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This article, BioShock Infinite Removed Content , or a section of this article may require overall cleanup.
BioShock Infinite went through many revisions over the course of its development by 2K Games and Irrational Games. The purpose of this article is to record all content which appears in game files, development trailers, or concept art, but ultimately did not make it to the final version of the game.
As the following elements were removed or left unused in the final version of the game, they should not be considered canon to the game's history, nor actual parts of its universe.
"City in the Sky"Edit
In the early "City in the Sky" or "Rapture in the Sky" prototype for Columbia, featured in both screenshots in The Art of BioShock Infinite and IGN's Early Elizabeth video, it was considered to have an Art Nouveau inspiration to its architecture, along with a more weathery and stormy atmosphere to create cloud cover. One of the current game's areas that appeared predominant throughout development was Emporia, only with automata-based statues, and buildings inside Rapture-like corridors with glass ceilings.
It was mentioned in the BioShock Comparison interview that this was meant as an art contrast from BioShock's Rapture, since Rapture was focused with Art Deco. However, it was found that while Art Deco architecture had simple shapes with low polygon counts, making it easy to generate in the game's engine, the Art Nouveau style was too complex, with very fine tuned round designs which used more polygons -- more than they could afford in their rendering budget. This caused them to revise it for the current Beaux-like appearance. Still, some Art Nouveau assets do appear in the game, such as furniture, and decorative frames and signs in Emporia, Comstock House and the Church of Comstock.
As for the stormy weather atmosphere, they found it was too dark and the lighting resembled Rapture too much, with no emphasis on the environments as being an open sky. It was revised into a clearer and brighter environment.
Columbia's Setting and SocietyEdit
Columbia went through significant changes throughout its development, all surrounding the common theme of American exceptionalism and the issues of class and race in the early twentieth century.
Columbia started out very different, most differences listed in the City in the Sky section above. An early idea for the conflict in Columbia was also Luddites versus pro-technology. Very early concept art even had an image of a Cabaret, something that would definitely would have been out of place in the Columbia of the game.
Columbia's patriotism, as seen in the early trailers and promotional posters, was originally supposed to be more politically and socially based rather than religious, with Comstock being an aged politician rather than a prophet. The state was also supposed to be fascist and Nazist influenced, with a Hitler Youth like program for the young (who appear similar to Boy Scouts in uniform; "Youth of Columbia, Will You Bear Her Sword?") and racial purity was emphasized as a reason for their racism ("We must all be vigilant to ensure the purity of our people!"). Columbia was militaristic, encouraging duty to protect Columbia against all of Columbia's "enemies", described as foreigners and anarchists ("Patriots! Arm Thyself Against the Foreigners & Anarchists! Protect Columbia!" ; "Columbia Calls You!…to the ramparts, Patriots all!"). Columbia was also to have revered Abraham Lincoln as well as figures such as George Washington, with early trailer showing a good amount of Lincoln-related merchandise in stores such as Major's Notions, Sundries and Novelties. Religious devotion was apparently present but on a much more radical Christian level, more similar to the United States of the period. Columbia was also to sport, from time to time, actual American flags rather than their own; evidenced by early Motorized Patriots (and those who appear in Tears in-game) to have the traditional stars and stripes.
Columbia itself was also to be less connected, made up of many different connecting platforms, seen in several trailers and the TV spot. The buildings and platforms were also to be organized into clusters, and the Sky-Line was to also pass through these clusters (the Sky-Lines in-game mostly start at the edges of platforms and connect areas farther away from each other and the routes are much longer).
The supernatural aspect of the game was also to be more mystical rather than scientific. As mentioned below, the merged were a result of people being exposed to alternate versions of themselves, and overuse Vigors were also to be detrimental to health and appearance much like ADAM is to Splicers ("Vigor Junkies"). Elizabeth's powers were also to be more diverse and supernatural, and tears were to have a much greater impact on gameplay and story. The Siren was based on early 20th century mysticism and the culture of mediums, and possibly wouldn't have been limited to just Lady Comstock. The TV spot also shows Columbia was to be, based on its extreme Christian beliefs, suspicious of the supernatural, to the point where a Preacher testifies against Elizabeth as a crowd is about to lynch her by hanging, probably due to her powers. This same kind of suspicion probably would have carried over to the main game.
Citizens would also have had a greater impact on the game, appearing in much greater numbers and even could attack the player, both Founders and Vox alike. Citizens were to have been much more varied in ability, using nearly everything at the same frequency the player could, including sky-lines, weapons, and Vigors. Citizens in the released game instead are found in scripted areas and their limited (and scripted) conversations are meant to give the player some more context of the story, but their combat role is mostly supplanted with Soldiers and Police, and the enemy's ability to use Vigors is nearly entirely abandoned aside from Firemen and Zealots.
