I think one of the sort of magical pieces of the art form is that it's built on, on tension, right? It's built on this tension between what the game play needs and what the story needs and, and what, you know, the engine encoders need and what the artists need. That tension when it's balanced and when it comes, ultimately comes together the game is actually a really beautiful thing. I think that's what, um, helps make games really successful. And I, I think it's not just a, a challenge in managing sort of teams and personnel and, and all of that. It's, you know, you need sort of an underlying, uh, belief system and you need a vision and a set of game pillars that will hold up for each of those constituents in a way that they can pull at each other, but eventually they come together, right? And they all have a, a, a part in contributing to what that, that end experience is. And I think when you see those coming out of balance is when maybe, you know, you end up with a game that maybe is not as successful and, you know, eh, you can always be better at it. Um, but certainly, I think, you know, when people ask me a lot of times about the difference between say making a movie and making a game, it is that really sort of powerful dynamic of bringing these different groups together who have different expertise and who bring a different sort of voice to the design, um, and the level of collaboration of having these sort of disparate groups come together and create something together is unique and, and really powerful.
