BioShock: Welcome to Rapture
This chapter covers the original BioShock’s historical context and core ludological/narratological elements. It focuses on how choice and control are formed through the gameplay and story, asking whether or not players’s truly get a say in the game’s dire
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z Reblin-Renshaw
Ludonarrative Synchronicity in the ‘BioShock’ Trilogy
Lyz Reblin-Renshaw
Ludonarrative Synchronicity in the ‘BioShock’ Trilogy
Lyz Reblin-Renshaw Independent Scholar Tujunga, CA, USA
ISBN 978-3-030-63867-2 ISBN 978-3-030-63868-9 (eBook) https://doi.org/10.1007/978-3-030-63868-9 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2020 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Palgrave Pivot imprint is published by the registered company Springer Nature Switzerland AG. The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Acknowledgments
Thirteen years ago, sitting in a dimly lit dorm room at Chapman University, I never would have thought that the game I was watching be played would lead me to this point. There are so many people I wish to thank for helping me turn a hobby into legitime research. To my Mom for being willing to overlook the M rating on violent video games when I was younger and to my Dad for not returning said games after seeing me playing them, laughing with glee. To my advisors: Carlos Amador, John Blood, Adam Crowley, Stefka Hristova, Diane Shoos, and Sharon Strover. You pushed me to what I thought were my limits and beyond. To my students (especially the Madi’s), willing to be my guinea pigs as I tested out the material for classroom suitability. To Alex: the Luigi to my Mario, the Ken to my Ryu, my eternal Player Two. Thank you for always reminding me which button was crouch. And most importantly to the baristas at Bookworm in Houghton, K.C. Bonker’s in Hancock, and Starbucks at Foothill & Willalee. You are the real heroes to us scholars.
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Contents
1 Introduction 1 Tutorial 3 Gameplay 3 Narrative 8 Ludonarrative Dissonance 9 Ludonarrative Synchronicity 11 Theme 11 Level Design 12
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