DOCSLIB.ORG

Rapture (Bioshock) Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rapture (Bioshock) Free FREE RAPTURE (BIOSHOCK) PDF John Shirley,Ken Levine | 400 pages | 19 Jul 2011 | Titan Books Ltd | 9781848567047 | English | London, United Kingdom Rapture (BioShock) - Wikipedia Rapture is a fictional city in the BioShock series published by 2K Games. It is an underwater city Rapture (Bioshock) is the main setting for the games BioShock and BioShock 2. The city also briefly appears in BioShock Infiniteand is featured in its downloadable content Rapture (Bioshock), Burial at Sea. The game's back-story describes the city as envisioned by business tycoon Andrew Ryan in the mids as a means to create a utopia for Rapture (Bioshock) greatest artists and thinkers to prosper in a laissez-faire Rapture (Bioshock) outside of increasing oppression by the world's governments and religion. However, the lack of government made many people uneasy, and the masses turned toward political activists like Atlas Rapture (Bioshock) advocated stability under a government, turning the city into a dystopia ; and on the eve ofa civil war broke Rapture (Bioshock), leaving much of Rapture's population dead. The remaining citizens either became psychotic "Splicers" due to the effects of ADAM, a substance that can alter genetic material, or have barricaded themselves from the Splicers to protect themselves, leaving the city to fail and fall apart around them. The player first experiences Rapture in BioShockina year after the fateful riots, as a man named Jack that has come to Rapture after a plane accident over the mid-Atlantic Ocean where the city was located; during this, the player comes to learn more about Ryan's motives and those that he struggled against to keep the city's ideals until the very end. In BioShock 2the player takes the role of a "Big Daddy", a heavily modified Rapture (Bioshock) in an armored diving suitdesigned to maintain the city, and would soon come to serve the purpose Rapture (Bioshock) protecting the Little Sisters as they collect ADAM from "Angels", which are dead bodies that harbor significant amounts of ADAM; this takes place eight years after the events of the first game, Rapture (Bioshock) while Rapture (Bioshock) has been killed, there remain those that vie for the vacuum left in his position of power. Rapture makes a brief appearance near the climax of BioShock Infinitewhich is otherwise set in a different dystopian city, Columbia. Downloadable content for Infinite is set in Rapture on New Year's Evea year before the events Rapture (Bioshock) the first BioShock and on the day of the civil war. The concept of Rapture was the brainchild of Ken Levinefounding member and creative director of Irrational Gamesbriefly renamed 2K Boston just prior to BioShock Rapture (Bioshock) s release, but later returned to their former name. Ken Levine had studied the works of Ayn RandGeorge Orwelland Aldous Huxley and other works of utopian Rapture (Bioshock) dystopian societies as part of his liberal arts degree. Rapture is an underwater city, located in the north Atlantic Ocean somewhere between Greenland and Iceland. It is only accessible by a system of bathyspheres. The city was designed to be self-sufficient, growing and raising its own crops as well as using Rapture (Bioshock) surrounding sea life for food, and taking advantage of submarine volcanoes to provide Rapture (Bioshock) power to its population. The buildings, both inside and out, feature a distinctive Art Deco design Rapture (Bioshock), reflecting on the era during which they were built the mid-'40s. In addition to living quarters, Rapture features shopping areas, entertainment venues, laboratories, manufacturing plants, medical facilities, and other common services provided by Rapture (Bioshock) functional city. Though Rapture was built as a utopia for creative individuals to flourish, the city soon became a dystopia. Part of the downfall of Rapture was the discovery of ADAM, stem cells harvested from a previously unknown species of sea slug. Scientists in Rapture found that ADAM could be used to overwrite the human genome, allowing its users to Rapture (Bioshock) "splice" super powers such as telekinesis into their DNA. The lead scientist, Dr. Brigid Tenenbaum, found that ADAM could be mass-produced by implanting the sea slug in the stomachs of young orphaned girls, who came to be known as "Little Sisters". The implantation process only worked on female children for an unknown reason. As Rapture began to fall into social chaos, in part Rapture (Bioshock) to the mental instability that came about from increased ADAM use, the Little Sisters were mentally reconditioned to extract ADAM from the dead and recycle it. Suchong generated genetically modified humans in armored diving suitsand assigned them to protect Rapture (Bioshock) specific Little Sister. These beings became known as " Big Daddies ". While most of the city's automated systems still operate, large swaths of the city have become flooded, while others have been damaged beyond repair, either Rapture (Bioshock) a