When we go about making a new game and we're like sort of investigating that problem, I think it's important to think about what the controller does and what it's capable of. I, I look about it - I, I think about it from a - almost an artistic standpoint. When I was making art, it was a lot about form and content. How does - you know, the form of your medium, uh, how does that inform the content and vice versa? And I think, similarly, how does the controls or how do the affordances of the controls apply to your game? And with the Rock Band series, we were sort of creating our own paradigm. Like we had infinite choice there. And so, as we started to develop those interfaces further, it was a lot about just creating a 1:1 connection between what's onscreen and what's on the controller, and just making that really clear to the player. The next thing they worked on just absented the controller. All of a sudden what you have is Kinect. And Kinect has no physical form, but it has a lot of fundamental properties. It has affordances that you need to pay attention to. And I think what I've seen with a lot of other Kinect designs is that they're trying to take something that works incredibly well on a controller and all of a sudden map it to this thing that just is wildly different than a controller. They're trying to take a complex gesture and boil that down to a button press. And, you know, our, our general philosophy is pretty much the opposite of that. We look and say, "Okay, what does Kinect afford us? And how can we make something awesome with that?" And that was pretty much, you know, how we came to the gameplay of Dance Central and how we came to the gameplay of, uh, Fantasia.