When I’m playing a competitive card game, right, like Pokemon, Hearthstone, Magic Gathering, whatever, uh, they’re like, there’s no way in which my body’s coordination is going to influence that game. And that’s something that I love about the way fighting games play. I think my-my favorite, and-and this, this becomes a game design tool that you can utilize as well. Um, so the-the, you know, most people know the input for the dragon punch, right? Kenri shoryuken - it’s forward, down, down forward and punch. It’s kind of an awkward Z motion. Um, and if you think about it, it’s complicated, because if you’re performing it on an arcade stick, or even on a game pad, you have to move your-your hands one, two, three times, right? Whereas the fireball, which is one of the more simple motions, is just down, down forward, forward and punch, um, is just a-it’s a simple, uncomplicated sweep, right? So I move, I start move by moving my hand down, and then going to roll it to the right. The dragon punch, you have to go forward, back, forward, basically. Um, and so that adds an-an a level of complication, right? Even though the dragon punch in game is a move that is executed instantly, right, the moment you finish that input, you start doing the dragon punch, the effort required to perform the move on the arcade stick, or on - on the game pad, adds an extra, you know, fraction of a second, right? So it’s harder to perform a dragon punch on reaction than it is some other special moves, right? Adding complexity to the motions in that respect is a design tool that you can balance around, right? You can-you can give characters super-powerful moves, they’re just a little bit more complicated to perform flawlessly on, you know, on time, and that becomes another element of the, uh, the um, the - you know, the-the-the character’s difficulty and learning curve. That doesn’t mean it needs to be tied to a particular input device, mind you, but I think that the physicality of execution is absolutely a critical part of a fighting game.