They’re decent enough stages but their complex design still seems better suited for a story-based game than a score-based mode like this, which is basically multiplayer without the other people. The other three maps are larger and more complex though, with Duke and Dimwit Theater based on the Soldier’s Field section of the main game, Raven’s Dome on the Raffle Square location, and Emporia Arcade on the later sections of the game when the upper class district had been ransacked. In terms of the four maps Ops Zeal is the smallest and simplest and set around an industrial area that relies heavily on the roller-coaster like Skylines to get around.

There are also more traditional rewards such as concept art and instant access to the glorious old-timey cover versions of modern pop songs. There are some Easter eggs and titbits back at the hub area though, with new kinetoscope videos and voxophone recordings to add some new story details and a bit of fan service. Again it’s a simple, very common, gameplay device but it’s exactly what BioShock Infinite’s combat needs when there’s no story around to give it context. To further encourage experimentation there’s the Blue Ribbon challenges, Achievement-like objectives that are issued before each new wave and which range from simply adding time limits to having to use specific vigors or knocking enemies off the level.

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