We haven't had our great critic yet, right? We haven't had our whatever, like our Pauline Kael, right, who, who could take the new and the independent spirit and communicate it, uh, to the larger, uh, sort of group of, of game players. Uh, we haven't had that. And I don't know why, but, uh, I think it has to do with a, a lot of the things that you're bringing up: the, the, the difficulty of describing, uh, the experience. And, first of all, if you describe too much about it, you give it away. [laughs] So, people are loathe to do that. But, spoilers aside, um, once you start describing it, um, it - the, the vocabulary's lacking to a certain extent. And there are so many different parts of a game that could affect us, that a critic might focus in on one of them and then, you know, miss the entire point of, of a whole portion of the game. It - it's a very difficult, wide-ranging question. Some - sometimes people get game journals, and all they're talking about is features, features, features. That's been the trend. It - you know, it's blah, blah, blah meets blah, blah, blah with this new feature, right? And, and, to me, that's a very boring way of describing the gameplay. Um, when, when you look at our great critics of other media, they're often putting it in a cultural context. They're putting it in a personal context. Uh, they're giving it, uh, a kind of beautiful interpretation. They're, they're using their own creative juices to interpret the piece that then propels other people to go and experience the piece. And I, I haven't seen that yet. There, there - you have to be kind of open, and you have to be kind of vulnerable to, to write that kind of, of criticism. And, and perhaps that's what we've been missing.