When Lara Croft fled through the jungle of Peru in the 1996 game, which made the player for a while to be distracted from the sultry figure of the brisk tomb of the tomb and perceive the virtual environment, like South America, and not the next isometric corridor level? What artistic techniques did the creators use in the cycle of the Japanese games “Silent Hill” to believe that he is in the northeastern American town of 1970-80s.? Why in the game “The Witcher” 2007, the fortress walls of the razors so accurately convey the spirit of the Middle Ages? Because with limited technical capabilities of visual display of virtual reality, the game designers had to resort to understandable and recognizable architectural forms.

Silent Hill 2 is recognized by most players the best in the series. The meditative narrative of the game takes place in the state, similar to the homeland of the "king of horror" Stephen King (pcs. Maine). At first glance, it is clear that this is an American northern provincial town on the eastern coast.

The anthropogenic environment, represented by architectural objects in the video game not only creates the illusion of immersion as the scenery in the theater, but also tells stories, sometimes amazing and no less exciting than the main plot. Obviously, the developers seek to fill the game not only verbal, but also with spatial meanings. Game design from the point of view of modeling virtual architectural objects is largely similar to the work of an architect engineer: with the help of spatial images and forms, it is necessary to change the perception of reality, tell history, impress, lead. The player not only should focus on the characters, but also perceive the virtual space as something integral and completed. Therefore, manufacturers of games pay so much attention to the form of the architectural object with which the player interacts, and its color scheme, and textures that complement the spatial image with realism and individuality.

Manifold Garden – a game created by physicist William Chir – a vivid example of spatial paradoxes created using architectural forms and compositions

Any building – whether it is a church, skyscraper, castle or hut – seems to architects and art historians a metaphor of struggle. The foundation of any house is subjected to the pressure of moving soils, holds the building. The supporting structures are not only squeezed, but also resist the twisting strength of articulated mounts. Non -carrying structures complement the image of the structure and perform not only decorative, but also strength functions. They encounter elements, temperature changes, and technogenic effects. All designs are connected by mutual violence, dominate each other, but cannot exist, as a single system without a struggle. It is this stress, balanced and balanced, that allows any architectural form to exist for a long period of time. But once the struggle ceases when the resistance of one of the structures weakens. The balance is violated, the unbalancing in an instant turns the object into ruins.

The described stress makes a http://raptorwinscasino.co.uk/ building or structure “living”, mobile. Such an object seems to breathe. He is noisy, groans, cracks and groans, the rumble of his voice is dreary in ventilation. To brightly imagine the image of a “living” house, remember a fragment from a book about Harry Potter. The search for answers leads Harry, Rona and Hermione to the warring hut. She swings, her gnaset drowns the Werewolf howl and loud clicks. Under the onslaught of the wind, and from its own tension, the howling hut sighs to the beat of the played tragedy between the heroes of the work.

Remember how you listened to rustles and creaks of your house when you sat motionless in a dark room. How the wooden floor was springing under your feet in a village house or in the country. Remember the thin cracks above the window, on the ceiling from the “playing”, like the keys of the piano, the floor slabs – they move like fragments of the lithosphere, changing the shape of the house, as the planet changes the outlines of the continents.

In high -quality games, artists not only try to recreate the perfect architectural composition, but also make it alive, “breathing”. An example of such a work is the game “Witcher” of 2007, in which the title scene begins with an impressive panorama of the mountain range and medieval castle in the rays of the autumn sunset. Before the game about the fictional universe of the continent (the authorship of the writer Andrzei Sapkovsky) was known only by readers of the cycle of the Witcher’s works, and the audience of a kind of Polish series of the same name in 2002. The book was very popular in the 1990s and early 2000s in Eastern Europe and the CIS countries.

On the covers of books after the release of the game, they began to portray Geralt as it was presented by the artists "CD Project Red". In the center of Pan Sapkovsky.

In order not to disappoint the fans and carefully relate to the source, the developers consulted with the writer (who has a difficult and difficult manner of communicating) when compiling the script, as well as to display the Witcher’s World. The result surpassed cautious expectations of fans, despite colossal problems with bugs and performance (hello, "Cyberpunk 2077"). The game produced a splash in due time, and opened up opportunities to create a sequel.

The most important point in the plot of a single game is the opening scene. Images of northern nature with the wide expanses of forests and a magnificent mountain range suitable for her, among which the once powerful Kaer -Morchen fortress – the house of the Witches of the Wolf’s School stands up.

