Por qué Bioshock es una obra maestra

Conviértete en miembro de este canal para disfrutar de ventajas como acceso anticipado a vídeos y actualizaciones de proyectos en tiempo real:    / @zyroshi-   Canal secundario:    / @zyroshiextra   Bluesky: https://bsky.app/profile/zyroshi.bsky... 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