The second return of Hong Kong marks the end of the one country two system. As the clock strikes midnight, the fine dress of the city turns into rugs and her carriage reverted to pumpkins. With the rupture, comes the displacement of the city’s population like the brain drain that prompted the Berlin Wall erection. The Hong Kong airport have since become a precarious spatial-geopolitical threshold over which the specter of a second Cold War looms. The Norman Foster architectural and engineering marvel, once a symbol of pride signifying Hong Kong’s free and open society, now devolves into a set of fragile Pearly gates that struggles to uphold its promise as an egress to the world beyond. The thesis probes the underlying sociopolitical, historical and psychological vectors that converge at this increasingly critical border crossing. Peeling away the physical veneer, it seeks to expose and deconstruct the spatial-geographical politics of the air terminal. Taping into the realm of the unnarratable and intangibles, it probes the border-architecture in an age when telaesthesia perpetuates traumas, and traumas foreshadows memories of the future. In the manner of an autopsy, the immersive game medium is experimented as a tool to revisit the city’s final episodes. Developed alongside the thesis, the video game project serves as a set of visceral spatial re-enactments designed for public expression, connection, empowerment and archival of history. In the afterlife of the city, the simulacrum is an antidote to the bon fire of vanity, a therapy for reconciliation with traumatic encounters, as well as a virtual media artifact continuing the fairy tale’s unfulfilled glamours that is short-changed by an abrupt ending. As a methodology, the video game artifact is an alternative form of archaeology by which historical events could be systematically deconstructed, whereby intangible vectors of memories and perceptions can be explicated and rendered accessible.