result of the bloody civil war that tore Rapture apart, or as a consequence of the Splicers' ADAM-induced psychotic episodes. Rapture was formally founded on November 5 As described in the games' backstory and through in-game audio recordings, the city of Rapture was envisioned by the Randian business magnate Andrew Ryanwho wanted to create a laissez-faire state with no ties to the rest of the world Rapture (Bioshock) escape what he saw as increasingly oppressive political, economic, and religious authority on land. The city was fully completed in Scientific progress flourished in Rapture, leading to rapid developments in engineering and biotechnology, such as the invention of ADAM, thanks in part to the brilliant scientists that Ryan brought to the city. Though residents were hand-picked for their success on the surface, as time passed, the gap between rich and poor increased. This was exploited by Rapture (Bioshock) Fontaine, Rapture (Bioshock) businessman in charge of the plasmid industry who secretly established an illegal smuggling ring Rapture (Bioshock) the outside world while simultaneously creating charitable Rapture (Bioshock) to manipulate the underclass. A violent attempt to overthrow Ryan reportedly killed Fontaine, Rapture (Bioshock) the player's experience in BioShock reveals that Fontaine survived, disguising himself as the proletarian hero 'Atlas'. As the war disrupted production and supply, every ADAM user in Rapture (Bioshock) city eventually went violently insane. By the end of the revolt, Ryan's utopia had become Rapture (Bioshock) dystopiaand only a handful of non- mutated humans survive in barricaded hideouts. In the events of BioShocka man known as Jack the protagonist that the player controls ends up in Rapture after a plane crash in the middle of the Rapture (Bioshock) leaves him close to the city's bathysphere surface terminus. When Jack finally meets Ryan, the latter is well aware of Jack's identity and mental conditioning, and orders Jack to kill him, ending his life on his own terms and rejecting the control Fontaine has over his son. Fontaine leaves Jack to die, but he is rescued by Tenenbaum and her Little Sisters, and together they attack and kill Fontaine. In the power void left by Ryan's and Rapture (Bioshock) deaths, a new figure, Sofia Lamb, arises in the following decade. In contrast to Ryan's belief of Rapture (Bioshock) the individual, Lamb's ideals are favoring the collective, and she Rapture (Bioshock) able to build "The Family", a cult-like following of the remaining citizens of Rapture to achieve her goals. During the events of Rapture (Bioshock) 2 which takes place ten years after the events of the first gamethe player takes the role of the first prototype Big Daddy, Subject Delta, as Lamb's plans progress to their final completion to extend The Family to the surface. The destinies of Delta, Lamb, and Eleanor, Lamb's daughter Rapture (Bioshock) Delta's original Little Sister, are determined by the player's action during the game, though the endings Rapture (Bioshock) escaping a section of Rapture flooded by Lamb. The fate of Rapture is left open after the completion of the game. More details Rapture (Bioshock) the origins of Rapture are provided in the novel BioShock: Rapturea prequel novel by John Shirleyreleased in The novel tells the backstory of the creation of Rapture, the underwater city's deterioration, and the civil war following the coming of plasmids. The novel ends Rapture (Bioshock) before the story in the Rapture (Bioshock) BioShock game begins. On Rapture (Bioshock) eve of the Rapture civil war, Elizabeth Courtnee Draper asks him to investigate the disappearance of a Rapture (Bioshock) girl named Sally. Elizabeth reveals that Sally is alive, and that a local artist named Sander Cohen T. Ryder Smith may have information regarding her whereabouts. In reviews for BioShockmany reviewers praised the representation of Rapture. Charles Herold of The New York Times wrote that the city was "a fascinating creation" and that there was something "both wonderful and Rapture (Bioshock) in exploring the ruins of Andrew Ryan's creation. From Wikipedia, the free encyclopedia. This section needs expansion. You can help by adding to it. February Retrieved Washington Post. Retrieved August 6, IGN YouTube. Cult of Rapture. I'm out, and you're stuck Rapture (Bioshock) Hephaestus, working. Imagine my surprise. Silly enough to fall in love with Andrew Ryan, silly enough to -- Sounds of explosions and screaming Splicer 1: Long live Atlas! Splicer 2: Death to Ryan! New York Times. Andrew Ryan Big Daddy Elizabeth. Book:BioShock Category. Categories : BioShock series Fictional city-states Fictional populated places Video game locations Abandoned buildings and structures in fiction Fictional sealed locations Underwater civilizations in fiction Dystopian fiction. Hidden categories: Articles to be expanded from February All articles to be expanded Articles using small message boxes All articles with unsourced statements Articles with unsourced statements from January Namespaces Article Talk.
