I was in film school and I had professors who would, like, un-ironically talk about, like, the death of cinema, right? Is cinema going to die? And, here we are, at the same exact time in games going - with games coming out every year that people are going, “Whoa, that was - that’s possible? You can do that? That’s outrageous. That’s - that’s nuts.” Um, that - the fact that people can be surprised, the fact that someone could play a piece of work - could play someone’s - could play someone else’s game and go, “I legitimately did not know that was even possible.” That was what was exciting to me. And regardless of whatever the form that takes on - I mean, you can do that in lots of different ways, I think, within a game but it - you know, the - the incredible gulf between what we understand and what is clearly possible, like that gulf - that void - that negative space - that nonexistence of content - that possibility for content - that is the interesting part. It’s where content doesn’t exist. You know, it is where - it is where anything is possible. It’s - it’s where it calls and says, “Come and drink me, swim in me, just play in me.” Because that’s - that’s the - the better part. It’s not about - it’s not about getting somewhere.