By Luke Cuddy, William Irwin
Thought of an indication of the ‘coming of age’ of games as a creative medium, the award-winning BioShock franchise covers massive philosophical floor. BioShock and Philosophy: Irrational video game, Rational Book presents specialist reflections by way of philosophers (and Bioshock connoisseurs) in this severely acclaimed and immersive fan-favorite.
- Reveals the philosophical questions raised during the creative 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 game storytelling
- Addresses a big selection of subject matters 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 video 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 info for BioShock and Philosophy: Irrational Game, Rational Book
This Seed, who is portrayed in parade floats and posters as a baby or an animal, is in fact a very adult, very human, Elizabeth. These early incarnations of BioShock and Philosophy: Irrational Game, Rational Book, First Edition. Edited by Luke Cuddy. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 38 a feminist understanding of elizabeth 39 Elizabeth offer two insights into understanding the oppression of women. First, that Elizabeth, despite her age, is referred to as a child or baby.
Although the game centers on Booker and his story, this chapter focuses on Elizabeth, looking at her through a feminist lens. If we take Elizabeth as her own person, rather than as a mere companion, does Elizabeth’s freedom from the tower mean real freedom for her? Does Booker treat Elizabeth any differently than Comstock does? Is Elizabeth actually a self‐sufficient companion? And, what really is Elizabeth’s role in Booker’s drowning? “Danger: Do Not Speak to the Specimen”—Tower Sign Our introduction to Elizabeth is in the form of propaganda.
Mentyka Farther on down the road, portions of that person’s body such as hair and nails will have separated to become the raw material one can find at a landfill, while that person’s consciousness will itself be only a memory in yet another person’s mind. Our identity may not last, but we survive through the existence of subsequent persons and objects. Oddly enough, one of the Many’s lines from System Shock 2 would not sound out of place in one of Parfit’s papers, when they say, “We do not know death, only change.