I went into Virginia with a lot of foreknowledge about its pretensions. I knew it is a narrative-focused game (this is what drew me to it, in fact, as I consider myself a narrative-focused videogames scholar but feel I neglect narrative games for more mainstream faire). I knew it tells its story without dialog. I knew it falls into that vague genre of “David Lynchian.” But what I did not know is just how disorienting an experience Virginia can become due to filmic techniques incorporated into its level design. More remarkable is how, once I grew accustomed to how these techniques functioned within the context of a videogame, I adjusted to the way they altered my understanding of a videogame’s flow.