Ruins for Ruins' Sake
Beautiful. Ancient. Colossal. Inexplicable.

Stay on this road here, past Dead Man's Curve, you'll come to an old fence, called The Devil's Fence. From there, go on foot till you come to a valley known as The Cathedral Of Lost Soap. Smack in the center is what they call Forgetful Milkman's Quadrangle. Stay right on The Path Of Staring Skulls and you come to a place called Death Clearing. Cabin's right there, can't miss it.

Every intrepid RPG player has done the dungeon crawl. Poking around ancient ruins looking for treasure or an important item while dodging the many monsters that make these places their home is the bread and butter of RPGs.

Close examination of those ruins, however, raises some interesting questions as to what these structures were originally built for. Ruins weren't always ruins but many dungeons look like some contractor was tasked simply to build a vast labyrinth of dead end corridors under a mountain and then cover the walls with creepy carvings. There is little to no evidence that people ever lived in these structures or used them for any practical purpose.

The game designers, of course, are simply trying to create an interesting immersive environment for the player. Little thought is given to the backstory of the structures you're looting. Practical concerns like living spaces, easy navigation and easy access to the rest of the world are sacrificed for fifty foot ceilings and walls that grimace and moan.

The explanation is thus Rule of Cool: the ruins are supposed to add to the atmosphere of the setting, either by being visually impressive or prodding the player into wondering about their purpose and creating the backstory themselves.

These areas also make great Scenery Porn and/or Scenery Gorn, depending on the state of such places.

They also have varying amounts of Malevolent Architecture and Benevolent Architecture.

Compare Landmark of Lore, Temple of Doom.


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  • We see numerous ruins throughout the film version of The Lord of the Rings, most memorably after the Fellowship sets out from Rivendell. At one point Aragorn names Weathertop as the Great Watchtower of Amun-sul with a wistful look on his face, which implies that they're from his ancestral kingdom, but it's not explicitly stated that it's old kingdoms of Arnor and Eregion.

  • The world of Robert Jordan's The Wheel of Time novels is littered with ruined palaces, ruined monuments, ruined cities, and huge mysterious magical artifacts from bygone ages, and almost all of them exist solely so protagonists can see them while traveling from A to B and reflect philosophically about how much that once was is lost.
    • Or to occasionally act as Chekov's Architechture.
    • Justified since this takes place After the End — the Age of Legends had such amazing technology that pieces of their civilization remains over three thousand years after their annihilation.
  • Keys to the Kingdom plays this trope very straight. It has ruins that were built as ruins for the purpose of training soldiers to fight in various terrains.
  • In the Doctor Who New Adventures novel Theatre of War, Bernice grows increasingly frustrated at a super-computer's inability to reconstruct what a ruined Roman-esque amphitheatre would have looked like before it fell into ruins. Turns out that there never was a real amphitheatre, it (and all the other glorious ruins on the planet) was built as a pile of ruins as part of a trap.
  • David Eddings seems to like this trope.
    • In The Belgariad, Arendia is described as being littered with ruins as the result of a millennia-long Civil War. After being razed by their neighbours, the ghost-haunted valley of Maragor only contains enigmatic ruins. The city of Ulgo actually lies in the mountain beneath the ruins of the original city. Nyissa contains ruins partly as the result of being invaded several times and partly because they are often so spaced out that they are really bad at actually finishing a job.
    • In The Tamuli the country of Arjuna is describes as being littered with ruins left over after a punitive expedition by a Proud Warrior Race.

    Live Action TV 
  • An accidental example can be found in the Star Trek: The Original Series episode "The City on the Edge of Forever". The Guardian was supposed to be surrounded by "rune stones". However, the set designer didn't recognize the word "rune", and in the dictionary "ruin" precedes it. The Guardian set was therefore full of "ruined stones"—the broken columns we see. What purpose did they serve? Who knows?
  • Jimmy Carr mentions this in an episode of Qi while discussing Greek architecture (immediately preceding the infamous "They say of the Acropolis..." moment), commenting on how, whenever a Hollywood production is set in ancient Rome or Greece the sets are essentially ruins.
    "'Yeah we're gonna build a film-set in ancient Rome, they all lived in ruins.' Well not at the time! It was years later when they were ruins! You bloody fool!"

