An interpretive exploration of how the BioShock games enable plural selves in the gamer By Kimberley Watson Submitted for the degree Magister Artium (Visual Studies) in the FACULTY OF HUMANITIES UNIVERSITY OF PRETORIA February 2018 Supervisor: Prof. Amanda du Preez Booker: Doors to? Elizabeth: To everywhere. All that’s left is the choosing. Booker: What are all these lighthouses? Why are we… who are… Elizabeth: They’re a million, million worlds. All different, all similar. Constants and variables. (BioShock Infinite, Irrational Games 2013) i For Juan, who insisted I play BioShock Infinite first. ii CONTENTS Page LIST OF ABBREVIATIONS ................................................................................................... vi LIST OF FIGURES ................................................................................................................ vii LIST OF TABLES .................................................................................................................. xii LIST OF APPENDICES ........................................................................................................ xiii CHAPTER ONE: INTRODUCTION .................................................................................... 1 1.1Background ................................................................................................................. 2 1.1.1 Know thy „self‟ ............................................................................................. 2 1.1.2 Multiple selves .............................................................................................. 3 1.1.3 Multiple selves in BioShock .......................................................................... 4 1.1.4 Hypothesis..................................................................................................... 7 1.2 Need and scope for the study ..................................................................................... 7 1.2.1 Need .............................................................................................................. 7 1.2.2 Scope ............................................................................................................. 8 1.2.3 Feasibility and implications .......................................................................... 8 1.3 Aims and objectives ................................................................................................... 8 1.3.1 Aim ............................................................................................................... 8 1.3.2 Objectives ..................................................................................................... 9 1.4 Literature review ........................................................................................................ 9 1.4.1 The „self‟ ....................................................................................................... 9 1.4.2 Exploring the „self‟ through immersive activity ......................................... 10 1.4.3 Multiple selves ............................................................................................ 10 1.4.4 Technology and human interaction with technology .................................. 11 1.4.5 Visual technologies ..................................................................................... 14 1.4.6 Immersion and virtual „presence‟ ............................................................... 15 1.4.7 Virtual selves .............................................................................................. 17 1.4.8 Virtual narratives ........................................................................................ 18 1.4.9 Game type, structure and features ............................................................... 18 1.4.10 The BioShock trilogy................................................................................. 19 1.5 Theoretical approach and methodology ................................................................... 20 1.5.1 Theoretical approach ................................................................................... 20 1.5.2 Assumptions ................................................................................................ 20 1.5.3 Research methodology ................................................................................ 20 1.6 Outline of chapters ................................................................................................... 22 CHAPTER TWO: CONCERNING IDENTITY AND VIRTUAL ‘PRESENCE’ .......... 23 2.1 The „self‟ and multiple selves .................................................................................. 23 2.2 Game identity: avatars and agents ........................................................................... 24 2.3 Plural and multiple selves in games ......................................................................... 25 2.4 Defining virtual „presence‟ ...................................................................................... 26 2.5 Immersion and suspension of disbelief: defining immersion .................................. 27 CHAPTER THREE: PROVIDING AN ANALYTICAL FRAMEWORK FOR READING THE BIOSHOCK TRILOGY........................................................................... 34 3.1 Analytical framework for establishing immersion, virtual „presence‟ and, by extension, enhancement of plural selves in games ............................................. 34 iii 3.1.1 Game format ............................................................................................... 34 3.1.2 Ease of use .................................................................................................. 38 3.1.3 Challenge appeal ......................................................................................... 40 3.1.4 Aesthetic appeal .......................................................................................... 40 3.1.5 Sensory fidelity ........................................................................................... 41 3.1.6 Story substance ........................................................................................... 44 3.1.7 Social appeal ............................................................................................... 46 3.2 Conclusion .............................................................................................................. 47 CHAPTER FOUR: LUDOLOGICAL AND TECHNICAL FEATURES OF BIOSHOCK WHICH ENABLE VIRTUAL ‘PRESENCE’ ..................................................................... 48 4.1 Introducing the BioShock universe(s): A synopsis ................................................. 48 4.1.1 BioShock 1 .................................................................................................. 49 4.1.2 BioShock 2 .................................................................................................. 49 4.1.3 BioShock Infinite ......................................................................................... 49 4.2 The ludological and technical features of BioShock and how they contribute to virtual „presence‟ ............................................................................... 49 4.2.1 Game format ............................................................................................... 49 4.2.2 Ease of use .................................................................................................. 53 4.2.3 Challenge appeal ......................................................................................... 55 4.2.4 Aesthetic appeal .......................................................................................... 56 4.2.5 Sensory fidelity ........................................................................................... 65 4.2.6 Social appeal ............................................................................................... 70 4.2.7 Character customisation .............................................................................. 72 4.2.8 Conclusion .................................................................................................. 72 CHAPTER FIVE: NARRATOLOGICAL AND THEMATIC FEATURES OF BIOSHOCK WHICH ENABLE VIRTUAL ‘PRESENCE’ ............................................... 74 5.1 Genre as immersive ................................................................................................. 74 5.1.1 Horror elements in the BioShock games ..................................................... 74 5.2 Narrative ................................................................................................................. 83 5.2.1 Narrative structure ...................................................................................... 84 5.2.2 Ludonarrative synchronicity ....................................................................... 86 5.2.3 Choices within narrative ............................................................................. 89 5.3 Themes .................................................................................................................... 92 5.3.1 Utopia and dystopia .................................................................................... 92 5.3.2 Slavery ........................................................................................................ 93 5.3.3 Race and class division ............................................................................... 94 5.3.4 Religion and anti-religious sentiment ........................................................