When the Wachowskis transported bullet-time over from Hong Kong cinema to The Matrix (1999), mainstream western audiences were wowed. This was the beginning of something new for action cinema, the ability for the camera to pivot around action, playing a moment from a multiplicity of angles that stunned and awed in equal measure. The camera was unhinged from static points, instead echoing the orbital movement of a clock or pendulum. In the years following, slow-mo sequences in games misguidedly attempted to convert what was so fascinating about that spectacle into something the player could experience. Instead, it only introduced the…