BioShock begins simply with the text “1960 Mid‐Atlantic.” The player's horizon shifts to accommodate this fact, like not being so surprised that Jack can smoke in the airplane. What follows in BioShock is the development of a narrative where it is assumed that Jack is entering Rapture for the first time in his life. Later, it is revealed that he is not. When Andrew Ryan exposes Jack's real identity, Ryan is falsifying both the narrative of Jack coming to (...) Rapture for the first time and the meta‐narrative of the player operating a free agent as an avatar. Understanding how BioShock effectively manipulates players will take us through a variety of territories: cognitive science, philosophy of mind, philosophical hermeneutics, philosophy of video gaming, and philosophy of free will. It's all a testament to the brilliance of BioShock and a demonstration of how video games can teach us‐ even change us. (shrink)

In the massive plot twist at the end of BioShock Infinite, the writers beautifully put forth a hypothesis that individuals might exist in more than one possible world. In philosophy, the idea that an individual can exist in more than one world is called transworld identity. An important rival to transworld identity theory is counterpart theory, the idea that individuals cannot exist in more than one possible world and are therefore “world bound.” Modal realism is the thesis according to (...) which there is an infinite number of possible worlds that really exist in the most robust sense, relative to themselves. The world of Columbia is one possible world. The world of Rapture is another possible world. Both the actualist and the possibilist agree on these claims. Most important to the themes present in BioShock, transworld individuality has profound implications for differing notions of freedom. (shrink)

Everyone misses the point of Plato's cave. What a coincidence, because everyone also misses the point of BioShock. The moment one's interactivity with the game is revealed as a fake isn't the moment when one kills Andrew Ryan in a cutscene. It's what happens after that. Atlas tells to abort the self‐destruct sequence. One has the choice of whether to abort self‐destruct sequence or not, but, positioned as it is, that choice has been exposed as meaningless within the basic (...) fabric of game's mechanics. The non‐choice of disarming self‐destruct sequence ends up in the same place as the other, more famous ethical dilemma of BioShock; the choice of whether to harvest the Little Sisters or to save them. That's the part that everyone gets wrong where BioShock is concerned, and so it's the part where comparing the game to Plato's cave can really help get both of them right. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bioshock and the Art of RaptureGrant TavinorI am Andrew Ryan, and I am here to ask you a question. Is a man not entitled to the sweat of his brow? "No!" says the man in Washington, "It belongs to the poor." "No!" says the man in the Vatican, "It belongs to God." "No!" says the man in Moscow, "It belongs to everyone." I rejected these answers; instead, I (...) chose something different. I chose the impossible. I chose Rapture! A city where the artist would not fear the censor; where the scientist would not be bound by petty morality; where the great would not be constrained by the small! And with the sweat of your brow, Rapture can become your city as well.Andrew Ryan, opening BioshockIBioshock is the Masterpiece of recent gaming. Genre-wise the game is a first person-shooter survival-horror game—already a complicated mix of gaming forms—and Bioshock is excellent in these gaming terms: playing the game is a consistently engaging, challenging, and tense experience. The narrative of the game, set in Rapture, a dystopian city beneath the sea, fits perfectly with this interactive gaming form. The premise of Bioshock is a parody of Ayn Rand's objectivist novel Atlas Shrugged. Led by the magnate Andrew Ryan, the industrialists, artists, and scientists have retreated from the world and built Rapture through sheer force of will. But when the player enters the city at the beginning of the game, it is evident that nature is pushing back, and that the sea is slowly but surely retaking Rapture, while its citizens have become corrupted by the arts and sciences the city was built upon: as genetically manipulated "splicers" they now creep through Rapture's darkened halls bemoaning their lost humanity. Andrew Ryan "chose the impossible," [End Page 91] and inevitably his hubris is being repaid by the recalcitrance of human nature and the impermanence of human achievement. Much of the immense fun of Bioshock derives from the irony of an objectivist utopia running amok.The immediate visual impact of Bioshock, depending on its employment of cutting-edge high definition 3D computer graphics, is striking. The aesthetic qualities of the water, in particular, have drawn wide praise. The world of Rapture is also presented through an engaging and excellent style. To depict this decaying world, Bioshock draws on the architectural motifs and cultural themes of 1930s and 1940s America. Portrayals of decaying art deco facades, faded Hollywood socialites, and echoes of Hearst, Hughes, and Citizen Kane, are combined with period music and philosophical and literary references to produce a coherent artistic statement.Two features of Bioshock bear out its unique artfulness as a game. First is the role in the game-world of the Little Sisters: cute little girls that pose a game obstacle with which the player must decide how to deal. In Bioshock, the task of harvesting the game-world resources needed to survive is given a moral dimension in that the resources can be extracted only from the Little Sisters by killing them, and so a key part of the gameplay rests on an emotionally provocative moral choice. The second artful aspect of the game that warrants special attention is a narrative twist partway through the game where it becomes evident that player's principle sympathetic source of information in the game-world is a dissemblance. Bioshock has an interactive twist on an untrustworthy narrator, which clouds and complicates the decisions the player has made in Rapture. Rather than an actor, the player-character is a pawn in someone else's game. At the forefront of both of these aspects of Bioshock are considerations of freewill and morality.To really appreciate the art of Bioshock we need to understand its nature as a game, and moreover, to treat the gaming nature seriously and with sympathy. Bioshock is a videogame, and it is also clearly art; but it is not as if the game is art despite its being a videogame and that the art is a mere gloss or veneer. Rather, Bioshock's nature as a game allows it to be art of a distinctive kind. Treating videogames as a kind... (shrink)

