Viktor Antonov hasn't built a world like this before.

The games you know him for are bounded and largely linear. Every tiny detail has been touched by a human hand in Half-Life 2's City 17 or Dishonored's Dunwall, striking virtual places which Antonov has helped colour with particular social histories and inscribed with visual techniques that quietly guide the player to the next checkpoint. That's also true of other games that he's been involved with over the past few years, such as Wolfenstein: The New Order, Prey and Doom, on which Antonov acted as visual design director.

But Project C, as the game is currently codenamed, is very different. "It's one of the most ambitious projects I've worked on and, I have to admit, a fairly difficult one for me," he says.

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There is a saying in architecture that no building is unbuildable, only unbuilt. Structures may be impossible in the here and now, but have the potential to exist given enough time or technological development: a futuristic cityscape, a spacefaring megastructure, the ruins of an alien civilisation. However, there are also buildings that defy the physical laws of space. It is not an issue that they could not exist, but that they should not. Their forms bend and warp in unthinkable ways; dream-like structures that push spatial logic to its breaking point.

The Tomb of Porsena is a legendary monument built to house the body of an Etruscan king. 400 years after its construction, the Roman scholar Varro gave a detailed description of the ancient structure. A giant stone base rose 50 feet high, beneath it lay an "inextricable labyrinth", and atop it sat five pyramids. Above this was a brass sphere, four more pyramids, a platform and then a final five pyramids. The image painted by Varro, one of shapes stacked upon shapes, seems like a wild exaggeration. Despite this, Varro's fanciful description sparked the imaginations of countless architects over the centuries. The tomb was an enigma, and yet the difficulty in conceptualising it, and the vision behind it, was fascinating. On paper artists were free to realise its potential. If paper liberated minds, the screen can surely open up further possibilities. There's no shortage of visionary structures within the virtual spaces of video games. These are strange buildings that ask us to imagine worlds radically different to our own.

Whilst many impossible formulations are orientated towards the future, there are also plenty from the past. The castle in Ico is one example of this. During the Renaissance, Europe was obsessed, not with future utopias, but with ancient Greece and Rome. While the box art of Ico is famously inspired by Giorgio de Chirico, the long shadows and sun-bleached stone walls only make-up a portion of the game's mood. It is the etchings of Giovanni Piranesi that best capture what it's like to explore the castle's winding stairs and bridges. Piranesi's imaginary Roman reconstructions were absurdly big - so colossal you could get lost in just the foundations. In a similar way, Ico's castle is impossibly large, the camera zooming out in order to overwhelm you and build up the unfathomable mystery of its origin and purpose.

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Sex. Speedrunning. Not two things you expect to hear in the same sentence - and yet here I am, writing an article about it.

Speedrunner tomatoanus, who you may remember from his world record Fallout anthology speedrun (and his rather colourful username), has returned with yet another wacky video. Not content with whizzing through Fallout 1, 2, 3, New Vegas and 4 in under 90 minutes, tomatoanus' latest speedrun is all about sex. Specifically, getting it as fast as possible. Like a night out in Magaluf.

Similar to his other world record speedruns, tomatoanus played through the games considered by the community to be the "main" titles in the Fallout series, with the goal being to have sex in each game as quickly as possible. This apparently has its own unofficial category, called a "sex%" run, and has already been attempted by a number of speedrunners in Fallout 4 (check out these ones by Jinjenia and Duchys).

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Imagination, not intelligence, made us human.

In his Foreword to The Ultimate Encyclopedia of Fantasy, the late Sir Terry Pratchett writes, "Imagination, not intelligence, made us human."

Most people know Pratchett as the author of Discworld, the famous fantasy series about a flat planet balanced on the backs of four elephants. However, what many people don't know is that the knighted author was also a massive fan of video games - so much so that he actually worked on mods for Oblivion, most of which were spearheaded by a Morrowind modder named Emma.

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There's a dragon near Bethesda - dubbed "the Dragon of Bethesda" by its creator - and it's causing a bit of bother.

No, not that Bethesda. The Bethesda in Wales, the one on the River Ogwen and the A5 road on the edge of Snowdonia, in Gwynedd.

The Draig Dderw (oak Dragon) stands 6ft tall and 12ft wide, and guards the A5, presumably from misguided Skyrim fans. It's quite the sight - perhaps too good a sight, because motorists are apparently slowing down, or even stopping, to gawk at it.

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An impressive Skyrim multiplayer mod enters closed beta soon, with an open beta to follow.

The eye-catching Skyrim Together mod is more than someone's pipedream - it's a functional mod that currently lets up to eight players play together in Bethesda's hugely popular fantasy game.

The mod is the work of a group of talented software engineers who have spent some time tinkering with Skyrim in order to get multiplayer working. The closed beta is for those who back the project on Patreon. The open beta launches immediately after the closed beta, which the modders said wouldn't last long in an announcement post on the Skyrim Together subreddit.

