Space within a computer game is “consensually hallucinated”1 it is not real, yet it is effective and dominant. The Philosopher Anita Lierfall1 poses the idea of a place rather than a space. Place is a limitation of, or is in space and does not exist as an independent spatial origin. Instead, it must stand within a region of space. Assassin’s Creed Brotherhood (Ubisoft, 2010) demonstrates this idea. The place of Monteriggioni is within the space of the animus and the place of the hideout is in the world of Desmond Miles. Thus games are not real space, but are objects and places on a screen, distinguishing them from real unmediated space. Philosopher Henri Lefebvre1 states that video games are both a representation of space that is a formal system of relationships, and representational spaces that are simply symbolic imagery with a primarily aesthetic purpose. The Legend of Zelda: Ocarina of Time 3D (Nintendo, 2011) and similar role playing games are examples of representational spaces. The image of Link with his horse Epona and the girl, Marin, places Link in spatial relationship to Epona and Marin. The user can communicate with these characters and can move through the surrounding space and even interact with the horse in the background. Whereas New Super Mario Bros. (Nintendo, 2006) and related platform games are examples of representational spaces that are unique to this genre. They contain a scrolling background that the player can not interact with, but is an element of integrity that is purely visual.
Engagement possibilities are directly built into the spatial structure of games2. Players instinctively wish to immerse themselves in and experience the space that designers have created. Many games are fashioned with places to explore and discover. Games promote exploration and colonisation of space6. In Age of Mythology (Microsoft Game Studios, 2002) each player needs to explore the map to discover resources and gain ground before the opponent does. Jenkins explains that game designers are more interested in level design than anything else3. Thus players usually spend a vast amount of time exploring that space of the game. This is seen in The Elder Scrolls IV: Oblivion (Bethesda Game Studios, 2006), the open world game that provides many opportunities for discovery of places, special items and engaging battles.
Engagement possibilities are directly built into the spatial structure of games2. Players instinctively wish to immerse themselves in and experience the space that designers have created. Many games are fashioned with places to explore and discover. Games promote exploration and colonisation of space6. In Age of Mythology (Microsoft Game Studios, 2002) each player needs to explore the map to discover resources and gain ground before the opponent does. Jenkins explains that game designers are more interested in level design than anything else3. Thus players usually spend a vast amount of time exploring that space of the game. This is seen in The Elder Scrolls IV: Oblivion (Bethesda Game Studios, 2006), the open world game that provides many opportunities for discovery of places, special items and engaging battles.
