Any surprise setbacks or sleight-of-hand twists need to feel fair to the player in hindsight. So, in BioShock-like stories (where the goal is to minimize any feelings of 'slippage' between the player and his or her character), the writer ends up needing to think like a game designer. But a story where the hero just lays waste to his foes without nearing defeat at any point is typically very dull. In games, however, there's a kind of axiom of 'fair play' at work - the real-life player should ideally be allowed to succeed or fail by personal skill rather than ideal dramatic timing, and they absolutely won't accept an arbitrary weakness foisted on them by the narrative - unless it's extremely well seeded. In the best heroic fiction, the author can be quite sadistic, arbitrarily torturing the main character because in a passive medium, his or her ultimate triumph or catharsis is deterministic - guaranteed. JT: That's a long conversation - but one principle which differs (with BioShock and BioShock 2) is in the treatment of the protagonist. First, how does video game storytelling differ from that of other media? Managed to overcome this hurdle and earn nearly universal praise for its story, which made important, philosophical statements about society and morality. TGAM: Video game narrative is often compared, perhaps unfairly, to that of other media, including books and film. As the ultimate individual, you represent a very real threat to Lamb's base of power, and she brings the whole city to bear against you. Now, in 1968, you awaken to hear that she needs your help, and that she needs to be rescued from Dr. Your relationship to her is very much a kind of warped father-bond, and early in the story, a traumatic event separates you for almost a decade. You take the role of Subject Delta, the first Big Daddy (a kind of armored bodyguard in an antique diving suit) successfully paired with a single Little Sister. She's a visionary collectivist, and is now recruiting the surviving Splicers into a kind of unity cult called the Rapture Family - and her beliefs about the nature of utopia are transforming it. Sofia Lamb has seized control of the city. Andrew Ryan, the underwater city's founder, is now dead - and a former political rival of his named Dr. JT: BioShock 2 takes place roughly 10 years after the events of the original, in the remains of a failed ultra-capitalist utopia called Rapture. Set to begin? Who is our protagonist, where will we be, and what will we be doing? In the following exclusive interview he sets up the premise for the new game, discusses some of the important differences between passive and interactive storytelling, and describes the game's innovative, story-driven multiplayer component, which plays as a prequel that explores the back-stories of several of the game's most memorable characters. However, Jordan Thomas, the game's creative director, seems confident that his team has done justice to the legacy left by the original. Trying to imagine new narrative ideas and game concepts to follow up one of the most beloved games of recent years was no doubt a daunting task.
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