The artistic leader of the fallen utopia that was Rapture, and ‘ruler’ of Fort Frolic, I personally found Sander Cohen one of the most interesting characters in the Bioshock series. Believing himself to be an extremely talented, yet gravely misunderstood artist, he rages insanely through the remains of the city murdering Splicers, and those who stand in is way, while adding them to his gallery. Donning a rabbit mask, also scene in his short film “the March Hare”, his shadowed form is seen dancing in an advertisement for his private club. The audio diaries by Cohen, with his rantings and verse, are scattered around Rapture and provided great material for a song. In his poem the Wild Bunny Cohen describes the his desire to take off the mask, but he can’t get off the ground when he hops. In Requiem for Andrew Ryan he curses Ryan for bringing him down to the depths, leaving behind possible dreams of Broadway to instead illuminate Ryan with his own starlight, and leaving himself to rot.  When you try to escape or leave Cohen behind, he calls after you to “Fly, little moth, fly!” and chides you for “Turning your tail”.  Combining all of these ramblings into a song for a tenor felt very fitting, and I imagine it as the final version of Cohen, near the end, with Rapture falling apart around him, his followers fleeing or all dead, and he sings to you, perhaps his last hope to take off the mask, or perhaps the last benefactor of his illumination, and as you leave the lights go out.  - Bonnie Bogovich (Lyrics)

Musically the vocal part was a arranged as much to be acted as to sing; Spriche-Stimme in a sense depicting the romantic insanity of Cohen; piano-wise I gave a lilt to imitate the ‘hopping’; the original piece of music is an absolute fantastic poly-tonal portrait of Cohen.  Joel Everett (Arranger / Pianist)

Appears on Song Cycle: The History of Video Games