#the power of plasmids

[ask-percyparker]

The lights went out in an instant. Theo froze in place. Percy glanced around in confusion.

“What the—“

Before he could finish his sentence, Theo’s radio crackled to life as both men were swallowed by darkness.

“Christ, you’ve both been trapped—Gonna try to override the exit from here! Hang on—” Rose shouted.

As soon as her voice fell silent, a blinding white light flooded the room as a massive monitor from the other side of the window looking into the room they were both trapped in flanked by clusters of smaller ones in the room with them all spark to life.

On every monitor, a static image of an imposing suited man, his eyes obscured by the brim of his hat flickered on the screen as a new voice spoke. A voice both men recognized as the voice that welcomed them to Rapture as they made their respective descents on the Bathysphere.

“So tell me, my friends… which one of the bitches sent you two?” Osborn questioned, “The KGB Wolf or the CIA Jackal?”

Theo was rendered speechless, too fearful to dare answering. But Percy stepped forward to speak.

“Neither,” he answered, “Just a reporter, sir.”

A mirthless laugh erupts from Osborn at that.

“Well then,” he said, “Here’s the news: Rapture isn’t some sunken ship for you to plunder and Norman Osborn isn't a giddy socialite who can be slapped around by government muscle. And with that, farewell, or Dasvadinya. Whichever you prefer.”

The security monitors flicker to an image of a stylized image of Rapture, the words “Please Standby” emboldened upon it. Osborn spoke no more.

Before either could react, the voices and cackles of a large group of Splicers were heard from the other side of the window. Their horrific forms only illuminated by the harsh, failing white light of the largest screen. With whatever they got, they set out to immediately try to break the glass windows that separated them from the two men they set their sights on.

Percy and Theo were outnumbered.

Both of them backed away as they steeled themselves for a fight. Theo’s palms crackled with electricity as his veins glowed blue. Percy’s hands twitched in anticipation as flesh melded into the exoskeleton of a spider.

“I got it!” the voice of Rose exclaimed from Theo’s radio, “Both of you, get the hell outta there! Hurry!”

Glass began to crack, threatening to let the Splicers in. The previously locked way out gives way.

Both men rushed into the new room where a vault-like door to the Medical Pavilion was seen. They set to work getting it opened before the Splicers could reach them…

[all-lars-bars]

I have a character pitch!

Former Little Sister who is now transmasc

[wormbagged]

MP100/Bioshock ideas:

- Minegishi takes over Arcadia with carnivorous plants, could also have the scrapped Plasmid "Plant Peeper".

- Hatori trolls people with those damn security bots. Bonus: Instead of Murder of Crows Vigor it's a Flock of Pigeons. Additionally could have Electro Bolt for a Plasmid.

- Shimazaki as a Houdini Splicer

- Koyama with Shock Jockey Vigor; it could be similar to his Telekinetic Helix if drawn with the electricity spiraling around his arms and have the crystallized hands that's shown with the Vigor.

- Touichirou would have multiple Plasmids and be able to use combos/traps. Could also have Return to Sender Vigor and utilize its absorption power.

- Mitsuura finally finds a Plasmid for Telekinesis. He probably gets too excited and accidentally breaks it before being able to use it though lmao.

[dragonridernoobie]

Hello again my friend I've been getting really into BioShock it's a really old game that was released in like 2007 I think like a really long time ago and so there's these kind of mechanical semi-human things called a Big Daddy's basically either humans that were stripped away of all of their memories and stuff and basically is a protector to the little sisters that gather Adam which is basically stuff that gives you powers by the parasite implanted into the little girls basically it's a dystopian underwater city and I was wondering maybe some of the Autobots and possibly decepticons (you can choose either one but please have Optimus or Megatron ) and I was wondering if they could meet a reader who was basically a big daddy with the drill and everything and able to control all the plasmids and stuff (sorry if my ask is a little lengthy)

Ok 2 things. 1, I already wrote this but tumblr broke and now I have to do it all again and I wrote a long one to so FUCK YOU TUMBLR!!!! 2nd, there are no such thing as to long of a reqest. So, with this bioshock big daddy thing. I watched a video that explained them and I based off that and how I think it would act. Since I never played or seen the game before. So I hope you enjoy!!!!

TFP Autobots X Mutant Reader

Wanring: mention of experiments, death, and gore.

Optimus was stressed. He was stressed by everything. He was fighting the decpticons and MECH. He didn't know what to do but only to keep going forward. While he was in base, ratchet went up to him with a detapad.

"We have found a single in the ocean. We think it's a cybertronian artifact." "Very well, thank you, ratchet. Prepare the ground bridge." Optimus radios Bumblebee, bulkhead, and smokescreen. They arrive all ready to go

"aww ya! We are about to kick some decpticon pipe!" "Smokescreen, you are going to the bottom of the ocean. You need to be careful since one wrong thing, and you will be crushed by the force!" Ratchet was too quick to calm smokescreen down. Miko runs up to bulkhead but he quickly stops her "no, nuh uh, there's no oxygen in the ocean and we don't have oxygen tanks so you can't come." "Awwwwwwww" miko hangs her head low but nods. She goes back where jack and raph are at.

