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Is this what success looks like? I’m not sure. It’s certainly not how it’s spelled. Makes one recall Homer Simpson’s little song and dance upon receiving news of  being accepted into college: “I am so smart, I am so smart… S-M-R-T, I mean, S-M-A-R-T!“ You want to be happy for his success, but the manner in which he celebrates it reveals the occasionally vast chasm between the person enjoying the success and the success itself. What hurdles did the owner of this plate have to overcome in order to feel like such a public celebration of his/her achievements was warranted? As we stare hypnotically at its boggling letters, we can guess, but we may never know…

Thanks to Andrew G. for sending this in!

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I snapped this plate mere hours after arriving back from Japan, in a shopping centre carpark near where the airport bus dropped me off. Nothing says “Welcome back to Straylia” quite like a muscled-up black ute with a customised plate forged from 110% pure Aussie testosterone.

Coincidentally, a good friend of ours captured and sent in the exact same car a short time later:

“I humbly offer for your perusal an almost certain entry in the licence plate hall of shame – TUFN UP.   I am dismayed to say I saw this in Sunnybank.” – Jon.

Thanks Jon. We have concluded our initial perusal, and now it’s time for the public to judge.

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GO!GO! couldn’t have written a better album to mark their 10th anniversary. It is, in many ways, the perfect retrospective – yet it’s a “Best Of” consisting of entirely new songs. The rockabilly surf punk of Dasoku Hokou and Gyotaku; the psych-tinge of Tategami and Ryuuzetsuran; the pop glaze of PARADE and 569; and the random rock melange of ANTENNA… it’s all here in some way, with a production bias towards their earlier, harder rocking sound. And that’s definitely something you’re not going to be hearing any complaints about.

Mayakashi no Sekai

Everything about GO!!GO!GO!GO!! screams energy – the title, the cover art, and most importantly, the songs. If it wasn’t evident before, it should certainly be now: GO!GO! songs are written to be played live. Yet this the first time they’ve been so explicit about it – opener EOEOE begins with nothing less than a live crowd chanting the album’s title before the band “appear” to raucous applause with a tune whose riff must surely be a homage to the Rolling Stones’ Jumpin’ Jack Flash (and probably not the album’s the only Stones homage – check the cover art). From here on in, the band take us on a journey – in turn, though sometimes all at once – of the genres and styles they’ve dabbled with over the past decade. And with 13 tracks averaging between 4 and 6 minutes each, it’s a pretty hefty ride.

Saigo no Bansan and Mimitabu 2gou resurrect the surf twang that got lost somewhere after Gyotaku and this is personally one of the sounds I’m most happy about hearing again in their music. Mimitabu 2gou in particular might be my personal pick of the album but there’s plenty of others putting up a fight for that title… not least of which are its immediate neighbours, the ridiculously-titled Kutsushita no Ana ~Ashi no Ke Chanto Sotta noni~ and the wonderfully schizophrenic SUGAR & SPICE. Along with Ee Janai ka, which follows after SUGAR & SPICE, this run of songs forms the album’s crowded, hard rocking spiritual centre. To experience these tracks live would surely be a treat like none other. Videos obviously don’t do the real thing justice, but here’s a taste:

Ee Janai ka (Live)

The album’s actual centrepoint, however, falls on BALLAD and Rakuen no Ohanashi. The former is an old new song which has been floating around their live shows in very much the same form since at least the year 2000. Who knows what took them so long to put it to record, but I’m glad they finally did because it’s a great tune and yes, it is very much a ballad, complete with an outro consisting of lots of impassioned, yet thankfully listenable wailing by Yuu. The latter is the album’s slowest number – a wandering tale that takes the briefest of dips into psychadelia… though regrettably it doesn’t dive in as deep as it could have.

By the time the hard rocking course ends with Ee Janai ka, things return to pop-rock land with the upbeat Kyou no Uta and Nothing2 (one of the sunniest things they’ve ever recorded) and finishes off with the “extra track”, 365 Renkyuu BOOGIE (good lo-fi fun with Turkey on lead vocals).

