DİJİTAL OYUNLARDA GÖRSEL KİMLİK: FALLOUT SERİSİNDE VAULT-TEC MARKASININ MEKANSAL VE GÖRSEL TEMSİLİ

Year 2025, Volume: 19 Issue: 36, 301 - 330, 30.07.2025

Onur Aşkın , Gülsüm Damla Aşkın

https://doi.org/10.48069/akdenizsanat.1669202

Abstract

Bu çalışma, dijital oyunlarda görsel kimliğin mekânsal temsilini ve çevre etkileşimiyle nasıl bütünleştiğini incelemekte; Fallout serisinde yer alan kurgusal Vault-Tec markasını örnek vaka olarak ele almaktadır. Grafik tasarım öğelerinin (afişler, logolar, tipografi, renk paletleri, maskotlar) mekân ve çevre ilişkisi, Fallout 3, Fallout: New Vegas ve Fallout 4 oyunları üzerinden karşılaştırmalı olarak analiz edilmiştir. Araştırma, Lev Manovich’in "Gezilebilir Uzam (Navigable Space)" ve Henry Jenkins’in "Çevresel Anlatı (Environmental Storytelling)" kuramları temel alınarak yürütülmüş; görsel kimliğin yalnızca estetik bir yüzey değil, aynı zamanda anlatı ve ideoloji taşıyan bir yapı olarak dijital mekâna nasıl entegre edildiği sorgulanmıştır. Görsel analiz yöntemiyle elde edilen bulgular, Fallout 3’te otoriter ve yönlendirici, New Vegas’ta sessiz ve keşfe dayalı, Fallout 4’te ise yoğun propaganda estetiğiyle sunulan bir temsil stratejisi olduğunu göstermektedir. Makale, kurumsal görsel kimliğin oyun mekânı ve çevresiyle birlikte işlevsel bir bütün oluşturduğunu ortaya koymakta; dijital oyun tasarımı, grafik tasarım, iletişim ve mekânsal kurgu ilişkisine disiplinlerarası bir katkı sunmayı hedeflemektedir.

Keywords

Dijital Oyun , Oyun Tasarımı , Görsel Kimlik , Grafik Tasarımı , Mekân

VISUAL IDENTITY IN DIGITAL GAMES: SPATIAL AND VISUAL REPRESENTATION OF THE VAULT-TEC BRAND IN THE FALLOUT SERIES

Abstract

This research investigates the integration of visual identity in digital games with spatial representation and contextual interaction, utilizing the fictitious Vault-Tec brand from the Fallout series as a case study. The relationship between graphic design elements (posters, logos, typography, color palettes, and mascots) and space and environment has been analyzed comparatively through the games Fallout 3, Fallout: New Vegas, and Fallout 4. The research was conducted based on Lev Manovich's "navigable space" and Henry Jenkins's "environmental storytelling" theories; it questioned how visual identity is integrated into the digital space not only as an aesthetic surface but also as a structure carrying narrative and ideology. The results derived from the visual analysis method reveal that Fallout 3 employs an authoritarian and directive representation style, while New Vegas adopts a silent and exploration-based approach. At the same time, Fallout 4 features an extreme propaganda aesthetic. The essay illustrates that corporate visual identity constitutes an integrated entity with the game space and environment, seeking to offer an interdisciplinary contribution to the interplay between digital game design, graphic design, communication, and spatial narrative.

Keywords

Digital Game , Game Design , Visual Identity , Graphic Design , Space

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