From Sea to Shining Sea Squad: Farewell!

Farewell, readers!


As of last night around 11:00 pm, the team finished up our final demo of From Sea to Shining Sea. It’s a little bittersweet to wrap up this project. We all became really invested in the development of the game, and we wish that we could have seen it through a little further. However, we are all very proud of what we have been able to accomplish in the time we had. The group really enjoyed going through the development process together and learning to navigate the different pitfalls we encountered.

The whole process has made us think about the medium of video games in an entirely new way. When we began initially planning out the concept for our game, we were not looking for an exact story that we wanted to tell. We wanted to communicate a personal experience to the player. We realized that the medium allows us to create something that goes beyond the observation of an experience. We could make the player participate directly in that experience.

Although we found this to be a challenge, we ultimately feel that we were successful, but understanding the process that goes into creating an immersive and historically engaging virtual experience was eye opening to say the least. Both the sheer volume of work that had to be done and the diversity of tasks seemed daunting. The combination of historical research and analysis combined with the creativity and literary skill needed to flesh out the game provided for some interesting challenges in how we could reconcile our creative urges while maintaining our desired degree of historical accuracy. However, perhaps this creative engagement with history in and of itself is a valid historical process. The ideas and fears that From Sea to Shining Sea interacts with were real and tangible things that people had to deal with in their daily lives. Perhaps this creative retelling and imagining of those fears is itself a compelling and useful way to tell history.


The past few weeks have been a blast, and I won’t forget them anytime soon. I hope that you enjoy our game, and that you find it thought provoking. The game is meant to make you think. Let it. Consider the themes that are presented and take them to heart.


Thank you so much! This is Luke Hussung from The Sea to Shining Sea Squad signing off.




Other members of the team are planning to write their own goodbyes in the comments of this post. Be sure to read theirs as well!

From Sea to Shining Sea Squad: A general update and some thoughts on Twine

Greetings all!


The From Sea To Shining Sea Squad is buckling down for the sprint to the finish. We have been hard at work on elements of our portfolio for several days now and grappling with Twine to create as best of an experience that we can in time for presentation. However, it is proving difficult to set things in stone in either part of the project, because we keep having new ideas and concerns popping up all of the time.


Our strategies for tackling the portfolio have changed from day to day, but by collaborating and exchanging ideas for the essays we have all become more engaged in the process of world building and our historical understanding of our setting. An element of the portfolio that we appreciate is our ability to explore and explain ideas that did not quite make it into the final game or did not make it in fully. This allows us to better communicate our influences from other games, difficult choices we had to make and why we made them, and how exactly our counterfactual world all ties itself together.


Our development of actual gameplay in Twine, while being quite enjoyable at times, has presented challenges in creating the atmosphere we seek. In order to create engrossing, vibrant script to immerse the player, a lot of effort has to be put into the writing of different scenes and chapters of the game. Although we already have a very solid sequence of events in place for the player to navigate through, we want to make as best use of our medium as we can. The team views the text-based RPG as a genre with extremely high potential but also being easy to totally miss the mark unless we devote significant energy towards perfected the atmosphere and immersion of the player through interesting characters and delivery.


A fascinating element of our engine, is heavily tied to a concept that Daniel Reynolds describes in his essay What is Old in Video Games? Reynolds explores the effect that the technological aspect of videogames has on the experience they give as a medium. In the case of games made with Twine, this is quite important. The story that we are creating could be told with text in a physical book with tags attached to the players’ options directing them to a certain page that contains the output of the decision they have chosen. There is a great difference in experience between flipping to a page with text already printed on it and a screen, which must read code to manifest the text on a display. One feels like it has already been played out and that there is nothing new being created, and the other gives the player a greater feeling of agency, because their display has changed before their eyes according to their decision. This creates a cool feeling as developers that our story could not have been made in our vision without the existence of this technology, even if the only thing that separates us from literature is purely the medium of viewing the text.


