Well, I think it has a lot to do with just not applying the same metaphors that you understand from other interfaces to your game. Like, for example, uh, after working on the performance gameplay in Fantasia, there was this strong initial impulse to like make it care about screen location, because that seems like it works in touch, and it works in, you know, our mouse space interfaces. But when you think about it, your arm, you know, is kind of actually a curved plane in front of you. And so you have to then normalize that curved plane and try and make it straight. And it's - it - it's odd. It's not pointing, right? Like you think about it like pointing, but pointing's this like highly-natural thing. It's something you must've had to do for a long time. Like that's a predator. We need to run from it. And, you know, that's your eye connecting to a line. And that's a very different thing than moving your arm around in space. And so, when we were trying to make the performance gameplay for Fantasia, it was all about letting the player move in all the sorts of different ways that, that they wanted to move, and make that really reactive but have one part of it be the part of it we're judging. We're judging direction, and we're judging a like certain velocity threshold. We're not trying to make you do these really tweaky, particular movements or, or, or capture really complex gestures. With Dance Central, it was more an investigation into how we could detect really complex gestures. And there, what we're doing a fair amount of is using what we don't know to inform what we do know. It's kind of an odd thing. But essentially by, you know, observing the ways in which Kinect works and doesn't work, we can make better detection. We can say, oh, like, okay, when you move up your arms, your hips are going to move up. It's just part of - part of the oddness of the skeleton-tracking there. We can use those kind of incongruous aspects of the skeleton-tracking to actually make better detection. I think that's really just about knowing your tools and loving your tools and just finding out what they're like, building around that.