I'm being attacked by splicers again. I've got little health, no EVE, and only a few bullets for each of my four guns. I'm about to die, which is annoying, because I'd prefer to spend that money refilling all the things I'm low on.

Elizabeth calls out: she's found some EVE. I can use this. I catch a splicer with the Possession plasmid and, in the confusion, use my last shotgun shell to blast another. I then call for Elizabeth to materialise a freight hook, so that by the time I've Sky-Hooked (sorry, Air Grabbed) to reposition, my shield has recharged. I dismount, slamming into another splicer, and finish by using my buffed melee range to execute the last enemy, just as his possession wears off.

Such encounters are common in Burial at Sea, Episode One. It's BioShock Infinite's combat, retooled for BioShock's underwater city, but with fewer available resources than you'd find in either game. The resulting mix of scavenging and desperation ensures that you'll use the entirety of its systems - Plasmid, gun, Gear, and tear - out of a natural necessity for survival, rather than simply because they were there. For all this DLC's mysteries, twists and, yes, disappointments - and as clumsily as Infinite's tools have been massaged into Rapture's structure - it's the most fun I've had fighting crazed magical addicts.



Which is just as well, because despite a non-violent and story-heavy first section, the bulk of this two-hour adventure is combat. It starts with Elizabeth - older and more hard-hearted than she was in Columbia - arriving in the office of Rapture's resident PI, Booker DeWitt. She hires him to help find a child he has some past connection to, and the two explore a small shopping district, in search of the McGuffin that will let them progress.

The big draw of this episode is that you get to see Rapture before it descended into madness. As with Infinite, however, it's less a living city and more a stage. It feels like you're walking around a movie set, its actors performing on cue. Only, without the visual overload that was the open, constantly moving Columbia, the artifice is even more apparent.

That's not to say there isn't splendour. This whole section is lavish in its design, and culminates in an encounter with Sander Cohen that's full of detail, drama and enjoyable scenery chewing. Then it ends, and you travel to an isolated, dimly lit pocket of the city to shoot, burn or freeze a familiar procession of the violently insane.

Burial at Sea offers some brilliant standalone moments, builds on BioShock Infinite's ending, and, thanks to fluid, reactive combat, is enjoyable throughout its short adventure. But it fails to feel cohesive, and suffers from a cliffhanger ending that, in its desire to tease the next episode, dampens the impact of this one.

Details

Price: £10 / $15
Release: Out now
Publisher: 2K Games
Developer: Irrational
Website: www.bit.ly/1ciEdaZ
Multiplayer: None

Booker DeWitt is slumped in his office, his numb stupor disturbed by a persistent knocking at the door. Historically for Booker, whatever's on the other side isn't going to be good news. And so it proves in Burial at Sea Episode 1, the first story based DLC for Bioshock Infinite. Its opening minutes follow the beats of a hardboiled detective novel. Moments later, the door swings open to reveal a girl, a case, and a whole ocean of trouble.

It's not that simple, of course. The girl is Elizabeth, the case is to find a missing child, and the ocean belongs to Rapture. If you've played Bioshock Infinite, you've probably got some questions right now. Questions like, "wha-?", "huh?", and "come again?" It's not that these characters couldn't exist in this city - Infinite's ending made sure of that - but it's a surprise to see Booker feeling so at home here, especially because this isn't some intra-dimensional knock-off Rapture. It's the Rapture, the one we knew and shot bees at, shown two years before Andrew Ryan was introduced to the business end of a 9-iron.

Such a setup could easily seem forced, but Burial at Sea is a proper follow-up to Bioshock Infinite's story - just one that happens to expand our perspective on one of the most iconic game worlds of recent years. "You could take any of these cool characters, stick them together, and there's some fan service there," says Burial at Sea's producer Don Roy about the plot, "but we wanted do it in a truly meaningful way, so that it stands on its own and is impactful."



And Burial at Sea is impactful, especially throughout its opening areas, where Booker and Elizabeth explore the commercial district of Rapture seeking an an invite to meet with one of the city's more illustrious residents. Here, the shops and corridors are packed with detail, providing insight into the workings of the Rapture before the fall. "I'm very excited to see if players and fans have that experience," says Roy. "One of the great things about Infinite was the introduction of the life in the world. So the narrative that we could tell through civilians just walking around and being there, so that is a great new tool in our toolbox that we were able to bring to Burial at Sea."