Considered a sign of the ‘coming of age’ of video games as an artistic medium, the award-winning BioShock franchise covers vast philosophical ground. _BioShock and Philosophy: Irrational Game, Rational Book _presents expert reflections by philosophers on this critically acclaimed and immersive fan-favorite. Reveals the philosophical questions raised through the artistic complexity, compelling characters and absorbing plots of this ground-breaking first-person shooter Explores what _BioShock_ teaches the gamer about gaming, and the aesthetics of video game storytelling Addresses a wide array (...) of topics including Marxism, propaganda, human enhancement technologies, political decision-making, free will, morality, feminism, transworld individuality, and vending machines in the dystopian society of Rapture Considers visionary game developer Ken Levine’s depiction of Ayn Rand’s philosophy, as well as the theories of Aristotle, de Beauvoir, Dewey, Leibniz, Marx, Plato, and others from the Hall of Philosophical Heroes. (shrink)

BioShock made a big splash not only for the depth of its subject matter, but also for the way it utilized its video game medium to present its big ideas in a uniquely engaging way. The game weaves many themes into its complicated narrative, complete with shifting identities, science fiction superpowers, and survival‐horror overtones. It is clear that BioShock wants to be taken as a spiritual sequel to Rand's philosophical novel Atlas Shrugged, revealing a possible fate for John (...) Galt's mysterious hidden utopia, sought after for much of the novel but never fully revealed, as the book ends just before Galt discloses his society and its plans for the world. Rand develops her philosophy through fiction because she defines art as a selective re‐creation of reality according to an artist's perspective. That is, a work of art is an artist's take on what it is to be human. (shrink)

Bioshock is replete with propaganda and lies. Most of us associate this sort of behavior with dishonest governments attempting to control their citizens’ behavior, including their thoughts. Often the most perverse propaganda is successful precisely because it convinces its audience of things that they wouldn’t otherwise believe, and often against their own interests. But what is it about such speech that makes it morally problematic? Moreover, what difference, if any, is there between propaganda, lies, and bullshit? In this chapter, (...) I suggest that propaganda is more closely associated with bullshitting than lying. (shrink)