    Tabletop Games 
  • Dungeons & Dragons may be the Trope Maker: while the earliest dungeons had the justification of being wizards' laboratories (and thus full of traps, guardians and escaped monsters) later ones did not. There were some good exceptions, though.
    • The Tomb of Horrors is such a dungeon. It was designed specifically to be a gigantic deathtrap to protect the Demilich Acerack and keep unwanted looters out.
    • In almost every 'gamemaster's guide' there is a section advising the GM to build his own dungeons in a way that avoids this trope - establishing the complex as a mine, a tomb, an underground community, a storage vault, something - even if it's not being used that way anymore. But the game designers have not always followed their own advice when making pre-published adventures.
  • Averted in Earthdawn, where the civilized races spent a few centuries hiding in underground cities called "kaers" while Cthulhuoid monsters called Horrors ravaged the Earth. The PCs are from kaers that survived, and most of the dungeons they explore are kaers that didn't.

    Video Games 
  • One of the first dungeons in Blue Dragon is a hospital ruins. Other ruins seem to exist only to provide an easy introduction to the no random encounters concept, and to house the hardest Bonus Boss in the game. Who the hell builds a device with the purpose of sawing a planet in two?
  • Arcanum: Of Steamworks & Magick Obscura: The majority of the ruins do make sense - most of the old castles, the Vendigroth ruins - but others are clearly examples of this trope. The Bow and Throwing master quest dungeons are probably the most obvious.
  • The Legend of Zelda would not be much of a game without dungeons and temples. The three Goddesses leave them behind as a test of courage barring the way to the Triforce pieces. In many cases, Link has to go plundering for "pendants" or "orbs" before he can even begin assembling the Triforce pieces, which are hidden in still more temples.
    Yahtzee: (on The Talos Principle) Hope you like weighing down switches with boxes and redirecting laser beams and everything else from the "Insert puzzle here"-guide to video game design....Even in context, it's admittedly busywork. It's Link's problem again, forever having to prove our sodding worth, 'cause the ancient ones never even considered that there were probably a great many terribly unworthy people who can figure out how to redirect a laser beam.
  • Averted (mostly) in The Legend of Zelda: Twilight Princess, where the dungeons are prisons, mansions and mines, all looking fairly realistic and practical, even if they were just as malevolent as the more traditional dungeons. Averted further in The Legend of Zelda: The Wind Waker where there's a very good reason for all these ruins. Arguable if they're ruins, the dungeons in Zelda II: The Adventure of Link are stated in the manual as tests for the legendary Hero.
    • This trait was perhaps first seen in The Legend of Zelda: Ocarina of Time, where major dungeons rather noticeably pull double duty, or did in the past; the Forest Temple is an old manor, the Spirit Temple is a place of worship, the Shadow Temple is part torture complex, part necropolis.
      • The Fire Temple is a jail and the Water Temple is an Atlantis-like city.
      • The bottom of the well was holding an Eldritch Abomination before you break things and is where the Eye of Truth is stored. Besides that, the prison cells and crucifix directly above a hole seem to suggest it was a torture complex, jail, execution room or some combination thereof related to the Sheikah and their Shadow Temple. Considering the inscription in the Shadow Temple is "Here lies Hyrule's bloody history of greed and hatred"... Yeah, a real messed up place is probably the best description we can get without an M rating.
      • Dodongo's Cavern is a rock mine, and the Deku Tree and Jabu-Jabu are inherently nonsensical Womb Levels. Which leaves the Ice Cavern, which is a cavern, not ruins.
      • It's also present in The Legend of Zelda: Majora's Mask. The Woodfall Temple was a place of worship, the Snowhead Temple appears to be an abandoned city, the Great Bay Temple is a power plant, the Stone Tower Temple appears to have been a blasphemous monument designed to insult the Golden Goddesses and praise Majora, and Beneath the Well was a crypt.
      • This was also seen in World 6 of The Legend of Zelda: Tri Force Heroes.
  • Used in Eternal Darkness: The Forbidden City, Cambodian Temple, and Eng'ha are all clear examples of this. Amiens Cathedral and the Roivas Mansion are more sensible, however.
  • The Elder Scrolls series tends to avert this with justifiable ruins, with some exceptions.
    • The Elder Scrolls II: Daggerfall had a lot of randomly generated dungeons to visit. You could go to the ruins of some farmstead, enter a cellar door and find yourself in some absurdly extensive cavern/dungeon complex. In fact, most dungeons were more complex than the majority of regular buildings, and this was never justified in-game.
