changed slightly.

While the world feels a little more tactile, and player presence a little more robust now that everything’s running more smoothly, the fabric of Rapture feels a little more dreamlike, more unreal. Rapture was always a fantastic ghost train, but while increased awareness of its stylisation feels a little jarring at first, this slightly amplified sensitivity to the game’s aesthetic artifice eventually makes it feel, if anything, a tad more uneasy. Especially when those Spider Splicers are hurtling around the ceiling at 60 frames-per-second.

One area that definitely feels different upon a revisit though, is BioShock’s combat. It’s no secret that the first game’s strength never lay in the quality of its shooty-bang contingent. It didn’t matter at the time, because there was so much more going on, so much depth and complexity – both in the game’s narrative and in its dynamic, emergent, systems-driven world – that a whole generation of players who missed out on System Shock, Deus Ex and Thief the first time around were over-awed by the sheer amount of ideas at play. And justifiably so. But with familiarity and nearly a decade of FPS evolution bedding in since 2007, it’s now rather clear that BioShock’s gunplay – with its rigid control and distinctly underplayed feedback - is functional rather than fun in its own right.

But that’s okay. Because jumping a little further into the game – by way of the multiple save points 2K has conveniently left on my machine – rationalises things with rather more clarity. You wouldn’t notice it so much when playing through the game for the first time in a linear fashion, weapons and abilities steadily stacking up, and complementary, symbiotic strategies slowly emerging and branching. But jumping straight from ‘Electro Bolt and pistol’ to ‘Shotgun with incendiary rounds, chemical thrower with three types of ammo, stealth crossbow with electric snare-cable arrows, and five completely different offensive Plasmids’, the shift in the game’s focus becomes remarkably obvious. The game’s real intent becomes obvious.

BioShock was never really an FPS. It was never supposed to be.

Perhaps the shooter-dominated landscape of the original game’s launch year confused us. Perhaps we were just lumping every first-person game into the FPS camp back then. That would be understandable, because all of this occurred long before the re-rise of the ‘immersive sim’ action-RPG. There was no new Hitman back then. There was no Dishonored, or Human Revolution. BioShock was the first game to start the resurrection. It was the first one to wave the flag that started the race to where we are now. So of course we didn’t quite define it properly. Of course we saw it as a horror shooter with cool other bits, rather than an immersive, reactive, RPG world that just happened to have a bunch of guns in it if you fancied the full-frontal attack option.

And of course BioShock’s true nature is obvious today, now that everyone is used to the sight of Corvo stopping time, teleporting about, rewiring a Tesla coil, and possessing a few fish in order to drop a room full of guards in less than half a second. Of course it’s clear, leaping straight from ‘Welcome to Rapture’ to Fort Frolic, that the latter area is where BioShock is really BioShock. Of course this game isn’t really a shooter, but is actually about surveying your surroundings, and setting traps, and scurrying from turret, to security scanner, to flying turret. Of course it’s about hacking each device’s loyalty at exactly the right time to catch your prey, as your pre-loaded booby traps – be they petrol pool, lightning cable, or otherwise – soften and herd it to your designated kill-zones without you needing to fire a single direct shot.

Of course that first, face-to-face-to-shotgun-to-face fight with a Big Daddy is, in truth, really there to display the unfortunate beasts’ immediate, close-range power, showing you precisely how not to fight them. Of course it’s entirely deliberate that your first big kill in the game comes about as a result of combining water, electricity, and a wrench. Of course the shooting is lacklustre. It was never really the point. 

That doesn’t excuse the fact that those who do like shooting won’t find a great deal of instant gratification here, and I’m certainly not going to go as far as to infer that the chuggy, lazy aiming was ever a deliberate move to push players to more creative options. But it does make BioShock’s priorities clear. And that offers a tantalising tease of the real fun that lies ahead later in the campaign. A sharp reminder of why we all ended up loving BioShock, whatever kind of action we initially started playing it for.

So the really exciting question is, how will BioShock’s real game stack up when we revisit it after the followers whose path it paved? Will we see it differently? Will we play it differently, now more informed as to – and practiced in - its intended genre? And while BioShock will always be one of the best games of its generation – and almost certainly the most important – will its crown be tarnished by age and usurpers, regardless of how fresh the version in The Collection still looks? It’s an interesting proposition, and whatever the answer turns out to be, it’s certainly going to be a hell of a lot of fun to discover.