Finally, The concept of the "Founders" versus the "Vox" as well would have been much greater, the importance of the "Founders" (as a specific faction and class) rather than "Columbia" (as a whole making up all whites and non-Vox) being next-to-lost in the released game, the Vox revolution turning into an ultra-violent social uprising than a class revolution. The "revolution" part also would have seemingly have been in full swing by the beginning of the game, Booker having come in the middle of the conflict tearing apart Columbia. The main game instead has the Vox at first being fairly suppressed and contained and limited in action, but then becoming full-blown antagonists after Booker and Elizabeth enter the universe where the Vox rise up en-masse, serving as the sole enemies for much of the rest of the game other than Comstock House and The Hand of the Prophet. The player was also to have come into conflict frequently with citizens aligned either with the Founders of the Vox Populi, who would be fighting between themselves as the player came into the area. In the main game, there is only few scripted instances where the Vox would come into conflict with the Founders, mostly occurring during the Vox revolution segment in the second alternate universe (where the Vox act as allies to the player), and once in Emporia (where both sides will attack the player if he/she intervenes or makes him/herself known). The sides would also have been divided on their desire for Elizabeth and her powers, the Founder's wanting her back to contain her powers, and the Vox wanting to use her powers to aid their revolution. The main game has ultimately Comstock wanting to keep the "Lamb of Columbia" from being "corrupted by the False Shepherd" and to make her his heir, and the Vox have no interest in Elizabeth whatsoever.
Hall of HeroesEdit
Emporia in the E3 2011 demo was vastly different from the final version. Originally mentioned in IGN, this location would have been the third level of the game, and the Columbia Mail, Major's Notions, Sundries and Novelties. As with the final version, the Emporia district was vandalized by the Vox Populi, as well as seeing Citizens being tortured and executed, along the way toward Comstock House.
Aside from removed content, some scripted scenes and areas were altered and moved into other parts of the game: a store resembling Major's Notions, Sundries and Novelties was moved into Battleship Bay and Soldier's Field, as with its scripted Songbird scene moved to the final part of the Grand Central Depot. The scene with Elizabeth resurrecting a dying horse was removed, and the Tear that lead to an alternate 1983 was moved to Monument Tower. A similar scene featuring Daisy Fitzroy projecting herself in the demo was altered for Shantytown, only shown on the side of The First Lady instead of a red curtain on a building. Although the saved dentist that pulled a Vox's teeth was removed, a similar scene is featured when arriving in Memorial Gardens before passing by the gate of Comstock House, where two Vox members are grave-robbing a corpse for gold teeth fillings. The battle with a Vox Security Zeppelin (and its alarm) was altered, only replaced with a similar version moved toward the Factory in Finkton.
The BioShock Infinite E3 2011 Gameplay Demo, promotional screenshots, and concept art shows a dental office, which was intended to appear in this level, but was ultimately removed. The demo showed a scene where the dentist would be thrown out through the window of the business by the Vox.
The Great CantoneEdit
The Great Cantone was the owner of a Barbershop in Columbia. Other than the concept art, no other information is available for this business.
Good Time ClubEdit
Before the Good Time Club got its name, it was labeled the "Fink Theater" in concept art in The Art of BioShock Infinite.
Interestingly enough, Shantytown was cut not long after a VGA trailer of BioShock Infinite, showing that level off. The reason this level was cut is unknown. Even more mysterious, after one particular developer left due to Shantytown not being included, it was finally included in the finalized game.
Early iterations of Shantytown were headed by art director Nate Wells, drawing inspiration from the slums of Jamaica and Key West. "All of the housing was wooden and colorful, as if painted by the residents to make the depressed quarters more livable. And each bright shack was stacked atop the next, climbing into the sky like an anthill, with the skyline piercing through it."
However, creative director Ken Levine argued that "It looked like the residents lived in garbage. It needed to be beautiful, because Columbia was designed so that even the poor lived beautifully."
Originally, there were more beggars and dying people lying on the streets. Some of these people would actually grab Elizabeth and plead for money. Dead people could be found where Elizabeth would give them flowers, putting them in a peaceful position. This is still seen in the main game in some portions of Emporia. 
Concept art by Ben Lo shows different areas of the Factory in Finkton. While they clearly contributed greatly to the look and feel of the level, many of them portray locations that are not seen in the final game.
