Forewarned by Jorge Luis Borges (IV)
As you will see later looking around at the present condition is an impossibility in Warner’s mind. I laugh at him. He has himself so trapped in his own theory (as you will see) that he is unable to understand that the present is something we can freeze. And, since I am writing anyway, let me quickly add in my own theory about video games. It is in direct contradiction with that of Warner’s. My theory is that video games are the products of human craft by which we can experience a fuller sensory present. This theory depends on the idea that the present is something that can exist above the mere sensory perception that benefits our “first virtue” as Warner would call it. I am speaking about memory. It is always about memory with Warner.
Speaking of memory, I remembered where I was going—I was going to explain to you how the central dogma of video games ultimately leads to an eternal desire for novelty. Bear with my logic—and please, I beg of you, know that I do not agree with what I am setting out. Here I present the only means by which the central dogma has blinded every video game player and trapped them into a hopeless pursuit for some new experience (God, thank you for letting Warner be under this spell of the central dogma for a time, that he might be broken from it). Allow me a few liberalities with speech. Remember, please, that prose is simply frozen speech. Warner might even disagree that it is possible to “freeze speech”, but at this point we are unconcerned with what Warner thinks. Let him be forewarned—this is Borges’ forward. If prose is frozen speech, then what I am doing here is speaking to you colloquially. This is not some high-minded forward. This is a conversation with you. Let this be an extended dialog to you where I, Borges, am speaking out loud about what I think is going on with video games. Let me set out my logic clearly. Remember that here I am arguing against the central dogma of video games. I am arguing against the central dogma of video games by pointing out that it necessitates a desire for novelty. The central dogma demands always that video games be new (or seem new) to those who play them.
If video games are passing the time, then video games will try to replicate the player’s understanding of what it means to “pass the time”. The player is a part of the masses. We know this, because video games are the art of the masses. I cannot go into here why this is the case. Let it simply be known to you that the only “art” currently available to the masses is video games. Video games are the only kind of human production that is produced actively now with which the entire mass of people can have their individual opinions and tastes about. I want you to pick up the paradox here: every individual in the masses has an opinion. I am speaking broadly here. Just know that if a sixteen year old boy is going to know anything about the world, chances are good that it has been mediated by video games. This is not only true for the sixteen year old boy, but any boy or girl between the ages of twelve and forty. Video games are one of the most manifest and widespread mediators between the world out there and the world within our heads, second only to movies. The difficulty with movies (as Warner has argued in his Treatise On Movies) is that as soon as they enter the mind through sensory perception, they dissipate. Warner would argue that movies have no lasting impact ever, because they rely purely on an extension of sight—but more on that in another place. Where were we?