All in all, morale is high. The From Sea To Shining Sea Squad is hard at work to bring you all enjoyable gameplay next week, and we are confident that we are on track to reach our goals of creating an immersive and enjoyable perspective for our players to explore

From Sea To Shining Sea Squad

Over the course of the week, some of us have been working on some parts on the portfolio as well as continuing to work on the game. I have been working on the design document where I am describing our process and goals in completing our work. Cole Frazier is working on the historical document along with the help of Luke D. Along with that, Luke D. is also helping me my design document so that I don’t get off track when continuing to add to it. I go to him for clearance on what to include in the document, as of right now I am making immense progress in the Design Document as well as the rest of the group. I am a little over one thousand words in and constantly revisiting to adjust and add in our progress and our next goals as the days pass. In the historical document that Cole Frazier and Luke D is working on, they are adding basically all of the research we have done and all of the research we are going to do into it. It involves the primary sources and the secondary sources we have been studying individually including many different sources on the Cold War, Cuban Missile Crisis, and Cruel and Unusual punishment. Luke H. is working on the video game reference document. In it, he will discuss the various games we have used as a reference in our video game process. Those games include Star Craft, Call of Duty: Black Ops and Fallout. Each have their own individual implications into the process of the video game. We are using star craft to get insight on how prisoners being forced into war would play out. Call of Duty: Black Ops is being used as a reference for a soldier’s perspective and how life was for soldiers during the Cold War. For the game Fallout, it is being used as an example of how a post-apocalyptic America can play out in the mid twentieth century. Brenna and Luke H. have been working on the video game while inputting the groups ideas. I am not sure how far they are in the process, but we have a substantial amount of the video game done. Our goal is to have multiple pathways the player can take, almost like a Bandersnatch type vibe but without having re-dos because the goal is for the player to create their own history within the guidelines of our design.

From Sea to Shining Sea: Morality in Video Games

Hello everyone!

A lot of people think of video games as button mashing, violent nonsense but there are so many games that are more thought-provoking than what we typically think video games can be. A lot of creators today are attempting to add elements into their games to help the player get more out of it than just a fun experience. When a player is extremely immersed in a game, it allows them to put themselves in the shoes of the protagonist and input their moral ideals into their gameplay. Games such as The Walking Dead: Season One through Season Four, Fable, and Detroit: Becoming Human, choose to tackle the idea of morality in different ways.

The Walking Dead series chooses to tackle morality with a post-apocalyptic world infested with zombies. This game forces the player to make timed decisions with dialogue and actions that inevitably changes the course of their gameplay which leads to different endings that continue on later in the series. As the player becomes more and more immersed in the game and involved with the characters, they begin to make moral decisions that they would make in real life, if they were in that situation. For example in Season One, you find two characters in trouble and you can only save one. One character is the child of a friend of the main character and the other is the son of the family’s house you are staying in. No matter which you chose, tensions rise among characters causing the game to change to your moral ideals. The game challenges the player’s morality and ultimately sets up who the player wants to have with them at the end of the game.

Another game that brings in the idea of morality is the Fable series. This game allows the player to be “good” or “bad” either which will bring about different options and different ways of playing the game. Being good allows for its perks but so does being bad. This idea of being good or bad, though it overly simplifies the idea of morality, allows the player to explore different moral choices while playing a game that they wouldn’t necessarily agree with or choose to do in their own lives.

Another game that deals with morality, despite its mixed reviews, is Detroit: Becoming Human. This game’s idea is heavily influenced by racism featuring the idea of AI becoming deviant and rising up against humans. The game revolves around three different main characters story that, depending on how you play, their stories eventually intertwine. This game is heavily decision based which allows for many moments of deeper moral decisions. The player has the option of remaining loyal to the humans, becoming deviant, making friends and leaving them to die. With the hundreds of combinations of decisions, there are so many endings that could potentially reflect the player’s moral ideals. For example, in the game, one of the characters is posed with the dilemma of shooting an AI in exchange for information. The moral dilemma that the player faces is would you shoot the AI because it isn’t really alive or would you not keeping in mind its potential to become deviant. The game, overall, poses a lot of interesting moral dilemmas.

We, as a group, think adding a moral component into our game is really something worth considering. We think that because we’re using Twine, we may be able to set up moral dilemmas throughout our games within our text adventure. A lot of questions, however, can be presented from this subject in video games; Should video games tackle morality?; Do video game creators have agency over a player’s choice or are they truly being able to tackle these concepts of morality themselves?; How best can the From Sea to Shining Sea Squad add that element of morality in their game about the Cold War gone wrong?