Load more

Recommended publications
  • Bioshock 2 Game
    WARNING Before playing this game, read the Xbox 360 B I O S H O C K 2 accessory manuals for important safety and health information.® Keep console all manualsand for future reference. For replacement console and accessory manuals, go to CONTENTS www.xbox.com/support. Xbox LIVE 2 Main Menu 2 Important Health Warning About Playing Video Games Photosensitive seizures SINGLE PLAYER GAME A very small percentage of people may experience a seizure when exposed to certain visual images, including flashing lights or patterns that may appear in video games. Rapture’s Nightmare 3 Even people who have no history of seizures or epilepsy may have an undiagnosed Story 3 condition that can cause these “photosensitive epileptic seizures” while watching video games. Controls 4 Little Sisters 5 These seizures may have a variety of symptoms, including lightheadedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, HUD 6 confusion, or momentary loss of awareness. Seizures may also cause loss of Weapons & Plasmids 7 consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Gene Tonics . 9 Immediately stop playing and consult a doctor if you experience any of these Finding Items . 9 symptoms. Parents should watch for or ask their children about the above symptoms— Threats 10 children and teenagers are more likely than adults to experience these seizures. The risk Devices & Machines . .12 of photosensitive epileptic seizures may be reduced by taking the following precautions: Sit farther from the screen; use a smaller screen; play in a well-lit room; do not play Hacking 14 when you are drowsy or fatigued.
    [Show full text]
  • Everyman, All at Once Formatted 4.10.18
    Ben Phelan Brigham Young University, United States Everyman, All at Once Baptism and the Liberal Subject in BioShock Infinite Even as liberalism has penetrated nearly every nation on earth, its vision of human liberty seems increasingly to be a taunt rather than a promise. —Patrick J. Deneen, Why Liberalism Failed Abstract The 2013 video game BioShock Infinite stages baptism as a way to place the player within a liminal space where he or she is ostensibly a free subject, able to choose from an array of political options, but who will inevitably choose liberalism. In order to get the player to the point where they make—or rather confirm—their choice, the game must also force the player to arrive there. This conundrum mirrors the paradox of liberalism, following theorists like Patrick J. Deneen: that we supposedly choose among a realm of infinite possibly and yet those possibilities are forced upon us. This paradox is also the mode within which BioShock Infinite operates. The game uses self-referential and metatextual techniques to call attention to its gameness, and yet, it still asks the player to accept its liberal ideology. Althusser argues that the role of “Ideological State Apparatuses” (or ISAs) is to convince us that we are subjects who freely choose the dominant ideology, as opposed to any other system. ISAs do this through confirming us as subjects through rituals of ideological recognition enacted through, among other things, theatre, film, and video games. BioShock Infinite places the player in a position where they confirm that they are, indeed, a liberal subject, and then asks that liberal subject to choose the very order from which their (mis)recognition occurs.