To call it "life" is a bit of a push. As in Infinite, Burial at Sea's Rapture feels more like an explorable stage - its actors dutifully perform their vignettes as you pass. But the hyper-real spectacle does sell the idea of a place where magic has become the norm - from the theatrical flourish of a Houdini splicer serving drinks to his customers, to the awkward silence that follows a line of Little Sisters. It's an effective snapshot of a growing excess that would of course result in Rapture's horrifying implosion.

Nowhere is this more apparent than when meeting Sander Cohen, one of the few returning characters from Bioshock 1. His encounter is the highlight of this short Part 1 campaign, and it effortlessly ties together ideas and plot strands from both Irrational Bioshocks. It also shines a light on Elizabeth's perception of Booker. Their relationship is colder and more formal throughout the story; a result of the fact that Booker doesn't know who Elizabeth is, and that Elizabeth absolutely knows who he is.



"I love it," says Roy of this new incarnation of Elizabeth, "because she's still truly evolving as a character. I'm interested to see how players react to her, because there is a stark difference. Her existence is now coloured by the violence that she's witnessed in Columbia - and partaken in - and the transformation at the end to be who she ultimately became. So she's coming into the situation with a purpose, but she's coloured by all those experiences."

Burial at Sea does switch pace from exploration to combat, which brings back another recurring Bioshock scenario - rooms full of crazed, magical psychopaths in need of killing. Burial at Sea sticks with Bioshock Infinite's combat system, tweaked and squashed to fit inside the rooms and corridors of Rapture. "That's one of those ones where everybody in the room is 'yeah, we know how to do this,'" says Roy, "And then you start building and you're like 'oh wait, we have to build this from the ground up.' But it's great, because you end up with the best work when you do that. Trying to piece together something is never going to be as good as holistically going, 'we're going to make this new, and we're going all in.'

"Having to rebalance and rework the systems so they fit Bioshock 1's structure - because it's Rapture, and it's hallways and it's more enclosed encounters - was a big challenge for the team. But so many great lessons learned, and we flexed muscles we hadn't in a long time. And you start getting it, and you start making good decisions about the amount of resources the player has, and one day you're playing and it's really fun. You're running for your life, and you're having to make hard decisions, but they're fun hard decisions to make."



Not everything transfers cleanly. Rapture's using Infinite's Vigors now, for instance, although the fan-designed Old Man Winter bottle does reintroduce one of Bioshock 1's powers. "That's the best case scenario," explains Roy. "We realise we need a plasmid, we know we'd like to have some functionality that was in Bio 1, and we have this thing show up. It's amazing, and it looks like it could have been done out of our studio, and it's compelling and awesome and when you see that poster you're like, 'I want that bottle'."

There's an attempt to explain the switch: a series of audiologs from Ryan's researcher Suchong, as he investigates the after-effects of Elizabeth's reality hopping. The reasoning behind the inclusion of Infinite's Skyhook, on the other hand is arbitrary and throwaway. Brief justifications aside, the combat system feels great in its new home. Where Infinite could overwhelm through numerous systems in large arenas, Burial at Sea's tighter space and lighter resources mean every element feels essential. You need Elizabeth's tears to buy you cover, Vigor traps to cut off possible flanking routes, and the scarce handful of bullets in your handful of guns. Fights feel scrappy and reactive in a way that Infinite never captured and, for all the grandness of the opening, it's this focus on scavenging, planning and scrambling through that provides the majority of the DLC's thrills.

If there's a downside, it's those thrills are packed into such a small package. At roughly ninety minutes, it's short, even for a DLC campaign, and ends with a cliffhanger to set up next year's Episode 2, in which you'll play as Elizabeth. Of that chapter, Don Roy was understandably cagey. "The one thing I will say is that she's very different from Booker. The exciting thing about doing that - the reason to do that - is to be able to see the world through her eyes. As we were talking through the possibilities, it became, 'well, we can't not do this'. It's what fans want, it's what we want."

Bioshock Infinite: Burial at Sea - Episode 1 is due out on November 12th.

Booker DeWitt is slumped in his office, his numb stupor roused only by the persistent knocking at the door. Historically for Booker, whatever's on the other side isn't going to be good news. And so it proves in Burial at Sea - Episode 1, the first story based DLC for Bioshock Infinite. Its opening minutes follow the classic tropes of hardboiled detective fiction, as, moments later, the door swings open to reveal a girl, a case, and a whole ocean of trouble.

