Any of those things are open, you know? It doesn’t have to be fun. It doesn’t have to be frustrating. It can make you cry. It can make you laugh, hopefully both, you know? Maybe some people are sensitive to a certain aspect of the game and others are not, you know? So, different people have different experiences with the game that you’ve made. That’s - that’s ultimately, for me, the greatest thing is that two people play the same game and when they describe it it’s like they’re describing two different things - two different experiences, you know? And I find that really - something that’s so unique to video games themselves. It’s not like a board game where it’s like same narrative; this is like what happened, you know, very factual. This is more emotional, reactionary - reactionary - reaction - your reaction to what you did when you played, you know? And the story that you tell in your head, um, may be different than someone else’s. I often find that things that are in our games, things that are in our games, um, that broke my concentration. Um, oh yeah, that, um, everyone fills in the gaps in - that are left in the games, either the story or the gameplay or something with things from their own mind. So, they become, sort of, an author, also, of their own experience. I think that’s something that we do a lot, like, with our games is make it so that, you know, we’re not telling you, you’re telling us, like, what you - what happened in our game. And I think that that’s a really powerful thing that can happen with video games. Where it’s not such - I mean, you’re still the author but the player is also an author in that case of their - of their - the experience that they’ve had.