Sea of DoorsEdit
The endgame which takes place in Sea of Doors, a place connecting all realities, was to feature more "lighthouses" (a representation of the doors to other realities) other than Rapture's and Columbia's. Those places, respectively named by files Arctic Lighthouse, Desert Lighthouse and Space Lighthouse, were an observatory, an Arabic-looking tower, and a space station looking very similar to Citadel Station from System Shock, a game whose sequel was also developed by Irrational Games. Only untextured models can be found within the game's files, though the observatory can be still found outside the playable area of the Sea of Doors, on some snowy mountains, with a stone staircase and a wooden bridge between the peaks. The building's door can be opened as a scripted event, and doing so will start playing snow storm effects, and falling down through the map.
Mechanics and Gameplay ElementsEdit
The Mendelssohn Kinematic Couture were supposedly meant to be used in the same way as Rapture's Gene Bank, but the idea got scrapped later in development for unknown reasons. However, the vending machine itself is still seen in-game, often in shambles with a single piece of Gear by its side. Files in the game reveal voice clips meant for the store usage, as well as menus allowing Gear options for switching. This implies that you could buy Gear rather than finding it scattered around Columbia.
Old GUI DesignsEdit
This blog post shows some early designs for the GUI (graphical user interface) for various features. One is for an early HUD design, another is a rough draft for a loadout screen, while the last one is for a GUI for a Gear store that was removed from the final game.
In the 2010 gameplay demo, the Sky-Lines appeared more mechanical, with moving chains which pulled Sky-Hooks and the trains around. In the final game, the hook seems to propel itself along the rail. Also in the 2010 and 2011 demos, Sky-Lines allowed combat over much greater distances. The moving cars also originally moved towards the player while on the Sky-Line. This forced the player to either get off or change course, making gameplay more interesting.
Originally, the Sky-Hook appeared smaller, and retractable from the sleeve, as seen in the 2010 demo and in The Art of BioShock Infinite. Concepts of the current Sky-Hook was, at one point, modified with a retracting arm capable of disemboweling enemies.
Jet PackEditConcept art shows that at one point a Jet Pack was considered for use by the player. There is little information on the Jet Pack, but it seems likely that it was dropped in favor of the players using Sky-Lines and the Sky-Hook.
Function of TearsEdit
Many early trailers showed large, different Tears, and implied they would be used more often and in different ways. In the final game, many of these functions were removed and the Tears have a smaller overall role. Originally, utilizing these tears meant causing severe damage to Elizabeth, creating a nosebleed on her part, or making her so exhausted she can barely walk. This was going to affect your overall relationship with Elizabeth and change the ending. This was scrapped in the end.
Tear Gameplay MechanicsEdit
As Ken Levine explained in several interviews, you would have a choice of three tears, and you could only choose one. You'd have to stick with this choice until Elizabeth's power refreshed. This changed the concept of hurting Elizabeth and restricted you with your choices, making gameplay much more intense. As the game developed, Elizabeth gained more power. This allowed the player to choose two tears out of five choices in one battle scenario. In the final version of BioShock Infinite, Tears came with an unlimited usage, being able to bring in whatever you wanted at any given time.
In early trailers for the game, Vigors appeared very similar to Plasmids. Vigors were also supposed to be able to work and combine with Elizabeth's powers; this functionality only appears in the E3 2010 debut demo. A few powers that were cut included Weapon Slave, a Vigor which allowed Booker to possess an unused weapon and turn it into an ally (this later became streamlined into several Gears), and a Vigor similar to Telekinesis. A mostly removed concept with Vigors was that each Vigor type would have a limited number of "charges" instead of all Vigors drawing on the players Salt. This concept was retained for the use of the Bucking Bronco Vigor in the Cast Out the Devil carnival game and in a nearby Veni! Vidi! Vigor! where 4 Charges of the Vigor can be purchased for 375$.
Respawn Tomb (Resurrecto)Edit
Resurrecto is an early respawning tomb that existed in a late Beta for BioShock Infinite. Similar to the Vita-Chamber, the concept for Resurrecto would have been able to bring the player back from the dead. Relating to the city's earlier patriotic concept, the stained glass art for the tomb features a more patriotic Columbia with the three symbols of the Sword, the Scroll, and the Key. In the final game, Booker DeWitt simply emerges from a Tear-like version of his office if he dies alone, or, if with Elizabeth, is revived by her. Although the concept was revised at a later stage of the game's story and development process, Resurrecto can still be found by extracting the model from the game's data files.