I don’t know whether it’s the result of their move to a less iron-fisted label, or of some kind of mid-band-life crisis, but this album is one of the best that GO!GO! have ever put out. Almost everything that the band has been loved for is here – the varied songwriting, the deft mash of styles both old and new, Yuu and Akko’s harmonies, Turkey’s amazing, amazing drumming, throwaway riffs and hooks that lesser bands could form entire songs from, their overwhelming sense of presence… everything down to the bizarre song titles and lyrics is here. But perhaps the most telling and critical inclusion is the sense that you’re listening to a band with the youthful energy of one that just started yesterday, and, moreover, the talent to keep them burning bright for many more years to come.

Tracklist
GO!!GO!GO!GO!!
FlyingStar Records, 02/06/10

01. エオエオエ (EOEOE)
02. リフレイン　リフレイン (REFRAIN REFRAIN)
03. まやかしの世界 (Mayakashi no Sekai · Fake World)
04. 最後の晩餐 (Saigo no Bansan · Last Dinner)
05. 毒リンゴ (Doku RINGO · Poison Apple)
06. バラード (BALLAD)
07. 楽園のおはなし (Rakuen no Ohanashi · Story of Paradise)
08. くつしたの穴　～あしのけちゃんと剃ったのに～ (Kutsushita no Ana ~Ashi no Ke Chanto Sotta noni~ · Sock’s Hole ~Even Though I Shaved My Leg Hair~)
09. 耳たぶ２号 (Mimitabu 2gou · Earlobe #2)
10. シュガー＆スパイス (SUGAR & SPICE)
11. ええじゃないか (Ee Janai ka · Isn’t It Right?)
12. 今日の歌 (Kyou no Uta · Today’s Song)
13. Nothing2

Extra Track
14. 365連休ブギー (365 Renkyuu BOOGIE · 365 Consecutive Holidays BOOGIE)

Band

L-R:
野間亜紀子 / ノマ アキコ (Noma Akiko)* – Bass, Vocals
ターキー (TURKEY)** – Drums, Vocals
中島優美 (Nakashima Yumi)*** – Vocals, Guitar

* Nickname: アッコ (Akko); Maiden name/solo alias: 浜田亜紀子 (Hamada Akiko)
** Real name: 細川貴之(Hosokawa Takayuki)
*** Nickname/solo alias: ゆう (Yuu)

GO!GO!7188 – Official Website
GO!GO!7188 – MySpace

Azel – Panzer Dragoon RPG (Panzer Dragoon Saga in the West) was released on the Sega Saturn in 1998. Despite being a critically- and generally-acclaimed triumph in artistic direction, musical scoring, technical implementation, storytelling and gameplay, only a small number of copies were ever released. Nonetheless, it was regarded by most as the Saturn’s swan song… and what a song it was.

Azel Trailer (Music Track: Atolm Dragon)

The 2 disc Memorial Album soundtrack released in 2001 contains all the music found on the original Complete Album released around the same time as the game, but with one bonus remix track added to the end of each disc. Most of the album’s 59 tracks clock in at between 1 and 3 minutes in length, for a total of just under 2 and a half hours of music.

The Panzer universe, whose locations and inhabitants were visually fashioned from a distinct blend of organic and mechanical textures, managed to ignite within the player a wondrous sense that they were exploring and engaging with a truly unique culture that was at times familiar, yet, simultaneously, impossibly foreign. To get an idea of just how thorough the design of Panzer’s world was, consider that an entirely new spoken language, “Panzerese”, was devised especially for use in the game’s FMV cutscenes (apparently it’s a mix of ancient Greek and Latin). Furthermore, in Azel – the first and currently only RPG in the series (the others are on-rail shooters) – players had access to an in-game encyclopaedia that contained descriptions of every creature and enemy they encountered, as well as various “books” on the world’s history, religion and politics. Yes, this was certainly one game world crafted with care and imagination.

Needless to say, such a detailed world design would have fallen very short of its potential without a suitably unique soundtrack – fortunately, composers Saori Kobayashi and Mariko Nanba not only created something that did justice to the grand scope of the Panzer universe (a remarkable feat in itself), but something which has, over the relatively short course of the series, become an inseparable part of it. As music comprises an integral part of any culture, so it does here.

Much like Panzerese, Panzer’s music takes elements from existing styles and fuses them together into something uniquely, well, “Panzer”. In this case, the composers crafted the incredibly exotic and evocative sounds heard in the games by working with an inspired mix of tribal African beats, Latin American rhythms and Celtic melodies. Asian and Middle-Eastern influences are also evident here and there. In addition, though some of the pieces featured orchestra recordings, most of the music was actually generated in-game using Cybersound, the Saturn’s on-board MIDI instrument set. The result is a slightly electronic, synthesized delivery, which, when coupled with the “earthy” tones of African, Latin American and Celtic music, complemented the series’ organic and bio-mechanical visual designs perfectly.

