Trigger Happy

geometric figurings for such common subjects as stags and birds, and argued that the fact that all animals are reducible to simple Euclidean forms is attributable to divine Providence. The geometrical method revealed to the artists a deep, Timaean truth about the nature of the universe: as Ernst Gombrich describes it, “The regular schema which we call an abstraction was therefore ‘found’ by the artist in nature. It belongs to the laws of its being.”

On the one hand, then, polygonal videogames are using a very old tradition of illusionistic construction; on the other hand, they have revolutionized it. Because these polygons move. Every videogame, you see, constructs not only a space but a space-time. All 3D games are in this sense four-dimensional. And now the polygons become animated—literally, given a soul. A machine soul. Virtua Fighter 2 looks as though the figures in SchÖn’s etching have suddenly come to life, participating in an epic ballet of crunching tibia. The pious geometrical idealism of the ancients has been lost along the way, replaced by the banally unphilosophical late twentieth-century idealism of the perfect body: fighting men with horrifically overdeveloped trapezoid muscles; fighting women with long legs, wasp waists and unfeasibly pert breasts.

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Magnavox Videogames and the Entertainment Revolution Trigger Happy manual