Early in development the game had more choices to be made by the player. At some point in development many of these choices were removed leaving only a few such as the choice of the Bird or the Cage. Limited information on these removed choices can be found in the InputAliases.int file. It is unknown how these removed choices would have affected the story, they could have led to multiple endings or they could have had no effect at all on how the story played out. Some of these choices were apparently removed because they no longer fit the story or were a result of gameplay changes such as Booker no longer picking locks.
A number of seemingly minor choices were cut from this area. They would have allowed Booker to speak to a child, a lady and a prisoner. Also there was a removed opportunity to activate a Gondola and open a locked door, likely by picking the lock.
Here a single choice was removed. It allowed the choice of setting a course to go to New York or Paris while aboard The First Lady. It is unknown if this choice was at the start of the level after first boarding the The First Lady or at the end after Elizabeth had killed Daisy Fitzroy.
A major sequence where the choice of intervening in an execution was removed. This sequence can be seen in the E3 2011 Gameplay Demonstration. Another choice involved turning off a light.
Sea of DoorsEdit
At the end there is a choice to be made on if Booker would Pay of Comstock's Sins or would refuse to do so. This choice apparently comes before the sequence where Booker gives up Anna to Robert Lutece. How this choice effects the end of the game is not known.
The early version of Booker's arms were seen covered by sleeves from a pin-striped coat. This version remained in most of the early gameplay footage, even after the artwork debut of his appearance on the EGM cover, which had him appear with rolled shirt sleeves. It wasn't until the 2012 Beast of America trailer that Booker was finally given rolled sleeves to match his artwork appearance, along with his hand brand.
In the Beast of America trailer, at one point it shows Booker wearing a ring with a devil's face, similar to the icon of the Devil's Kiss Vigor.
Before he was voiced by Troy Baker, he was voiced by Stephen Russell in the first demo trailer.
Elizabeth was originally supposed to be 17 years old, instead of 19, when the player meets her in BioShock Infinite, but this turned out to be too young for the character. The developers felt that she was "too Disney princess" and some of Elizabeth's scripted animations, meant for Battleship Bay, even had to be cut because they were coming off too similar to Rapunzel from Walt Disney's film Tangled, respectively.
Prototype "Gibson Girl" ElizabethEdit
Early in the development of BioShock Infinite, Elizabeth had many revisions before her final form. As revealed in an IGN interview, an early model for Elizabeth (which had previously been shown as concept art sketches in The Art of BioShock Infinite) had been tested within the game world. Nicknamed "Gibson Girl" and based on illustrations of women during the era, that model was cut early on. The developers did not favor this early form, as both she and the player would not speak, and her interactions were highly scripted, periodically taking control of the player to direct towards objectives.
Alpha/Beta "Corset" ElizabethEdit
In early gameplay trailers, Elizabeth's powers revolved less around quantum physics and functioned more as general magic—she had the ability to raise storms, use telekinesis, and combine objects through fusion (which later evolved into the Return to Sender Vigor). She also seemed to have a more child-like personality in the E3 2011 trailer, which was toned down for the final release of the game. Her appearance in pre-material screenshots, Debut Teaser, and 10-minute Demo show her with darker hair in an anachronistic shingle bob style, dark blue-grayish dress and over-sized eyes. It should also be noted that this version of Elizabeth has a slightly larger bosom when compared to her final version. An updated version of this original model actually appears as one of the alternate Elizabeths at end of the game, and as a Statue in the downloadable content Clash in the Clouds at the Columbian Archeological Society, along with an unused third Handyman Model.
In concept art, it's shown that Slate was originally planned to be a more human looking Jockey Junkie (seen below) with short, magenta crystals around his scalp and other crystals protruding along his uniform. The uniform itself is his original soldier uniform he used 20 years before. However, once the Vigor Junkie concept was scrapped, Slate was changed to a normal citizen with US Army Captain's uniform, though he still has crystals growing from his forehead after he started drinking the Shock Jockey Vigor hours before Booker and Elizabeth came to him.
Slate has an unused fight mechanic to fight the player. He has high movement speed, and no actual firearm and instead uses Shock Jockey. He will run around and throw multiple traps at the ground. When he is far enough away from you, he will throw them at you. He has more health than normal enemies, but not too much to not be killed. When killed, he will not drop any loot in final gameplay.
Likely he was meant to be a Vigor Junkie boss (which this mechanic reused for Frosty Splicer as recurring Fighting Enemy Boss in Burial at Sea), so had a large amount of health to not die by the players actions.
Daisy Fitzroy/Voxy LadyEdit
Concept art for the Vox Populi shows Daisy Fitzroy and another Vox woman. This concept was developed in to a character model, but the model was never seen in-game. It is unknown if this was an early model for Fitzroy or not, but the details on this model suggests that she would have had some major part in the game.
