[PODCAST Episode 284] What Does a New BioShock Even Look Like In 2019?

How do you define a game franchise? We've tried time and time again to define Souls-likes, but that definition was wide since it was a sub-genre. Even then, figuring out which elements are essential to a subgenre is hard, and drilling down to figure out the specifics of one game series is even harder. The Waypoint Radio crew discuss what they think is essential to the BioShock formula, the new Super Mario Maker 2 update, and answer listener questions on this episode of Waypoint Radio. You can listen to the full episode or read an excerpt below.

This is a companion discussion topic for the original entry at https://www.vice.com/en_us/article/qjdddm/what-does-a-new-bioshock-even-look-like-in-2019

I am sure there are other folks who are volunteering for the Sanders campaign on this forum and I hope you’ll agree with me that we must do everything we can to get Austin’s Final Fantasy policy brought to Bernie’s attention.


This whole podcast reminded me that while I have some Problems with Burial at Sea, the way those DLCs were structured and presented felt like a blueprint for how Bioshock could evolve in the future, especially Part 2.

If you want to see what a more immersive sim-y interpretation of those original ideas, it’s all there in Part 2. Even the weird re-telling of the fall of Rapture. What a weird, striking thing that was.

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For those who want to see the picture they’re talking about at the end of the pod, I think I found it:



It just occurred to me this morning that actually Remedy’s Control is everything I wanted out of a BioShock 4. Environmental storytelling, creepy evocative architecture, cool powers, etc. So pretty much this need is met right now.


I really want a game like Prey, only with a better roster of enemies. I like Prey, but black blob monsters are really boring enemy design to me… I keep thinking, “What if Prey, but with the enemy variety of Half-Life?”

I basically want a remake of Half-Life as an immersive sim.


Prey gets a lot of credit upfront for the mimics which do a great job of making the first several hours tense, but overall I agree that more enemy variety and a more distinct design could have really elevated the game.

That said a lot of what makes Prey as good as it was for me was it’s subtlety or quietness in presentation. The mundane heightens the parts where it does deviate. Like how the space station progressively gets filled with the gold threads until it’s all over the place

That’s a long way of saying I would love a Prey with some different enemy designs, as long as it wouldn’t get in the way of the quiet confidence the game already had?


I also realised, while clumsily reflecting a rocket back at a stormtrooper in Fallen Order, that Control was also in a lot of ways the best Jedi game that came out this year, despite the regrettable lack of lightsabers.

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… I’ll be in my bunk.

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I appreciate the feedback that the Waypoint Crew provided on my piece: [Code Vein] Interpretation of Waluigi (Mario Tennis). This led me to save several iterations of a video of this Waluigi with musical accompaniment: a few with solo instrumental works, one with operatic orchestral music, and a version with All In.

These audio versions create a comforting sense of body and impact to the experience. However, they also completely squash the imagined sense of intimacy between Waluigi and the viewer. I know that videos without sound are often less popular than videos with sound, but I need to go with my gut on this one.