It's not that simple, of course. The girl is Elizabeth, the case is to find a missing child, and the ocean belongs to Rapture. If you've played Bioshock Infinite, you've probably got some questions right now. Questions like, "wha-?", "huh?", and "come again?" It's not that these characters couldn't exist in this city - Infinite's ending made sure of that - but it's a surprise to see Booker feeling so at home here. Especially because this isn't some intra-dimensional knock-off Rapture. It's /the/ Rapture, the one we knew and shot bees at, shown two years before Andrew Ryan was introduced to the business end of a 9-iron.

Such a setup could easily seem forced, but Burial at Sea is a proper follow-up to Bioshock Infinite's story - just one that happens to expand our perspective on one of the most iconic game worlds of the last decade. "You could take any of these cool characters, stick them together, and there's some fan service there," says Burial at Sea's producer Don Roy about the plot, "but we wanted do it in a truly meaningful way, so that it stands on its own and is impactful."



And Burial at Sea /is/ impactful, especially throughout its opening third, where Booker and Elizabeth explore the commercial district of Rapture, looking for an invite to meet with one of the city's more illustrious residents. Here, the shops and corridors are packed with detail, providing insight into the workings of the Rapture that was. "I'm very excited to see if players and fans have that experience," says Roy. "One of the great things about Infinite was the introduction of the life in the world. So the narrative that we could tell through civilians just walking around and being there, so that is a great new tool in our toolbox that we were able to bring to Burial at Sea."

To call it life may be a bit of a push. As in Infinite, Burial at Sea's Rapture feels more like an explorable stage, its actors performing their vignettes as you pass. But the hyper-real spectacle does sell the idea of the place - from the theatrical flourish of a Houdini splicer serving drinks to his customers, to the awkward silence that follows a line of Little Sisters. It's an effective encapsulation of the evolution of Rapture, and the growing excess that would lead to its ultimate devolution.

Nowhere is this more apparent than when meeting Sander Cohen, one of the few returning characters from Bioshock 1. His encounter is the highlight of this short Part 1 campaign, and it effortlessly ties together ideas and plot strands from both Irrational Bioshocks. It also shines a light on Elizabeth's perception of Booker. Their relationship is colder and more formal throughout the story; a result of the fact that Booker doesn't know who Elizabeth is, and that Elizabeth absolutely knows who he is.



"I love it," says Roy of this new incarnation of Elizabeth, "because she's still truly evolving as a character. I'm interested to see how players react to her, because there is a stark difference. Her existence is now coloured by the violence that she's witnessed in Columbia - and partaken in - and the transformation at the end to be who she ultimately became. So she's coming into the situation with a purpose, but she's coloured by all those experiences."

After Cohen, Burial at Sea switches pace, and Booker and Elizabeth travel toward another of Bioshock's recurring themes: rooms full of crazed, magical psychopaths in need of killing. It's Bioshock Infinite's combat system, tweaked and squashed to fit inside the rooms and corridors of Fontaine's derelict department store. "That's one of those ones where everybody in the room is 'yeah, we know how to do this,'" says Roy, "And then you start building and you're like 'oh wait, we have to build this from the ground up.' But it's great, because you end up with the best work when you do that. Trying to piece together something is never going to be as good as holistically going, 'we're going to make this new, and we're going all in.'

"Having to rebalance and rework the systems so they fit Bioshock 1's structure - because it's Rapture, and it's hallways and it's more enclosed encounters - was a big challenge for the team. But so many great lessons learned, and we flexed muscles we hadn't in a long time. And you start getting it, and you start making good decisions about the amount of resources the player has, and one day you're playing and it's really fun. You're running for your life, and you're having to make hard decisions, but they're fun hard decisions to make."



Not everything transfers cleanly. Rapture's using Infinite's Vigors now, for instance, although the fan-designed Old Man Winter bottle does reintroduce one of Bioshock 1's powers. "That's the best case scenario," explains Roy. "We realise we need a plasmid, we know we'd like to have some functionality that was in Bio1, and we have this thing show up. It's amazing, and it looks like it could have been done out of our studio, and it's compelling and awesome and when you see that poster you're like, 'I want that bottle'."

