I think it's incredibly important. It's, it's something that Harmonix has wanted to do forever. And whenever we're making a new product, we definitely consider that. You know, like there's tons of prototypes of like creative free play with your guitar. And we, we obviously are going to explore things like that. We have, you know, the moments of doing drum fills in Rock Band. When we started making Dance Central, we insisted on there being a portion of the dance where you could do whatever you wanted. And that was going to be okay, because we didn't want to have this narrow definition of what dance is. And we wanted to capture a little bit broader than that. And as we - because you iterate in the Dance Central franchise. By Dance Central 3, we had game modes that were entirely based around just doing whatever you wanted as long as it was in time with the music, or building a move and making detection on the fly for that and challenging your friend to playing it. And a lot of that's just about making unique personal experiences. Things that will never happen again happen when you give the player the tools to create gameplay in real time. And that's been the primary focus of our work on Fantasia. It's all about empowering the player to transform the music that they love. And giving the player those abilities is, is an amazing thing to do, just watching people play that game. When they make something and they know that it's theirs and it plays along with a song and now they've added something to "Bohemian Rhapsody," the feeling of satisfaction that they get is unparalleled. And in so many ways we are doing magic upon magic behind the scenes to make sure that whatever they do is going to sound good. It's not going to be dissonant. It's not going to be out of tune. But that's one of the great things that game systems can do. We can create walled gardens essentially where the player has tons and tons of freedom. But it's not going to do anything that's going to embarrass them or, you know, or, you know, run counter to the - their intent, essentially. And I think that assistive aim of, uh, of music that we're able to give players is a, a pretty awesome thing. And a lot of my favorite games have those creative affordances. Again, like I, I, I feel obliged to say like I have played games that have none of that. And I think those games are great too. And, you know, there were a lot of - a lot of folks who, when we made freestyle in Dance Central, were like, "What is the point of this?" It was like you had to - had to do it in Dance Central 1. And the most requested feature between Dance Central 1 and 2 was, "Can I turn off freestyle?" So, we let you turn off freestyle, and you can go through and, and, you know, dance the entirety of the song. And a lot of people consider that's the definitive way to play. And, you know, that's great. I think, in a social context, freestyle plays off really well because you want to see your friends just cut loose. When you're, you know, playing for score or playing for fitness, I think it's easier to just, you know, see the dance in front of you and continue all the way through it. It's for - I think, for some people, it breaks their flow, essentially.