Por qué Bioshock es una obra maestra

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Fuentes referenciadas:
[1] Llobera, Joan, et al. “Telling Stories within Immersive Virtual Environments.” Leonardo, vol. 46, no. 5, 2013, pp. 471–76.
[2] Irwin, William & Cuddy, Luke. BioShock and Philosophy: Irrational Game, Rational Book. Wiley Blackwell, 2015.
[3] Wysocki, Matthew & Schandler, Matthew. “Would you Kindly? Bioshock and the Question of Control”. Ctrl-Alt-Play: Essays on Control in Video Gaming. McFarland, 2013.
[4] Farca, Gerald. “Horizons and the Video Game Dystopia.” Playing Dystopia: Nightmarish Worlds in Video Games and the Player’s Aesthetic Response, 1st ed., transcript Verlag, 2018, pp. 403–08.
[5] Rand, Ayn. The Virtue of Selfishness: A New Concept of Egoism. New American Library, 1964.

Fuentes secundarias / otras fuentes utilizadas:
[6] SCHMEINK, LARS. “Individuality, Choice, and Genetic Manipulation.” Biopunk Dystopias: Genetic Engineering, Society and Science Fiction, Liverpool University Press, 2016, pp. 146–78.
[7] Farca, Gerald. “Dystopia: Nightmarish Worlds as Distorted Anxiety Dreams.” Playing Dystopia: Nightmarish Worlds in Video Games and the Player’s Aesthetic Response, 1st ed., transcript Verlag, 2018, pp. 65–112.
[8] Shirley, John. Bioshock: Rapture. Scyla Editores, Planeta, 2011.
[9] Bioshock Wiki: https://bioshock.fandom.com/wiki/BioS...
[10] Rand, Ayn. Atlas Shrugged. Signet, 1996.

00:00:00 Intro
00:00:34 Bienvenidos a Rapture
00:07:01 Pabellón Médico
00:12:48 Port Neptune
00:15:15 Arcadia
00:19:12 Fort Frolic
00:21:34 El diseño de niveles
00:23:00 Hephaestus
00:27:34 La ilusión de libertad
00:31:58 Plaza Apollo
00:33:13 Terreno de pruebas
00:36:34 Final
00:39:52 La historia de Rapture
00:47:09 El gameplay
00:51:27 La historia
00:52:07 Los escenarios
00:52:58 El terror
00:57:17 ¿Distopía?
01:01:45 Conclusión
01:04:34 Outro