"Start the groundbridge ratchet." Ratchrt nods and pulls the lever. "Becarful, if one of you get crushed, there is no way of bringing you back." The team nods and runs through the groundbridge. Soon making it on the other side where they stand infront of empty ocean, only filled with rocks, sand, and more.

Optimus pushes his side of his helm to activate the voice channel. "Remmber, we can't speak underwater, so use these voice channels so we can speak through our helms." The teams nod and follow optimus very slowly through the water. After a while, the see lights ahead, though it was very murky. "Optimus, lights!" "I see bulkhead. It seems to be some underwater city." "Bzzzz oooooopppp?" (William Fowler never said they had underwater citys) "they don't Bumblebee, let's keep moving. That's where the single is at."

The team nods and continues to walk toward it. They soon get to the city and enter one of the many large city's. Once they were in a water free room, smokescreen spoke first. "WOW! This place is huge! I mean, look at this stuff! It's so old and rust!" "Pay attention smokescreen. We are on a mission." Bulkhead tells smokescreen with a stern voice.

The team walks further and further down the doors and hallways but soon stops in front of a huge window that looks towards the ocean. Right, but there, they see a weird creature. It had a drill but was repairing the building. "What is that?" Bulkhead says, clearly freaked out. "Ahould we say hi? I'm going to say hi!" Optimus puts hi hand on smokescreens shoulder "no, we do not know if it's friend or foe. We should continue our mission." Smokescreen sighs but nods. Everyone walked and soon entered a room where the single was.

"The artifact is in this room." "Optimus, look!" Bulkhead points to a bunch of dead humans near the edge of the room. They all seem to be killed in a brutal way. Some of them where gutted, some of them where missing limbs or heads, or are just cut in half. "Bzzzzzzz" (i don't want to be here any more....) "I agree with Bumblebee. Miko and I have seen enough horror movies to know somone is gonna die!" "Calm youreself. What humans make are not real." Optimus says and he continues to walk toward the edge of the room where the wall is.

"Bzzzzzzz" (the scanner says the artifact is on the other side) "The let's break it!" Bulkhead pulls out his wrecker ball. "No, we are surrounded by water. We do not want to cause more damage." Bulkhead sighs but puts his blasters away. When optimus was about to figure out how tingen the artifact, he hears guns being aimed. He and the autobots turn and find Silas there, with few of his men aiming at them.

"Well, well, well, dident know you autobots will he here." "Silas, why are you here." Optimus says while he aims his blaster at them. "Why do you think? I'm here to get that artifact of you'res." "You are not getting this artifact." "So be it, fire!" His squad fires at optimus and the autobots. The autobots take cover and watch as MECH shoot holes into the wall, causing water to spray in.

"Stop! You are gonna kill youreselfs!" "If it means taking you down, so be it." Silas says while he keeps shooting. Suddenly, everyone hears drilling and some MECH grunts further in the building screaming. "What the hell is going on out there?!?!" Silas yells at his men while he keeps shooting at the autobots. "There's a strange Mutant!" Before anyone could respawn, a MECH grunt get thrown through a wall and into the room.

There, in the hole in the wall, is a big daddy. He had a drill and a gun for hands, and his eyes were red. "Definitely foe, definitely Foe!!!" Smokescreen screams while looking at the Mutant in horror. The Mutant charges forward and attacks the MECH grunts who are shooting at it. Drilling and shooting them. The autobots watch in horror how this Mutant is killing them all. When the mutant looks toward the autobots way, the team asks their blaster at it, but optimus stops them. "Stop, it's only attacking people who are damaging the buildings or shooting at it." When the team hesitates, he nods his head. They lower their wepons and watch the Mutant change it's attention back on MECH, who was still shooting at it.

They watch it attack MECH going through them like nothing. Optimus singles them to get the artifact. They go up to the wall and find a lever. There, they open the wall and there is the artifact. When the team tries to flea, they are met with the mutant corning Silas who was shooting at it. They watch in horror as the Mutant drills into Silas, his screams echoing off the walls. Soon he dies. When the Mutant looks at them they freeze. It just stairs and it's eyes go back to normal. It then just walks away.

"Ratchet, groundbridge... we got the artifact..." When ratchet opens it, they go through and tell ratchet and William Fowler everything. Fowler sends a team to get the Mutant and finds out it was created by the Russians who lost control of it and killed all of its scientists. It was taken back to the USA, and worked on. They made it where it could think but not speak. The autobots welcome it and it joins the team. They find out the name of there new Ally.

(Y/N).

Hope you loved this!!! This is what a big daddy looks like for anyone who doesn't know what it looks like.