From nearly the author's first experience entering the underwater city of Rapture in BioShock, she is treated to a taste of Andrew Ryan's propaganda. Andrew Ryan regularly says that citizens of Rapture need to avoid all contact with the surface world because it's filled with parasites who seek to destroy Rapture. Even though what Ryan says about the outside world is true, he's lying because he believes it to be false. According to Harry Frankfurt, bullshit is when the speaker (...) doesn't particularly care whether what she says is true or false. The analysis in this chapter suggests that propaganda is more closely connected to bullshitting than lying. The author says that if propaganda is more closely associated with bullshit than lies, then this also means that one should be particularly worried by governments (or individuals with power, such as Andrew Ryan) that engage in lots of propaganda. (shrink)

BioShock Infinite begins with the question of “founding.” One enters Columbia for the first time on “Secession Day,” the anniversary of Columbia's secession from the United States in 1902, and the commemoration of the founding of Columbia as the “New Eden.” Racial difference is one of the major antagonisms in BioShock Infinite. BioShock Infinite exemplifies Carl Schmitt's concept of the political, as grounded on fundamental antagonisms that express the will of “the people” of Columbia. Sovereignty is the (...) power to decide what one will do outside of any rules or laws. The questions of decision and responsibility play a key role in the story and gameplay of BioShock Infinite. Players are forced to make a number of decisions throughout BioShock Infinite, without any way of knowing what the outcomes of these decisions will be. It turns out that none of these decisions has any real impact on the game. (shrink)

BioShock Infinite follows the journey of Booker DeWitt, a reluctant detective from New York City who is transplanted via rowboat and lighthouse‐turned‐rocket to the city of Columbia. Booker is charged with the task of bringing back a girl in order to wipe away his debt. The girl, Elizabeth Comstock, has been locked in a tower since infancy by her father, Zachary Comstock, and is protected by a menacing Songbird. Although the game centers on Booker and his story, this chapter (...) focuses on Elizabeth, looking at her through a feminist lens. Freeing Elizabeth from her tower, one could argue, is in a way freeing her from oppression of men. If we take Elizabeth as her own person, rather than as a mere companion, does Elizabeth's freedom from tower mean real freedom for her? Does Booker treat Elizabeth any differently than Comstock does? And, what really is Elizabeth's role in Booker's drowning?. (shrink)

At the end of BioShock Infinite, Booker is faced with the challenge of not allowing the tragedy to befall Columbia. There has to be a way, he believes, to prevent the rise of Father Comstock, the imprisonment and abuse of Elizabeth, and the creation of a Columbia that persecutes people for both religious and racial reasons. Booker's action is predicated on the necessity of Booker becoming Comstock. Elizabeth takes Booker back to Father Comstock's creation and it is revealed that (...) Comstock's coming to power took place when DeWitt accepted Christian baptism after his participation in the Wounded Knee massacre. The notion that Booker DeWitt had to become Father Comstock because of his baptism portrays a God that is overly deterministic, however. In reality, God may be omnipotent and omniscient, and yet humans may be free. (shrink)

BioShock Infinite is a piece of fiction that lets one peer into a world where this linearity seems overridden by a multiverse where all the possibilities exist. Stories are important for video games. Its story is one of the reasons BioShock Infinite resonates with audiences all around the world. The field of philosophy that deals with art is called aesthetics. If one think that it's even worth asking the question of whether BioShock Infinite is art or not, (...) then one might want to consider this: What is it we're asking about in this case? When we ask whether Infinite is art, we're asking about the experience of playing it. BioShock Infinite is still one of the greatest video game stories and worlds of all time. In this, it represents a big step towards artful video game design. BioShock succeeds in showing that the possibilities for artful storytelling are infinite. (shrink)

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. (shrink)

The Plasmids in BioShock are essentially enhancement technologies for “healthy” individuals. Although the sea slug in BioShock is a work of fiction, in the real world researchers are investigating species‐transcending gene technology. BioShock makes apparent the usefulness of biological enhancements, but also warns us about the potential dangers of playing with biology. Not everyone is in favor of human enhancement technologies. Their opponents fear that some procedures might change what it means to be human on a fundamental (...) level. BioShock is a digital game, and the types of Plasmids you are given are adequate to the challenges you encounter. Perhaps enhancement technologies would actually lead to greater social justice and equality by benefiting those who aren't as genetically gifted as others. As things stand, we are subject to the genetic lottery, but enhancement technologies would shift our fate “from chance to choice” and level the playing field. (shrink)