    • The Elder Scrolls III: Morrowind averted this by as much as this trope can be averted. Vvardenfell has lots and lots of ruins, but they are all justified by the lore. The old Dunmer strongholds were actual outposts during the old wars with the Dwemer and Nords. The Dwemer ruins were formerly Dwemer cities before the Dwemer disappeared, and their propensity towards building things to last has kept them in relatively good shape in the ages since. The Daedric ruins were built by the ancient Daedra worshiping Chimer before the Tribunal came into existence. Since Vvardenfell was a Tribunal Temple preserve, open only to Temple pilgrims, until about 20 years before the events of the game, most of these ruins have been left unspoiled.
    • The Elder Scrolls IV: Oblivion offers a partial aversion, with a few dungeons and supposed prisons actually containing the expected cells. Other than that, it generally falls into this, with some geographically unlikely (and even impossible) sets of generic ruins dotted around beneath innocuous looking caves and forts above. These typically lead to a final chamber where the hardest enemy and best loot can be found, but there's rarely an explanation of why any of the Goblins/Vampires/Whatever are even hanging around inside in the first place, or who would want to build such a place.
      • A large number of the ruins are old cities of the Ayleids, an old group of Mer who once ruled the Men of Cyrodill. This despite the "cities" being unnecessarily mazelike, full of traps, etc. No wonder the Mer were defeated.
      • They're the catacombs of the abandoned cities - there's generally the remains of some suitably monumental building sat on top of them which was probably the Ayleid temple.
      • Also, the Imperial Legion has seen fit to allow every fort in the province to fall into disrepair and serve as shelter for all manner of monsters and villains. Some of these forts are built dangerously close to major roads, including one built directly on top of the road now infested with goblins. In addition there isn't a single working mine in the province, they're all described as "deserted", "forgotten" or "haunted". All Ayleid cities only ever make sense if you take 'city' to mean 'necropolis', because burying people and treasures is all they do. They also suffer from Blatant Item Placement in that you find Third Era Imperial currency ostensibly from the First Era Ayleid empire.
      • This, at least, makes sense when you realize that, since the ruined forts, abandoned mines, and Ayleid cities are currently being occupied by bandits, rogue mages, necromancers, etc., they'd bring whatever (modern) money and other goods they have with them and stash them there.
      • The question in Oblivion tends not to be so much "What were they for?" but rather "Why aren't half of them still being used (besides by goblins/brigands/etc.)?"
      • The answer being that, when they described the Third Empire of Tamriel as an empire in decline... they meant it.
    • The Elder Scrolls V: Skyrim has dungeons which occasionally fall into this, but the Nordic Ruins were deliberately full of traps to hide the treasure within. Most of said Nordic ruins are also in fact burial crypts, if you go into pretty much any random dungeon there's a very high chance that there will be undead inside. Regarding forts, the situation is mixed; in the beginning, all forts are abandoned and occupied by various hostile fringe factions, but during the progress of the Civil War questline, some of them, one per hold, are reoccupied, cleaned and restored by Imperials and Stormcloaks to be used in the war, giving a boot to the previous occupants. If you don't want to wait for the government to clean everything up, you can open up a can of whoop-ass in these forts yourself; there's a small chance that soldiers will move in when you kill the bandit boss, master necromancer or whoever owned the place. Friendly forts are good places to sleep, eat, use the smithy or borrow a horse. Also, unlike in Oblivion, a majority of the mines are actually in use. It helps that the interiors of the dungeons in the game mostly resemble what they're supposed to be (the interior of forts follow the geography of the building outside, caves have very natural interiors etc.) and that there are often reasons to go into them (Thanks to the Radiant AI system assigning quests to them) and enough items and literature lying around to reinforce the idea that these are real places.
  • In Angband, every level except for the town is a randomly generated maze of rooms and passageways, and there are no symmetric staircases.
    • True of most Roguelikes, with winding passageways leading nowhere. If you want a real ruin on any given level, let loose a dwarf or two armed with pickaxes.
  • The origin, purpose, and use of the various and vast ruins in Shadow of the Colossus are good for hours of fun. Zoos? Cities? Prisons? Temples? Hiding places? Not to get into a lengthy analysis, but most ruins seem built by humans, but rarely cage in the colossi, nor are they designed expressly to help kill the creatures (despite being used that way by the player). In the end, it's a mystery.
  • Dragon Age: Origins features several ruins and dungeons which are ridiculously sprawling complexes of tunnels and interconnecting rooms (you often have to go through the rooms to get to other hallways, while the hallways lead to dead ends) that are usually much larger than the cities and towns they're located in.
