One of the notable not to mention praiseworthy things about Haloid—and indeed Monty Oum’s work in general (see http://www.gametrailers.com for more)—is its painstaking and precise construction. Indeed, not only is Oum routinely recognized as a metteur en scène in fan reviews (of which there are many), but Gametrailers.com actually released a behind-the-scenes series in which Oum generously shares some of his creative secrets and workarounds. This kind of popular appreciation of the technical competency involved in developing a mise en scène may in fact point to one of the defining characteristics of games and game-based media. That is, an understanding and valuation of the tremendous and intricate technical work involved in this particular kind of storytelling are often integral to the evocation of its aesthetic and narrative pleasures. To put it another way, when was the last time you read a fan review or saw a promotional piece on Lost or a Harry Potter film that explicitly extolled that artifact’s particle effects, sophisticated editing software manipulation, or sly collision-detection mimicry and camouflaging?