I mean, like a lot of things in my games, um, the art style was a bit of an accident. Um, when I was - years ago, I was a bit more, uh, I guess, naïve in what I was - what I thought I was capable of. So, I tried to make a realistic, proportional human being with lots of detail and with lots of - you know, it had a perfectly realistic, you know, body structure. And I realized that, after weeks and weeks of banging on this character model, I just could not make it look right. It just looked like this weird, misshapen, you know, abomination of a person. Um, so, I kept trying to fix it and fix it. I just couldn't do it. And then, one day, I just got really just - I just - I just reached the end of my rope, and I just made a giant cube and put it on its head. And I just fell in love with it just immediately. It just looked - it looked perfect. Uh, there was just something just charming about it, kind of funny about it. Um, and best of all, it was just very - production-wise, it was unbelievably easy to make. Um, and that just ended up informing the rest of the game's art direction. I mean everything just kind of ended up taking this kind of, you know, when in doubt, use a cube, basically. Um, and then, um - mm. Yeah. I mean so it just ended up working so much better than any realistic representation would have worked for me. Um, I mean it, it gave the game its identity. You know, when you look at a screenshot of Gravity Bone, Thirty Flights, you kind of know what game it is. And just production-wise, it lets me make games on my own without spending, you know, ten years creating assets. Um, so, definitely that little accident of placing that cube on that guy's head ended up being, you know, one of the best accidents I've ever made.
