Welcome to Dev Game Club, where this week we continue our series on Bioshock. We talk about the horror elements early on, the use of minibosses, how low-friction the game is, hacking and of course, the Choice. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary.
Up to end of Neptune's Bounty
Issues covered: reading how Atlas talks about Ryan knowing what we know, introducing Fontaine and audio tapes indicating maybe death at first, temporal setting, the game's argument both against and for the primacy of the individual, horror and the Medical Pavilion, doling out a good step-by-step game, having a solid target in Steinman, framing cinematic events well, theming characters in areas, audio design heightening the horror, seeing ghosts/echoes and the direct lift from System Shock 2, the setup and payoff of the Choice, Tim the Harvester, the difference between harvesting and rescuing, wondering about their goals in making the choice, the sea slug and the original version of the game, killing the protector and traumatizing the girl, not questioning Atlas even though he's wrong, the melancholy of the Big Daddies, the strength of the music and the use of diagetic music, the horror of the 1950s, dealing with the Sisters and Daddies as you go, the pipe hacking mini-game, being low friction, a very forgiving immersive sim, AI state vocalization, richness of AI voice lines, the shift of perspective and how it gives permission to allow for variety of lines, humanizing vs dehumanizing in AI state communication, Bioshock the power fantasy/shooter/hero story.
Games, people, and influences mentioned or discussed: Half-Life, Arkham Asylum, Pablo Picasso, System Shock 2, Shadow of the Colossus, Bernard Herrmann, Fallout 3, Mass Effect, Prey, Thief, Deathloop, Splinter Cell, Uncharted (series), The Last of Us, Naughty Dog, No One Lives Forever, James Bond, Austin Powers, Artimage, Control, The X-Files, Kirk Hamilton, Aaron Evers, Mark Garcia.
To the end of Fort Frolic
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