[rapturerebel]

ATLAS

❯ ... when Andrew Ryan nationalized Fontaine Futuristics, fontaine faked his death during a shootout by killing one of his workers, who looked very similar to him. he then changed his appearence, using plasmids, so that he could no longer be recognized as his old self. to improve his disguise, he tought himself a thick irish accent and from then on, he lived as Atlas in Rapture. soon, he used the poor houses left behind by the "collapse" of Fontaine's Empire, to recruit disillusioned citizens and build up his power base against Ryan.

chronical backstabber disorder, master of disguise, torture technician

━━━━━━━━━━━━━━━━━━━━━━━━━━━ ❝ I begged Mr. Ryan to hand Fontaine Futuristics over to Atlas's boys … instead , he's started splicing his mob up … There's an arms race on here in Rapture . It's about who can become less of a man and more of a monster . ❞ ── Bill McDonagh

[yanderes-galore]

Alphabet thing I'm talking about: https://www.tumblr.com/yanderes-galore/694826177262682112/i-believe-op-reblogged-you-can-use-this-so-should?source=share

Fandom: BioShock

Character: Atlas

Pairing: Romantic

Type of Fic: prompts from an A-Z list.

(Required for prompts) Prompt numbers and what list they're from: K3, N2.

More Atlas content, let's go! This one will be another that starts off kind of strong. I was debating in making it a continuation of the Lobotomy one but I wasn't sure and scrapped it. Here you go :) Used some plot elements I talked over with the requester.

Prompts Here

Yandere! Atlas Prompts K-3 and N-2

“There’s no use trying to run. This is your home now.”

“Look at you, you’re skin and bones.”

Pairing: Romantic

Possible Trigger Warnings: Gender-Neutral Darling, Obsession, Manipulation, Kidnapping, Isolation, Starvation, Breach of trust, Forced relationship, Hints to intimacy, Possessive behavior, Attempted mind break.

You had joined Atlas expecting to be saved from Ryan's tyranny. You respected his cause and saw him as someone who could set Rapture right. You're one of his top supporters.

Being so close to the big man has its perks. You had access to luxury goods and held trust between you two. Although, working with Atlas in general has its downsides.

Life or death situations were common during riots, be it bombings or some sort of Splicer issue. You never bothered touching the Plasmid stuff. You liked to keep your mind, while most of Atlas' goons were spliced to the point of madness.

You tried not to say much about the manipulation. Any help was good help and you needed numbers. Andrew Ryan was not an easy target.

While Atlas was the face of the rebellion, you were behind the scenes helping him string things together. You two were partners, in more ways than one. Atlas had eventually suggested more favors than just tactical ones.

You had agreed as he has such a charming face.

As a result, you an Atlas were partners even if no one knew much about you. Atlas was the star of the show while you were the backstage. Honestly, you didn't mind.

You just liked to fight for your cause.

Other than the occasional fight against those trying to silence you, life was enjoyable. Atlas cared for you well and you felt there was considerable progress in your rebellion.

Of course, there's always changes that throw a wrench into the gears of your plans.

A falling out between you and Atlas ruined everything. He always had a possessive behavior with you since you first gave into him. He acted like you were meant for him to use more than be your own person as time went on.

Your fight with Atlas made you want to leave his side. While you still believed in his cause, you didn't believe in him. He was quickly becoming a problem as he chased his goals.

It's become clear in your mind that he only wants power.

In fact, when you confronted him with this he only proved your point. He claimed you were becoming a dissenter to his cause and how you're betraying him for wanting to leave. You tell him you're leaving, that you plan on getting out of Rapture. You tell him it's because he's not fixing Rapture, he's using it.

His response was a snap of his fingers, detaining you on the spot with two of his men.

“There’s no use trying to run. This is your home now.”

He says it with such a cunning grin. He acts like he's won a game and you lost. He orders you to be locked in a room like you were some prisoner.

Like what happened between you two didn't matter... or maybe it mattered too much?

Locked in a room was where you guessed you were meant to rot. It was just like the prisons Ryan forced people into who followed Atlas. The only difference was the visits by Atlas and the furnishings.

Atlas tried to play nice with you at first. He tried to tell you he kept you here because he couldn't let you go. He acted as though he still "loved" you.

You neglected him. You tried to fight for freedom. You tried to escape by kicking and biting at him. That nature of yours was useful in the rebellion... but not here.

All your fighting ever got you here was dark silence and no food.

Fighting him kept your leg chained to a bed. It left you alone to listen to the creaking of underwater metal. Your only comfort was the sounds of distant whales.

You locked yourself in your own thoughts to soften the hunger pains in your gut. You focused on your anger and always stayed silent. When Atlas came in after his "punishment" was done, he faked concern.

“Look at you, you’re skin and bones.” He'd say in what sounds like mock pity. "You need to eat. Let's try again, dear, did you learn anything?"

Regardless on if you wanted to eat or not, the food would end up down your throat. Afterwards, like training a loyal dog, Atlas would test your reciprocation to his affection. It seemed his goal was to retrain you.

He mentions how you acted towards him when you joined. He tells you he loved your cooperation and misses the old times you spent with each other. You don't believe him, but understand the message.

You wouldn't leave this room until you loved him again. Atlas planned to force you to be who you were before. The moment you began to fight again, you'd be locked away with only your thoughts to keep you company again.

It's rinse... and repeat....

Atlas just had to keep going until he could mold you back into who he wanted you to be. It didn't matter how you felt. You had your role to keep.

He was going to train you like a dog...

In the end, you were always meant to be Atlas' lapdog since he claimed you as his.

