Videogames inherit many of their aesthetic qualities from a deep lineage of representational media and visual techniques. Alexander Galloway (2006: 40) notes that early first-person shooter videogames, for example, built on a direct legacy of photographic and cinematic techniques for structuring embodied vision. In a similar vein, Angela Ndalianis (2004: 102) suggests that videogames such as Doom (id Software, 1993) possess a labyrinthine logic similar to that which proliferated in baroque art and culture in sixteenthcentury Europe. David Surman (2009: 165) argues that Pokémon's visual style draws influence from a long history of Japanese art and design, namely the ‘recurring form of the silhouette’. However, it is important to recognize that in the early years of videogame development, these aesthetic conventions were never inherited wholesale, as if passed down a family tree and faithfully reproduced on computer and television displays. Rather, programmers often had to shoehorn established visual techniques (such as perspectival projection) into their videogames through extensive experimentation and manipulation. For example, the developers of the arcade videogame Q*bert (Gottlieb, 1982) utilized an isometric technique that straddled multiple visual systems—both artistic and technical—in order to simulate the illusion of perspectival space on an arcade monitor with limited technical affordances (see Gaboury, 2016: 361-362).