wouldn't lose them, and you assembled a route involving only the chambers containing keys so I could shoot through them in one go. And that was a very interesting thing because we didn't need to talk any more. GB: We were gaming the game to get to the end section as soon as possible. HM: We'd finished training ourselves in this co-op environment and talking was surplus to requirements. It was funny how Terry's game initially forced us to constantly communicate but after all that training it was no longer needed. We were working together without communication. Our brains were one. GB: It's funny because there's this sense of compartmentalisation, connectedness and the breaking down of that connectedness throughout At A Distance and there we were: going from constantly communicating to each other to quietly and independently getting on with things in our own private virtual spaces. HM: So when we got the pyramid chamber lined up again, there was definitely some anxiety in front of those monitors. I had this sinking feeling again when I saw the "hieroglyphics" - which seemed to tell you what order of chambers to stitch together. There were three different combinations of hieroglyphics laid out in your right-brain world. GB: The clue at the beginning tallied up nicely with these tables showing the chambers in different configurations, the sequences we had to arrange between the dead forest and the pyramid. And there's three of them! Shit. I carefully connected the chamber blocks according to