Our latest look at Bioshock Infinite opens, just like our first glimpse did two years ago, with a cheeky nod to the iconography of Rapture. A steel door opens and we’re dropped into a blue-grey nautical interior, starkly lit and decorated by hundreds of rivets. Protagonist Booker DeWitt enters a bronze lift as we did the Lighthouse bathysphere, and then - and then the bottom falls out.
I’ve mostly spent the last two years getting my head around these skyrail sequences - at once literally on-rails, and yet enablers of tactically vertiginous scrapes and escapes. I think I’ll still find myself longing for Dishonored’s Blink teleport ability, as I have in every first-person game since.
And then there’s Elizabeth - as yet ambiguous, bold, well-animated and raised on a diet of Homer and quantum mechanics. Much like Infinite itself.
Another thing: those devil-hatted chaps just gobble up those bullets, don’t they?