    [Show full text]
  • Music, Time and Technology in Bioshock Infinite 52 the Player May Get a Feeling That This Is Something She Does Frequently
    The Music of Tomorrow, Yesterday! Music, Time and Technology in BioShock Infinite ANDRA IVĂNESCU, Anglia Ruskin University ABSTRACT Filmmakers such as Kenneth Anger, David Lynch and Quentin Tarantino have taken full advantage of the disconcerting effect that pop music can have on an audience. Recently, video games have followed their example, with franchises such as Grand Theft Auto, Fallout and BioShock using appropriated music as an almost integral part of their stories and player experiences. BioShock Infinite takes it one step further, weaving popular music of the past and pop music of the present into a compelling tale of time travel, multiverses, and free will. The third installment in the BioShock series has as its setting the floating city of Columbia. Decidedly steampunk, this vision of 1912 makes considerable use of popular music of the past alongside a small number of anachronistic covers of more modern pop music (largely from the 1980s) at crucial moments in the narrative. Music becomes an integral part of Columbia but also an integral part of the player experience. Although the soundscape matches the rest of the environment, the anachronistic covers seem to be directed at the player, the only one who would recognise them as out of place. The player is the time traveller here, even more so than the character they are playing, making BioShock Infinite one of the most literal representations of time travel and the tourist experience which video games can represent. KEYWORDS Video game music, film music, intertextuality, time travel. Introduction For every choice there is an echo. With each act we change the world […] If the world were reborn in your image, Would it be paradise or perdition? (BioShock 2 launch trailer, 2010) Elizabeth hugs a postcard of the Eiffel Tower.
    [Show full text]
  • Interactive Emotions: Empathy in the Bioshock Series* *Spoiler Warning: This Paper Contains Spoilers for the Bioshock Series of Video Games
    Archived article from the University of North Carolina at Asheville’s Journal of Undergraduate Research, retrieved from UNC Asheville’s NC DOCKS Institutional Repository: http://libres.uncg.edu/ir/unca/ University of North Carolina at Asheville Journal of Undergraduate Research Asheville, North Carolina December 2013 Interactive Emotions: Empathy in the Bioshock Series* *Spoiler Warning: This paper contains spoilers for the Bioshock series of video games. Zac Hegwood Literature: Concentration in Creative Writing The University of North Carolina at Asheville One University Heights Asheville, NC 28804 USA Faculty Advisor: Dr. Amanda Wray Abstract Video games are a multi-billion dollar industry, embraced by a large majority of U.S. households. People of all ages and from all backgrounds participate in the stories and experiences offered by these games. Unfortunately, most of the research done on videogames considers them only from a technical aspect: how they assist in cognitive abilities (see Oei and Patterson, 2013) or how they make us violent or cooperative (see Saleem, Anderson, and Gentile, 2012). Both of these research foci underestimate video games as an interactive form of storytelling. My undergraduate research project attempts to address this gap by studying video games as a medium of literature that creates an emotive experience for the user through interactive storytelling. Building upon interviews conducted at the Escapist Expo in Durham, NC, and current game theory scholarship, this paper deconstructs the use of emotion within the critically-acclaimed 2013 video game “Bioshock: Infinite,” and the entire Bioshock series. In particular, I analyze how the games’ interactive/empathetic components force players to question our conceptualizations of the culturally relevant themes of religion, race, and social class.
