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In 1960, a lone survivor of a plane crash named Jack discovers an abandoned underwater utopia, only to find out that the mystery behind its creation is much more sinister than he first believed.

Director:

Ken Levine

Writers:

Ken Levine (story), Ken Levine (writing) | 8 more credits »
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Cast

Cast overview, first billed only:
John Ahlin John Ahlin ... Dieter Sonnekalb (voice)
Greg Baldwin ... Frank Fontaine (voice) (as Gregory S. Baldwin)
Jane Beller Jane Beller ... Various (voice)
Susanne Blakeslee ... Professor Julie Langford / Lady Smith Splicers (voice)
Anne Bobby ... Brigid Tenenbaum (voice)
Blesst Bowden ... (voice)
Tony Chiroldes ... Pablo Navarro (voice)
Shavonne Conroy Shavonne Conroy ... (voice)
Ritchie Coster ... Bill McDonagh (voice)
Betsy Foldes ... Rosebud Splicer / Public Address Announcments (voice) (as Elizabeth Foldes-Meiman)
Joshua Gomez ... Johnny / Pigskin Splicers (voice)
C.G. Walker ... Baby Jane Splicers (voice) (as Cassandra Grae)
Raymond Guth Raymond Guth ... Ducky Splicers (voice) (as Ray Guth)
J.G. Hertzler ... Dr. Grossman Splicers (voice)
Peter Francis James ... Dr. J.S. Steinman (voice)
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Storyline

The year is 1960, while flying over the Atlantic ocean, average citizen Jack blacks out and awakens to discover that he is the sole survivor of a plane crash. Amidst the wreckage of his plane Jack spots and swims to a lighthouse and boards a Bathysphere that takes him deep within the ocean and into Rapture. Originally conceived as a utopia where a man would be entitled to all that he made without the interference of "parasites" by idealistic billionaire mogul Andrew Ryan. Rapture has since decayed and festered from the infectious effects of civil war and anarchy, brought about by the very ideals it citizens and it's leader embrace. Aided by a sympathetic smuggler and a rogue geneticist, Jack salvages gene altering chemicals transforming himself into a superhuman, and uses his newfound powers and abilities as well as an arsenal of weapons to fend off the vicious hordes of psychotic mutants, security robots and armored supersoldiers that resulted from Rapture's unrest while given the ... Written by redcommander27

Plot Summary | Plot Synopsis

Taglines:

Breaking the mold.


Certificate:

M | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site

Country:

USA | Australia

Language:

English

Release Date:

21 August 2007 (USA) See more »

Also Known As:

BioShock See more »

Company Credits

Production Co:

2K Games,Irrational Games See more »
Show more on IMDbPro »

Technical Specs

Color:

Color
See full technical specs »
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Did You Know?

Trivia

A BioShock film had been confirmed, and was originally planned to be released in 2011, coinciding with the release of a third BioShock game. The film was set to be directed by Gore Verbinski, director of the Pirates of the Caribbean series. However, it was announced on August 24, 2009 that because of budget issues, and the prospect of filming some footage overseas, Verbinski had dropped out as director. Verbinski remained as the film's producer, and is working with the new director, Juan Carlos Fresnadillo, who is best known for his horror sequel 28 Weeks Later, to manage the film's budget. See more »

Quotes

[first lines]
Jack Ryan: They told me, "Son, you're special. You were born to do great things." You know what? They were right.
See more »

Connections

References The City of Lost Children (1995) See more »

Soundtracks

Beyond the Sea
(La Mer)
Music by Charles Trenet
French lyrics by Charles Trenet
English lyrics by Jack Lawrence
Performed by Bobby Darin, Django Reinhardt and Stéphane Grappelli
See more »

