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Ludonarrative dissonance — A term coined to describe conflict between narrative aspects of BioShock's story and gameplay.
[53] The original score was composed by Garry Schyman. He composed his pieces to blend with the chosen licensed music as to keep the same feel, while also trying to bring out something that was "eerie, frightening and at times beautiful" to mesh well with Rapture's environments.[54]
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Industry rumors after the game's release suggested a film adaptation of the game would be made, utilizing similar green screen filming techniques as in the movie 300 to recreate the environments of Rapture.[198] On May 9, 2008, Take-Two Interactive announced a deal with Universal Studios to produce a BioShock movie, to be directed by Gore Verbinski and written by John Logan.
[46] In the 2018 interview, Levine recognized several of the characters, including Andrew Ryan (who was inspired by Ayn Rand who was also Jewish), Sander Cohen, and Brigid Tenenbaum, were written all as Jewish, and all seeking to escape a world they felt they did not fit into by going to Rapture; Levine said: "'There's literal displacement and then there's a feeling of not fitting in, of 'I don't really belong here'. I think Jews are always going to feel a little bit like they don't belong wherever they are. There's always that 'what if we have to flee' mentality."[46]
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The discovery of ADAM, a genetic material which grants superhuman powers, initiated the city's turbulent decline. Jack attempts to escape Rapture, fighting its mutated and mechanical denizens, while engaging with the few sane survivors left and learning of the city's past. The player can defeat foes in several ways by using weapons, utilizing plasmids that give unique powers, and by turning Rapture's defenses against them.
A visit to the GE Building and its statue of Atlas in New York City was the principal idea that led to the art deco stylings of BioShock. The thematic core of BioShock was born when Levine was walking at Rockefeller Center near the GE Building in New York City. He saw the uniqueness of the art deco styling of the building along with imagery around the building such as the statue big daddy game of Atlas near it, and recognized that these were spaces that had not been experienced in the first-person shooter genre.[28] The history of the Rockefeller Center also fed into the story concept; Levine noted how the center had started construction prior to the Great Depression; when the primary financiers had pulled out, John D.