    [Show full text]
  • Diegetic Music, Narrative, and Discourse in Bioshock
    Loading… The Journal of the Canadian Game Studies Association Vol 11(18): 21-40 http://loading.gamestudies.ca “You’re Getting to be a Habit with Me”: Diegetic Music, Narrative, and Discourse in Bioshock Rodrigo Pablo Yanez University of Saskatchewan [email protected] Abstract This article examines how diegetic music in Bioshock (2007) is an explicit component of narrative production, game environment creation, and player immersion. The songs from the 1930s-50s participate in the construction of narrative through a constant interplay or negotiation with the video game’s other elements—visual, textual, ludic—and thus music ultimately functions as a distinct discourse able to mediate between contesting factors for the protagonist Jack and the player. The discourse diegetic music produces in Bioshock operates through a system of musical, cultural, and filmic codes of signification that also incorporates new modes employed and generated by video games—particularly regarding the nature of narrative creation in digital media, and the ludic aspects which must necessarily inform all levels. The author argues that the songs in Bioshock not only produce ironic and poignant effects through antithetical juxtapositions of musical mood or expression in relation to the scene or overall story, but the lyrics may speak to the events enacted or depicted, to Jack and the player, or to the very nature of game play itself. Author Keywords Bioshock; Music; Narrative; Discourse; Ludology; Film theory; Video Games. In 2K Games’ Bioshock (2007) the player, as the protagonist Jack, is thrown into a dystopian, futuristic alternate history of America, where in the early stages of the video game one finds what resembles the iconic Underwood #5 Typewriter—rebranded “Below Tree”—serving as one of the many cues that this is not familiar territory.
    [Show full text]
  • Narrative Space and the Bioshock Games
    Environmental Storytelling, Ideologies and Quantum Physics: Narrative Space And The BioShock Games Samuel Zakowski Ghent University Blandijnberg 2 9000 Ghent (Belgium) +3232484813 [email protected] ABSTRACT In this paper, I present a narratological approach to the BioShock trilogy of games. I look at three narratological levels as they relate to space. At the level of the storyline, a large part of the game revolves around the piecemeal construction of the narrative of the game space – the narrative of the player's avatar is developed alongside the narrative of what happened to the space he is moving through. At the level of the storyworld, the game space symbolizes ideological oppositions – many locations are appropriated as a way of opposing the dominant ideology of the game space. At the level of the narrative universe, I focus on the last part of the trilogy, which is, to a large extent, a story about the story and, hence, metaleptic. The player and his avatar move through many different storyworlds and storylines, all alike yet subtly different from each other. Keywords BioShock ; space; metalepsis; possible worlds. INTRODUCTION Narratologists have for some time been pointing to the relative theoretical neglect of the experiential category of space in favour of time. In general, time is regarded as a fundamental category of narrative – a story is composed of a succession of events, i.e., of a sequence (cf. e.g. Chatman 1978, 43; Ricoeur 1980, 178); space, on the other hand, has been treated as the ‘setting’ or ‘background’ of the narrative, limiting its appeal to theorists (Ryan 2009, 420).
    [Show full text]
  • Father-Daughter Relationships in Video Games
    Loading… The Journal of the Canadian Game Studies Association Vol 10(16): 162-174 http://loading.gamestudies.ca Big Daddies and Broken Men: Father-Daughter Relationships in Video Games Sarah Stang York University [email protected] Abstract This article discusses the recent trend of father-centred video game narratives and analyses the father-daughter relationships portrayed in four critically acclaimed and commercially successful games which exemplify this trend: BioShock 2 (2010), The Walking Dead (2012), BioShock Infinite (2013), and The Last of Us (2013). The author critiques these games for granting the father- figures agency over their daughter-figures and constructing them as moral barometers, helpful gameplay tools, and means for paternal redemption. The Walking Dead is discussed as the only positive portrayal of a father-daughter bond among this selection of games. Author Keywords Video games; fatherhood; masculinity; feminism; agency; morality In her studies of postfeminist ideology within the Hollywood film industry, Hannah Hamad (2013) observes that “paternalized protagonists have become an increasingly and often overwhelmingly omnipresent feature of popular film in the early twenty-first century” (p. 99). Hamad theorizes that fatherhood has become “a defining component of ideal masculinity,” and so it is perhaps unsurprising that this trend has influenced the video game industry as well (p. 99). The past decade has seen a dramatic increase in the number of critically acclaimed and commercially successful video games which position players as father-figures and prioritize paternal narratives. Games journalist Stephen Totilo (2010) has celebrated this phenomenon – what he calls the “daddening” of video games – as a maturation of the industry.
