When players enter the virtual worlds of video games, they are greeted by complex architectural environments. These virtual spaces do more than serve as mere backdrops for gameplay. The design of buildings, streets and entire cities guides player emotions, behaviours and even advances the narrative.
As an architect specialising in digital media, I am interested in how video games use architecture to convey meaning. Virtual worlds in video games are often rooted in real-world architectural principles.
Game rules are technically completely disjointed from our physical world: we could easily traverse a concrete wall as if made of air. However, how players understand how to play is the opposite. For instance, if I see a door in a game, I can assume that it can opened, or that it leads somewhere. Players need a frame of reference to understand games, and this is why most game environments resemble, at least in some way, real-world architecture.
Video game architecture varies wildly. There are realistic historical cities like the ones in Assassin’s Creed or the contemporary Japan of Like a Dragon. Fantastic interpretations of architecture range from the ancient Chinese scenery of Black Myth: Wukong to the science fiction metropolis of Cyberpunk 2077.
Visionary architectural sceneries are less common, as they are harder to relate to. Their design displays architectural forms that are so transformed in their size, shape or materials that they look distant from normal architectural conventions and the laws of physics. Examples of this can be seen in experimental independent games such as Manifold Gardenor NaissanceE.
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Much like real-world architecture, game architecture must work. There is a budget, even though it is based on how many polygons and textures buildings can be made of, rather than their construction costs. There is no building code to comply with, but distances and paths must follow the coded rules of the game.
Take Assassin’s Creed II, where the protagonist runs and climbs buildings in 15th-century Florence. The reconstruction is relatively accurate, so much so that people who played the game can reasonably orientate themselves in the real Florence. But there are several adjustments which were necessary on technical and gameplay terms.
Ubisoft
The whole city and all of the buildings are noticeably scaled down to offer shorter distances to traverse and jump across. While not a large city, taking half an hour to traverse it on foot is an eternity in video game time.
Environmental storytelling
In addition to guiding gameplay, architecture in video games plays a critical role in telling stories. This is known as environmental storytelling. Unlike traditional forms of narrative, where story is told through dialogue or cutscenes, environmental storytelling allows the world itself to communicate plot and themes.
In games, the design of spaces can hint at a game’s backstory, themes or the emotions players should feel at a given moment. For instance, in the cyberpunk game Deus Ex: Mankind Divided, shady corporations dominate the world. To establish this narrative, their buildings are designed to manifest their power through impenetrable monolithic structures which loom over the skyline of future Prague.
Some games exclusively use their environments to tell their stories. This is the case in Manifold Garden, a puzzle game created by artist William Chyr. Players are catapulted in a world where space repeats in every direction and objects that fall down reappear from the top, including the player. Chyr was inspired by the visionary art of M.C Escher – you might know his artwork Relativity where staircases go off in all directions and appear upside down. Chrys was also inspired by real architects, such as Frank Lloyd Wright and Tadao Ando. As such, he used architectural elements to guide players in this strange world, such as placing windows strategically in order not to lose their orientation.
All these elements are implemented most successfully when they are seamlessly blended into the game space and setting, while not being too conspicuous. In Mirror’s Edge, a game set in a sterile modern metropolis dominated by white skyscrapers, primary colours on common structural elements are used to indicate directions and interactable items, such as red pipes or doors. This way, players are easily and rapidly directed by objects that are not out of place, but distinct enough to be noticeable.
When clues indicating what to do are too evident, they are usually not looked upon too well by players. For instance, in the recent games Resident Evil 4 Remake and Final Fantasy 7 Rebirth, splotches of yellow paint have been placed on the objects necessary to progress. This was met with ridicule from many players.
So game architecture must always walk a fine line between presenting engaging environments and helping gameplay without being too obtrusive. As games continue to evolve, the role of architecture will remain central to the ways in which digital environments are designed to engage, challenge and inspire players.
