Yeah, I - I definitely think that there are - that there are some very specific schools of thought in game design that - that have arisen out of I guess the-the design philosophy or the priorities of certain studies, right, because a lot of studios started small, and they were you know, a handful of people. They came from a similar background. Like I mean Looking Glass was founded by people who went to MIT together and came out of like the computer science department there. And a lot of those priorities, you know, in the case of like the Looking Glass legacy that led to System Shock and BioShock and [unintelligible] and all that kind of stuff was very focused on you know, interaction and simulation, and being hands-off with the player and allowing a lot of player agency to drive what happens on screen. You know, BioShock was a - a version of making those design principles more accessible, I think to a broader audience, by saying, okay, these aspects of game design are really interesting, and they're also kind of best practices of what methods are being used to - to get these ideas across in - in other games, you know. working with - with Ken Levine on that game, it was still always his priority to say like, "We need to not take control away from the player unless we absolutely have to." If you take the control away from the player, it's because something fictionally happened, the thing they were on collapsed, you know, or-or whatever. it's a set of - of priorities that you know, come from what you've worked on before, but also the kinds of games you - you really like, and they're - they're just ideas that are assumptions in one place, and then you could go work somewhere else, and it's like well, we come from a design culture where we assume it's fine if you walk through a door; we can just kick you into a cut scene, you know, because that's just like how the games we make are.