Socrates, Salem, and Senator McCarthy

The term, “witch hunt,” is fairly common and usually refers to the act of accusing a person of committing a crime while having no evidence, or very questionable evidence for your claims. Whenever I hear the term I am reminded of the movie, Monty Python and the Holy Grail. There is a scene in the movie in which a medieval town is convinced that a woman is a witch, so they cry out in determination, “BURN ERR!” However, when the townsfolk bring the “witch” to Sir Bedevere, who represents the town’s nobility and is the local knight (played by Terry Jones), he is suspicious of the claims against the woman. He asks for proof of the crime and one man (John Cleese) replies, “She turned me into a newt… but I got better,” thus proving that the massive mob has no absolute evidence.

I bring up this scene because it’s hilarious, but it also represents how gullible crowds can be when their safety or way of life may be threatened. This in turn will lead to quick decision making and rambunctious actions that may seem fair at the moment, but upon further inspection turn out to be horribly misguided. Such is the case of the famous Salem Witch Trials. Very similar to the Monty Python movie, the Salem Witch Trials were a series of hearings and prosecutions in 1692 Massachusetts. The trials led to the deaths of at least 25 people, 19 by hanging and one, Giles Corey, was pressed to death. These people were accused of conspiring with the devil and haunting the town. The only evidence to support these claims were testimonies from townspeople that sited visions, nightmares, and convulsions as proof of witchery. Thus, much like in the movie, there was no substantial proof for the accusations. Also Salem was a Puritan community, a very strict sect of Christianity, and the hysteria of witchery was not an unfathomable idea to many people back then. This environment and the fears of people in the community led to the death of at least 25 innocent people, showing that if fear is growing within a community, irrational decisions will soon follow.

Tying into our game, the Cold War was a period of suffocating fear for many Americans. The threat of nuclear war was as tense as ever before. Cuba contained missiles that could reach the U.S. and the U.S.S.R. was looking to spread communism and destroy capitalism. All of this led to mass hysteria in the U.S. that is known as the “Red Scare.” This tense and fear-driven environment led to more “witch hunts” in the U.S. almost identical to those of Salem. This time they were led by the fear of communism within the U.S., a threat that was preached by Wisconsin Senator Joseph McCarthy. McCarthy made numerous accusations against people within the U.S. government and CIA, citing treason, espionage, foul play, disloyalty, and every other term that could label a person a trader or a “commie.” While most of these claims flung out of his mouth as effortless as breath through his lungs, and they contained no sense of evidence or support, people fell for his trick because they were so afraid of communism within their government. McCarthy knew this and he used it to his advantage to gain popularity and votes throughout his time in office. His endless accusations eventually coined the term McCarthyism as “a campaign or practice that endorses the unfair use of allegations and investigations.” The practice of McCarthyism throughout the Cold War led to many irrational decisions, most notably the cases of Julian and Ethel Rosenberg. The two were accused of heading a spy ring that informed Soviet forces about nuclear technology that the U.S. possessed. On June 19, 1953, the two were put to death via the electric chair. Although it was never proven that they committed these very serious crimes, new evidence suggested that the accusations of a spy ring were true and thus they were assumed guilty. However, it is plausible that had this case not been during the Cold War, these two would have not been put to death, especially due to the fact that at the time of their deaths they had not been proven guilty. Much like the trials in Salem, the circumstances of the trial played a key role in the punishment of the accused. Both Salem’s religion-dominated society and the nuclear tension during the Cold War led to the fear-based, irrational decisions that killed many people.

We plan on using the idea of McCarthyism in our game while also drawing on the example of Socrates. Socrates was an Ancient Greek philosopher who was charged with treason because his teachings of an organized state, as taught in the Republic, defied the Greek model of democracy. He was accused of treason and sentenced to death for his teachings, much like our character. But what I want to highlight about Socrates was his environment. Socrates always taught that an organized state should be led by “philosopher kings” instead of run by the masses, because the masses are subject to irrational decisions similar to Salem and McCarthyism. At the time of his own execution Greece had just lost to Sparta in the Peloponnesian War which caused great strife within Greece. So when Socrates praised Sparta on systems of government, the masses looked to punish his disloyalty. In a way Socrates predicted his own death because he fell subject to the whims of the masses and the irrational decisions they made, much like the victims in Salem and the Rosenbergs.

