I mean, how it's going to look, it's - it's crucial. Our games have to look amazing, because that's part of the storytelling and, and if - if suddenly you have an awkward moment, something looks ugly, or, uh, out of context, then you know, it breaks the immersion. I think that's - that's really important. And, also because we're depicting Medieval times, we really - we're using, uh, a lot of references, blueprints, we want you to resemble something you already know. So, for example, Novigrad, it's more like a Medieval Amsterdam, um, while the No-Man's Land is kind of, uh, Slavic or like Polish villages in the Medieval times. And, this is real, this is very real. We've paid a lot of, uh, um, attention to it. So, I think in our case, it's, uh, it is extremely important. But, don't just for - for the looks per se, but more for giving you the background of the storytelling. That's - that - that's very much a function. We - we are telling a story of a professional monster slayer girl, and uh, these are medieval times, there are monsters, so we had to place you properly and make - make the scenery as convincing and as real for you to immerse into our story. If we would, uh, mm, if we would not deliver on this front, you'd just not be able to em - to be immersed in the story, and I think that's the difference between, for example, Game of Thrones as a TV series, why it's so incredibly successful, because you watch it and it's like wow, it's all real, it all makes sense. Every single element is perfect. And, at the same time, you watch a B class, uh, fantasy TV series and you say, like, wow, this dragon looks like crap, it doesn’t really work here. And, oh wow, what a bad dress, oh, like, you know, like Apple Watch on the wrist, you know, this kind of stuff.
