| Contents: |
Cover; Beyond the Sea; Title; Copyright; Contents; Preface; Acknowledgments; There's Always an Introduction; Part One --
Unity and Metamorphosis: Making and Breaking Family Bonds in Bioshock; 1 Big Daddies and Their Little Sisters: Postfeminist Fatherhood in the Bioshock Series; 2 Big Daddies and Monstrous Mommies: Bioshock's Maternal Abjection, Absence, and Annihilation; 3 Bioshock as the Infinite Parent: Parenting and Play in the Bioshock Series; Part Two --
To Seduce the Ear and Delight the Spirit: Bioshock, Gender, and Sexuality 4 "Look at Me, Boy!": Carnivalesque, Masks, and Queer Performativity in Bioshock5 "Your Life? Your Family? They're a Fairy Tale, Kid": Queering Timelines and Reproduction in Bioshock; 6 Bioshock's Paranoid States: The Gamer within a History of White Male Victimization; Part Three --
The Flesh Becomes Clay: Technology, Humanity, and Embodiment in Bioshock; 7 Bioshock's Little Sisters and a Legacy of Posthuman Agency; 8 What or Who Is behind Rapture? Experimentation, Social Engineering, and Bio-Hacking in Bioshock 2; 9 Decaying Bioshock 2: Videogames, Assemblages, Rot Part Four --
There's Always a City: The Many Histories of Bioshock10 We Take Our Hopes up to the Skies: The Cruel Optimism of Rapture and Columbia; 11 Bioshock Infinite and Against the Day as Intermedia Twins: Exploring the American National Project; 12 Building Broken Worlds: The Alien Franchise, Failed Utopias, and Other Bio-Shocks; Part Five --
All That's Left Is the Choosing: Rethinking Agency in Bioshock and Beyond; 13 Branching Out: Narrative Decision Systems after Bioshock; 14 The Hands of the Other: Media Allegory in Bioshock and The Hands of Orlac 15 Playing Your Role: Bioshock Infinite's Burial at Sea and the Function of the PlayerContributors; Index |
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