In Chrono Trigger, Square’s classic time travel role-playing game from 1995, a band of time-displaced adventurers team up to prevent an apocalypse, by changing the course of events leading up to its happening. As part of an optional subplot, during a respite from the exhaustion of incessant time leaps and bounds, the adventurers rest near a campfire and reflect on the course of evets that has lifted each of them from their respective time locales and brought them together across epochs. In a moment of unprompted philosophical interrogation, the characters contemplate the idea that their reality has been shifted by some unbounded agent, and is dependent on the desires and piecemeal memories of this “Entity”:
Robo: I have come to think that someone, or something wanted us to see all this.
The different events over time, that we have witnessed.
It is almost as if some entity wanted to relive its past.
Magus: …so who is this Entity?
Robo: It is unknown, whose memories these are. It may be something beyond our comprehension.
The game’s time bandits are gathered, and are able to navigate their linear time line, as a result of the sudden appearance of portals, or “Gates”, into their world. Gates are fixed phenomena which link specific spatio-temporal singularities to one another. If a Gate becomes overloaded with travellers during a single attempted leap, they are pushed to “the space-time coordinates of least resistance” – a sort of Art Deco-inspired liminal zone known as The End of Time. Gates therefore, Robo hypothesises, could be deliberate ruptures in the fabric of space-time, caused by a higher-dimensional being unable to transport itself back through time. The characters’ union, in this case, would serve to recreate key historical events as the “memories” of this Entity, or even to replace them with alternatives. These interventions, therefore, would constitute an aesthetic exercise for the Entity, a method of rendering its world legible and scalable through the act of transforming its surroundings into the sensations and materials of art.
I can’t help but think that the narrative component of Chrono Trigger would greatly amuse Nick Land, whose e-book/extended essay Templexity investigates the logical inconsistencies of the time-travel narrative while at the same time detailing a new methodology for critically understanding the ways in which time (as granularised fictional order) has folded our social and cultural histories. From H.G. Wells’s The Time Machine, right up to Land’s primary case study, the 2012 science fiction blockbuster Looper, time-travel narratives have been unanimously concerned with the transportation of bodies (or characters) from a present moment to either a (pre-)historical past or imagined future, often at the expense of a study into the mechanics of temporal disorder itself. It is though narratives presented in this way, inflexibly, that we have come to understand “time-travel” as “the dramatization of something else”, and to which the reader is posited as outside spectator. Such conceptions are riddled with paradoxes, however; some of which even have names: the Grandfather Paradox, the Bootstrap Paradox, and so on. Put simply, to transport a body through time would require the body to have always appeared at every point of temporal insertion, which would result in the displacement of genesis, endless duplication, the feeding of time machines and portals into themselves, and all sorts of unimagined bizarre inconsistencies often left unaccounted for in time-travel fiction.
For “time anomaly” to exist, therefore, it must have always been present, or not at all (§5.4). For Land, his resident city of Shanghai represents, indeed functions as a certain kind of time machine, one that operates through the cultural erasure and nonspecificity of Art Deco. Both “excess code” and “the sign of a vivid yet unspoken modernity” (§5.2), Art Deco architecture and visual motifs impose a stringent narratology on Shanghai’s storied and variegated cultural legacy, connecting it to both everywhere (heterotopia) and nowhere (utopia). A narrative line of linear progression (modernism) decodes what is otherwise a progressive urban development, layered by means of spiral temporal geometry (#7.8).
Could an “Entity” exist inside such temporal spiromorphism, or does templexity’s positive cybernetics necessarily absorb this alien matter back into its own feedback cycles? Does the Entity survive templex entropy? It’s not immediately apparent if Robo’s AI ESP merely reveals the fourth wall of Chrono Trigger’s gamescape or is suggestive of a potential Paradox within Land’s thesis. Taking Templexity’s temporal cybernetics to their logical extension, there could be no demonology, no divinity, within the templex spiral, without acceding that any physical or metaphysical phenomena between dimensions would also be subject to time’s disordered loops; therefore one would also have to acknowledge time anomaly as a genuine entropy. There would also, in effect, be nothing for the Entity to do in a self-regulating system, besides inhabiting the role of audience member.
Perhaps somewhere in Land’s critique of the misconceptions of “time travel” in fiction lies some of the answers as to why Chrono Trigger – for all its technical innovations, exemplary gameplay and soundtrack – always seemed underwhelming as a game organised around the conceit of time travel mechanics. One would begin the game for the first time expecting a break from the linear progression that forms one of the most common criticisms against the role-playing genre, only to discover a frustratingly similar experience. The purity of its main plot is unaffected by the player’s strategic interceptions across its timeline (except for those officially sanctioned by the developers) – there is no possible temporal terrorism that has not already been scripted in advance, and time locales feature as navigable settings rather than opportunities for narrative splintering and splicing.
If, as Land suggests, time travel is the dramatization of something else, Chrono Trigger displays its narratological order through the displacement of characters across a series of causal events, providing the player with an interactive story that is not so much created as revealed. Real templexity, on the other hand, is always a production. Linear causality is self-reinforcing, as the chain of events do not allow for straightforward reversions (§8.4). Could the game’s events be a dramatization by and for an atemporal Entity, that itself still resides within the confines of the narrative it has caused and directed? Such a being would be incapable of transporting bodies through time, and so it rightly comes as no surprise that the Entity dreamed by Robo at the campsite never emerges beyond its unsubstantiated idea.
 Nick Land, Templexity – Disordered Loops Through Shanghai Time (e-book: Time Spiral Press, 2014), §1.6. All bracketed sections henceforth refer to this text.
 “History does not repeat itself, but it rhymes.” – Mark Twain (misattributed).
 This entropy, by which feedback loops appear self-producing, is what connects templexity to Capital: “As it mechanizes, capital approximates ever more closely to an auto-productive circuit in which it appears – on the screen – as something like the ‘father’ of itself (M → C → M’)” (§9.4). Capital, as represented by Looper’s silver and gold bars, can only survive a (linear) time travel narrative (the hyperinflation that accompanies the printing of precious metals) through the elimination of time paradoxes, as achieved through “reintegrat[ing] a singular timeline” (§3.0-§3.4), and imposition of the “cinematic order” (§2.4).
 One of the game’s selling points is the option to view multiple endings, a novelty at the time of its original release. However, the vast majority of these endings are essentially out of bounds to the player until their characters have gained enough experience points, by which time the game’s linear main plot is likely to be close to its denouement in any case.
Featured image credits: screenshot from the game Chrono Trigger (Super Famicom/Super Nintendo Entertainment System, Square: 1995).