In Alfie Bown's excellent The PlayStation Dreamworld (2017) the author considers whether a videogame can truly be unheimlich. On one hand there is something unsettling about the malfunctioning technology of yesteryear. But then on the other, Bown notes, we have a way of smoothing over the gnarled edges of the past by designating things 'retro'. Maybe we can see this with the trend toward a self-consciously broken 'retro' style in videogames. For something to be unheimlich it has to reveal something about ourselves — perhaps if we call these things uncanny it's because they reveal hauntology's undesirable proximity to cheap nostalgia. 0_abyssalSomewhere doesn't have any answers, but it benefits by making a dual address to both the style and materiality of the past. What I mean is it pairs the ghostly trace with corroded industrial debris because in practical terms the two are the same thing. It comes from a future where we are dead but our technologies have survived, or, rather, have been programmed to await a human 'input' that will never arrive.