I am a - a huge believer. I mean, I've spent about two-thirds in America, one-third of my life in Japan. And the number of life lessons, uh, that I've learned by putting myself in a totally different culture and having to adapt that culture, most people when they go to a different country for a long time, they're like why aren't these people like this, and try to assert their, uh, identity on that culture, and it doesn't work that work that way. You - you have to roll with the punches, adapt to that culture. And if you're able to do that, you know, empty the glass and then fill it up with new knowledge, then you usually are - you have about 150% more just expressions, uh, feelings, emotions, ways to look at - at different parts of the, uh - of the world. And so, um, I'm a huge fan in taking two opposing sides, because the American culture and Japanese culture are very different, and then having them do this over and over and over again. It's that friction, it's the difference of opinion, uh, that usually creates what I think to be the best products. If you let a creator, an incredibly talented creator, uh, have 5 years or 7 years - there's a few Japanese creators like this - and you left them have $40 million or $100 million dollars and just go crazy, they'll give you an awesome game. They will give you a fantastic game. Probably be in the 90's Metacritic, whatever. However, as a business, that was not a smart decision. Um, had you given them more restrictions, budgetary, timeline, whatever, you probably could have ended up with a - a high 80's game or whatever, but ultimately maybe sold two or three times as much. And the long game is this, every creator and every business wants as many people as possible to play the game. So, sometimes, creators being too egotistical and not being able to step out of their own shoes and realize that them wanting to have all this creative control and do everything by themselves, uh, that selfishness is actually, in the long run, hurt the thing they're trying to do. They're looking at it very two-dimensionally, not three-dimensionally. So, things like microtransactions, I know I said this before, it's because I'm hearing about them in almost every pitch. Um, they're not going away. They earn millions and millions of dollars for some of the larger publishers out there. It's the - it's a word that all gamers hate to hear, just like they hated to hear DLC when it first came out. Everybody screamed blue murder over DLC to the point where fast forward five years later, and if a game didn't have DLC and it didn't have an extended experience, they would get all mad. Where's my DLC? So, it's just people trying to acclimate, adapt to something they're not comfortable with. Eventually, they get there, and when they do, usually, it yields more profit. More profit is, at the end of the day, for the gaming industry, better - uh, much better than worse, because we don't want the Atari heydays to come back and then gaming to self-destruct. So, at the end of the day, being a smart creator that can focus on your vision but still accept restrictions and work against - actively against that sales team to find the happy medium, uh, that's can usually res - uh, end up with the best results.