How does new media art conceive its relation to the technological infrastructure that surrounds and enables it? Specifically, how does software art reflect upon the phenomenon of the 3D games engine? This paper considers a range of tactical responses to the dilemmas of scale, encapsulation and conventional aesthetics that the game engine raises for software art. The main focus is on the strategy of anachronism. Anachronism resists the rhetoric of technological novelty, working instead to discover areas of creative purchase within the detritus of industrial (commercial gaming) progress.