I do tend to think that studios that have a few, whether he is famous or not, or she, whether they’re known or not, but studios that have a good sort of game designer in the center of them with a good clear sort of sense of direction, and particularly a good sense of what not going to work and what’s not really going to, um, what’s not really going to make sense with the rest of the game, say, any particular feature or um, character or rule or resource or, whatever, that somebody who’s a guardian of the consistency of the game is a very important affair. The-it doesn’t necessarily follow that that has to be like, a famous celebrity, although it does help with selling games if you have, like a hero figure of some sort that you can kind of throw at the press and say, look - you know, the genius, type of thing. Kind of like uh, the analogy to the film director type of thing. But for a lot of studios, and a lot of studio people who work in studios, they don’t actually necessarily like that as a, as an idea. They don’t necessarily want to sort of think of themselves as, you know, the peons that work for the great genius type of stuff. Um, so - what is interesting, and what’s very noticeable about um, gaming heroes in that sort of sense is that many of the ones that we consider the great big heroes of the industry are actually getting quite old, and they’re getting - you know, they’re moving on. Um, but we’re not really replacing them with a, like a lot of the new generation. There’s a couple of people maybe who sort of popped up over the radar as, particularly in the indie space, but we’re not, certainly in the Triple A space, we’re not really seeing, you know, the new generation, the new director, the new, like whatever you kind of call it. Um, publishers themselves seem to prefer to keep the-the-the studio brand to be the primary um, identifier. Blizzard is a good case in point. Valve is a good case in point. That-that-that kind of label has more constancy, whereas if you got like, this person who’s associated with being the power behind the game, that’s a very dangerous position for a publisher to then be in, because what if that person goes, I don’t want to make this game anymore, or I want to talk about something else, or I want to swing the project off into a whole different direction or, like, those kinds of things.So, for a lot of industry reasons, there’s a um, there’s a, uh, a consistent and constant urge to avoid heroing people too much.