Zachary Hale ComstockEdit
In early versions of the game, Zachary Hale Comstock was a middle-aged man with slicked back hair and a scar over his eye, or wearing glasses. Both versions were removed from the final version of the game, which could reflect a change in his role in the game's overall story. Textures of an unused version of Comstock, presumably from early stages of development, can be found on the backside of a building.
Interestingly, early versions of Comstock are around the same age as Booker and look more similar. It can be presumed that early in development, Comstock travels into a different timeline; however staying parallel to Booker's timeline, instead of the aging caused by Tear side effects.
Boys of SilenceEdit
The Boys of Silence were originally meant to appear as a recurring enemy, but in the final version of the game they only appear in Comstock House. They were shown to be an enemy feared by the player, much like Songbird, appearing in certain areas making you re-think the way to handle a situation. The Boys of Silence were also beatable, but now simply disappear if you're spotted or if you attack them. Originally, they were blind and relied on their sense of hearing, rather than spotting the player using a spotlight similar to the cameras in the first BioShock as they did in the finished game.
Back when BioShock Infinite was meant to have significant horror elements, these enemies were showcased as the most horrifying creatures. Not knowing what was under the masks would make the player both scared and interested in what story was behind them. Originally it was hinted they were orphaned children, but any backstory was virtually scrapped in the final iteration.
The Claw Daddy was an enemy that was cut from the final version of BioShock Infinite. It was conceived as an individual wearing a crab-like exoskeleton that would grab people and rip them in half. From close-ups of the Claw Daddy, it can be seen that the pilot's faces are distorted to being over exposed to Tears. This concept eventually evolved into the Handyman.
- Main article: Charles
A guard or servant to Saltonstall, Charles played a small part in introducing the Murder of Crows Vigor in early gameplay footage. While small references to Saltonstall remain in the final game, Charles is not mentioned at all. In The Art of BioShock Infinite, Charles was shown as a Vigor Junkie, and his model wore black clothing. A Vox Populi version would have him wear a red hood, with tied knots as devil horns.
Early and Unnamed prototype EnemyEdit
Appearing in the same video as the prototype "Gibson Girl" Elizabeth, there is an unnamed enemy shown resembling a giant mechanical doll in appearance. No information has been given on what the enemy is or does and it is likely it was scrapped early in development from the Art Nouveau version. It is also possible that this doll was just a stand in for something else or was placed there to give Elizabeth something to draw the players attention to.
The Electro Gloves was an enemy cut from BioShock Infinite fairly early in production. It was a powered exoskeleton with a generator that powered mechanisms on the exoskeleton's "hands" that enabled it to fire bolts of electricity at enemies in a fashion similar to Shock Jockey. A close examination of the pilot's face shows that he is injured and unhealthy looking.
The Enhancer was a cut enemy from the final game of BioShock Infinite. They were conceptualized as potion-carrying enemies that would attack enemies by hurling balls of energy while healing nearby enemies by throwing potions at them. They had the appearance of a rotund, coated individual carrying multiple potions and elixirs.
Fink Security was a unique enemy originally stated to appear, but it was cut for unknown reasons. Images only appear in concept art of the game. They were originally security guards for Fink Industries, dressed in green attire, and carrying Triple Rs. In the final game, Jeremiah Fink offers Booker the position of Head of Security to replace Scofield Sansmark. There's nothing distinctly different between the security agents and other soldiers.
The so-called “Freaks” were enemies conceived extremely early in the development of BioShock Infinite. The Freaks were people who were infected or mutated in some way with a compulsion to eat corpses. Upon consuming a dead body the Freak will become monstrous, growing in size and ferocity.
One Freak was a young girl named Shelly. When transformed, she is a 9-foot tall monster with claws and arms so long they nearly reached the ground. The concept art for the Freaks show that many were imprisoned or restrained in some way to try and keep them from eating the dead and possibly the living. Shelly is portrayed as having a cage around her head and another freak wears a straight jacket. When the basic themes for BioShock Infinite were established the concept of the Freaks was dropped.
An additional Handyman model was originally planned for inclusion in the game, wearing patriotic clothing, sporting hair and a mustache, and having the frame of his Autobody uniquely designed. This particular Handyman may have had a minor role in the story as he calls Elizabeth by her name and physically tries to stop/capture her and Booker in the 2010 demo. Unlike the final game Handymen, he seems much "healthier" and even smirks at Booker's attempt to hit him with a shell using Telekinesis. This might have be the reason why he was cut, as developers wanted to emphasize how sick and miserable Handymen were. Cut from the final release, Clash in the Clouds DLC featured this model as an unlockable in-game statue in the Columbian Archeological Society, along with the Beta Elizabeth.
