0This chapter begins with an admonition to take great care with type. The categories and definitions proposed and explored here are indeed tentative. The term paratype offers a useful way into a conversation of influence, intention, and constraint in the field of textuality that surrounds videogames, but its ability to determine or delineate those boundaries is not reliable. Still, the common feature of some logical or empirical relationship with videogames has united practical developments in the technology of machine input with the aesthetic ideals of European modernism, and the result reveals the uniquely situated domain of videogame textuality. While it is not necessarily the case that the aesthetic viability of typefaces designed for videogames prove (owing to their resemblance, say, of van Doesburg’s alphabet design) that the neo-Plasticist principles of aesthetics were correct, neither is it the case that Huszár’s figure design prophesied the coming of sprite animation. It is also not the case that typefaces like Moore Computer, Westminster, and Data Seventy have any historical connection to videogames. Rather, these relationships and associations demonstrate the powerful and uniquely malleable ability for typographic form to reference its means of reproduction. The next chapter explores videogames and videogame technology as means of and context for typographic reproduction.