[kariachi]

Random: Anyway yeah the fact that Kevin can absorb, produce, and to some degree manipulate solids and apparently plasmids (electricity, presumably generic energy falls into the same category, etc), that his absorbing mud in the comic indicates liquids aren't off the table (seeing as mud is a good bit liquid and that to not take in the liquid as well would leave him working with dirt), that shit is wild. The fact it likely means he can do gases as well, since he can be reasonably assumed to be able to do all the other states of matter, absolutely mindblowing, terrifying shit.

The fact that this comes alongside being able to absorb, store, and utilize the DNA of other species. That he apparently has a fucking DNA repair function built in to facilitate doing this.

Because here's the thing, being able to do states of matter? That's it's own thing. Makes sense, once you've got two, may as well have the set. It works together, nothing more or less than you'd expect. But the DNA thing, the powers thing. That's a whole other category to be working with. Man has parts from critters there's no reason to believe are in the Omnitrix (Null Guardians) so we know that chunk of his powers isn't limited to fucking with the watch. Fucking with the watch may have thrown him into the deep end of it, but it's a perfectly logical assumption that that's just him.

Solids, plasmids, liquids, presumably gases, definitely DNA to gain access to associated shapes and powers.

Kevin can be reasonably assumed capable of absorbing, becoming, producing, possibly manipulating, and passing on to his children anything he can get skin contact with. There's what, one exception that we're shown? With no explanation, it honestly raises more questions than anything else! All with a built-in ability to eventually reset himself with at least the DNA and combinations thereof stored away and able to not only be utilized later as shown with his repeated transformations in Framed but also be passed on.

And all that's before you see him utilize an armor to regrow fucking limbs!

This boy is something. Mutant, alien, eldritch being, flip a coin, boy is something.

[science-sculpt]

A snip, a splice : Power of rDNA Technology

Deoxyribonucleic acid (DNA), the blueprint of life, holds the secrets to the intricate workings of every living organism. But what if we could manipulate this blueprint, adding, removing, or tweaking its code? This revolutionary concept forms the core of recombinant DNA (rDNA) technology, a powerful tool that has transformed biology and medicine.

The story starts in the early 1970s with two brilliant scientists; Stanley Cohen at Stanford University and Herbert Boyer at the University of California, San Francisco. Cohen, a microbiologist, had been studying plasmids – small circular DNA molecules found in bacteria. Boyer, a biochemist, was an expert on restriction enzymes – molecular scissors that could cut DNA at specific sequences. Their collaboration proved groundbreaking. They envisioned combining these tools to create the first ever recombinant DNA molecule. Cohen provided the plasmids, which would act as vectors to carry foreign DNA into host cells. Boyer, on the other hand, used restriction enzymes to cut both the plasmid and the desired foreign DNA, allowing them to be pieced together. Through meticulous experimentation, they successfully created the first recombinant DNA molecule, forever altering the course of biology.

Cohen and Boyer's work wouldn't have been possible without the earlier discoveries of restriction enzymes. These "molecular scissors" were independently identified by three separate research groups in the 1960s. Werner Arber in Switzerland, along with Hamilton Smith and Daniel Nathans in the US, unraveled the role of restriction enzymes in bacterial defense mechanisms. These enzymes helped bacteria defend against invading viruses by cutting up their foreign DNA. Recognizing the potential of these "genetic scalpels," the groundwork was laid for their application in rDNA technology.

Here's a simplified breakdown of the rDNA process:

Isolation of DNA: The journey starts with isolating DNA from a donor organism.

Cleavage with Restriction Enzymes: Specific enzymes cut the DNA at defined sequences.

Selection of Vector: A carrier molecule (often a plasmid) is chosen to transport the recombinant DNA.

Ligation: The DNA fragments and vector are stitched together using DNA ligase, an enzyme.

Transformation: The recombinant DNA enters a host cell (usually bacteria or yeast).

Selection and Expression: The transformed cells are selected, and the gene of interest is expressed, leading to the desired protein production.

Since its inception, rDNA technology has played a pivotal role in several groundbreaking advancements. Let's take a whirlwind tour through some of the most significant moments in R-DNA history:

1978: Birth of Insulin on the Factory Floor: Scientists achieved a feat of genetic engineering by using R-DNA to produce human insulin in bacteria. This marked a turning point for diabetics, offering a readily available and more consistent source of this life-saving hormone.

1980s: Gene Wars and the Rise of GMOs: The 1980s saw the development of genetically modified organisms (GMOs). Plants were engineered with genes for insect resistance or herbicide tolerance, sparking debates about the safety and ethics of this technology. R-DNA research continues to be at the forefront of discussions regarding genetically modified foods.

1990s: The Human Genome Project Sets Sail: This ambitious international project aimed to sequence the entire human genome. R-DNA techniques played a crucial role in deciphering the 3 billion letters of our genetic code, opening doors for personalized medicine and a deeper understanding of human health and disease.

2000s: Gene Therapy Takes Center Stage: The first successful gene therapy trials for inherited diseases like severe combined immunodeficiency (SCID) took place. R-DNA technology offered a glimmer of hope for treating genetic disorders by introducing healthy genes to replace defective ones.