Before the game's core concepts were finalized, there was a early draft for Toy-like Automatons, created by a "Mad Toymaker", resembling animals in festive outfits. There were four designed variants of these toys: a rabbit wearing a top hat and tuxedo, an owl in a night themed suit with retractable blades attached to its arms, an elephant with a Slow-Pro-like back-mounted cannon that would fire cannonballs when it pulled the rope, and a moth with painted wings like stained glass; the latter concept would evolve into the Songbird.
The Merged were to be enemies who existed after being exposed to Tears for an extended period. As a result of encountering various incarnations of themselves across dimensions, their facial features were twisted and warped and deformed. Concept art by Robb Waters shows the Merged having multiple mouths, eyes or noses and can be quite grotesque. The concept of the Merged was not totally removed from the game however. At several points in the game Booker and Elizabeth will encounter people that will shimmer and warp as a result of Elizabeth merging two different realties together and a person remembering being dead in one reality and alive in the other. Chen Lin when seen in his workshop after going through the Tear in the bottom of the Good Time Club is the most prominent example of this.
Prototype or Alpha Motorized PatriotEdit
Originally, the Motorized Patriot evolved from the concept of the Automatic Gentleman. The initial idea was inspired by 20th century fascination with exploring technology into the field of early robotics and complicated machinery. Irrational Games felt that Columbia would use its scientific hive-mind imagination to create a mechanical servant for their society. As Nate Wells mentions, "There's this fantasy that people of the time wanted these automatons to do things for them. We don't start with a gun. We set the vibe first.
Late Alpha Motorized PatriotEdit
The concepts for the Motorized Patriots as Benjamin Franklin and an unused Thomas Jefferson would have been more distinct from the George Washington version. Both had concepts for their own distinct damaged faces, such as Franklin having no glasses, and the right side of the face and eye missing. Jefferson would have had missing eyes, a broken jaw, no face, and burned hair. In addition, both would have worn their own variant colored coats (purple for Franklin and green for Jefferson), similar to those seen on the Founding Father balloons.
Beta Motorized PatriotEdit
The Beta Patriots originally used normal American flags on the Beta Patriot, as older previews showed Motorized Patriots with similar, if not the same, flags in place of Columbian ones. This may have been updated in Burial at Sea, as the Patriot that can be summoned through a Tear bears Columbian flags.
Before the Siren, a concept enemy known as the Resurrector served as the forerunner of an adversary that would bring back or manipulate the dead in some fashion. Dressed to resemble a Cardinal of the Roman Catholic church, the Resurrector would apparently use the blood flowing from the palms his hands to "resurrect" the dead to fight for him. Earlier version of the this concept wore long robes, a large paper mâché "saint" mask, and had "bleeding hearts" carved into the palms of their hands from which the blood flowed.
It was originally planned that the Siren would be a reoccurring Heavy Hitter similar to the Motorized Patriots and Handymen. In the final version of the game, she appears only in Emporia and acts in a plot-significant role. In Clash in the Clouds, the Siren reoccurs as a Heavy Hitter, as one appears in two separate maps. One of them is in Emporia, or rather Emporia Arcade.
Concept Art originally showed additional unique outfits for Slate's Soldiers in two Attractions at Hall of Heroes (stereotypical "Asian" and "Native American" outfits). Some Slate soldiers were planned have a more native American appearance which would be around in Hall of Heroes to fight Booker. Variations were only used for Slate's Crow in the final gameplay.
A unique "Asian" mask from one of the concept outfits did finally appear in Burial at Sea - Episode 2, at Fontaine's Secret Panic Room at Manta Ray Lounge as one of Fontaine's disguises.
Before it was known as the Songbird, it was only named as "Him" by Elizabeth. In the 2010 debut demo, he is briefly seen during the ending of the demo, where he sounds identical to the Big Daddies from BioShock and BioShock 2.
In early footage, it appeared as though Songbird was an ever present threat that would be confronted in combat situations. In the final release, Songbird only shows up in scripted events and cutscenes and cannot be attacked. Originally, you had the choice to either attack or hide away, which would change your relationship with Elizabeth and the overall ending. However, the Songbird can be interacted with when Booker tells Elizabeth to destroy the Vox zeppelin.