Transformation 1

Rest

Azel, as a 4CD RPG, is epic, and so too is its music. From awe-inspiring ambient flight accompaniments to heart-pounding, percussion-driven boss battle themes to quiet melodies played by campfires as rider and dragon rest, this soundtrack has the quintessential Panzer experience covered. Much of it resides in ambient territory, with only a few tracks featuring traditionally recognisable melody lines. A palpable sense of the primitive permeates. Make no mistake, this is not your conventional RPG soundtrack. For most part, the tracks are all instrumentals, bar the gorgeous closing song Sona Mi Areru Ec Sancitu, and even then, the vocals by Eri Ito are sung in Panzerese. The two bonus tracks are remixes of this closing song. The first, by one of the game’s sound producers, Tomonomi Sawada, adds a more modern mid-tempo beat to the sampled vocals. The second, by American house producer Ron Trent, gives it a predictably chilled-out treatment and provides the album with its longest track at a slightly protracted 8 minutes. Though largely unnecessary (the original tracklisting was in no way in need of additional support), these bonus tracks are interesting variations that thankfully don’t take away from what is already an exemplary listening experience.

Ancient Weapon

Sona Mi Areru Ec Sancitu

Recommending this album is something that I do both wholeheartedly and with some measure of thought as to how practical such a recommendation could be. Wholeheartedly because, like the game, it’s a stunning work of art and I don’t think there’s anything else quite like it. You simply hit play and let it take you away. However, due to criminally low production runs, both the game and both editions of its soundtrack are now, more than a decade later, incredibly rare to come by. I personally don’t know anyone else who has played the game, let alone who owns a copy of it or any edition of its soundtrack, and I’ve yet to encounter anyone online or otherwise who has gone through the experience of playing the game without coming out the other side completely and utterly converted. In other words, I can only assume that those lucky few in possession of a copy of the game and/or its soundtrack are undoubtedly well aware of its worth, and aren’t likely to part with it for anything short of a lucrative sum, if at all. I personally found my second-hand copy of this soundtrack in the labyrinthine corridors of the Shibuya branch of Mandarake (otherwise known as otaku heaven), safely sealed away behind the window of a locked glass cabinet. So, whilst I cannot recommend this soundtrack enough, I can only wish you the best of luck should you decide to undertake the needle-in-a-haystack search for your own copy. It might take some patience, and few bags of dyne more than it should, but rest assured that this is one gem that’s worth it.

Tracklist
Azel – Panzer Dragoon RPG – Memorial Album
Marvelous Entertainment Inc., 21/04/2001

Disc 1

01. Ecce Valde Generous Ale (見よ，いと貴き翼) (Ecce Valde Generous Ale (Behold, The Precious Wings))
02. 初陣 (First Battle)
03. 高貴なる賊軍 (Noble Rebel Army)
04. 偽りの神国 (A Holy Nation of Lies)
05. 孤独な戦い (Solitary Battle)
06. 翼 (Wings)
07. 永遠の別れ (Separated for Eternity)
08. 戦いの予感 (Premonition of War)
09. 変異種1 (Transformation 1)
10. 静寂の中の混沌 (Chaos Amongst the Silence)
11. 変異種2 (Transformation 2)
12. 巨大生物1 (Giant Creature 1)
13. 休息 (Rest)
14. 生命の息吹 (Breath of Life)
15. 蒼き遺跡のテーマ (Blue Ruins Theme)
16. 放浪 (Wandering)
17. 禁断の地 (Forbidden Land)
18. 純血種 (Pure Blood Seed)
19. 黒き艦隊 (The Black Fleet)
20. 出会いの定め (Rendezvous with Destiny)
21. アトルムドラゴン (Atolm Dragon)
22. 竜巻 (Spirit of the Dragon)
23. 予期せぬ遭遇 (Foreseen Encounter)
24. 帝国 (The Empire)
25. 箱船 (Shelcoof)
26. ゾアの街 (Town of Zoah)
27. パエット (Paet)
28. 水の廃都 (Water Ruins
29. 旧世紀兵器 (Ancient Weapon)
30. Sona Mi Areru Ec Sancitu (Re-arranged)