    • Special mention must be made of a simple orphanage in the elven Alienage; it's nearly as big as the entire Alienage itself and, despite this not being made apparent on the map, seems to wrap around itself non-linearly.
      • The orphanage may be justified. The Veil (what separates the real world from the Fade) is thin there, and that has been known to do really strange things to a place. See Kirkwall.
    • One of Sten's random quips is wondering why none of the people inhabiting these complexes have done any work to restore them or make them more livable.
  • Dungeons in the Ultima games are for the most part accepted as part of the natural geography of Britannia - who built them, if anyone, and for what purpose, is a mystery to all. In the early games it was implied (though not actually possible in-game) that if you traveled deep enough into one you would end up in "the underworld", the opposite side of the flat earth. When the underworld was destroyed, this became impossible.
    • Some of the games had explanations. Some dungeons were mines, others were prisons. Like other elements of Ultima continuity, the oddness started when these explanations changed from game to game.
  • The first series of dungeons in Diablo are supposed to be located under a tiny village church, and are a randomly-generated maze of passageways, tombs, and other rooms that go on for several sub-levels with no overall plan. One wonders what madman designed their church's undercroft, or how the people ever held services there.
    • This was handwaved in the manual. The catacombs were built explicitly to be a maze that would safeguard the Sealed Evil in a Can... that has broken loose and made the deeper levels even more convoluted and filled the place with monsters and death traps.
    • It was a normal catacomb with a normal cave underneath where Diablo's soulstone was hidden. It changed slightly after Diablo awakened and connected it to Hell.
  • X-COM: Terror From The Deep had a lot of missions around underwater ruins. This was particularly strange, as the missions took place wherever you shot down the alien craft, anywhere in the world's oceans.
  • Mostly averted in World of Warcraft, where the labyrinthian dungeons tend to be natural caves, while castles and temples have a fairly coherent plan.
    • The Blackrock Depths however, are a bizarre blend of worked and rough stone leading off in all directions, full of dead ends. As it is partially a mine, this would be understandable if the areas of dead ends and the rough stone corresponded at all. Then again, the Blackrock Depths is one of the few "evil cities" that we invade as dungeons that actually has taverns, prisons, coliseums, forges and whatnot and looks vaguely usable as an underground city. Also, they aren't exactly ruins because the people who built them are still living there. Not that they will be for very long, given the PCs intentions in going there. It is more a case when an active city has a confusing layout.
      • To explain the layout (partially): the mountain is entered from one of two fairly understandable (if massive) gates, which lead to a circular pathway. Rather than take a door (like the gates that lead to Blackrock Spire) into the city, one must walk along a chain, through a tomb suspended above a pit of lava, down another chain, then through a small hallway, a stone quarry, a masonry, and a prison (all rough stone, except for a few prison areas). To get to the worked stone section, one has to go through a twisted hallway, and enter through the arena. To be fair, there is a better-placed main gate that you can not use further in. The entire mountain used to be under their control. The more habitable upper reaches were stolen by the Black Dragonflight, forcing the Dark Iron to carve a new home in the Depths and spread out into the surrounding countryside.
    • The Ruins of Ahn'Qiraj make little sense. It was supposed to be a research facility that was taken over by evil insects, but it seems to have been a series of plazas and empty rooms. The qiraji do not even seem have the equipment needed to forge any of the weapons and golems that they have.
  • Mostly averted in Uncharted: Drake's Fortune: the ruins at the beginning of the game don't make much sense (*cough* bottomless pit *cough*). Everything at the island averts this completely: ruined fortresses, customs houses, towns, monasteries, libraries and Nazi bases actually look like said things, only ruined.
  • Final Fantasy games tend to avert this. The dungeons are either natural landforms or structures that serve or once served a purpose. The caves, mines, castles, sewers, and factories are a lot bigger than they probably need to be, but whatever. There are still some, though.
    • Mostly averted in Final Fantasy XI in the Wings of the Goddess expansion, which takes place during the Crystal War that ended up making many of the ruins strewn about. The other ruins are all explained in the other expansions (and Windurst's mission line). However, the Temple of Uggalepih may be this. It's implied that it was created before the Kuluu turned into Tonberries, yet it is notably different from the ruins of Pso'Xja and Horutoto and does not seem to have a purpose except possibly as a hideout of sorts.
