Magnavox Videogames and the Entertainment Revolution Trigger Happy manual

Trigger Happy

the Prodigy and Underworld clamoring to provide tracks for the sequel. Sony had a PlayStation room built in London superclub the Ministry of Sound, and got its logo onto club flyers all over the country. Soon PlayStation was happily associated with dance culture, with enthusiastic support from early adopters such as the band Massive Attack, who had bought theirs while on tour in Japan. Control of the soundtrack to the third game in the series, 1999’s Wip3out, was handed over to superstar DJ Sasha, thus ensuring another soundtrack cleverly poised between cutting-edge and mass-appeal dance music.

Sony targeted the youth market with intelligent aggression. During the 1995 Glastonbury Festival, they distributed thousands of perforated cards adorned with PlayStation logos, which could be torn up to make convenient roaches for marijuana joints—or, as Sony claimed, to dispose of chewing gum.

And then God created woman. Enter Lara Croft, the pistol-toting, ponytailed, hotpants- and-shadeswearing digital star of a revolutionary 1996 game, Tomb Raider. Much has been written about her. She has been on the cover of The Face and the subject of countless Sunday-supplement articles. The publisher of Tomb Raider, Eidos, was named Britain’s most

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