“I loved the 1930s to 1950s atmosphere of BioShock. Not so, according to highly regarded game designer David Braben, owner of Frontier Developments.

Surely, then, BioShock had to be the standard-bearer for a next-generation title. Anchored by its provocative morality-based story line, sumptuous art direction, and superb voice acting, BioShock can hold its head high among the best games ever made.” Meanwhile, the Los Angeles Times proclaimed: “It also does something no other game has done to date: It makes you feel.” And finally, The Chicago Sun-Times called it: “The rare, mature video game that succeeds in making you think while you play.” In response to the game’s overwhelming critical, commercial, and artistic success, Take-Two chairman Strauss Zelnick declared that the company now considered the game part of a franchise. The New York Times waxed rhapsodic: “Intelligent, gorgeous, occasionally frightening….

By this past September, the title had sold more than 1.5 million copies, sending shares in its publisher, Take-Two Interactive, soaring by nearly 20 percent.Īccolades from the mainstream media were unprecedented. With its Art Deco style of deep-sea visuals and disquieting Orwellian story line tinged by themes of lost innocence, BioShock garnered almost every Game of the Show award at E3 2006. The flashpoint for the fight occurred on August 27, when game designer Ken Levine introduced the world to a spectacular vision of a dystopian underwater city called Rapture in his game BioShock.

But in this war, the foes are not polygonal characters, but game developers, hell-bent on claiming the crown of the first truly “next-generation” game. There’s a war erupting in the video game world, one as intense as the fiercest firefight between Halo’s Master Chief and the dreaded Covenant.

John woo stranglehold pc field of view