    • The Datalog entry for Taejin's Tower in Final Fantasy XIII outright says that nobody knows why it was built, why it's inhabited by living statues, or how it broke, though it speculates a Tower Of Babel-like story.
  • Since Gold/Silver, the Pokémon games have included some ruins somewhere in the game world, complete with an Adventurer Archaeologist or two puzzling over them, ancient meaningless secrets for the player to unlock, and the Unown, twenty-eight variations of the same living Lampshade Hanging of a Pokemon.
  • No More Heroes does this with a modern city. Speed City is the dust-choked ruins of a modern metropolis, with absolutely no explanation as to why it's in that state, given that the game takes place in a modern-day setting.
  • Prince of Persia (2008) is an interesting case: You can talk to Elika where she will explain, in detail, what every single area was supposed to be. However, there's very little actually linking these explanations to the portions of the ruins you actually have to traverse except in very specific circumstances.
    • All the ruins were functional buildings, cities, and laboratories until mere minutes before the player traverses them. Each had been strategically demolished by the Big Bad in order to lose any possible usefulness, and to be as challenging and dangerous as possible for the heroes to travel though.
  • Largely averted in SaGa Frontier 2, where most of the locations are actual living spaces and the ruins of liveable places actually have functional-looking rooms of different sizes. And an awful lot of stairs.
  • In Skies of Arcadia, all dungeons are guilty of this but Rixis is justified; it's only so hard to navigate because of the huge craters everywhere. As for Glacia; you came into through the visitor's entrance, all the buildings hang from the ceiling; and you're on a walkway that's halfway down, giving you an ideal view of the entire city. The walkway is the tour route.
  • Assassin's Creed I has ruined structures in the bits of game you travel in between cities. Ostensibly the game takes place somewhere in the Israel-Syrian area in 1193, so most likely these are meant to be Greek/Roman ruins specifically, but their purpose, especially given the odd location for some (mostly serving as either travel impediments or useful cover for enemy archers) is rather puzzling.
  • Lampshaded in Legend of Kay by one of the archaeologists you meet in the dungeon.
  • In God of War, upon entering the Desert of Lost Souls and searching for the Sirens, sometimes you'll come across huge broken statues, and other things that suggest something might have been there, like a city. But you never get to find anything more about it once the third Siren is killed and you move on.
    • Much of God of War II takes place on the islands around the temple of the Sisters of Fate, which is covered in abandoned buildings, including one large valley with a bridge left in such disrepair it's impossible for most people to cross.
  • In Sonic the Hedgehog (2006) Kingdom Valley is supposed to be the royal family's old castle (abandoned after a laboratory disaster), but the ruins don't look like anything that someone could actually live in.
    • Any of the 3D Sonic games stages' somewhat fit in this, or tangental tropes. What is the purpose of a highway that does a loop-de-loop on the top of an office building?
    • Think of it like songs in a musical; this isn't "really" happening, we're just being presented with something more entertaining than "reality". So in reality Sonic just goes from Point A to Point B with however much fuss you'd like to imagine, and in the meantime here's a level to play which bears a passing resemblance to what Sonic's actually doing.
    • The Sonic series tends to have a lot of random ruins, given that the type of stage is one of the most prevalent in the series. So far, only the ruins areas on Angel Island (which appear in Sonic 3 & Knuckles and Sonic Adventure) make any sense being there, and even then the island has ruins that range from generic, to Egyptian, to Greek, to Mayan all in one! Other places like the Labyrinth Zone Rusty Ruin or Aquatic Ruin get no explanation beyond Eggman apparently just liking building in that kind of area.
    • Averted somewhat in both Shadow the Hedgehog and Sonic Unleashed. In the former, the ruins you go through are revealed by the Big Bad to have been built by the Black Arms so they could better do whatever they were trying to do. In the latter, the ruins exist as temples to hold the seal on Dark Gaia, and can uproot themselves and become a giant golem. Giving them a purpose however doesn't mean they make any more sense.
  • Kirby 64's Rock Star planet. Also the final level was built by Starfish Aliens, so it does not have to make sense, but the other ruins count.
  • In Guild Wars there are ruins of very large structures and gigantic monuments on the Crystal Desert and the Desolation; the lore mentions that those ruins stand as crumbling celebrations of the short-lived triumph over that harsh environment. One wonders what was the reason someone would want to settle in an inhospitable desert and invest all the resources and labor into those constructions in the first place.
