One of the biggest challenges when you’re working on a big franchise is - is innovation. And one of the reasons why I was so excited about working on Metal Gear is because the Metal Gear Solid franchise I think almost more so than any other franchise, uh, takes a lot of risks with each sequel, uh. They - they use different time periods and they have, you know, introduce new mechanics. And, uh, while they have a lot of returning characters, uh, you always feel like it’s going to be really fresh and they take risks. And I really have always appreciated that about that series. And, uh, and that’s really hard to do. And I think that one of the reasons why they’re able to do that is because Hideo has so much clout and ability - he has - he has the vision but also the ability to make and the capacity to make these really hard decisions. I think, uh, on - with large franchises though that’s a huge challenge when you have literally hundreds and millions, sometimes a billion dollars on the line. And, uh, and yeah, what really - really needs to happen is I think that the creative leadership has to have almost like a punk rock, uh, philosophy and - and, uh, edict internally that, uh, they’re not going to settle for what’s already been done. And that’s really hard and you have to find, uh, I think leader - leadership within a huge company to be able to believe in that and - and support that kind of thinking. Uh, one of the things that I - I remember always, I was always falling back on was I was just really in a sense just inspired by what I saw when I - when I saw Bio Shock Infinite for the first time. I said this is the exact kind of sequel that needs to happen. I think most - most companies would say you - if you’re going to make a sequel it has to be about rapture and big daddies and little sisters and all these mainstay parts, essential core elements of this IP. And Ken Levine and the team threw it all out the window and, uh, I think that’s really risky and really inspiring.
