Games That Can Be True Art (Request Subscriptions and Monthly Tickets)

Utopia, race, capital, religion, and Steampunk...

These themes could be called staples of countless games.

But most games usually chose two or three themes, blended them together, and presented them to players.

Any one of these themes could have served as the main setting for a game, let alone all of them combined.

Not to mention highly sci-fi concepts such as Quantum Mechanics and special relativity.

As for Exceptionalism, simply put, it was an ideal system that offered people opportunity and hope, emphasized personal and economic freedom, and gave rise to a unique balance between public and private interests. To put it more bluntly, it was the so-called Lighthouse dream.

But reality was clearly the complete opposite, and that would also be reflected in the game.

The BioShock series was the next game Chen Xu planned to bring out.

Everything mentioned above was among the elements contained within the BioShock series.

Its first installment had won the TGA Game of the Year Award outright through sheer quality, and its opponents had been no pushovers either.

On the contrary, every one of them had possessed formidable competitive strength.

The Orange Box, which included Half-Life, Team Fortress, and Portal; Call of Duty: Modern Warfare; Crysis; Gears of War; World of Warcraft: Burning Crusade.

It had truly been a dazzling field of stars.

Yet before BioShock, even those games had been overshadowed.

Then BioShock Infinite, the third installment, elevated the series into an incomparably classic work.

The Butterfly Effect, the grandmother paradox, the multiverse, Quantum Mechanics, ironic Exceptionalism, along with the Utopia, race, capital, Steampunk, and magical settings the BioShock series had always possessed.

All of those elements had been crammed into the game at once, yet it did not feel bloated. Instead, they were brought together to create a city of God