# David Lynch’s Presence Has Been Haunting Video Games for Decades  ## Metadata - Author: [[M.D. Rodrigues]] - Full Title: David Lynch’s Presence Has Been Haunting Video Games for Decades - Category: #articles - Summary: insert summary - My notes: - Summary: David Lynch's influence on video games, from unreleased projects like "Woodcutters From Fiery Ships" to his presence in games like "Half-Life" and "Silent Hill 2," showcases a deep connection between his artistic vision and the gaming industry. Lynch's impact is seen in games that aim for a similar kind of strangeness and surrealism present in his films and shows like "Twin Peaks." The gaming community continues to draw inspiration from Lynch's work, creating immersive experiences that reflect his unique storytelling style and thematic elements. Despite Lynch's unrealized video game projects, his presence continues to resonate across various mediums, influencing a generation of creators and expanding the boundaries of interactive storytelling. - URL: https://www.theverge.com/23906355/david-lynch-video-games - Source File: web-only ## LLM Chats ## NotebookLM ## LLM Audio ## Highlights > , “You know about death — that it’s just a change, not an end.” ([View Highlight](https://read.readwise.io/read/01hqgjdww032p73tg3f0pfrj2j)) > It’s one of the tracks on , the 2018 album by Lynch and Angelo Badalamenti, the late composer whose friendship with Lynch dates back to 1986’s *Blue* *Velvet*. (The song also appears in Lynch’s , a short video featuring a swarm of ants and utility poles.) [Lynch told *Rolling Stone*](https://www.rollingstone.com/music/music-features/david-lynch-angelo-badalamenti-talk-experimental-album-thought-gang-749688/) that most of the album originated in the early ’90s. Did the “Woodcutters” concept begin as a song, wander into an unfinished game, and then amble homeward? Lynch knows but, per Edelstein, it’s unlikely he’ll publicly dispel any game-related mysteries. ([View Highlight](https://read.readwise.io/read/01hqgjsfxc4wsvs978pk941mww)) - Tags: [[look this up]] > *Immortality* (2022); and [*Signalis*](https://www.theverge.com/23428239/signalis-review-ps4-xbox-switch-pc) (2022), among other surreal and celebrated titles. *Immortality* has the distinction of being one of the few games with explicitly psychosexual themes, which are essential to Lynch’s own work. It’s also co-written by Barry Gifford, who collaborated with Lynch on multiple projects. ([View Highlight](https://read.readwise.io/read/01hqgk9ygqzv9yhmvbdpc72vpt)) > Indeed, Lynch’s characters often jostle against imposed stories and stifling archetypes. The very idea of a legible self tends to implode. “Life doesn’t unfold in a clear, straight line,” writes co-author Kristine McKenna in *Room to Dream*. She argues that, on any given day “all of us flicker in and out of memories, fantasies, desires, and dreams of the future.” Her perspective aligns with Lynch’s own. *Inland Empire*, his 2006 film, is a mishmash of time periods, realities, and selves. In a 2008 interview, the scholar Richard Barney marveled at the film’s “many worlds.” Lynch replied by gesturing toward life itself: “It’s no different, though, than just being a human being on Earth.” ([View Highlight](https://read.readwise.io/read/01hqgkg75df1576gwskv8b978r))