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If the player rescues all or all but one of the Little Sisters, Jack takes them back to the surface with him and adopts five of them as his daughters.
Conceived of early on as a man encased in a diving suit, the Big Daddy was designed to have "that hulking metal feel of an underwater protector, so solid not even a shotgun blast could knock him off his feet."[2] While the concept remained the same of an AI character that protected the "gatherer" AI characters in the title,[3][4] many ideas were considered for their mobility and execution, including a wheelchair mounted version.
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In one scene, the game take place at the lighthouse and bathysphere terminus of Rapture as part of this exploration. However, pelo direct canonical connection is given in the main game.[183] The episodic expansion, Burial at Sea, takes place in Rapture in 1959, before the war between Atlas and Ryan, while continuing the story of Booker and Elizabeth. This content links the two stories while providing expansion on the causes and behind-the-scenes events alluded to by the in-game background from BioShock.
In the to be released game BioShock 2, the player takes upon the role of the very first Big Daddy, regaining both rational mind and free will. Unlike the subsequent versions of Big Daddies, he is both faster and able to use Plasmids. Despite minor alterations and additional features, this playable prototype looks similar to the Rosie model, as seen in the recently released demo gameplay.
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At this point in the development, the backdrop of Rapture had been fleshed out, but they had yet to come on how to represent the drones, protectors, and harvesters from their original game idea. The Big Daddy concept as the protector class was developed early in the process, but the team had yet to reach a satisfying design for the drones, having used several possible designs including bugs and dogs in wheelchairs.[28] The team wanted to have the player care for the drones in some way and create pathos for these characters. The idea of using little girls came out of brainstorming, but was controversial and shocking within the team at first, recognizing that they could easily be killed and make the game more horrific in the style of Night Trap.[28] However, as Levine worked on the story, he started to incorporate the ideas of dystopian and utopian thinkers from the twentieth century, including Ayn Rand, Aldous Huxley, and George Orwell, and considered their ideas "fascinating".[41] He brought in the ideas of Objectivism that Rand primarily outlined in the book Atlas Shrugged, that man should be driven by selfishness and not altruism, and used this to inform the philosophy behind the city of Rapture and Andrew Ryan's work, viewing them as quite ludicrous, and primed to be applied to an antagonist, tied in with his previous observations on Rockefeller and his writings.
Other elements came into the story design. Levine had an interest in "stem cell research and the moral issues that go around [it]".[41] Regarding artistic influences, Levine cited the books Nineteen Eighty-Four and Logan's Run, representing societies that have "really interesting ideas screwed up by the fact that we're people".[43] The idea of the mind control used on Jack was offered by LeBreton, inspired by films like The Manchurian Candidate, as a means to provide a better reason to limit the player's actions as opposed to the traditional big daddy game use of locked doors to prevent them exploring areas they should not.