2010s and Beyond: CRISPR Takes Over: The emergence of CRISPR-Cas9, a revolutionary gene editing tool based on R-DNA principles, has ushered in a new era of genetic manipulation. With unprecedented precision, scientists can now edit genes in various organisms, holding immense potential for gene therapy, crop improvement, and even the eradication of diseases.

But with great power comes great responsibility, and R-DNA raises a host of ethical concerns.Tinkering with the building blocks of life carries the risk of unintended consequences. Engineered genes could escape and disrupt ecosystems, or modified organisms could have unforeseen health effects. The ability to edit human genes opens the door to designer babies, raising questions about social equity and the potential misuse of the technology for eugenics.

Who Controls the Tools? Access to R-DNA technology could be restricted to wealthy nations or corporations, exacerbating existing inequalities. Biosecurity is also a concern, as the technology could be misused for bioterrorism. Creating entirely new organisms forces us to confront what it means to be "natural." Should we modify plants and animals for human benefit, or preserve their original forms? R-DNA technology is a powerful tool, and we must have open discussions about its ethical implications. Scientists, policymakers, and the public all need to be involved in shaping the future of this technology. As we move forward, open dialogue and collaboration between scientists, policymakers, and the public are crucial to ensure the safe and ethical application of this powerful technology.

The journey of rDNA technology is a testament to human ingenuity and its potential to reshape our world. From decoding the secrets of life to creating solutions for healthcare, agriculture, and beyond, rDNA technology continues to evolve, promising a future filled with exciting possibilities.

[yourpalbubs]

I don't think that I've seen this talked about much anywhere so I would like to share it as it popped right into my brain since I've been playing through the bioshock games again after a while, also if I'm saying anything obvious or just plain wrong please feel free to just yell at me later but please read the rest my brain vomit first please?

I believe that in ingesting vigors throughout bioshock infinite and the two Burial At Sea DLCs that there are more effects than just the character's hands changing. Like we should've seen more effects on their bodies than just Elizabeth turning invisible with Peeping Tom in BAS part 2

I mean, both of the Bookers and Elizabeth down the vigors like the aunt on your mother's side would down a bottle of wine at every family reunion to be honest and since they are ingesting it compared to injecting it there should be more side effects of the powers showing up on them. I mean look at the splicers, they just inject the crud into them and look how they mutate from whatever plasmids they use, and viggors supposedly use more ADAM to make and thus more EVE/SALTS to use them so there should be more physical changes than whatever happens to their hands when they use the powers as it literally stops ranging from only a little past the wrist to only 1/3 of the way down the forearm when you see them in use in game.

Since they are drinking the vigors I think that it would also make the effects of the vigors power show up on their faces/throughout the rest of their bodies while having them equipped/in use. I do have some ideas on how they would look in effecting both Bookers and Elizabeth so I'll put them down in a list so you can imagine what I'm thinking about when I mean 'vigors should have more noticeable effects on the body'.

Possession makes the users skin become slightly translucent, skin losing bright liveliness to it and becoming pale as if drained of blood. a green shine glimmers over the eyes aswell as turning the lips and inner mouth a lighter green from injesting it in the first place, a faint green mist around them as if they were under Possessions effects themselves but to a less noticeable extent compared to seeing it in use in game.

Devils Kiss burns the skin and flesh away from the users mouth, cheeks, and down the throat, leaving charred bone and a maw of volatile heat as embers flicker off from the areas of burning but not completely charred parts of skin and flesh much like you see happen to both Bookers hands.

Murder Of Crows causes feathers to bloom not just up the arms like in game but also to sprout down the back and sides of the neck aswell as both sides of the face where sideburns would grow on the user, random loose feathers becoming tangled in hair/sprouting alongside hair of the user. Eyes becoming darker and beadier like a Crows would as skin around the eyes and down the sides of the face/down the neck aswell as the lips darken like you can see when Murder Of Crows is in use.

Bucking Bronco causes chunks of the users skin aswell as flesh to ripple and quake, floating and disconnected yet still sticking close together as the effect traces up the neck, rippling around the cheeks and up to the forehead in various sections as it tends to spare some chunks of skin and lift others like the effect does in game with the gravity displacing effect/glow included, lips mostly unaffected with the occasional ripple of some chunks floating time to time.

Shock Jockey causes crystals to sprout sporadically all around the skin of the user, electricity tracing under the skin as it lights it up like the body of the user itself is being electrocuted but with none of bad effects of being electrocuted at all, skin growing the purple and blue tint it does in game all around the body in various splotches aswell as changing the lip color alongside it to that purple blue splotchy color. Bonus, static electricity hair

Charge engulfs the entire body of the user with wind, it twirling and spinning non-stop around the entire body, the spinning air being faintly noticeable around the legs and chest but extremely apparent around the hands like in game but aswell as a pair of twirling, raging cyclones coalescing around the temples like ram horns much like the short advertisement showed in game after drinking it in game.

Undertow causes many holes to ripple open all around the body of the user much like it does in game, holes appearing even along the sholders, chest, aswell as opening holes right into the mouth from the cheeks (or even from under the jaw and the neck itself for the body horror factor) as tendrils of water can arc from one of the many openings and connect to another much like a hose conecting from an oxygen tank to a diving suit, water also able to be seen rippling around the body wherever it wishes to, skin becomes rather slick and paler looking, as if the user had drowned but didn't die, eyes becoming bloodshot due to the drowned like state.

