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In the last decade the relationship between the world, video game, technical production and recreational activity has expanded and gains new features. Virtual worlds have increasingly drawn from the social, economic and political dynamics of the world in which we live, proposing real simulations of these dynamics, and modelling them according to the reference narratives. Where the "real" world is more and more defined by multitasking practices and by increasingly uncertain boundaries between work and leisure time, many video games respond similarly, increasingly complexing the virtual worlds in which to catapult players and filling them with tasks to perform, a real work practice ad infinitum. My work considers a video game genre and a specific type of narration: the post-apocalyptic open world. In recent years, these products have become increasingly complex, providing the player with huge worlds to explore with more and more tasks to perform. This multitude of seemingly diversified activities, however, makes playful activity homogenized and makes the player uncritical. Moreover, there is a paradox: the game worlds are increasingly filled with details over details in the construction of environments, however, the continuous eruption of tasks make the beauty of these scenarios completely accessory elements. The post-apocalyptic theme is fundamental, since in this video games nature it is often highlighted as regenerated by the decline of human civilization. However, the focus in video games on totally human activities (the various missions and submissions asked to the players) makes this meaning a simple tinsel. My work wants to focus on the revaluation of the landscape in such videogame texts and reveal the potential contemplative activity related to it. This can be done by short-circuiting the functioning of these games: the incessant movement in anthropocentric space is contrasted by a stationary contemplative vision with the natural landscape. I have recorded several long sequence plans in seven different video games, merging them in post-production. However, this is not meant to be a homologation of the vision process, but an expressive fusion of what is ignored during the enjoyment of video games. The landscapes merged together seem to have a community life of their own, in a chromatic explosion, almost as if to respond to the explosions illustrated by post-apocalyptic narratives.