According to The Art of BioShock Infinite, Vigor Junkies were planned to be one of the types of enemies. As Columbia's version of the Splicers from Rapture, they suffer psychological deterioration as result of excessive Vigor abuse. However, the Rapture comparison limited the use of Vigor Junkies in the game, and an in-game explanation by Citizens' dialogue in the Columbia's Fair mentions that average Citizens were not that interested in obtaining Vigor abilities, due to the formula "kinks" that Fink needed to work out.
A few aspects of the Vigor Junkies are still present in two of the currently used characters, the Crow and Cornelius Slate. Both characters' madness has been exacerbated by their repeated use of a particular Vigor, Murder of Crows and Shock Jockey respectively, with the latter even having small Shock Jockey crystals protruding from his head. The Murder of Crows ability of its Junkie was also altered, as the 2010 demo showed Charles, a removed character that was also conceptualized as a Vigor Junkie with the Zealot. He would have been able to possess the same crow-unleashing ability as the player. But like the character, that ability was altered in the finished game to being surrounded by crows while teleporting. Although the Fireman's appearance was not in the Vigor Junkie concepts, a Vigor Junkie character in a top hat, glasses, and a black coat shows many of the same Devil's Kiss abilities as a Fireman.
- 1) GOOD GENES RANT - The only voxophone removed from game.
There are three unused Kinetoscopes in the game files that were never put in the final of game.
- "Columbia to Sterilize Dimwits and Defectives!" - Founders propaganda for racial purity.
- "Visit Battleship Bay!" - Kinetoscope advertisement for Battleship Bay.
- "The Death of Our Lady" - Kinetoscope about the death of Lady Comstock.
Burial at SeaEdit
- Main article: Burial at Sea
Many unused Splicer model variants and props were proposed but removed or repurposed. This includes two more female Splicer designs, weapons (with the likeness of Columbia weaponry), and attire.
One design presented a more professional-looking female Splicer dressed in a blouse, belted skirt, and matching bolero jacket. The other would be female Splicer in evening attire consisting of a black dress with a plunging neckline and bow, a white fur shrug, a pearl necklace, and gloves.
Before Elizabeth's primary outfit was chosen, she had five different proposed variants which included an A-Line day coat, an evening gown with formal gloves, a hooded cloak, and an outfit similar to her final ensemble, but with a more revealing neckline. These proposals also showcased alternative shoes, accessories, and hairstyles.
In interviews prior to her playable debut, she was to retain her tear ability that would have created a new experience for players apart from the stealth mode implemented in the final game. For the sake of the plot, her tear abilities were removed from the final game and replaced with Plasmids. 
Grenade Launcher/RPG SplicerEdit
Concept art exists for a Splicer enemy that would have carried a grenade launcher or RPG with them. Like other Splicers in the Fontaine's this enemy would have worn impromptu protective covering; in his case, armor fastened from sheet metal. This unique enemy type did not appear anywhere in the game, but the model's design is slightly similar in appearance to some of the male Splicers encountered in the store, albeit, more buff. In terms of their weapon choice, bulky physique, and use of armor, this proposed Splicer is similar to the Beast Heavy Hitter from BioShock Infinite.
The Jockey Splicer was an enemy who had consumed too much of the drinkable Plasmid: Shock Jockey. The character was alluded to by Booker in Burial at Sea - Episode 1 and supposed to be featured in Burial at Sea - Episode 2, but was ultimately cut far along in the process for unknown reasons. It even had its own character completed model, which can be found in the game files, and cartoon caricature, which can be seen in the Need to Know Theater film Message Received, Ryan!.
Allegedly, police or security forces similar in appearance to the Ducky model would have been patrolling the antebellum streets of Rapture. In the final game, no security forces are seen apart from Ryan Security.
Alpha-footage for Burial at Sea - Episode 1 reveals that Booker would have seen the Little Sisters walk into the Little Wonders Educational Facility with their instructor, and be able to watch the little girls go about their business, playing games or daydreaming, behind windows within the facility.
In Alpha-footage for Burial at Sea - Episode 1, both male and female citizens had at least two more head and model variations not seen in the final game. Some of the head models were repurposed from BioShock Infinite. At least two variants can be seen walking with a cane or a baby carriage.
In early rendered screenshots of High Street, there is a model that wears a trench coat. This model could have simply been another model variation, a specific character model, or a precursor model of what would have become a Jockey Splicer.
Suchong's Lab AssistantEdit
Unused subtitles indicate that a lab assistant, possibly named Harlan, was supposed to be heard and possibly seen inside Dr. Suchong's Free Clinic after Elizabeth arrives. This assistant is heard berating and beating a Big Daddy that had gone "off the reservation" to travel to Fontaine's Department Store and kill splicers. The idea for the drill was from this assistant and he was very angry that his idea was being "killed" by Suchong because of this Big Daddy's actions.
