The player has a relationship with that character. That isn’t someone that they’ve watched. That’s someone that they fought over food about. That’s someone that they did something nice for. That’s someone that did something nice for them. When, when that emotional m-, beat in the story happens and they die, there’s a deeper connection there than any other medium can possibly provide. So, I don’t give a sh -- I don’t care about gaminess. I really -- uh, whatever. You call it what you want. I don’t care. I care about that experience and that connection and that emersion. That’s, that’s all I care about. And, and we can deliver it, eh, in spades. And the game -- and we use game, we use the game medium to give that interactivity and to give people something they’re familiar with. We’re pulling them into these huge moments of decision and relationship and storytelling in, in putting extra weight on that. And that’s where we focus because it’s wide open and it’s under explored. It’s like, “Well, we -- how can we get people to care about characters? And how can we get people to, uh, enjoy our stories? And why is the writing so bad?” And all of these f-, you know, hand wringing stuff and the all, the answer to all that is ‘cause, ‘cause you’re not investing in that. You’re investing in, in, you know, “gaminess” or graphics, you know, in general are the two things.