Disc 2

01. 人ならざるもの (Trapped Underground)
02. 胎道 (Path to the Being)
03. 閉じた魂 (Sealed Spirit)
04. エレベーターチェイス (Elevator Chase)
05. 巨大生物2 (Giant Creature 2)
06. 再会のための別館 (Separation for a Future Reunion)
07. 「譲り火」のもとで (Source of the Protective Flame)
08. 邯鄲の夢 (Delusions of Grandeur)
09. 眠れる鉄塊 (Sleeping Iron Ingot)
10. 帝国軍空中艦隊 (Imperial Air Force)
11. 巨大戦艦 (Giant Warship)
12. 邂逅 (Fading Away)
13. 神の軍 (Holy Chariot)
14. 旧世紀 (A Century Gone By)
15. 迎撃 (Interception)
16. 覚醒 (Awakening)
17. 結末 (Conclusion)
18. シーカーの里 (Village of the Seekers)
19. 森の悲鳴 (The Forest’s Cry)
20. 紅き遺跡のテーマ (Red Ruins Theme)
21. 約束の地へ (Into the Promised Land)
22. 終局への序曲 (Overture to the End)
23. 涙 (Tears)
24. セストレン (Sestren)
25. 幻影1 (Vision 1)
26. 幻影2 (Vision 2)
27. 最後の戦い～回帰～ (The Final Battle ~Recurrence~)
28. Sona Mi Areru Ec Sancitu (其は聖なる御使いなりや) (Sona Mi Areru Ec Sancitu (Art Thou The Holy One))
29. Sona Mi Areru Ec Sancitu (Prescription Vocal Club Mix)

When it comes to decent cafes, the Valley is sorely lacking. One usually has to travel further into New Farm for such fare but thankfully that’s beginning to change.

Quirky, cute, whacky and obtusely good natured – Flamingo is all of these, and hidden close to the main Valley drag.

In fact it’s situated right behind The Zoo: one of Brisbane’s remaining live music establishments. It can be difficult to find, but once you do you’ll never forget it.

It has a lawn, crazy seating and an internal tabled area containing a smorgasbord of curious items. Perhaps a little madcap, but it works.

And they make awesome coffee (Genovese), drinks and delicious food (like the half of the ham sandwich above). Actually… delicious AND attractive food; presented with much flair and style. They use to have mini plastic cutlasses in place of toothpicks! Unsurprising considering one of the owners was behind perennial favourite, Pearl Cafe.

The servings are very generous (deceivingly so) and well priced, with sandwiches sitting at around the $10 – $12 mark. I haven’t tried their entire selection but they sure make a mean meatball sub with crinkle cut crisps. Genius.

So if you’re in the Valley, and it’s lunch time, and you are at a loss for where to eat, seek out Flamingo. You’ll tell all your friends about it.

Flamingo
5B Winn St
Fortitude Valley, Queensland, Australia

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Actually who am I / are they kidding? If only it were an obtuse reference to a brand of fly spray. The best bit? Those hip-hop adorned television screens are actually on the back seat’s head rest. They’ve been positioned to entertain only us as they fly on by…

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Although most people, including myself, come here for the gut-busting all-you-can-eat sushi experience, there are a number of other courses available which can be perused on the signboard in the restaurant’s window before entering.

The basic all-you-can-eat deal, priced at a ridiculously low 1050yen, must surely be one of the cheapest ways to fill up on sushi in the world, let alone in Tokyo. The best part? There’s no time limit.

Once seated at your table, simply grab an order sheet and write down how many of each sushi type you want next to its name and hand it to one of the waitstaff. Then, all you have to do is wait for the food, eat it once its arrived and repeat the process as necessary. As you can see, an English order sheet is also available, but you’ll have to ask for it. There are noticeable differences between the Japanese and English versions, however. I’m assuming that they haven’t updated their English one in a while.

The menu consists of mostly traditional Japanese sushi styles; that is, there are no California rolls or other similar Western inventions.

The most familiar sushi breeds are all represented. Here, some gunkan-maki rolls. Included in the above photo are the crab meat salad and tuna and curry varieties.

Fatty tuna te-maki roll.

