Well, when working on a franchise, uh, the only way to make it personal is if you - you find that edge that interests you. So, you go like, you know what? This is what interests me in - in this - this set up. So, if it's an historical epic period, what's interesting me in this? So, I am interested in pirates, whatever. Or, Italian Renaissance. Or, building a gang. Then - then, if you're inspired with it, then at the end you're - it's going to have its own uh, taste and flavor. The worst problem is to be sent on a franchise, because it's your job. If you’re not - if - there's that thing that passion like, if there's no angle that's like trigger your creativity, I mean. Uh, it's the sausage factory at that point. So, you're just coming out and - and, the franchise takes over. But, once you have that - you know, it's like, movies like James Bond. There's a point where, if you become really comfortable with the brand, the characters are - the situation is the same. But, then you can inject your point of view in that situation. In those cases, then I think you're - you're still an author. Because, you can feel like oh, you know what? Yes, it's - if this guy is not there at the helm, this game is completely different. That's, I think the secret to, with the - the franchise. And, at any game anyway. So, if you're bored with it or you're not inspired by it, everybody's going to be bored playing it. It's impossible to create - to create something out of being bored or not passionate. And, I have people that - are people caring about that project. They're just, you know, so it comes from the heart. And, whatever the context after - I mean, you can - you can come up with its constraints, basically. A franchise is a set of constraint. And, there's nothing wrong - everything's good about creating with constraints. Most of the - of the nice pieces of art came with constraints, either financially, physically.