- a tumblelog project by Bruno de Figueiredo -
COREGAMERS | COREGAMING: DIEUBUSSY | PIXELS AT AN EXHIBITION
BACKGROUND ART BY OSAMU SATO, 1995

[Flash 10 is required to watch video]


Sometime in the first months of Autumn last year, for purposes which I’ve already explained, I spent some of my time researching the roots of that Japanese CD-Rom game and multimedia developer named Synergy. In Japan, as expected, the affection for computer game playing has long seemed insufficient when compared to the extravagant adulation paid to consoles: in short, the proportion of information related to exclusive materials based on PC or Macintosh technology can only be defined as ridiculous. Somehow, my perseverance acquainted me with a few devotee blogs ministering the memories of each author’s personal Macintosh computer experience as if they were the fiery matters of the heart.

It was in one such blog - with a simplistic, almost undressed appearance - where I first came upon that mystifying Synergy title named Four-Sight.

In all conscience, I know little or no specific information about this title - and acknowledge the probable argument that it could easily fit any rank between a minor achievement to and altogether distasteful distraction, hence its prompt fall into the depths of extinction. The ill-captured video (the frame-skipping suggesting hardware insufficiency) was only accompanied by a brief description in which the author of the page stated the title and the publisher. To this day I’ve found no other page referring to this game which leaves me to question its availability, the plausibility of an international release, not to mention its contents and purpose. I am therefore unable to address the question of whether this title consists of a digital redux of the board game under the same name; or a mere coincidence whose extrasensory title derives from the Four Sights of Gautama Buddha.

My best and most educated guess would advocate the concept of an early brainteaser based on impossible perspectives, which in itself could explain the less-than-subtle allusion to Escherian constructions. Inasmuch as it is possible to deduce from this short, deficient film file, I find myself in the presence of a true mystery within the professed age of information. And that entrancing piece of music does little but to help escalate the seemingly unfathomable conundrum.