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6.
international festival for architecture in video |
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introduction
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Considered
the new frontiers of entertainment, video-games are increasingly more
present in our everyday life. Developed with the fastness imposed to
them by technologies, by now they are an established phenomenon, having
manifold aspects and involving users of any age, worth to be studied
in order to understand their structures. The construction of virtual spaces is at the base of a game, but it follows also other rules than the architectural ones. In video-games, architecture serves to contain the actions of the player’s character/substitute until it achieves its goal. The aim of the game, in many cases the real dogma, can be reached through various tactical approaches. Before a crossroads, both directions can lead to the solution; by taking different paths and going through different trials you can achieve your objective: saving a princess, finding a treasure, and first of all, survive, keeping my right to remain in the virtual space. Architecture plays an important role because, differently from in a movie or in a narrative, in video-games it is the player who decides what to do, how to move. Here, reactions are set in motion which are very similar to those that can happen in every day’s reality, reactions as to what needs to be done before obstacles, short cuts found along the way, experiences I have accumulated in time. If you must save your skin, you will be much more interested in a sunny beach than in a dark cave. A videogame has an emotional type of architecture, because it has no other rule than that of the narration in motion. In this sense, it would be interesting to stop and think for a moment how the two worlds, the real and the virtual, can reciprocally influence each other, whether a concept like usability can be somehow compared to playability, or understand how today’s narrative development and structures could become assimilated by real architecture. In South Korea many youngsters spend more time in the virtual space of their video-games than in the “real” world; the phenomenon is so widely spread that laws are being studied to limit their use. In addition to the sociological aspect, all of this can make us wonder if architecture in videogames might not be actually more fascinating than architecture, and if this may somehow influence the wishes of the new generations. In what ways? Will there be an increasing demand of electronics, or will we go back to a medieval world, as was suggested by Ultima Online? Giammarco Bruno |
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