If there's one element that glues together the various games connected to the BioShock series, it's a willingness to challenge players to think. Traditionally, philosophers have chosen one of two general candidates to serve as the criterion of personal identity, the feature or characteristic that makes a person who they are and not someone else. These two criteria are (1) our physical bodies and (2) our conscious experiences as a “psychological continuity.” SHODAN was the protagonist in the original System (...) Shock game, but aboard the Von Braun she must reluctantly rely on the player to stop the spread of the many and so serves as a support role for most of the game's engrossing narrative. The character of SHODAN doesn't depend on what computer she is accessed through, and neither is personal identity tied to what material body a person inhabits. (shrink)

Steinman indicates that his ability to understand beauty is limited by his imagination. Beauty, as it has been traditionally defined, is an ultimate value, an ideal on same level as truth and goodness. Many of the ancient Greeks believed that symmetry represented order, and order was beautiful because it revealed a type of cosmic justice and truth that no person could deny. So, when Steinman's application of beauty comes into play, he is definitely emphasizing the order and justice that beauty (...) provides. The player of BioShock is introduced to a world quite familiar to ours, not necessarily in sense of Rapture, underwater cities, or vintage décor, but rather in the form of worldview. The vending machines are not coincidentally called Circus of Values. As players, one have value in surviving (intrinsic) so one will do whatever one can to survive, including buying or hacking vending machines with supplies (extrinsic value). (shrink)

The story of the Vox Populi embodies conflict theory, one popular interpretation of Marx's ideas, portraying a bloody revolution that loses sight of its ideals, turns anarchistic, and becomes the new oppressor. In Columbia, Zachary Hale Comstock and Jeremiah Fink illustrate the way the bourgeoisie may come to create and control the means of production. As the friction builds between the bourgeoisie and the proletariat, historical processes contribute to the inevitable collapse of capitalism. In BioShock Infinite, the simmering friction (...) between the upper and lower classes boils over into the rise of the Vox Populi. The functionalist perspective often casts religion as a social structure that keeps society together despite any negative costs it may have for any particular group. In order for the bourgeoisie to own the means of production and keep the working class oppressed, it uses propaganda and indoctrination as powerful agents of control. (shrink)

“Father” Zachary Hale Comstock is a self‐professed prophet, religious zealot, and racist, who has kept his “heir” under lock and key in the floating city of Columbia. Booker DeWitt is a washed‐up, disgraced ex‐Pinkerton agent haunted by his participation in the Wounded Knee Massacre. He enters Columbia to rescue Elizabeth in exchange for having his gambling debts settled. After much bloodshed, Booker saves Elizabeth and kills Comstock. In the past, Booker attended a baptism to assuage his guilt over Wounded Knee. (...) In some worlds he rejected the baptism, got married, had a daughter, Anna, and ended up as an indebted alcoholic ex‐Pinkerton agent. In the Comstock world, Anna is renamed Elizabeth in order to conceal her true origins. BioShock Infinite paints a metaphysical picture that treats the many‐worlds interpretation of quantum mechanics as reality. (shrink)

This chapter contains sections titled: How Can We Be Moved by the Fate of Niko Bellic? My Fear of Mutants The Role of the Emotions in Gaming.

This chapter contains sections titled: Welcome to Rapture Meet Niko Bellic Experiencing Game Worlds Acting in Game Worlds.

In Rapture some mad shit happens: there are Plasmids that allow players to fire bees out of their hands, generate electricity bolts, set enemies on fire, pick stuff up using telekinetic powers, and much more. One theory is that physical things are those that can be completely described by the vocabulary of the best possible theory of physics. Physicalism would thus be the view that this theory of physics would completely specify all the fundamental categories, all the ingredients we need (...) to make the world. Another theory is that the physical properties are the ones needed to account for the objects we accept as physical; for example, Andrew Ryan's putter. The physicalist's claim would be that these properties are the only ones we need to account for the rest of the world. (shrink)