There's an attempt to explain the switch: a series of audiologs from Ryan's researcher Suchong, as he investigates the after-effects of Elizabeth's reality jumping. After Infinite, such paradoxical inspiration works. Unlike the reasoning behind the Skyhook's inclusion, which seems far more arbitrary and throwaway. But justification aside, the combat system feels great in its new home. Where Infinite could overwhelm through numerous systems in large arenas, Burial at Sea's tighter space and lighter resources mean every element feels essential. You /need/ Elizabeth's tears to buy you cover, Vigor traps to cut off possible flanking routes, and the handful of bullets in your handful of guns. Fights feel scrappy and reactive in a way that Infinite never captured and, for all the grandness of the opener, it's this focus on scavenging, planning and scrambling through that provides the majority of the DLC's thrills.

If there's a downside, it's those thrills are packed into such a small space. It took me around 90 minutes to play through the entirety of Episode 1 - although there was plenty of scope for further exploration. It's short, even for a DLC campaign, and is clearly only part of the whole - its ending a cliffhanger that puts the pieces in place for next year's Episode 2, in which you'll play as Elizabeth. Of that chapter, Don Roy was understandably cagey. "The one thing I will say is that she's very different from Booker. The exciting thing about doing that - the reason to do that - is to be able to see the world through her eyes. As we were talking through the possibilities, it became, 'well, we can't not do this'. It's what fans want, it's what we want."

Bioshock Infinite: Burial at Sea - Episode 1 is due out on November 12th.

Everybody knows that if you try to get a cat to do what you want—sit up, fetch a stick, search for explosives—it will do nothing more than stare at you with contempt. That’s why console pitches to PC gamers tend to fall flat: we’re generally not as interested in hearing how a bunch of suits want us to play our games. Nvidia took a much different approach with the Shield, on the other hand, that seems to account for what PC gamers have in common with cats: give us great hardware and the freedom to do whatever we feel like doing, and we’ll show ourselves a great time.

And oh, what hardware! Closed, the Shield looks like a largish Xbox 360 controller, with a handsomely textured plastic chassis and contrasting magnetically-attached silver plate on top (called a “tag”) that can be swapped for glossy or carbon fiber tags (available separately at $20 each). The top flips upward on a firm hinge to expose the 5-inch, 1280x720 glossy LCD touchscreen display and controller surface. The layout of the controller combines the best of the Xbox 360 and PS3 controllers with dual analog thumbsticks, a D-pad, A/B/X/Y buttons, left and right analog triggers and bumpers on the shoulders, as well as five buttons in the center for system controls.



At 1.3 pounds the Shield isn’t lightweight, but the ergonomics are nearly perfect—including a smoothly contoured undercarriage that allows your ring fingers to rest beneath the device—so I was able to play well over an hour before any fatigue set in (and over ten hours on a single battery charge, although that included a half-hour sandwich break and finger yoga). Only the slightly recessed thumbsticks felt a bit awkward at first, but the slight arch in my thumbs necessary to work them actually made depressing them easier.

On the Engineering deck you’ll find the brawniest Android hardware you can fit in a jacket pocket, centered around Nvidia’s own 1.9GHz Tegra 4 processor (with a 5-core CPU and a 72-core GPU) and 2GB RAM. The Shield also includes 802.11n dual band Wi-Fi, Bluetooth 3.0, GPS, an internal gyroscope and accelerometer as well as 16GB of internal flash-based storage and a MicroSD slot where I’m currently storing 32GB of movies, music, emulators, and disc images I ripped from vintage games (more on that in a moment).

But the real stroke of genius is the Shield’s unmolested Android 4.1 (“Jelly Bean”) operating system, by far the most popular mobile operating system in the world. All you have to do is pop open the Shield, hop onto your wireless network, and help yourself to any of the hundreds of thousands of Android games available through the Google Play store. The Shield wisely highlights Android games with controls and visual enhancements customized for the device and its Tegra 4 proc, as not all Android games support game controllers or control remapping, and not all the ones that do aren’t guaranteed to work well with the Shield. And you’ll want to be very wary of games designed specifically for touchscreens: while some are a pleasure, such as the enigmatic puzzle game The Room, there’s simply no way to comfortably play others, such as the Android port of the classic adventure game The Last Express which bizarrely only supports portrait orientation.



The games tailored for the Shield, on the other hand, play beautifully, with super-crisp detail and unflappable smoothness—especially first- and third-person action games such as Grand Theft Auto: Vice City, zombie abatement shooter Dead Trigger, and Max Payne.