    [Show full text]
  • Narrative and Gameplay Design in the Story-Driven Videogame: a Case Study on the Last of Us
    NARRATIVE AND GAMEPLAY DESIGN IN THE STORY-DRIVEN VIDEOGAME: A CASE STUDY ON THE LAST OF US Kelsey Cameron A thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Communication Studies (MCS) 2017 School of Communication Studies Abstract The story-driven trend over the last decade has experimented with incorporating narrative into the videogame alongside traditional gameplay. This study analyses some of the challenges when integrating narrative into the videogaming paradigm. A case study using formal analysis and close reading research methods analyses a critically and culturally acclaimed videogame titled The Last of Us. This study investigates the various design patterns of narrative and gameplay in The Last of Us to explore how narrative can be incorporated in the medium more effectively. Rather than using narrative as a subordinate feature within the system in The Last of Us, it is treated as a crucial component alongside the gameplay. Through various design methods, narrative and gameplay are layered together and overlap when the game is interacted with. Instead of competing for the player’s attention, both the narrative and gameplay support one another throughout the game. This case study on the narrative and gameplay design in The Last of Us and the emergent implications of the design decisions demonstrates how story can enhance the experiential capabilities in the videogame medium. ii Table of Contents ABSTRACT .......................................................................................................................
    [Show full text]
  • Bioshock: Impact Guide for Players
    BioShock: Impact Guide For Players BioShock is a first-person action and survival game released in 2007 for the Xbox 360 and PC. The game centers on the player’s exploration of the underwater city of Rapture and the struggle between factions of its inhabitants. Throughout the game, the player encounters members of the groups and must confront several morally ambiguous scenarios and has some agency in choosing how to align themselves. The game was a critical and commercial success and spawned sequels BioShock 2 and the upcoming BioShock Infinite, as well as comics, novels, and other merchandise. How to use this guide: Players – We’ve identified several interesting or important themes in the game. As you play through, reflect on your play. How have you experienced these themes? Are there other important ones present in the game? What kind of impact does your play allow in the larger world? Answer the questions we’ve provided – but feel free to add more at www.gamesandimpact.org. Warning: Questions contain some spoilers about the games. Theme: Authority BioShock is set in the fictional city of Rapture, founded as a refuge from overbearing government regulation and religious fervor of post-WW2 America. The games’ lead writer, Ken Levine, admits that the works of Ayn Rand were a primary influence on the development of the story and the inhabitants of Rapture. Many of the confrontations the player encounters are a result of these philosophical struggles. Game How is authority positioned in the game? The statue of Rapture founder Andrew Ryan is inscribed with the phrase “No Gods or Kings.
    [Show full text]
  • Always Already Monsters—Bioshock's (2007) 'Splicers
    ALWAYS ALREADY MONSTERS—BIOSHOCK’S (2007) ‘SPLICERS’ AS COMPUTATIONAL OTHERS Jaroslav Švelch (Charles University and University of Bergen) Abstract: The article explores the manufacturing of monsters in video games, using the case of the influential 2007 first-person shooter BioShock, and ‘splicers’—its most numerous, zombie-like enemies. I combine two methodological perspectives on the ‘manufacturing’ of splicers by analyzing [a] the title’s developer commentary and other official paratexts to trace the design of splicers, and [b] the game’s embedded narrative to reconstruct the diegetic backstory of splicers. I argue that video game enemies, including splicers, are ‘computational others’, who may appear human on the level of representation, but whose behavior is machinic, and driven by computational algorithms. To justify the paradoxical relationship between their human-like representation and machinic behavior, BioShock includes an elaborate narrative that explains how the citizens of the underwater city of Rapture were dehumanized and transformed into hostile splicers. The narrative of dehumanization, explored following Haslam’s dehumanization theory (2006), includes [a] transforming splicers into atomized creatures by depriving them of political power and social bonds, [b] creating fungible and interchangeable enemies through splicers’ masks and bodily disintegration, [c] justifying splicers’ blindness to context and their simplistic behavior by portraying them as mentally unstable addicts. The article concludes that all video game enemies are inherently monstrous, and that critique of video game representation should focus on how games fail to make monsters human, rather than how games render humans monstrous or dehumanized. Keywords: monsters; video games; first-person shooter; BioShock (2007); zombies; otherness; computational other; hauntology.