An eight-armed octopus was seen on a Burial at Sea - Episode 1 pre-launch image of Elizabeth looking over the city of Rapture from the large windows on Market Street, and on the banner for Burial at Sea - Episode 2. This octopus has however not been seen in the final versions of the two episodes.
Early concept art of an area that resembles Market Street shows a King Pawn store located on promenade. It's unclear if it was intended to be on the strip or if it's just a placeholder for other stores.
According to Alpha footage for Burial at Sea - Episode 1, as opposed to the retail version of the DLC, Market Street and High Street were connected by glass tunnels instead of an elevator. Through careful observation, the glass tunnels would have led to the lower portion of High Street in which then the player would then proceed to take an elevator up. This lower portion can be seen in the retail version of High Street in Burial at Sea - Episode 1. 
Concepts for Market Street shows a bar or liquor store called Scallop Spirits on its strip, which was later removed in exchange for Sinclair Spirits.
Renamed Pavilion Station in the final game, the Seahorse Station would have been a separate building all on its own, with a tram schedule board. Concept shows two designs, one pristine and one destroyed.
Concept art and audio files reveals that there was to be a scavenger hunt for parts to create the Air Grabber, which would have been created using makeshift items found around Rapture, including the Pneumo Bots.
Concept art shows a third imprinting study involving a mannequin with a resemblance to Elizabeth, two pigs with removable metal helmets with color signifies similar to the Big Daddies.
Concept art shows a special branch of Pneumo Lines that catered to advertisements and/or news bulletins. Images would be projected onto the moving canvas. This special branch would have been indicated through slots lining the walls and floors, an entrance and exit, and may have zoomed past the player's view.
According to Alpha-footage, concept art, cut dialog and objective lines, Pneumo Turrets running along the Pneumo Lines would have been present in Burial at Sea - Episode 1. They featured mounted guns connected to the television sets and ran freely along the Pneumo Lines. The player had to knock off and scavenge one for its hook in order to build an Air Grabber and progress through the department store. For that the store's security had to be activated to deploy the turrets.
Noisemaker Bolt Ammo BoxEdit
Much like the Tranquilizer and Gas Bolt, the Noisemaker Bolt was also given an own ammo box. But since the Bolts are only acquired by hitting a blue pin while Lockpicking, the ammo box was left unused.
Untitled BioShock Infinite NovelEdit
On April 5th, 2015 Ken Levin posted on his Twitter account that he had received the first draft of a BioShock Infinite novel from the writer Joe Fielder. An inquiry to Joe Fielder in April of 2017 indicates that the novel would have been about Elizabeth's time in Rapture leading up to the events of Burial at Sea. Given the lack of new information on the novel, no official announcement about a novel from 2K and the phrasing of Mr. Fielder's response, it seems the novel has been scrapped.
- ↑ BioShock Comparison interview on IGN
- ↑ Murray Kraft's Portfolio
- ↑ Ken Levine and the Infinite Idaho on Polygon
- ↑ Creating BioShock Infinite's Elizabeth with Shawn Robertson, Chapter: Smart Terrain: Flower Bush Test on GDC Vault
- ↑ 5.0 5.1 BioShock Infinite Gameplay (10-Minute Demo) on YouTube
- ↑ "Troy Baker, the industry's 'new' Nolan North" article by Thierry Nguyen at Joystiq.com
- ↑ Breathing life into BioShock Infinite on Eurogamer
- ↑ IGN's Early Elizabeth Prototype interview on YouTube
- ↑ Change is Good by Gavin Goulden on GDC Vault
- ↑ Peter Anderson's Portfolio
- ↑ The file name of the Shelly concept on Robb Waters' portfolio is named
- ↑ 12.0 12.1 12.2 Alpha footage of Burial at Sea - Episode 1 on YouTube
- ↑ Screenshot of the Artist's Struggle storefront
- ↑ A pre-launch image of an early version of Market Street
- ↑ Burial at Sea - Episode 2's Banner
- ↑ Lower portion of High Street Partially modeled and walk-able
- ↑ Imprinting Study Concept Art for Burial at Sea - Episode 2 by Robb Waters
- ↑ Street Alley Concept Art for Burial at Sea - Episode 1 by Scott Sinclair
- ↑ Ken Levine's Twitter Post on receiving the first draft
- ↑ Joe Fielder's Twitter Post on BSI novel