By Luke Cuddy, William Irwin
Thought of an indication of the ‘coming of age’ of games as an inventive medium, the award-winning BioShock franchise covers sizeable philosophical floor. BioShock and Philosophy: Irrational video game, Rational Book presents professional reflections by means of philosophers (and Bioshock connoisseurs) in this seriously acclaimed and immersive fan-favorite.
- Reveals the philosophical questions raised during the inventive complexity, compelling characters and soaking up plots of this ground-breaking first-person shooter (FPS)
- Explores what BioShock teaches the gamer approximately gaming, and the aesthetics of online game storytelling
- Addresses a wide range of issues together with Marxism, propaganda, human enhancement applied sciences, political decision-making, unfastened will, morality, feminism, transworld individuality, and merchandising machines within the dystopian society of Rapture
- Considers visionary online game developer Ken Levine’s depiction of Ayn Rand’s philosophy, in addition to the theories of Aristotle, de Beauvoir, Dewey, Leibniz, Marx, Plato, and others from the corridor of Philosophical Heroes
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Extra resources for BioShock and Philosophy: Irrational Game, Rational Book
BioShock depicts Ryan as an Objectivist who wrongly dismisses emotions as being opposed to rationality. At first glance the “economic” choice would be to harvest the Little Sisters, not save them, which would undoubtedly be Ryan’s choice. Yet Fontaine bested Ryan not by being a better businessman, but by appealing to the emotions of the dissatisfied denizens of Rapture. Tenenbaum has a similar thing in mind when the Little Sisters are created, thinking it will be harder for folks to kill a little girl for ADAM than, say, a Big Daddy.
Old Elizabeth’s actions help to free young Elizabeth and reveal another collective of women working together toward their mutual freedom. In these examples we can perceive a few common themes. Elizabeth sees with greater clarity the world around her; in particular, she sees the wires of the cages working together to form a system of dominance. Further, she sees that Zachary Comstock is responsible for all of these wires. Additionally, in these instances we see Elizabeth take action and responsibility.
As she begins to stick up for herself, questioning Booker’s motivation and activities, she becomes more necessary to Booker and the game. Her tears, which Booker at first scorned, are now necessary to move the plot along: you must open tears to bring the tools to the warehouse and save Lin, for example. Elizabeth, as liberated, then transitions from being an object to a subject as the game goes on. She is no a feminist understanding of elizabeth 47 longer an inessential companion, but a very necessary and integral part of the game.