All of these examples were taken into account when we decided to make our main character a teacher. Our main character will be accused of corrupting minds similar to Socrates. Our character will also be overwhelmed with the sense of helplessness that comes from being prosecuted with no substantial evidence similar to the victims of the witch hunts of Salem and Cold War McCarthyism.


From Sea to Shining Sea Squad: Player immersion and trust

A few weeks ago, I was beginning my play through of Zelda: Breath of The Wild. I had just been playing through the game’s introductory area when I came to an interesting conflict. I was tasked with traveling to a shrine marked on my map, and the clearest path was a road going up a mountain I had not visited before. As I began traveling up the path, I began taking damage from the reduced temperature due to the altitude, rendering my initial path impossible. I had to reassess my plan. I’m extremely prone to getting lost in videogames, and the fear that I would wind up spending way to much time on a useless endeavor started to set in. I pulled up the game map, and figured I would try and circle around the mountain to the far edge and try to climb up. When I circled around, it was clear from a distance that there was a path to climb up directly to the shrine. This path ended up working out, but it also introduced me to a side quest along the way, which taught me other core game mechanics like hunting, cooking, and how to penetrate into colder climates.


The important thing about this instance is that my experience was not entirely based on luck. The game had to teach me how to hunt and cook, but it didn’t force me towards the quest that taught me those things. I was presented with a problem, and in how the developer predicted I would solve it they placed both the side quest and the solution. What this essentially does is create a bit of trust between the player and the developer. I then knew that I could trust the game to handle some degree of creative problem solving. My choice to rotate around the mountain wasn’t even all that adventurous, but the effect was real. I felt like I had discovered my own path but also understood that the developer had predicted this, and he had then used that path to teach other tools in the game. This kept me deeply immersed in the world I was exploring, which made the entire experience much more enjoyable.


While the player can always do unexpected things, a good developer can communicate to the player through the layout of the world or the environment and dramatically improve the immersion of the game. The YouTube channel hbomberguy has a very impressive review of the game Bloodborne, and in it he gives a good example of this. In the opening of the first game in the series, Dark souls, the player encounters a monster and is meant to die. The second time approaching this monster, the player can look around and find a shield hidden near by. Using the shield, the player can much more easily defeat the monster. The game is communicating very clearly, without ever breaking the immersion of the game (dying is actually a pretty key part of the immersion in these games) what the player is supposed to try. The more a developer is able to allow the player some creativity, they increase the trust that the player has in the developer and they become more immersed and creative.


The dynamic that develops between the player and its designer has an effect on the enjoyment and memorability of that game to the player. The more the player is consciously trying to understand what the designer meant for them to do, the higher the risk that they become drawn out of the experience becomes. This is not to say that the player should never face difficulty. Without difficulty, the satisfaction of having found a creative solution to a problem would be lost. Instead there is a sweet spot where the level of frustration makes sense given the situation presented in the game and the player can experience difficulty without it taking the player out of the experience entirely.


While these are concepts that I’ve thought about in my personal experience with games, it’s entirely different to think about while creating a game. Constructing an environment where the player will feel immersed, even in an engine as predictable as Twine, has proven to be a challenge. How do you make the player forget they’re playing a game? How do you make them feel like their path is their own? These are the questions our team is facing now.

From Sea to Shining Sea Squad: Progress

Good Afternoon,
Since our last blog post, we have made immense progress in our history research on the Cold War. As a group we have gathered many different source materials to help us gain insight in the problems that arose during that time period. As a whole we want to figure out specific details that would enable us to play with the continuity of the cold war while maintaining the main conflicts that went on. We are using many primary and secondary sources to help us navigate our game to make it believable.
As of right now, Luke H. is working on the video game process and figuring out different aspects we can use in our gaming storyline. Luke D., Cole and I are doing online and physical research to get a complete understanding of the Cold War and how we can use our knowledge to help Luke H. and Brenna with the storyline as well as looking into mass incarceration to help fulfil our vision for this game. One of our goals is to make the video game accurate in terms of the dangers and fears of the Cold War while giving room for realistic fictional story that would align with the events of the Cold War and issues involving mass incarceration. Another thing I helped with on the game is drawing up a few concept pieces for our video game that Luke H. can go off of when describing certain things. For example, I drew my idea of a courtroom for our game and different clothes the main character would wear so its easier to describe the character when writing the game.
In order for us to stay on track during this short term, Brenna has created a plan of action (which she has wrote about in her last blog post) so we know what to do and when to do it. Another goal of ours is to maximize our time frame so we can use minimal effort and still get an amazing grade. There’s a whole timeline of specific days that we will work on different things and making sure that we get what we have to get done consistently.
Today during group work time, I made my way to the library to get a few more primary source materials on the Cuban Missile Crisis which solidified our choice of making that our alternate timeline kick off. The sources I gathered were four books written in the 21st century (for updated information on the Cuban missile crisis that older books might not have). The names and authors of the books are “High Noon in the Cold War” by Max Frankel, “Cuban Missile Crisis Revisited” by James A. Nathan, “The Cuban Missile Crisis in American Memory: Myths versus Reality” by Sheldon M. Stern which show different ways citizens of the United States panicked and prepared for all out Nuclear War and finally the memorable “Thirteen Days: A Memoir of the Cuban Missile Crisis” by Robert F. Kennedy which is a book on the Cuban Missile Crisis through the eyes of the brother of the President.
-Nick Alicea

