Five of the Best is a weekly series about things you probably don't pay attention to when playing a game. Things like backpacks, zip wires, hands - we've had an eclectic bunch so far.

They sound insignificant but they provide essential flavour to a game, and you'll find they're welded to your memories of them. Try thinking about the best hands in games, for example - do any surface? Give it a moment: I bet a few appear. Hold onto that feeling - I want you to use it below.

Let's try another, let's try today's: Five of the Best...

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Like Doc Brown, I once hit my head and saw the future. I didn't come round in the bathroom having the idea for the Flux Capacitor, but I did bonk my noggin pretty hard in the office games room and sit back, dazed but delighted with what had just happened.

I was playing the Budget Cuts demo on Valve's room-scale VR. Budget Cuts is a game about infiltrating an office that's patrolled with deadly robots. Because of the room-scale VR, you're really there: your actual body is your in-game body. This means that the robots are the same size as you - which is terrifying - and it also means that when you have to duck your head through a missing panel in the floor to look into the room below, you really have to do it. Except that while the game floor might be missing a panel, the real floor isn't. Bonk. I did it. Chris Bratt, who had also played the demo, had done it. A day later, so moved by what I'd played I brought in a friend to try it out. They did it too. We all hit our heads and we all saw the future.

More than just the future of video games, I really felt like I had seen the future of one series in particular. I still think this. I still think that Budget Cuts is essentially the closest I've ever gotten to playing Half-Life 3. It's not set in the Half-Life universe, although its mixture of horrific technology and the banal and bureaucratic is not a million miles away. It wasn't made by a Valve team, although I gather the people who made it did end up working on the final game at Valve as incubees. Instead, it channels that magical thing that Half-Life has always done.

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UPDATE 19/11/19: After 12 long years of waiting, and enough "3"-based memes to fill an entire internet, it's finally official - there's a new Half-Life game on the way. As previously rumoured, it's called Half-Life: Alyx and Valve describes it as the company's "flagship VR game".

Half-Life: Alyx will be given the full reveal treatment this Thursday, 21st November, at 6pm in the UK/10am Pacific Time. Valve hasn't said where yet, but it seems reasonable to assume it'll pop up on Twitter and will be plastered all over the front page of Steam.

ORIGINAL STORY 18/11/19: A formal announcement of Valve's long-in-development Half-Life VR project looks finally on the horizon.

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Valve has fixed NPCs not blinking in Half-Life 2, its 15-year-old shooter that may never see a sequel.

That's not all. Valve has also fixed missing sounds on Combine soldiers, fixed a hitch when saving games, and fixed SteamVR running when entering the settings menu.

The update is for Half-Life 2, Half-Life 2: Episode 1, Half-Life 2: Episode 2, Half-Life 2: Lost Coast, and Half-Life: Source. So, all the Half-Life 2s!

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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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Have you ever wondered what video game cities would look like as Ordnance Survey maps? A new project is working on turning the likes of City 17 from Half-Life, Los Santos from Grand Theft Auto and New Vegas from Fallout into city maps, so we may soon find out.

Konstantinos Dimopoulos, a game urbanist, writer and designer with a PhD in urban planning and geography is working with visual artist Maria Kallikaki to create the very first atlas of video game cities, the appropriately-named Virtual Cities.

Virtual Cities, which is currently looking for funding on Unbound, includes over 40 game cities, including Yakuza's Kamurocho, Silent Hill, Ant Attack's Antescher and Shadowrun's Hong Kong. Over 40 original maps and more than 100 drawings are being worked on.

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