Open World Structures: Architecture, City- and Natural Landscape as well as Eco-Critical Implications in Computer Games

基于先前开放世界计算机游戏架构研究项目中获得的新知识，该后续项目将通过生态批判方法进一步研究新颖和跨学科的访问。鉴于开放世界的地形、生物群系、地质构造和濒危环境之间的相关性日益增加，有必要结合当前的生态话语，扩大对开放世界结构的研究。后续项目首先发现，电脑游戏以及气候变化和全球变暖已经进入了社会的中间。此外，它是基于洞察力，开放世界的游戏，标榜他们的生态区域分期，天气系统和其他生态主题，从而可以唤起玩家的生态意识.这一方面进一步反映在游戏行业的作用，基本上是共同负责二氧化碳排放和电子废物的前景。在当前地缘政治发展和这些新发现的背景下，后续项目将研究开放世界游戏的文化潜力和生态影响，特别是农村和农村的开放世界结构反映了流行文化集体记忆中的人与自然二分法的既定世界观。他们有可能通过以景观体验为目的的世俗性、玩家的代理和游戏机制对玩家的算法影响来实现、重构或批判性地质疑这些田园、以生态为中心或以生态为中心的世界观。以媒介为中心的分析将包含生产美学和接受美学两种方法。因此，它不仅将为未来的计算机游戏研究提供理论，而且还阐述了计算机游戏特有的生态意识的潜力，对当前的学术和流行文化话语至关重要。

Based on new knowledge gained from the prior research project on the architectonics of open world computer games, this follow-up project will further research the novel and transdisciplinary access through an ecocritical approach. Regarding the increasing correlation between open world topographies, their depiction of certain biomes, geological formations and endangered environments of actuality, it is necessary to amplify the research on open world structures by incorporating current ecological discourses.The follow-up project begins with the finding that computer games, as well as climate change and global warming have arrived in the middle of society. In addition, it is based on the insight, that open world games that flaunt their staging of eco regions, weather systems and other ecological topics and can thus evoke an ecological awareness in players. This aspect is further reflected under the prospect of the game industry’s role in essentially being co-responsible for CO2 emissions and e-waste. In the context of current geopolitical developments and these new findings, the follow-up project will research the cultural potential and ecological implications of open world games.Especially rural and rurban open world structures mirror established world views on the man-nature dichotomy that are nested in popular culture’s collective memory. They have the potential to actualize, reframe or critically question these pastoral, anthropocentric or ecocentric world views via their worldliness in the form of the landscape experience as an end in itself, the players’ agency and the game mechanic’s algorithmic impact on the players. The media-centered analysis will contain both approaches, aesthetics of production and aesthetics of reception. Thus, it will not only provide the heuristics for future computer game research but also expound the potential of an ecological awareness specific to the computer games and crucial for the current academic as well as pop-cultural discourses.