    • Most of the ruins were cities built by Turai Ossa and the Elonians who followed him to the Crystal Desert on the Great Pilgrimage in a failed search of "Ascension" (which the players achieve) about 200 years before the games take place.
  • Averted in Thief, where the many ruins and ruined locales visited by the protagonist actually look like places that were once inhabited and served clear purposes. It helps that you can find a lot of old parchments, texts, diaries and notes about various past events in virtually all of these places. On the other hand, the trope is played straight a teensy bit in one or two levels of the series, which have tombs that were built in a deliberately labyrintine and No OSHA Compliance fashion (so their ancient treasures would be well protected from theft).
  • Dwarf Fortress generally averts this, given that the player is usually the one who built the settlement whose ruins their adventurer is exploring in the first place. (Procedurally generating an Elaborate Underground Base that makes some sort of sense is very much a work-in-progress.) However, some of the more famous succession games leaves the ruins of a fortress that has been ruled by a series of despotic overlords who all have their own unique ideas of what constitutes sound urban planning, rarely care much about the safety and comfort of their subjects and are in many cases completely mad. Combine that with a workforce composed entirely of absent-minded bipolar alcoholics and the results make even less sense to the outside eye than most of the Rule of Cool-driven examples on this page.
    • In versions of Dwarf Fortress up through, the world generation process actually created a number of "undead ruin" sites filled with undead Humans and random treasures. The next version,, made world generation more detailed and resulted in said ruins being removed, and a later version made it possible for cities to be destroyed and turned into ruins.
  • City of Heroes mostly averts this, but there's are two examples which leap immediately to mind: the first is Manticore's house, the secret passage of which leads into a fairly tiny labyrinth. The second is the layer cake of caves, a final room containing six or seven floors of enemies, often separated only by the vertical. Why anyone would sit the center of their operations there is a question for the ages.
  • Averted in Pikmin in which the world is in fact, a future abandoned earth from the viewpoint of a being the size of an ant.
  • Exaggerated in Crimson Skies: High Road to Revenge in the South America levels. Along with massive temples and structures surrounding the mountain with a gigantic face in it, you need to tow a sunstone the size of a small house with your zeppelin to help unlock a door (the mouth of said giant face) and traverse the ruins inside the mountains. Said ruins are large enough for at 10 to 15 minutes of straight flying, with enough room to fit an entire city AND the surrounding urban sprawl and humongous death traps that are sized for attacking either aircraft or Godzilla.
  • Justified more than usual in Secret of Evermore, where you're actually exploring a virtual reality, one formed from its users' ideal utopias; one of them is an archaeologist.
  • Since it's a Minimalist Puzzle Platformer, it seems to be played straight in Kairo.
  • Clive Barker's Undying: Oneiros features a lot of them. The backstory implies they belong to former cities inhabited by the creatures that you fight, but it's not explained to depth in the game.
  • The Mario Kart series has featured a couple of these as racetracks. Dry Dry Ruins from Wii is in the middle of the desert, while Thwomp Ruins from 8 also qualifies as a Temple of Doom.
  • Justified in The Talos Principle by virtue of the fact that you and the ruins you encounter are all in a giant computer simulation meant to create a proper, free willed artificial consciousness.
  • Played straight and averted by turns in Civilization V: Brave New World, which introduces archaeology and expeditions. In order to have archaeology, you obviously need ruins of ancient civilizations — which, in a game where you've led your chosen empire since roughly 4000 BC, is a bit tricky sometimes. The game does remember events from earlier in the game that might conceivably have left remains (barbarian camps destroyed, cities razed, etc.) and will populate them in dig sites when possible... but it's also not adverse to making ruins up out of whole cloth if need be. (It has a predetermined map of where the dig sites should go, so that there's enough of them and a fair distribution between civs.)
  • Undertale starts in the Ruins, which are inhabited only by Toriel and some fairly unintimidating monsters, and the exit is one-way. It's not for any special reason, though; they used to be fully inhabited but everyone just moved out to different areas of the Underground. Still, it shows no signs of former habitation, not even in the backgrounds.
  • Super Mario World: Piranha Island: Thorn Temple takes place in a temple already in shambles. Broken stone pillars and arches are strewn everywhere. Piranha Gabyoalls patrol the area, and when they spot Mario, they attempt to ram into Mario with all of their might.