A platter of nigiri-zushi (varieties above include staples such as tuna, salmon, eel, egg, etc.). I might as well mention that there’s also a bottomless hot/cold water and hot green tea dispenser that you can visit as often as you like while you dine (but all-you-can-eat enthusiasts would know to do this sparingly in order to avoid stomach bloat).

Right now, this is probably all looking a bit too good to be true. 1050yen for all-you-can-eat sushi, with no time limit? Surely, there must be a catch. And you’d be right for thinking so.

This is one place that serves to reinforce the old adage, “You get what you pay for.” The quality and freshness is mediocre at best, and each piece of sushi is weighed down with substantially more rice than there ought to be. Just take another look at that te-maki roll. That small smear of fatty tuna was literally all there was. The rest was just a cone of rice. Thinking of just eating the toppings and leaving the rice behind? Well, you can, but you’ll be charged between 70yen and 120yen (depending on the sushi type) for every piece of sushi you don’t finish. It’s certainly a case of quantity over quality, but those with large appetites will still find it quite possible to tip the balance and get more than their money’s worth.

Finally, it’s not a particularly large restaurant – more akin to a long shoebox with two rows of tables on either side of a central aisle – so if you’re going at dinner time, be sure to arrive before 6:30pm-7pm otherwise you’ll most likely find yourself standing in a queue outside with families, students, and notoriously ravenous otaku who have wandered over from a long, hard day of anime and electronics shopping in neighbouring Akihabara. Diners looking for a classy ambience or any semblance of privacy are urged to look elsewhere – the limited space means that you’ll be seated more or less elbow-to-elbow with your fellow diners.


Postscript

My fondest memory of this place was arriving with a group of friends after a sunny Spring day’s hanami in nearby Ueno Park. It had been a tiring day with lots of walking, so I ate a reasonable yet comfortable amount. Afterwards, we walked with full bellies to the Sumida River to view the sakura trees at night.

My worst memory of this place involved eating so much that my breathing slowed to a crawl and I literally could not finish the last, tiny piece of sushi left on the platter. Where I was popping them down the hatch like nobody’s business a mere half hour before, this last piece, though exactly the same size as the ones before it, appeared positively insurmountable. The mere sight of it made me want to gag. So instead of paying the penalty for not finishing it, I discreetly wrapped it in a napkin and put it in my pocket. I got up, paid, and with the help of my similarly-yet-not-so-extremely incapacitated dining partner, stumbled outside, groaning and hunched over with my eyes to the floor for fear of catching sight of another piece of sushi which would have surely sent me over. I found the nearest kerb gutter, promptly sat in it, put my head in my hands, focused on breathing and on all of the terrible mistakes I’d made in my life and how this was surely, unmistakably, one of them, and didn’t get up for a solid 40 minutes.

Sushi Club
6-13-(?) Ueno
Taito-ku
Tokyo
東京都台東区上野6-13-(?)
Click here for a GoogleMaps Street View

Birth name: Y Istair
Born: December 27th, 2008
Died: January 17th, 2009
Age: 19

Just over a year ago, on my first and only play-through of action role-playing game Fallout 3, I created and assumed the role of Y Istair – a young and naive vault dweller who escapes to the Capital Wasteland in search of his father. As an experiment, I decided to broadcast the experience through Twitter.

“Fallout 3 takes place in a post-apocalyptic Washington D.C. in the year 2277, 200 years after a world war over resources ends in nuclear holocaust. The game places the player in the role of an inhabitant of Vault 101, a survival shelter designed to protect a small number of humans from the nuclear fallout. When the player’s character’s father disappears under mysterious circumstances, he or she is forced to escape from the Vault and journey into the ruins of Washington D.C. to track him down.”

WARNING! The rest of this article is full of spoilers.
Any links below will most likely lead to sites that will also contain spoilers.

The Capital Wasteland. Y Istair’s first view of the outside world.

The in-game concept manufactured to explain the use of Twitter, was that Y Istair’s Pip-Boy 3000 had been customised to allow the broadcasting of text and images to whoever could receive it. Initially Y Istair believed the feature to be somewhat broken, but continued to use it anyway as a method of quickly recording and reflecting upon events as they occurred.

The intention was to use Twitter just like how I would normally use Twitter. It wouldn’t contain everything I did but when I thought something significant had occurred I would attempt to tweet it the moment it happened – in-game and in character. The intention was to play through the entirety of Fallout 3 as intensely as possible over the next couple of weeks (actually totalled 4 weeks). It was an attempt to ensure that the events of the Twitter stream occurred in a realistic time frame.