From Sea to Shining Sea Squad Day 4

Hello everybody, today in class our squad did a great job getting into a groove and working diligently. We discussed a couple of the big issues surrounding the cold war and what we wanted to incorporate into our game. As Luke H. discussed in his presentation today, we are focusing on a story in an alternate reality where the cold war actually broke out into actual warfare. Our character will be submerged into the warfare as a punishment in the court system, even though the crime he commited was not serious. We really liked these ideas, and Brenna and Luke H. are putting together an awesome story line backed with research from Cole, Nick and me.


When we were researching things about the cold war and what types of things we wanted to incorporate, we discovered that there were tons of programs that the U.S. developed in case the war did happen. In the first few days, I had suggested that we maybe incorporate the Star Wars program that President Reagan had thought of in his presidency. This program seemed really appealing because it was a nuclear defense mechinism that the U.S. could have used had the Russians fired a warhead at the states. I remembered learning briefly about this program my junior year of highschool in my APUSH class, and so I brought it up for discussion in our group. In the beginning, everyone in the group seemed in favor of the use of this idea, since it would be perfect for the U.S. to have this type of defense in the cold war. I selected a source from the library (shown below) that had tons of information on the potential nuclear sattelite defense. However, we made the decision as a group to not make this one of the big points in our game, as we would be doing too much and we would be stretched too thin.


Even though we decided not to use this, I want to use this blog post to tell about why I find this fascinating, and why I think it could potentially play a role in our game if we had more time and resources. To start, the star wars program was a nuclear defense program that Reagan was in favor of, which consisted of both sattelite and surface to air missiles used to shoot down enemy nukes before they hit the U.S.. This program came a little later on in the cold war then when our story is taking place, which is one of the reasons we decided not to use it. However, the idea is very appealing to our group as game makers because there is so much we could do with it. For example, the player could be in the danger zone of an enemy nuke and need to shoot it down via a satellite missile in order to save themself and their fellow soldiers. Or, there could be a side mission where you are a member of higher ups in the pentagon and have to stategically place the satellites in order to defend the U.S. in the best way possible. We had many other ideas surrounding the Star Wars program, but those are some of the better ones in my opinion.


I think the idea was so appealing for two reasons. First off, the Star Wars program isn’t that far off from what actually happened (it was legitimate enough for a president to consider). This would be useful for our group because the player would still have the authentic feel of realisticness that we are trying to implement. The star wars program is widely known by historians as a program that was almost implemented, which is would make the experience very cool and add to the “what if” factor. The second reason is that this program is just really cool. The fact that we had scientists working on a space defense program that could literally blast nukes out of the sky seems super awesome to me, and I’m sure it does to others as well.


As I come to an end, I would like to discuss another factor about the program that I think is super interesting and could be implemented into the game. Reagans Star Wars missiles, since they were able to shoot down enemy nukes, could have given the U.S. a huge advantage in the war. If the U.S. could defend itself (at least from nukes) while still able to fire theirs, the U.S.S.R. would have to do some serious thinking. This could have been an awesome ending to the conflict, both because the U.S. would have won, and that we didn’t get blown to crap doing it. Thank you all for reading, I’ll be back next week.