  • Break opens to a fight inside an abandoned Romanesque Colosseum. One wonders, if they where going to keep using it for fights, why they let it fall into disrepair in the first place.
  • According to the notes accompanying the paper edition of Erfworld Book 1, "ruins" are a terrain type that occurs in the world's RPG-Mechanics Verse. The presence of ruins does not imply the previous existence of an Erfworld city.

    Real Life 
  • Nazi architect Albert Speer developed the "Theory Of Ruin Value", which proposed that monumental architecture shouldn't just look good, it should leave a good looking corpse. His view was the fact that structures like the Parthenon and Colosseum had survived into modern times, with essentially no maintenance, implied that monumental stone construction was inherently robust and long-lasting. He borrowed heavily from classical architecture and worked in stone rather than modern materials wherever possible, with an eye to ensuring that the Third Reich's great buildings would remain symbols of German culture for millennia after they'd been abandoned and fallen into ruin. Unfortunately for fans of Speer's work, it turns out that this only really applies to buildings that predate the gunpowder age; most surviving English castles were either abandoned before the Civil War or located away from the action, and the ones that were attacked didn't leave much in the way of ruins. The fact that large swathes of Germany were heavily carpet-bombed by Allied air forces didn't exactly help Speer's buildings leave much in the way of remains either.
  • In the Romantic era people took an interest in classical/medieval times and aesthetics, and also archeology. The philosophically inclined also liked to visit ruins of ancient constructions and ruminate about Days Gone By. In England, this led to an interesting development of the English park: many of the wealthier gentlemen built authentic-looking ruins in their gardens and estates, for no other reason than adding to the scenery.
  • The Palace of King Minos and other Cretan palace complexes, inspirations for the original Labyrinth of Myth. While they did serve some practical functions, they do seem to be as deliberately sprawling and labyrinthine and generally RPG dungeonlike as possible.
  • During Romanticism (starting at roughly 1750), artificial ruins became quite popular in German gardens. They were built as ruins from the outset (often resembling the remains of Greek/Roman architecture) with no purpose other than looking spectacular. The other wiki has more (in German, but there are pretty pictures).
    • Pretty much any ancient ruin, really, would qualify for this if you didn't have the eye of an architect or the training of an archaeologist. Most buildings don't have any of their original furnishings after they've been abandoned for thousands of years. With the exception of things which have really obvious purposes (like ancient stadiums and race tracks and sometimes bathing areas), most ruins don't give much of a clue as to what they were originally used for.
  • Possibly the ultimate Real Life example of ruins for ruins' sake: Part of the Désert de Retz includes a summer house in the form of the base of a broken column from an imaginary giant temple. As seen here. Which, amusingly, was neglected and fell into ruin for a while....
  • The United States government decided to carve giant presidential heads into the sacred hills of the Lakota tribe of South Dakota. Why? Practical purposes? Religious worship? Nope, just because. Unless intentionally demolished, the faces will remain recognizable for thousands of years. Not to be outdone, Lakota factions commissioned an even larger statue of the Lakota hero Crazy Horse. The project is quite controversial among the Lakota nation, with many seeing it as stooping to the government's level. Detractors point to Chief Crazy Horse's stated beliefs and say that the man himself would consider the statue an abomination.