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It feels like an age since the last Elder Scrolls game was released (seven years, to be precise), and it's probably going to be several years more before we see the next one. It's an agonising wait, and for some older fans, it really is a race against time. But thanks to an online campaign, fans are hoping at least one Skyrim-playing grandma will be involved in the next game. In at least some sense of the word.

As possibly the coolest grandma on the internet, you may well have already heard of Shirley Curry. She's an 82-year-old YouTuber who primarily records herself playing Skyrim, and has pretty much won the hearts of everyone in the Elder Scrolls community. Referring to her subscribers as "grandkids", she goes out of her way to reply to every comment on her videos, and her let's plays are basically the most wholesome thing you can find on the internet. And, if you still doubted her credentials, last year she even made it into the Guinness World Record book as the oldest video game YouTuber. Here's her latest Skyrim video, should you want a look:

Her place at the centre of an internet campaign, however, began after a Reddit user spotted her comment on a YouTube video analysing the comments Pete Hines made to Eurogamer about TES6's release window. "I guess that puts the nail in my coffin," Curry wrote. "When Skyrim 6 comes out I'll be 88! So I probably won't get to play it."

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It's easy to understand why brutalism has been such a potent source of architectural inspiration for games. The raw forms - solid, legible and with clear lineation - are the perfect material for level designers to craft their worlds with. Simultaneously, these same structures are able to ignite imaginations and gesture outwards, their dramatic shapes and monumental dimensions shocking and attention-seizing.

Brutalism is a branch of architecture that spans roughly 30 years (1950s-1970s). It was borne out of the devastation of two world wars, when there was a need to rebuild. In this aftermath brutalism became a vital global phenomenon. If you live in a city, you've no doubt passed by a hulking example.

The term derives from a French invention: b ton brut, meaning raw concrete. This is the structure's most prominent feature - sheer concrete surface, often left rough, exposed or unfinished. Significant in the emergence of brutalism was the architect Le Corbusier and his Unit d'Habitation. Built from reinforced concrete, the housing unit was an attempt to create what Le Corbusier called "a machine for living" - a place that met our every need. It was a thoroughly modern, progressive and even utopian conception of architecture. Regardless of the visual force of brutalism, it's impossible to divorce it from this socio-historical background.

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Looking at places to live in games, it would be easy for the most magnificent, pompous and elegant palaces and castles to dominate any appreciation. But there is plenty of room to appreciate those residences that are tucked away, perhaps underrated, that are not major hubs or destinations and that are only subtle intrusions. Some draw a curious sense of attachment from players, eliciting a sense of pseudo-topophilia - a close relationship with a virtual land or place. The resulting effect is sometimes enough to cause the sentiment: if this place were real, I would live there.

Right in the corner of the Hinterlands in Dragon Age: Inquisition is the Grand Forest Villa. Its position in the landscape is not obtrusive or jarring, and in turn makes use of the surrounding Hinterlands as its grounds and gardens. Not only does it look fantastic in its geographical context, the residence fits the medieval-fantasy context, oozing grandeur and splendour. But it also serves a purpose: in the Dragon Age lore, it was built for a special friend of the Arl of Redcliffe to allow him to stay near Redcliffe Castle, but far enough away to not raise eyebrows or induce scandal. Designed to be elegant and bold, the Villa - which is a generous term - would have been a beautiful place to live. Even though there are no obvious living spaces on show to relate to they are there - probably within the thick stone walls that add a strange, yet weirdly complete juxtaposition of woodland villa aesthetic next to defensive fortress.

Its semi-open nature permeates its design. Opening up sides and boundaries has the effect of bringing the outside, inside - nowadays, think about homes that have entire walls made of glass to bring their garden 'inside' - blurring the boundary between indoor luxury and the pleasantness of nature, landscapes and plants. It also opens up expansive and brilliant vistas from the Grand Forest Villa, the importance of which is demonstrated by the design of designated viewing decks or points offering fabulous views over the lush and rolling Hinterlands landscape.

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"Come on. Lighten up. Have a whiff."

It's late into Cyberpunk 2077's demo when Dum-Dum extends a claw toward V, offering a hit from a skull-adorned inhaler. Perhaps sensing the veiled hostility behind the supposed peace pipe being thrust under her nose, she obliges. Arachnid eye implants shine through a red haze. Dum-Dum takes his own hit, and flared nerves settle. Between all the talk of cred chips and bots, the tension that fuels this choice stems from a ritual as old as time. Breaking bread. Chinking cups. Passing the proverbial Dutchie to the left.

Adult games, as a medium, are often enamoured with their own portrayal of taboo subjects, but there's a streak of silently judgemental conservatism dulling the libertine sheen. By confining their use to grim settings, these stories condemn altered states of consciousness as the territory of society's dregs. At the same time, they're perfectly happy to hijack their aesthetics when it suits. Unexamined praise can be as useless as uninformed panic, of course, but let's be clear here: games are, for the most part, shit at doing drugs properly. Here's a brief history of drug use in games.

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