The Shield’s most unique feature—no, make that its most downright bitchin' feature—is PC streaming. You can launch any supported game from your PC—via the Shield interface or Steam’s Big Picture mode—and play, oh, let’s say Dishonored, in the bathtub. Which I did. Or Tomb Raider on the couch. I did that, too. I won’t tell you where I played BioShock Infinite, but the main idea is that your PC does the heavy lifting and squirts the results to your Shield with—under ideal conditions—negligible latency. But Nvidia was right to label this a “beta” feature, because getting it to work is something of an adventure in itself. Non-Steam games need to be manually added to your Steam library in order to work, and the hardware requirements are extremely steep: You need at least an Nvidia GeForce GTX 650 (laptop GPUs aren’t supported yet), and your results will depend on the speed and sophistication of your router and the strength of your wireless signal. I used a $180 Asus RT-N66U provided by Nvidia, and even then, in the labyrinth of dead spots that is my home, it took a great deal of experimentation to figure out where to put it—and how far away I could move away from it—so that I could stream without excessive lag or hiccups.



That’s frustrating, but in a sense, it’s also inspiring. Because PC gamers have always been tinkerers, and we’re used to adapting hardware to our needs; at the very least, we’d rather have the option than not. Nvidia cut no corners on the hardware, so I was able to watch my MKV rip of “The Brothers Bloom” Blu-ray without recoding (using VLC). I played my FLAC files of Tomáš Dvořák’s tasty soundtrack to Machinarium through the superb speakers (which are better than most laptop speakers, though light on the bass). And by pairing the Shield with a Bluetooth keyboard for experimenting with command-line instructions, I was able to play the gruesome DOS classic I Have No Mouth But I Must Scream (with the $3.50 DosBox Turbo utility) from a ripped ISO of my dusty CD-ROM. I plugged in the Shield to my PC, and as it charged over the USB connection, I transferred a rip of The Neverhood through Windows Explorer and ran it on the Shield using the free “Windows, Linux, Unix Emulator” on the Google Play store—and played it on my living room TV via the HDMI-out. I used a PlayStation emulator to play Fear Effect on a warm night on my fire escape. I even surveilled my backyard with the AR.Drone 2.0 from Parrot, with a live color video feed from the hovercraft streamed to my Shield.

That’s not to say these feats were easy—not all of them were. But they’re possible, and don’t require “rooting” or workarounds as a result of file system lockouts. You have the same freedom to improvise and experiment that you expect from your PC or laptop—and don’t ever get from console manufacturers. Instead, you get the benefits of an operating system with an open architecture in a handheld that’s several orders of magnitude more sophisticated in hardware and design than any handheld that came before it.

If you have the desire and patience to exploit the Shield’s whopping potential, it’s a must-have—if you tried to take this thing from me I’d tear your arm off and make you eat it. If you don’t, it’s a tougher sell without reliable PC streaming and iffy compatibility with many Android games. Either way, the Shield is a magnificent funmaker that’s worth every penny, and if Nvidia can bullet-proof the streaming and continues to promote compatibility and support among developers, it has an even more glorious future ahead of it.

It's November 12! That's for part one of Bioshock Infinite's first chunk of story DLC, set in that fragile underwater utopia/horrorshow, Rapture. Phil's played it, and he's writing a few impressions down right now. Episode One throws Booker and Elizibeth back to a time to a point before Rapture transitioned from endless parties to mutant massacre.

Ken Levine mentioned on Twitter that there will be new weapons, plasmids and gear, including an "old man winter" plasmid. I'm more excited about wandering around a still-living Rapture, as captured in this splendid piece of concept art for Bioshock 1.

Part one of the DLC will be Booker-centric, but apparently we'll get to play as Elizabeth in part two, but will there be reality tears? Will there be Skyhooks? Will we once more be able to fire thousands of bees out of our palms? We'll have to pay £10 / $15 in a few week to find out. Stay tuned for Phil's impressions on PCGamer.com shortly.

According to Polygon, 2K Marin, which worked on BioShock, BioShock 2, BioShock: Infinite, and most recently The Bureau: XCOM Declassified, is undergoing a “staff reduction” of unknown size and scope.

"We can confirm staff reductions at 2K Marin,” a source told Polygon. “While these were difficult decisions, we regularly evaluate our development efforts and have decided to reallocate creative resources. Our goal to create world-class video game titles remains unchanged.”

Distressingly, another source claims that 2K Marin as we know it is completely closed, with developers either laid off or transferred to Bay Area 2K, the new 2K studio managed by Bioshock Infinite producer Rod Fergusson.