    [Show full text]
  • Beyond the Sea: Navigating Bioshock
    Beyond the sea: navigating BioShock Author(s) Parker, Felan; Aldred, Jessica Imprint McGill-Queen's University Press, 2018 ISBN 9780773554979, 077355498X, 9780773554986, 9780773555556, 0773555552 Permalink https://books.scholarsportal.info/en/read?id=/ ebooks/ebooks3/ upress/2018-12-13/1/9780773555556 Pages 18 to 39 Downloaded from Scholars Portal Books on 2019-05-01 Téléchargé de Scholars Portal Books sur 2019-05-01 There’s Always an Introduction Felan Parker and Jessica Aldred The fall 2016 release of Bioshock: The Collection – a deluxe anthology of Bioshock (Irrational, 2007), Bioshock 2 (2k Marin, 2010), and Bioshock Infinite (Irrational, 2013) along with each game’s downloadable content (dlc) episodes and supplemental material, remastered for current gener- ation game consoles – marks an almost decade-long span in which the Bioshock series has been at the forefront of scholarly, critical, and popular discourse about digital games. Yet, unsurprisingly, the collection itself did not engage with or even acknowledge the myriad debates and discussions the series has inspired over the years, or attempt to situate it in any larger sociocultural context. Instead it prioritized the consumer logic of the game industry, with glossy packaging and marketing, a shiny coat of audiovisual polish on the earlier games, as well as the insertion of a series of collectible “golden film reels” that allow players of the original game to unlock be- hind-the-scenes interviews with Bioshock and Infinite creative director Ken Levine and lead artist Shawn Robertson. Although Levine was not in- volved in the anthology release (which was outsourced to a third party company), these paratextual materials reinscribe his well-established au- thorial presence.
    [Show full text]
  • Biopunk Dystopias: Genetic Engineering, Society, and Science
    BIOPUNK DYSTOPIAS Liverpool Science Fiction Texts and Studies, 56 Liverpool Science Fiction Texts and Studies Editor David Seed, University of Liverpool Editorial Board Mark Bould, University of the West of England Veronica Hollinger, Trent University Rob Latham, University of California Roger Luckhurst, Birkbeck College, University of London Patrick Parrinder, University of Reading Andy Sawyer, University of Liverpool Recent titles in the series 32. Robert Philmus Visions and Revisions: (Re)constructing Science Fiction 33. Gene Wolfe (edited and introduced by Peter Wright) Shadows of the New Sun: Wolfe on Writing/Writers on Wolfe 34. Mike Ashley Gateways to Forever: The Story of the Science-Fiction Magazine from 1970–1980 35. Patricia Kerslake Science Fiction and Empire 36. Keith Williams H. G. Wells, Modernity and the Movies 37. Wendy Gay Pearson, Veronica Hollinger and Joan Gordon (eds.) Queer Universes: Sexualities and Science Fiction 38. John Wyndham (eds. David Ketterer and Andy Sawyer) Plan for Chaos 39. Sherryl Vint Animal Alterity: Science Fiction and the Question of the Animal 40. Paul Williams Race, Ethnicity and Nuclear War: Representations of Nuclear Weapons and Post-Apocalyptic Worlds 41. Sara Wasson and Emily Alder, Gothic Science Fiction 1980–2010 42. David Seed (ed.), Future Wars: The Anticipations and the Fears 43. Andrew M. Butler, Solar Flares: Science Fiction in the 1970s 44. Andrew Milner, Locating Science Fiction 45. Joshua Raulerson, Singularities 46. Stanislaw Lem: Selected Letters to Michael Kandel (edited, translated and with an introduction by Peter Swirski) 47. Sonja Fritzsche, The Liverpool Companion to World Science Fiction Film 48. Jack Fennel: Irish Science Fiction 49.
    [Show full text]