Apologies for resurrecting this dead thread, but I just got around to playing Virginia. Virginia is a tough game to write about. I don't think there's a critique one could make about this game that I'd take issue with. Almost every aspect of Virginia could be a strength or a weakness depending on the beholder. Swimming in sevens has become something of a meme, but Huber's always talked about how sevens have character and take risks that bigger, higher rated games can't. With a 74 on metacritic, Virginia epitomizes the seven. And I think the creators knew this too. In their Letter to the Player found in the main menu they write: It's been a strange and confounding experience making Virginia. We hope it's resulted in a strange and confounding game. Say what you will about Virginia: good game; bad game. Virginia is a game created with seeming indifference towards commercial success. It's the fulfillment of inspiration with little-to-no artistic compromise and I appreciate it's existence on that merit, regardless of anything else. I love story driven games. I love single-sitting games. I love dialogue-less narratives. I love everything Virginia is on paper, and heck, I might still love Virginia in form, but that love is certainly not without some extreme reservation. I've always believed the media should justify its medium, and I just don't think Virginia justifies itself as a game. I realize that a major design choice from the inception of Virginia was using cinematic editing, and I loved that; that is not where my issue lies. Virginia has sluggish controls, minimal interactivity, and worst of all, little direction provided. None of those things are necessarily awful on their own, but the combination really hurts Virginia as a game. Throughout the first half of the game I spent most of my time wondering what I was supposed to be doing, when I would have liked to have been thinking about what was going on and putting pieces of the puzzle together. The lousy controls add to the disorientation (and the queasiness for me), and the lack of interactivity causes for some very non-cinematic periods of just wandering, accomplishing nothing. Once I started to get my bearings (and this may just be a problem with me) I found I was so concerned with keeping the game's cinematic feeling that I didn't want to explore the environments. It's as though the game qualities and the movie qualities are fighting with and even undermining each other. At the end of the day I believe I would have enjoyed watching a well-played, cinematic let's play more than I enjoyed my time with the game. @tokeeffe9 The Lynch vibes are definitely there and the creators have talked about their love of Twin Peaks and other Lynch films in interviews. However, Jonathan Burroughs & Terry Kenny have credited Brendon Chung (who appeared once on GT Live with Quadrilateral Cowboy), and his game Thirty Flights of Love as the "inspiration [which] illuminates this work," with regards to the cinematic editing. I haven't played Thirty Flights of Love yet, but the story segments of Quadrilateral Cowboy are very similar to Virginia in how they're cut. A few closing notes. The soundtrack is amazing, and I love how they take advantage of this editing style in the composition of the OST. The outdoor environments are super beautiful and I dig the art style as a whole. I have no clue what is real and what isn't and although it still had an emotional impact on me I would prefer a clearer conclusion.