The City in Singleplayer Fantasy Role Playing Games

Vella Daniel Bonello Rutter Giappone Krista
2018 DiGRA '18 - Proceedings of the 2018 DiGRA International Conference: The Game is the Message

This paper considers cities in single-player fantasy role-playing games, identifying recurring tropes in terms of the spatial functions by which they shape the player’s lived experience of the gameworld. The functions of centring, demarcation of inside and outside, movement and encounter will be considered, both in terms of the spatial organizations determining them, and in terms of the spatial practices they give rise to. The analysis shall be anchored in a close engagement with a number of representative titles, including Baldur’s Gate, The Elder Scrolls IV: Oblivion, Dragon Age: Origins, The Elder Scrolls V: Skyrim and The Witcher III: The Wild Hunt.


Situations of Play: Patterns of Spatial Use in Videogames

McGregor Leigh Georgia
2007 DiGRA '07 - Proceedings of the 2007 DiGRA International Conference: Situated Play

Gameplay always occurs somewhere. Any discussion of situated play therefore should consider the actual spaces in which we play. Yet everyday real space is also deeply embedded in the games themselves. Videogames take patterns of spatial use from reality and situate them in their spatial structure. This paper explores these "situations of play" and their implementation in representational video game environments, seeking to understand game space through its connection to real space. But because play does not exist in isolation from its surroundings this paper takes into account the way videogames are situated in the world. How game space is presented, from screen-mediated game to pervasive games, affects how the patterns of spatial use are implemented. Game space also feeds back into real space, where their intersection forms what can be termed as played space. To understand the transfer of patterns from reality to games this paper examines games as spatial constructs, arguing that game space is architectural. Investigating the nexus between architecture and games, and using architecture as a tool to unpack spatial conditions in videogames, this paper explores how games are structured by their spatial qualities.


The Construction of Ludic Space

Adams Ernest
2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

Most modern graphics-based computer games entertain the player in part by presenting him or her with a simulated space, an imaginary two- or threedimensional region whose visual appearance is mapped onto the twodimensional surface of the video screen. The player observes this space and sometimes virtually explores or moves through it in the course of playing the game. As an imaginary space, it is necessarily constructed by human beings, and therefore may be thought of as the product of architectural design processes. In this paper I discuss the psychosensory limitations of perceiving ludic space compared with real-world architectural space, and the primary and secondary functions of ludic space. The primary function is to support the gameplay by providing a context for challenges, and I discuss how this occurs; secondarily, the space informs and entertains in its own right by a variety of means: Familiarity, Allusion, Novelty, Atmosphere, and others, which I illustrate by example.