Frequently Asked Questions

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User Reviews

 
Behold... Rapture!
4 April 2008 | by another_awakeningSee all my reviews

"Bioshock", like most art, is shaped from an idea, a message, a concept; in this case, it's Rapture, an underwater dystopia molded by objectivist ideals. In this Jules Verne scenario, 20.000 leagues under the sea, Andrew Ryan (a captain Nemo politician), after being fed up with government oppression, decides to build an entire underwater nation, where every "man is entitled to the sweat of his brow". In his own private utopia, justice, religion, ethics and any social considerations are absent, in favor of free commerce and free will as Law. The result, as you can guess, is nothing but disastrous. Though at first, the lack of ethical boundaries makes science, commerce and art bloom, after some time, everything goes haywire. The result is an underwater ghost city, filled with the monsters of Andrew Ryan's dreams: a plastic surgeon that makes Picasso paintings out of women, a sculptor that makes art by molding human flesh, and a capitalist entrepreneur that is willing destroy an entire society, if only to be entitled "to the sweat of his brow". Rapture is, without a shadow of a doubt, one of the most intelligent universes ever to grace a video game. Written by none other than Ken Levine ("Thief, the Dark Project", "System Shock 2"), this metaphor of modern capitalism and nightmare of ideological proportions, rightfully belongs in the same pantheon of dystopian masterpieces such as "1984", "Farenheit 451" "Brave New World", "Gattaca", "V for Vendetta"...

The plot itself revolves around the discovery of Rapture by an unknown man, after his plane crashed in the middle of the Ocean. Controlled by the player, he will uncover Rapture's dark past, by listening to the audio-logs of its inhabitants and by facing Andrew Ryan's objectivist monstrosities. In the end, his quest will decide the fate of Rapture, according to the moral choices of the player. And though they are binary, if they're taken seriously, they can add a level of dramatic impact to the plot, making it much more meaningful. The narrative tends to move slowly and tries to establish certain moods, allowing the player to immerse in the chaotic nature of Rapture, while at the same time, learning about its convoluted history. Curiously, few cut-scenes are used, which ends up being both a blessing and a curse. On one side, you aren't obliged to sit through important plot details, but on the other side, much of the dramatic potential of the plot feels wasted.

What manages to counterweight the absence of cut-scenes, is the sheer amount of detail and information that lies hidden in the art and music of the game. Posters, sculptures, flyer's, songs, all have something to say about the world of Rapture, and whether you want to or not, you'll apprehend a lot of information that might be otherwise hard to convey. Of course, this wouldn't be that interesting if the Art Design or Music weren't as good as they are. The fact is that "Bioshock", besides featuring one of the best narratives to grace a game, also features one of the best art designs ever to appear in one. The virtuous art deco transforms every corridor, wall and painting into marvelous works of art. The contrast between the cold, stark colors of the ocean and the flashy neon of Rapture's buildings is the perfect testament to the designers' capability of creating interactive paintings. Accompanying the visuals, a an erudite soundtrack by Garry Schyman fills in the immersion gap, with moody piano ballads and claustrophobic cacophonies establishing the player's mood perfectly.

Usually, in my reviews of artistic games, every compliment has been said by the time I get to the game-play section, which is where I commonly start "bashing". Guess what? "Bioshock" is also grand on that regard. It takes the first person shooter / rpg hybrid mechanics of "System Shock 2", removes the unneeded complications, and empowers certain abilities, creating the perfect blend of open-ended first person shooter. The player has at his disposal a great number of weapons and abilities (which he can level up), each with a particular context of use, allowing the player to choose his particular fighting style. It's nothing that hasn't been done before, but in "Bioshock", everything feels tweaked and balanced, to the point of making complex mechanics inherently fun to use, while most games, either simplify them too much, thus discarding the tactical nature of choices ("Crysis"), or complicate them to the point of being too obtuse to be fun ("Deus Ex"). Furthermore, special abilities, which range from fireballs to electric shocks, have special uses when the environment's context is right, thanks to a physics engine that defines water as electric-conducting and oil as inflammable, making special abilities all the more amusing. Perhaps the only (minor) flaw I can find in this game (that can't be regarded as nitpicking) is the sometimes overly hectic nature of the action; for the most part of the game, there is someone (or something) trying to kill you. The reason this comes out as a flaw is simple: "Bioshock" is beautiful, immersive, and mysterious, warranting exploration and attention to detail in order to sink in all the wonders of the game, but it is hard to do so, when you're constantly fighting for your life. A more paced game-play would definitely emphasize the more interesting aspects of the game, even if it would end up losing some appeal for more trigger-happy players.

It's not hard to understand why someone who looks upon games as an art form, would love "Bioshock" in every possible way. It's one of the few games that actually wants, from the get go, to be regarded as much more than just a toy, or just a "game". Its aesthetics are beautiful, its message is strong, intelligent and emotionally provocative, and it is an entertaining game. It is, by my definition, the perfect example of a perfect game, and one of the best works of art I've seen in the past year.


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