Beyond the ecology of games culture and the widening effect on what games were in the commercial realm, "BioShock" also produced its own progeny. The (much better, in my opinion) "BioShock 2" was developed under another team at 2K Marin rather than the Boston-based 2K studio. Promoted heavily and following a number of industry trends, including a stapled-on multiplayer format, the game's legacy is mostly misunderstood as a lackluster follow-up to a legacy game. Under Levine's guidance and some brutal development conditions, 2013's "BioShock Infinite" was sold as the rightful successor to the "BioShock" legacy. It is a claim that is still debated today, but it seems undeniable that whatever high points exist within "Infinite" are overshadowed by their reliance on and reference to the more shocking originating points in the first game.

Ten years ago, there was a revolution in the way video games told stories. Games such as Grand Theft Auto, Assassin's Creed and Yakuza began to combine freely explorable open-world environments with story missions and side quests, allowing players to drop in and out of the main plotlines as they wished – or abandon them altogether. The experience of playing narrative video games changed forever. So where can we expect narrative games to go next? At the Celsius 232 festival, we sat down with five experienced narrative designers: Witcher 3 writer Jakub Szamałek, comic book and games writers Dan and Nik Abnett, Bungie narrative designer Margaret Stohl and Tom Jubert, writer of Faster Than Light and The Talos Principle.