Vice: It's a minute before I realise my mouth's hanging open, "catching flies" as my mother might say. I'm just staring at what's before me, soaking in the sight, the splendour of it all. It's gone 1am and Brighton-based studio The Chinese Room's Everybody's Gone to the Rapture is in its final moments, and above my virtual eyes the aurora borealis dances before countless stars, colouring up to the creases of my pale, late-night skin. Stirring orchestral music swells around me, carrying my feet that never appear on the screen, up steps and towards an observatory, fulfilment, finality, the end. I snap back to reality and reposition my slack jaw, somewhat unwillingly – this is a game that I'm not sure I want to see the credits roll for, so enthralled by it have I been for the past five hours.