Uh, I think that video games are an amazing, uh, tool to bring people into simulations and, for example, in my case it was a really conflicted simulation-it was a really conflicted relationship between me and my father. He was good and bad at the same time. And being a kid coping with those two things together is so difficult. So, then, right now, by making a game that you can actually experience that in a safe environment and play with it and figure out what’s good, what’s bad and all the - all-all the different angles that you can take. It’s really, really powerful because only-when you see that in a linear story, uh, it’s kind of a-it’s-the relationship with an abusive parent is really unpredictable; you don’t know when it’s going to happen and you’re just waiting there when it’s going to happen. So, when you bring someone to our game and you never know when the monster is going to eat the frog and go crazy and attack you make it more visceral and make it go from-from-from-from-from-from-from inside. But I think what is more important it is give closure. I think that games suck at giving closure to people. Games are really bad at giving a moral that could help you with your everyday life. And I think that’s what we did with Papo Yo was we give you a moral on how to cope with an abusive relationship. And that is a concept that comes from books and movies. You just bring you to an experience that it can transform and become someone at the end. We don’t do that in games that much. Uh, and just by [runaway] at Minority, when I create games that give you a closure at the end; something that you can take out and apply to your life.