So, actually the - the stories will be longer, because, uh, with the - with, by running the distribution business, we - uh, we discovered that, uh, people would really like to try games in Polish, but nobody really dared to localize games in - into Polish. So, there was practically nothing localized. And, you know, it - it sounds really like a no-brainer; 38 million people prefer them in language Polish. At that time, English was not that wide known, because we were emerging from socialism. But, still, we were saying, no, nobody will buy these games, the - the localization will never pay back. We tried it, we tried it first with smaller kids' games like Ace Ventura, Pink Panther, we fully localized them and dubbed them with known actors, even recorded songs, and it was a blast. But, those were smaller projects and then I actually, um, um, the first game that really opened the market to localization, uh, was Baldur's Gate from BioWare, so we convinced them to play to allow us to handle all the localization ourselves. We took all the risk on us, and so, we spent six months localizing. I was the localization manager. My father, who is a documentary movie director, helped me with the studio recordings. We took famous Polish actors, and suddenly, this opened the market, because I believe our - our contractual obligation to enter play was 3,000 units and at that time, games were selling maybe 1,000, 1,500, so it was a huge bet. We sold on the first day 18,000 units. We actually didn’t have enough space in our warehouse to fit all these boxes. So, our localization approach comes very much from the fact that we are coming from Poland. We're always hearing, no, it will not help you to localize because it's too expensive. I don’t know, we have to pay the bill of $5,000, $10,000. It will never pay back, it's not worth it, it's not worth the time to market it, it's too small. But, it's actually the other way around. If you take care of the market, if you take care of the gamers and especially with - with a story-heavy game like, like ours or like BioWare's, so the RPGs, uh, if you do the right job, it, it just totally changes, uh, uh, the - the market potential, and suddenly people are able to play and understand your game and they’re buying this in mass. Actually, we've - we did it on all three, uh, Witchers and starting from, you know, limited number of languages, Witcher 3 was simultaneously shipped 14 language versions. So, that's super important. And, also, coming from Poland, I know what bad localization is because there's a lot of them. So, if - if you are to be immersed into story. It's like, let's say you’re watching a movie and it's badly translated or that there is, I don’t know, strange Polish accent, and you’re like, what? It's - it's taking you out of the immersion. So, we really pay a lot of attention that, uh, the translation is as good as it can be. We want to make it perfect, we want to make it feel native to you, and you know, coming from Poland, uh, the first, obviously English, it has to be perfect, because otherwise, you don’t exist. But, there's - there's - you know, you can probably write a book about screwed up, uh, German localizations of RPGs. I mean, probably half of the RPGs have really bad localizations in Germany, and Germany - it's a huge market in comparison to Poland. So, yeah, we've - we've been through that, you know, experiencing that, um, directly in Poland and right now, we, uh, apply the lessons learned in practice. Uh, for example, we are the first, The Witcher 3, the first, uh, roleplaying game, uh, localized to Arabic. And, and, people were telling us it makes no sense. You know, exactly what we heard in Poland and it did. It sold extremely well, and, uh, um, so commercially, it's a very viable project, but then it helps to build the brand for the studio, for the games, and it makes gamers happy. I think it's - it's the key thing at the end of the day.