From Sea to Shining Sea Squad: Plans for the Future

Hello Everyone,

Today, the From Sea to Shining Sea Squad, spent time laying out our plan of action because we really wanted to have a document that laid out our time with deadlines for ourselves. We had a few ideas about how we wanted to make our plan of action such as splitting up the sections within the portfolio and working on them before we started on the game. Then refining the portfolio, once the game is finished. Another idea was to finish our research and start on the game and then move to work on our portfolio. We all agreed, no matter what the final plan of action turns out to be, that we wanted to try to stick closely to our plan of action to eliminate stress and maximize our time.

Our team discussed splitting up some of the sections of our research. We decided on Luke H. and I would work on researching games that we could reference to make our game the game that we want it to be. We also decided that Luke D., Cole, and Nick would work on researching history that could help us build our game to fit the Cold War era. We thought that dividing and conquering would help us get work done and then we could help each other write the different sections of the portfolio closer towards the end of the term.

We discussed adding the idea of McCarthyism into our game. McCarthyism was the campaign launched in the United States against communism. It was basically a “witch hunt” during the early 1950s to purge the U.S. of alleged communists despite the fact that most people were not communists. Though this predates the time that we’re aiming for in our game, we thought that the idea of McCarthyism fits well into the chaos of a dystopian system that came about if the Cold War had progressed to nuclear war. This idea of the “fear” of communists and then persecuting them and forcing them to fight in the war would create a “counterfactual” that still pays attention to the details of history.

Our team also looked at an interesting game that we considered using as a reference for our game. The game, called Fallen Hero: Rebirth by Malin Rydén, is an “interactive novel” that allows you to choose the path of the story. The game is solely text which allows the player to use their imagination to create their story. We thought that this was an interesting game to reference for ours because we’re using Twine, a text-based game creator. We liked the idea of creating a story with our game and creating choices for our player to let the story become their own in a similar way that Fallen Hero: Rebirth does.

In conclusion, our team has a lot of momentum and so much enthusiasm for this project that the future for our game looks incredibly bright. We’re hoping to finish the bulk of our research soon and begin making our portfolio as soon as we can so we can start working on our game.

From Sea to Shining Sea Squad: Some Core Concepts We’re Working With

Greetings all,


The From Sea to Shining Sea Squad had our second brainstorming session today, and we’ve made significant progress in having a solid idea for our game. We’ve settled on the outbreak of nuclear war between the U.S. and the U.S.S.R. during the peak of the Cold War as the setting that our game will explore, but we want to take a look at the personal experience of a U.S. citizen made to fight in the conflict following the nuclear exchange.


During our brainstorming, we discussed the lore of the Terran from the StarCraft series. A key feature of the Terran Dominion’s army is that they use their convicted criminals as soldiers. We were specifically interested in the personal experiences that would be produced by such a criminal justice system, but the nature of StarCraft as a an RTS game is not very conducive to conveying that personal experience. Our game could explore how a government might justify this system, and how this dystopian system could come about in the U.S. during the Cold War. It could be presented as a more moral alternative to capital punishment, as the rest of society might benefit from their fighting, and could hinge on the 13th amendment of the U.S. constitution.


Our team also discussed how we would create an authentic experience appropriate to the time period. We plan to research what other games in this period have done to successfully create a believable and detailed playing experience. The nature of Twine as our development platform gives us the opportunity to make a believable setting in the mind of the player, but this will require careful attention to the details of the period in order to create an enjoyable, interesting, and accurate atmosphere.


The team is now researching into what points of contingency may need to be changed in order to make the breakout of armed conflict during the Cold War possible and historically sound. We are thinking of making The Cuban Missile Crisis the spark that ignites the war, but we want to find more reasons for why the two powers may have been just a bit more belligerent to tip this instance over the edge and into actual military conflict.


At the end of our brainstorming, we started to hone in on what areas each member would focus on, and how we are going to spend our group time working. Some members of the team will specialize in creating a believable atmosphere within the game purely through the writing and details of the world, while others may focus more on finding the historical contingency points that may need to be altered in order to make the alternative history of our game make sense. These roles are still very flexible though.


A challenge we are anticipating is creating a real sense of agency and freedom in a game where we have a specific experience we want the player to have. We are going to work to give the player choices that may have effects in the short term, but overall the story will remain unchanged. Hopefully this, in tandem with experiencing the world through the perspective of our protagonist, will be enough to create that sense of immersion we seek.