Return to Sender causes the skin of the user to fade away in splotches, revealing metallic like bones much like it does in game, the spirals much like the trap itself being charged spinning around their head much like electrons would around an atom, the spirals itself illuminating their head as if it was the trap itself, bullets and other used ammo spinning and hovering around their head like the trash in space would do around our planet. lips becoming the black silvery color of the skin fading away on the users hands when using the vigor.

Old Man Winter causes the users body to become frozen, skin becoming bloodless pale as a blue icy tint replaces the life in the users skin, eyes becoming dead-like much like a body in a mourge would as chunks of ice sprout and spike up on various parts of the body.

Peeping Tom naturally turns the user invisible so there's no changes there exept for the user being naturally semi-transparent, being able to see through them but more like looking at yourself through a reflection of yours on a window, seeing through them but not to the point of not being able to see the user at all unless they are actively using the vigor itself.

Ironsides, much like Return to Sender, causes the skin of the user to fade away in splotches, revealing metallic like bones much like it does in game, the spirals much like the trap itself being charged spinning around their head but instead of the golden and black tint of Return to Sender it would be the blue white and black tint of Ironsides itself, lips also becoming the black silvery color of the skin fading away when using the vigor.

If I had the ability to draw then I would love to draw them out and show it off, it just sucks that I don't have the confidence to do it, atleast I could share my ideas to my best abilities.

[frogonamelon]

To my knowledge, there aren’t any fan-created cities in the Bioshock fandom…. 

Hidden deep in the mountains, a lighthouse stands as a beacon for all who seek the catacombs of Elysium. 

Hello! I see that the mysterious hook has caught your attention! I’ve had an idea for a fan-created bioshock city for a while and would like to share the inklings and my thought process for a while. 

If you’d like to, I’d love critique, feedback, etc on the ideas here. 

While we know that there is always a man and a lighthouse, there were other categories I wanted to fulfill when creating this city and what I have for each:

A Man

As well as other interesting and important characters

Hook before a lighthouse- introduce the character.

Vaguely mid to young 20s, possibly a community college student, either likes urban exploration/ found footage content or is a hiker (possibly both)- something that would get him involved. 

A Lighthouse

Nestled deep in the mountains, along a small pond and surrounded by ancient trees is a mysterious lighthouse that once stood as a beacon of hope but has not been seen in hundreds of years. 

A City

The rise and fall of this civilization.

Elysium is a city underground in the southern Sierra Nevada range, roughly central to southern California. 

The aesthetic of this one is inspired by underground cities found in Turkey, Etruscan tombs, and the Parisian catacombs. 

Aesthetically, Rapture is cold and dark, Columbia is warm and bright, Polaris seems like it's going to be cold and bright. Elysium is warm and dark with materials like warm tuff, terra cotta, that sort of thing. Everything isn’t far off of being sepia toned, like aged paper.

A Time Period 

Neither the golden age of the city nor game setting are modern day

The Golden Age: 1780s or so, Game Setting: roughly 2008-2014- the furthest back in time and closest to modern

A group of people unhappy with the newborn America leaves and finds a new home westward. 

The architecture of the city is closely tied to some sort of inspiration from American history.

Neoclassical Architecture (all of the original government buildings and monuments in DC and such as well as historical homes like Monticello)

An Ideology 

Showing the flaws of the ideology it was based on.

Everything connects to it.

There's some sort of critique of America and humanity.

This one would be centered on the Ancient Roman ideals that America pulled inspiration from. 

Another main theme would be the value that people put in the past and the romanticizing and glorification of time periods long gone. 

An Adam/ Lutece Particles parallel

Something similar to vigors and plasmids created from this parallel

Mutation/ mutated people caused by this.

The founders of this city settle here because they find a fruit/ berry that, when consumed, grants them immortality (although twisted). When the fruit is turned to wine with various additives, it gives them remarkable powers. 

This is a reference to both the way that wine and intoxication was seen as divine and in the whole ‘eating the fruit of the dead’ sort of thing. 

Some effects/ consequences of this process are being able to mold the self like clay to fit perfect mathematical beauty found in sculptures. Some are fused to the very walls of the caves as their world decays and they become an archeological dig in and of themselves, still alive but…

[ask-percyparker]

… I keep seeing the most bizarre visions. I thought I saw ghosts of what I can only guess are moments of someone else’s past. I can never tell when it’s about to happen but I think it occurs whenever I see something that triggers it, for lack of a better word.

The world feels fuzzier, out of focus when it happens. Eerie lookin’ figures replaying a memory right before my eyes. And before you know it, it’s gone. And this has only started since I started using those damn plasmids.

… It’s horrible. No wonder people go off the edge with these things.

