The rest will be spread out over next week. Description: Despite the fact these videos amount to over 6 hours of content, in some ways they just barely scratch the surface of what can be explored and said. That’s because the series taps into a lot of extremely broad and complex historical themes and events. The games themselves are actually not very good, but their narrative designs are highly informative about the 20th century Jewish intellectual milieu and White America’s pathological trajectory. I’ve broken “Part 2” into four Chapters and an Epilogue. To the extent that I cover historical material and events, my intention was not to provide a full breakdown, but rather to show how BioShock weaponizes a carefully curated and one-sided presentation against the player. The central focus of BioShock is the Cycle of Oppression. Ken Levine, the games’ director, takes the player on a journey across time and space, and concludes that historically there are “constants and variables.” White people along with their sense of nationalism and religion are always the prime movers of the Cycle of Oppression, while Jews and people of color are their victims. The latter may periodically engage in immoral behavior, but it is always in response to past oppression inflicted on them. BioShock Infinite uses a meta-design to attack the player both directly and indirectly, stating essentially that iven if the player believes himself to be a good person who consciously adheres to the tenets of the new-age religion of egalitarianism, evil still resides within him waiting to be unleashed. He is in fact the very thing, he believes to be fighting against. In brief, BioShock Infinite conveys the message that the White male gamer’s only path to redemption is death.