Now, however, the mode of simulation is sued as an effective pedagogical tool that privileges active experimentation with its subject material rather than observation. And perhaps most importantly, computer games represent a new mode of aesthetic as well as social discourse, an alternative to the narrative, which has been the leading paradigm until now: the primary means to convey knowledge and experience. And in result, some unique determinations of mentioned game’s use of architecture, in both videogame architecture and fictional vernacular architecture terms, are proposed.Ĭomputer games are undoubtedly the most diverse and fast-changing cultural genre that ever existed. ![]() Finally, in the case study, the settlements and the structures of the fictional races with distinct cultures, from the mentioned video game, are studied in detail. The elements affecting the design of vernacular architecture samples are mentioned. Moreover, the term vernacular architecture is introduced to name the structure of World of Warcraft as samples of it. Then, the use of architecture in video games is analyzed in the light of pioneer academic studies. For the methods of the study, first, the storytelling and worldbuilding concepts are investigated. Therefore, the scope of the study contains video game architecture, vernacular architecture, and structure samples from the mentioned video game. This study aims to evaluate the structures of Azeroth, the fictional built world of the World of Warcraft video game, as samples of vernacular architecture. With an emphasis on Fallout 3, Hellgate: London and The Last of Us, and the S.T.A.L.K.E.R series this article argues that, if cities can be read as dreamworlds, and films, art and ruination as the means for awakening, then urban destruction in the virtual sphere can provide a counter to the collective dream of eternal progress. One means of understanding Benjamin’s dreamworld of modernity is through ruins and rubble – not only as material remnants, but in other visual or artistic forms that might reveal the illusion of progress as a fallacy, particularly in contrast to an urban-focused commodity capitalism. With reference to Walter Benjamin’s work on nineteenth-century Paris, and Debord’s work on the spectacle, this article argues that the depiction of ruined cities in video games – as virtual ruins of the present – simultaneously reproduces the empty novelty of the commodity (the phantasmagoria of progress-oriented civilization), and offers a vision of failed progress through counter-spectacle. ![]() ![]() Furthermore, practices, tactics, walking and other urban-centric models for experience in space can provide critical insight into the spatiality of games including Assassin's Creed, which Bonner reads through the work of Michele de Certeau (Bonner 2015). Marc Bonner makes a clear link between urban architecture (including design culture and urban experience) and the often dystopian cities in which many games are set, even as virtual or clone architecture (e.g., the skyscrapers of Bioshock, reminiscent of Manhattan [Bonner 2014a[Bonner, 2014b). Ruins too create new possibility spaces beyond the commodified spectacle of the city, in the same way that zombies challenge 'the commodification of human bodies and the threat of consumerism to human culture' (Aarseth and Backe 2013: 13) because the 'zombie' trope is 'inherently fused with suggestive potential' (Aarseth and Backe 2013: 4) that extends beyond the game and into the world, and is capable of critiquing the structures of that world.
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