I think oftentimes people do fall into that trap of saying, "Well, it's not quite right yet, but when it's done, just, just wait. When all the details are there, my game design's going to be amazing." And I think that's a -- it's a really bad trap for people to fall into. What you have to do is you have to say, yes, there are a lot of things that are going to make this game. But if we believe that the reason that this game is unique and the reason that people are going to get excited about getting it -- sorry, going to get excited about playing this game is that it's terrifying, then I think you can actually prove that very early with prototypes. Uh, so, uh, I actually wasn't there from the beginning on the first Dead Space. And I remember when I first saw what they were building. They ran me through a level, and it was -- uh, it was very rough. Um, there was not a fantastic game there. But I remember I booted it up. I walked down a hallway. There were some flashing lights. And I started hearing noises of things around me. And I -- and my guy felt like he wasn't moving very fast. And so I knew, well, if something happens, I'm not going to be able to react very quickly. And just those kind of top-level things, uh, put me in a mindset where, you know, I, I suddenly found that I, uh, I was truly terrified when I played the first piece of software that they built. And I, I suddenly came to a realization, you know, about five or ten minutes into that demo that, oh, my God, this is -- this is an amazing experience. And, uh, and so it just goes to show you don't have to have all those things together. What you have to be able to do is just identify a few ingredients that can create the experience, get them together, see if it's working. And when they do, then you can start to fill out the details.