- 📸

[ladylazarusphd]

fuck plasmids. i get my special powers from eating the Fontaine Futuristics (c) industrial strength fertilizer tablets when no ones looking

[nvr-pass]

i cannot stop thinking about the "no gods. no kings. only men" slogan when you enter rapture. you go down there and you see 2 very powerful people fighting over control of the city, places named after greek mythology, underground cults, splicers and plasmids literally everywhere. it's nothing but gods and kings and noone can afford to keep their humanity

[lumikore]

Gun I designed from a randomized prompt!!! Getting really into designing stuff lately especially video game inspired stuff to build my portfolio n yea... anyways I imagine this gun shoots electricity kind of like the Electro Bolt plasmid in BioShock, in that it sprays out from the flanged nozzle on the end, maybe the nozzle can be switched out to a straight one for a more powerful beam too. The tank on the top is full of electrified liquid which is used to power the weapon. the switch on the front toggles between spraying and sucking mode, to charge the weapon it sucks in the electricity to charge the liquid from a power source which could be like a charging station with a battery or something. The display on the side shows how much electricity is left in the liquid and is lit up by the liquid itself, meaning no other power sources are required except the electrified liquid. The liquid powers all the mechanisms within the gun. The gear at the back is not real and is just for decoration (its made of wood and connected to the stock), maybe the lore in this world is that it was originally a steampunk world but then advancements in technology caused them to start using electricity as a power source instead, and some decorated weapons have gears/steampunk accessories as a reminder of their origins idk just an idea.

[lulusoblue]

one of the reasons I love Dishonored so much is because of its morality system and how it ties into the gameplay, AND how much it reminds me of and builds on the morality system in the first two BioShock games.

BioShock 1 & 2 had the Little Sisters and choosing whether to harvest their ADAM slugs and kill them, or rescue and cure them with the catch being less ADAM in return. It also plays into which ending you get, a Good ending, a Bad ending, or a "Neutral" ending.

The problem with BioShock is that the choices and consequences aren't the big factor of the games. Your morality choices don't have a massive impact on gameplay beyond how many plasmids and upgrades you can purchase throughout the game, and even then chances are you'll only be using your favourites and you'll have plenty enough for them. The endings as well are literally just the endings, you have some alternate dialogue and minor changes to events in BioShock 2, but the endings are just an FMV that start to play once you finish the last level.

Dishonored 1 & 2 plays with that system, takes your morality based off of your gameplay and not just a button prompt.

You, as Corvo, are literally built as a killing machine and the world you is your bloody playground. You can slice heads from shoulders and summon rats to eat your targets and posses people to walk then right into water because nobody else but you knows how to swim. All your skills, abilities, weapons and powers give you the freedom to do almost anything, come up with creative ways to murder and maim and it feels awesome. And you have to pay the blood price for that.

The morality system is tied to the city's wellbeing through the Chaos System. The more bodies you leave behind you, the higher the chaos. You try to destroy the evidence by feeding the body to the rats? Rat population increases and the Rat Plague spreads and the more Weepers you encounter. Get that nifty ability that disappears the bodies after a stealth kill? Missing people, Dunwall's anxiety grows, more chaos.

High Chaos VS Low Chaos playthroughs show how your actions as Corvo affect Dunwall. There is a plague, the empress is assassinated, the heir to her throne is missing and everything's going to shit if you aren't a nobleman or a cop or a cop but cult-flavoured. The consequence of invoking the Rule of Cool in your kills is that the bodies pile up and the people who aren't being eaten alive by the emboldened mutant rats are fuelling the chaos with anxiety and paranoia about a masked murderer running about in the shadows. The morality makes itself known throughout your game experience, and it reminds you that your actions have consequences, no matter how big or small.

If you want a good ending for Dunwall, you can't be that awesome killing machine slashing and shooting to Drunken Whaler. Low Chaos can be hard and for some even boring, because Low Chaos is about stealth and mercy. It's about minimising your body count, about choking guards unconscious, about ensuring that said guards are left napping out of sight and out of the reach of hungry mutant rats. Dunwall's peace and stability is something you need to earn with restraint, with alternate solutions and clever manoeuvres and as little bloodshed as possible. Turns out a populace is better at keeping a level head and surviving when corpses and rats don't flood the streets.

Dishonored challenges you on what you want: do you want the best possible outcome for Dunwall, for Emily and your allies, or do you want to be a badass master of death? You can't have both, because the Chaos System gives you semi-realistic consequences for casually slaughtering all the enemies in the level. Those enemies are discovered, or get eaten or just vanish, and that causes panic. The rebellion you're working with in 1 best reflects this, as your actions influence their attitudes and motives, up to the final level being drastically different with their setup depending on your chaos level.

The Dishonored games feel like they took the morality system of BioShock games and improved on it, if only to make your choices feel like they have more an impact in your experience. While the endings are still brief and perhaps lacklustre, the world changing around you to reflect how you treat this world or how you want to be in it is just so solid in how it asks you, "well what did you expect to happen?" as you stand in front of it covered in blood that isn't yours with a superpower to summon rats to eat people.

[alexhwriting]

Bloodborne: A Study of Environmental Narratives and Ludonarrative Harmony.

