It’s strange what can become normal when disbelief is suspended. So much of what is culturally understood about guns, government, science, other people, and so on is informed by the liberties taken by popular fiction. Fiction reflects reality. People can tell fiction from reality, but each still informs the other. Video games have tried with varying degrees of success to capture a somewhat accurate reflection of reality in a number of ways, but one area that they still tend to fall short in is in portraying a sense of physicality. Digital avatars are most often a neutral blob of pixels waiting to be unceremoniously shredded apart, or they are inorganic and plastic representations with barely any feeling of tangibility (Mark Filipowich, “The Gamer’s Dressing Room”, Game Church, 14 January 2014.). Graphical fidelity feels like a natural excuse, but the relatively low-fi Walking Dead series is able to communicate the pain, exhaustion, and physical terror of its characters through the smallest audiovisual cues and Twine artists like Merritt Kopas and Kaitlin Tremblay are also talented at communicating a sense of physical presence in their textually based games.