The new layers, the ones that are really in your face, are the characters. In Infinite you have the main story involving Elizabeth and Booker. You have all these layers of storytelling in BioShock games. Wired: Are you delivering these nuggets of information the same way you did in the previous games, such as the audio logs and environmental clues? I think people will be surprised at how much of that there is. There's one, which is really a big part of the game: We have a piece of tech now that allows everything from a zeppelin to an entire city block to move freely in the sky. You've seen the skylines, obviously, but there's other stuff coming along. But I think people are going to be surprised at just how much of the sky space is leveraged. Levine: This is going to sound evasive, but generally, as a developer, I like to show stuff right before I talk about it, because otherwise it comes off as a little abstract. We're just really leveraging the sky and the outdoors, as well as having all the other tools that we had before.
There's the skylines, the zeppelin and then you'll see a lot more stuff coming up soon. And I think people felt we never really delivered upon being at the bottom of the ocean in the way that maybe they would have wanted.īut in Infinite, we wanted to make sure that we delivered upon the verticality. But it was basically a dungeon crawler dressed up as an underwater city. In BioShock, we did a certain range of stuff extremely well.
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