IV. Ludonarrative Harmony from Ludonarrative Dissonance

BioShock (2007) is a first-person shooter game that puts the player in the underwater city of Rapture where society has gone through a bit of a collapse and the citizens have gone through a civil war. The player is contacted by a character named Atlas upon arrival to help take down the city’s founder who has been responsible for the collapse. The game emphasizes the use of weapons and power ups called ‘plasmids’ and includes some limited moral choices centered around gaining resources at the cost of some non-Player Characters (NPCs). In his critique of the game, Clint Hocking writes:

“BioShock seems to suffer from a powerful dissonance between what it is about as a game, and what it is about as a story. By throwing the narrative and ludic elements of the work into opposition, the game seems to openly mock the player for having believed in the fiction of the game at all. . . when it is revealed that the rationale for why the player helps Atlas is not a ludic constraint that we graciously accept in order to enjoy the game, but rather is a narrative one that is dictated to us, what was once disturbing becomes insulting. The game openly mocks us for having willingly suspended our disbelief in order to enjoy it.”[1]

            With this, he establishes the concept of ludonarrative dissonance, which happens when a game’s story and thematic elements are at odds with the game mechanics that the player uses to experience the game world and the narrative itself.[2] For example, in the game Deus Ex: Human Revolution where the player is controlling a technologically augmented superspy, yet the main encounters of the game require the use of brute force.

In the case of BioShock, this dissonance takes place in the moral choices that the player is offered throughout the game.[3] The player is frequently asked to weigh their personal gain against the lives of NPCs, and the player receives better rewards for opting for personal gain. However, the narrative of the game does not allow the player to similarly follow their self-interest elsewhere, instead forcing them into a course of action that is helping their guide through the underwater city of Rapture. The dissonance appears when the player is offered a choice by the mechanics of the game, (more or less, a reward for the life of an NPC) while being unable to follow through on those choices narratively.

To put it in plainer terms, ludonarrative dissonance takes place when the game story does not line up with the options available to the player, and the player in turn does not experience immersion. Making sure that the narrative of the game and the gameplay act together in a logical sequence has direct consequences when it comes to the environment in which a game takes place. In Hocking’s example of BioShock, a fundamental part of the history and downfall of Rapture is communicated through messages scrawled on walls. Without the player taking the time to experience the environment, the game becomes a visual mess. Warnings and lamentations are graffitied throughout the ruins of the city of Rapture, which do not apply to the character or narrative that the player is embodying. This causes the ludonarrative dissonance, which in turn takes the player out of the feeling of immersion.

Ewan Kirkland, in his essay Storytelling in Survival Horror Games, touches on similar areas to Hocking in the survival horror space. He argues that the player is limited to a character’s abilities as they progress through the game world.[4] Further, that through limitations to influence the environment, the gameplay and the narrative become one in the same as the character’s challenges in the story are also the player’s challenges.[5] For instance, in the case of Resident Evil (1996), the player must escape a zombie-infested mansion while embodying the character of a police officer, keeping their ability to affect their environment limited The player is not given any omnipotent powers, and even saving the file of their playthrough requires scouring the house for special items that allow them to do so. The horror and the tension build as the player progresses further into the game and increases the risk of losing significant progress should they fail to survive a zombie attack. Kirkland notes that “by locating narratives in the past, by restricting interactivity, and by constructing play as a process of storytelling…[games] reveal what James Newman observes as the ‘curious and sometimes seemingly antagonistic relations between narrative and play.’”[6] I would argue that it is these “curious relations” that add to the ludonarrative harmony; through the restriction of player action, the gameplay more closely reflects the narrative that it comes packaged with. Were players able to just take any action as they could in reality, narratives would quickly collapse under the challenge of giving complete sandbox-style freedom.  Through limitation, as in the example of Resident Evil and its limitation on save files, the game developers can more closely tailor the experience of the mechanics to suit the narrative and thus give the player a more immersive experience. The manipulation of saving the game, which in most games is not restricted in any way, Resident Evil’s developers give the impression that not only is the character’s life in danger narratively, but so is the progress that the player has made should their avatar get killed.

David Christopher and Aidan Leuszler opt to throw the binary categories of “ludic” and “narrative” out of the picture entirely, preferring instead to discuss, “the ‘horror of participation’ and the ‘horror of transportation.’”[7] These concepts refer to the manipulation of agency within the game (such as when the player can or cannot take actions) and the manipulation of objects out of the control of the player (such as when the game environment affects the character), respectively.[8]  While they speak specifically on the nature of horror games, their discussion plays into ludonarrative harmony through their conception of game “flow.” That is the idea of a point in the gameplay where players are engrossed in the experience of play so much that they ignore the system that underlies that experience.[9] In other words, an immersed moment. This flow plays right into the conception of the unity of narrative themes and gameplay mechanics by recognizing the moment where the underlying rules of the game become “invisible” to the player

and can, therefore, be a good indication of when a player has the best chance of experiencing ludonarrative harmony.

[1] Hocking, “Ludonarrative Dissonance in Bioshock.”  n.p.

[2] Hocking, n.p.

[3] Hocking, n.p.

[4] Kirkland, “Storytelling in Survival Horror Video Games.” 63-64

[5] Kirkland, 63-64

[6] Kirkland, 65.

[7] Christopher and Leuszler, “Horror Video Games and the ‘Active-Passive’ Debate.” 3.

[8] Christopher and Leuszler, 8-9; Christopher and Leuszler, 13-14.

[9] Christopher and Leuszler, 9.