Abstract

If one knows everything there is to know about a person's state while playing BioShock, if one could describe the exact neurons firing, the synapses responding, and so on, one still wouldn't know what it is like to play BioShock. This is precisely what phenomenology is interested in. Some philosophers would argue that there are a great number of phenomenological methods, but the author thinks they basically fall into two categories: the phenomenological tradition and art as phenomenology. Infinite is phenomenologically interesting because the game's designers have poured phenomenological ideas into Columbia and Elizabeth, which one can then read as if they were books containing a phenomenological analysis of reality. Once the player is comfortable in the role of protagonist, one is easily absorbed by the worlds of Rapture and Columbia. The phenomenological relevance of these insights is that they reveal something about oneself.