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The fourth chapter is concerned with breathing life into the environment through the choice of a visual style and technique of environmental storytelling. The impact of navigation on gameplay flow is examined, as well as methods of steering player in the right direction and the necessity of maintaining spatial continuity for supporting suspension of disbelief. The third chapter focuses on the navigation of playable space, distinguishing between three types of navigation based on the level of freedom of movement. The second chapter deals with setting up the boundaries of playable space, first presenting the history of such boundaries and then proceeding to discuss types of boundaries in modern games and their effect on the player.

The first chapter introduces the ideas of immersion, flow and suspension of disbelief, which will be referred to throughut the rest of the text. The aim of this thesis is to provide insight into methods of designing and implementing believable and internally consistent environments for use within video games. Consequently, we assert that this highlights the ability of meticulously designed game architecture to improve world-building and player experience across all video games. We assert that Dishonored is a noteworthy example of how architecture in video games can transcend a traditional role of static backdrop in order to function as an integral aspect of the game, significantly enhancing the player experience. Dunwall has been chosen as it depicts a dystopian architecture which draws heavily upon real world precedents and players are able to explore these environments in detail. In this report we aim to discuss the architecture of the fictional city of Dunwall, which is the setting of first-person RPG Dishonored, and the effect that this architecture has on the experience of the player as they progress through the game. Despite this, the role of architecture in shaping imaginary game worlds remains a largely unexplored field. The aesthetic depiction of the environment is a predominant means of world-building in contemporary single player role-playing games (RPGs) and is heavily influenced by architectural design. Transnarrative and transmedial imaginary worlds span across multiple interactive and static media such as books, television, film and video games, and require methods of world-building in order to create an authentic and coherent experience for the viewer.

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