I mean the creative nature of what we do, and the dynamic nature of what we do makes it pretty unique, you know, I think of film, and they often talk about -- and I've never been a filmmaker -- but they often talk about how you know, you'll shoot a scene -- you'll build your set and you'll have your actor, and you'll shoot your scene. And they'll tear the scene down, and the actor will go off to his next movie. And really what you have in the editing room is what you have. In games, you can change that set over and over again. You can iterate and iterate and iterate, until you get it right, or maybe until you get it wrong and just keep iterating . And so there is a dynamic sort of part of our industry that I think is rare. Uh, in-in games particularly, where you have a virtual world that you can recreate at any time in any way. And unrestrained, I think that leads to trouble, right, and so there has to be a balance, you know, a measure of predictability, a partnership with you know, creative innovation, and so while I wouldn't describe it as you know, in the dark without a flashlight certainly because predictability is hugely important. Um, I think the challenge is finding that balance -- finding the balance between creative inspiration, right, a team that can really see farther, and allowing that to marinate and-and germinate ideas. And at the same time, being able to deliver it, being able to deliver on that vision, so there is an art to it certainly, there's a science to it, there is an intuitive feel to getting it right. And-and it might be you know, unique specifically to-to video game development.
