GP: The world of Rapture and BioShock is a rich one, but was it originally envisaged as an ongoing product that could expand and, if not, when did the team realise it was creating a world that could spawn more new games in the future?

JT: BioShock came to be in a sort of organic way, deriving some of its heritage from previous games that 2K Boston had done. Some of those were compelling sequels in their own right, which may have hinted that the sense of isolation and the search for the player’s identity in the micro game choices that he or she makes were fertile in a long-term way.

For me, the moment that seemed to hint at future games was when Scott Sinclair, the project’s art director, who has incredibly strong design instincts, walked into the design pit and we all started bouncing around ideas for meaningful stories that could take place in the same mythos. The room was alive with the possibilities. Our weather vane was spinning wildly around, of course, but hey: at least the wind was howlin’.