Page - 174 - in JRFM - Journal Religion Film Media, Volume 03/01

174 | Michael R. Heim www.jrfm.eu 2017, 3/1, 159–181 some of the puzzle areas in Land’s End suggest a Platonic perfection, axiomatic geometry (see fig. 6). The primary elements then shift into archetypal-meta- phorical mode. the still snapshot feels less like a place than an abstract con- struction, the product of computer graphics. Less literal simulation, the area projects an airy mental attitude rather than an earthy grounding. K&L’s refer- ences to “technological Platonism” and the quest for escapist perfection come to mind. The traveler’s gaze is usually controlled by the journey throughout Land’s End. The structures provide highlighted targets and direct movements in specific ways (see fig. 7). The gaze remains directed by the game’s goal, which is to move the viewer through a sequence of landscapes. sometimes the landscapes are thrilling, but the land does not ground the traveler. This differs fundamental- ly from the Lobby. in Land’s End, there is a comforting sense of direction within a potentially wide-open Nowhere and everywhere. these factors then create a Fig. 6: Inside level 2 of Land’s End. Fig. 7: Inside level 3 of Land’s End.