Magnavox Videogames and the Entertainment Revolution Trigger Happy manual Art of the new

Models: Videogames and the Entertainment Revolution Trigger Happy

1 433
Download 433 pages 22.16 Kb
Page 202
Image 202

Trigger Happy

Modern videogames themselves understand the loss and even grieve it, in witty ways: Metal Gear Solid, for instance, provides the player with a delicious “VR Training Mode,” in which strategies for the game proper are practiced in a wireframe world, and moving among these glowing green rectilinear constructions feels, in a funny way, like a sort of homecoming.

The art of the new

From Space Invaders to the creation of space itself. For many years the Holy Grail of videogame graphics engineers was a system of true three-dimensional action, a “virtual” space that the player could inhabit.

The problem of representing three dimensions on a flat plane (in this case, the television screen) had already been worried about by painters for thousands of years. The earliest attempts at perspective that we know of are found in scenery painting for the Dionysian theater at Athens in the fifth century B.C. (the Greeks called it skenographia), and foreshortening and shading developed with increasing sophistication up to and through the medieval period. But an exact theory of perspective in painting was not codified until circa 1420, when Filippo Brunelleschi systematized a

204

Page 202
Image 202
Magnavox Videogames and the Entertainment Revolution Trigger Happy manual Art of the new