For the first time, the players presented the appearance of Caer-Morhen and the nature around in the form that was most suitable for the original source. Here are small fragments from the book "Witcher. Blood of the elves "dedicated to this place:

. A wide, dotted valley, resting against steep hills, spread out in front of the sorceress. In the middle of the valley, Gwenlleh fled, the river of white stones, Burl with foam between the stones and the stream of trunks. Here, in the upper reaches, Gwenllech was only a small, albeit with a wide stream, and it could easily go through. She touched the gelding with a heel, and they moved in a step along the channel of the stream, crossed the next yar and climbed the rounded hill. From there there were already visible the ruins of the Kaur Morhen, which were clinging to the stone cliffs – a partially destroyed trapezoid of the protective shaft, the remains of the tower and the gate, the barrel -shaped pillar of the Donjon. Merin snorted and pulled his head, crossing the moat along the remains of the bridge. Triss pulled the reins. The most did not act on her the bottom of the moat of the decayed skulls and bones. She already had to see them. "The child who is dripped so that he becomes a witcher, besides a girl, does not talk about such things. Such a child is not told about the massacres and massacre. They do not harden the prospect of the fact that he can ever hear the words that then shouted at the Caur Morhen fanatics. Mutant! Monster! Monster! God’s cursed, nature is a nasty creature! No, she thought, I am not surprised that the witches did not tell you about this, baby Ciri. And I won’t tell you either. I have a baby Ciri, even more reasons to be silent. After all, I am a sorceress, and the anonymous Pasquil, who was widely dispersed in the Lists of Montrumam, who excited fanatics and pushed them to a crime, also seemed to be a matter of the hands of some sorcerer. But I, baby Ciri, do not recognize collective responsibility, I do not feel the need for repentance on the occasion of the event that took place half a century before my birth. And the skeletons, which are destined to be an eternal reminder, eventually expire, turn to the dust that the wind, tirelessly widing the slopes, will dispel, and will be forgotten … "Triss felt how the wave of cold was unexpectedly rolled. I tried to convince myself that this was the effect of the extinction of a protective spell, although I knew that everything was wrong. She looked up, at the stone bulk of the castle, staring at her with black failures of the collapsed loopholes. A trembling ran through the body. She heard the rattle of the doors with iron, which came from the dark vent of the corridor gaping behind the dilapidated portal. The wind tapped the shutters, moving the remains of the tapestry covered by moths covering the window. Triss in absolute darkness lay on the best bed in Caer Morhen. And could not fall asleep. And the point was not at all that the best bed in Cairer Morhen was an ancient collapse. Ciri room was an exact copy of the Witcher’s dwellings. Like them, there was practically nothing here except the bed, stool and chest knocked out of the boards. Witches decorated the walls and doors of their dwellings with skins of animals clogged on hunting – deer, lynxes, even Wolverines. On the doors of the room of Ciri hung the skin of a giant rat with a disgusting scaled tail. Triss fought in herself the desire to disrupt smelly muck and throw out the window.

There are few descriptions of Caer-Morhen in the book, but the author specifically leaves freedom for the reader’s fantasies, and the language of the story with wide strokes draws the general appearance of a dilapidated castle. The developers of the game faced an extremely difficult task: to make the fortress a realistic, suitable tonality of history, and plotly justifying the prologue gameplay. Whether designers coped with work? How to! I represent an opening scene from the game where the viewer first sees Caer-Morchen in all its glory.

Opening scene with a view of Caer-Morchen and nature around

The initial credits indicate that the game time occurs at the end of the XIII century, in two wars with Nilfhaard, the northern kingdoms. Kaur -Morhen castle was erected in the Romanesque style, its appearance and form refer us to early medieval Norman architecture of the X – XI centuries. The image of the Caer -Morhen was inspired by many castles and fortresses of different centuries of buildings: in Portugal (Castello de Almourol), in France (Tarasko Castle, Vincent Castle), in Austria (Brook Castle), in Germany (conquistador fortress), and even the Temple castle – the main residence of the Templars in Paris, which has not been preserved to our days.Due to the fact that he was a symbol of the monarchy in revolutionary France (its appearance was qualitatively conveyed in the game “Assassin’s Creed: Unity”). Elements of the Kaer -Morhen fortress can even be found in Russia – in the city of Vyborg.