Meeting with the President.

There was always an element of acting and entertaining when tweeting. It wasn’t that tweets were entirely fabricated, rather events and emotions were embellished to reflect the persona of Y Istair. As much as I tried to feel enraged, relieved, tired, surprised – I was still playing a game. Often I would pause to consider how Y Istair would act, but over time this became much easier and quicker; a necessity as tweeting would at times break the flow of the game – and as a result, Y Istair’s actions became more naturally aligned with how I would act if I was in the same situations.

Quests such as Vault 108, Tenpenny Towers and the Dunwich Building provided great material to work with but the trickiest incidents to tweet were during major twists in the game: such as Vault 112 (simulation) and Raven Rock (meeting the president). Not only because broadcasting would have been restricted or impossible in-game, but because I wanted to play the game too – to live the moment, and embrace its sense of urgency. As such, I suppressed the strong desire to “tell the world about what crazy things were happening” and instead opted to recollect such events after they concluded (in an appropriately emotive manner).

Life in the post apocalypse is better when you can share it with strangers. Even if they are only just text on a screen.

From the onset, there wasn’t a clear plan on how I was to proceed – rather, I would adapt my behaviour depending on what was happening in-game and on Twitter. The project started as a writing experiment, so initially it was only a one way broadcast to followers or incidental observers. But over time it became apparent that other Twitter users wanted to communicate with Y Istair. After a week of gaming, I @ replied for the first time and a few days later I started using Twitpic as a method of “photographically” documenting my adventures.

Communicating with other Twitter users was awesome and surprising. Many users would tweet in character as if they were other residents of the Wasteland (from other vault dwellers to ghouls and slavers) and they would offer advice or even threaten revenge. Some replies would also break the fourth wall but I made it a point to always reply while staying in character (usually through selective “listening” and interpretation of their tweets). This social dimension enhanced the overall experience and took a little edge off the lonely and desolate nature of the game.

Credit must go to the designers of Fallout 3 for architecting a single player world/system where this was sensible and desirable. Its strong role playing elements inspired players to carry on role playing well beyond the virtual confines of the game. Though I suspected such social interaction would occur, until it started happening, I didn’t realise just how valuable, entertaining and affecting it would be.

@yistair you bastard! we will wreak our vengeance. you’ll be walking to paradise falls with a collar on before you can say “revenge”. [link]

It’s a wonder that more single player games don’t attempt this as a designed element/feature of the game (it would certainly be better than tweeting when you gain a level or an achievement). This kind of interaction isn’t quite co-op or multiplayer in the traditional sense. But imagine a game where you encounter the residuals effects of other players that had come before you. The scrawling on the walls in Portal or Left 4 Dead, left by other human players in times of desperation and elation. The destructive path left by evil players that you have to clean up and correct. An in-game random encounter with another player, but in a situation where only they knew they would be interacting with a human player. It wouldn’t suit every game but if skilfully executed, such interaction would surely enhance and deepen the experience. The mind boggles with the potential…

Where it all began.

I could keep rattling on… but a huge Thank You to Bethesda and all the Twitterers that I had the pleasure of interacting with. The Fallout 3 Twitter experiment was fun, unexpected, affecting and highly rewarding. Y Istair is no more but I doubt I’ll ever forget the experience.


LINKS

Y Istair Twitter Profile
Y Istair Twitpic History
Archive Starting at First Tweet

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As a shrine to Tekken and the character Jin, this is unrivalled and way over the top. Not many people would have to guts(?) to drive around in such a vehicle. The amount of effort, skill and artistry involved is something else – though I’m not sure what the deal is with the unfortunate positioning of the blue lightning…

Thanks to Coll for sending this in!

Edit: This car has a MySpace page and a webisode featuring it… :O (Thanks Will)

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It’s highly polished, completely free, and employs classic red/cyan 3D with unsettling effect. It doesn’t have to be played in 3D (normal versions are included), but there’s something unnerving about moving around a claustrophobic environment with a barrier in front of your eyes, resulting in everything appearing closer than it really is.

It’s best experienced not knowing (avoid the videos) much more.

Except a word of warning… “Please be aware that the game contains violence, blood, and slight gore.”