#i dont even remember the object lesson i just remember how i had to crawl on the floor in that fucking skirt and how goddamn mad i was

[silverislander]

god i forgot how much fucking WORK went into church uniforms, i was just looking them up to remember smth. my family put so much effort into regulation and literally still weren't following half of it, plus our corps as a whole never gave a shit abt it really lmfao

technically today, women in the army can wear pants. i was never allowed to wear pants with my full uniform. always the pencil skirt and the exact regulation colour of pantyhose. i hated those skirts with everything in me

ON THAT NOTE there were exactly two acceptable colours of tights you could wear and they were black and nightshade. to this day i have only ever owned three colours of tights that werent regulation black or nightshade, and they were red (for christmas recitals), white (for summer recitals) and skin tone (for dance performances when required) lmao

new skirts always got taken straight to the one tailor in town who was just as overfamiliar with uniform code as my mom is. they got modified so they would fit well and never be above the knee when sitting down (and honestly she was killer at her job. tysm ms t, i hope you're still in business out there)

buying tunics was a nightmare bc after a certain time they would change the sizing or mysteriously stop making tunics to go under uniform jackets, and you have to either go to the trade to get new ones or order them online, which are equal but different headaches

epaulets and neck pins had to be put back on once your shirt and jacket got washed. i had two pairs of epaulets (senior soldier and brass band) and i never remembered which was which (or to replace either them or the neck pin)

hair has to be above the collar and off the face, and that can mean it's either tied up or it's short enough not to worry about. to this day i'm convinced that's the nail in the coffin that made mom let me cut my hair off, bc the alternative was helping me do a ballet bun every sunday morning and hearing me complain abt said bun and the headache and weird hair bumps it caused all day

NO NAIL POLISH. only clear. if it can be seen from the platform god doesn't love you (joking. you still can't wear any tho)

NO JEWELRY. unless you're straight married then you can wear your ring <3 i wore my key necklace under my uniform every sunday from my senior soldier ceremony right up to the day i left and honestly i don't regret shit, nobody ever knew. that was my one rebellion

and we still weren't regulation! i never wore a hat/bonnet and my shoes were flats with silver buttons on them (instead of plain black heels), my necklace was definitely not allowed if anyone had ever known, and i def wore plain earrings once or twice. wild shit looking back, all that to go play a fucking glorified trumpet and sing for a couple hours a week

[nightowlfandom]

Kanato Sakamaki- I’m Sadistic For You

FINALLY SOMEONE REQUESTS DIABOLIK LOVERS CONTENT AAAAHHH THANK YOU BESTIE! I GOT YOUR OTHER ONE AND I’M DOING IT TOO!  

CHECKOUT MY MASTERLIST HERE!!

So ANON ASKS

For Kanato from DL ( I haven’t seen much done for him and it makes me sad because he’s a favorite ). (: I could Lowkey do some more if you’re not super bogged down I had another idea BUT I ALREADY SUBMITED ANOTHER BEFORE THIS SO IM NOT GONNA OVERWHELM YOU LOL but- anyway Fee free to be as nsfw with my prompts (if you do them) as you want. I dont have any triggers so- writing them super accurate and sadistic won’t bother me :3

Bruh....Jesus is my helmet...but NOT TODAY let’s fucking go! Okay readers, you heard, they aint got no triggers. So if you do...move it along.

52- “You can’t call me cute!”

80- “Shut up! I’m not blushing!”

31-“You need to be taught a lesson…”

81- “You look so...inviting all tied up.”

84- “What’s the word I’m looking for?....Pet!”

Also in this you and Yui are BFFs because she isn’t some cold hearted bitch (homegirl trips over oxygen, plus I love her lol)

I was legit about to have him spit in your mouth....I’m so shameful...maybe next time.

Leggo!

I’m turning into a Yandere account and I am totally okay with that.

...

“You know living here isn’t that bad.” you mused to Yui. “When no one is talking.”

Your friend laughed as she cut up some carrots. Yui turned to look at you as she prepare to peel some potatoes. “So living here is terrible every day other than right now?” she replied.

You couldn’t help but burst out laughing. She wasn’t wrong. 

You and Yui were making dinner for the house. After a ambush that landed everyone injured except you and her (thankfully). You had offered to make soup and stew for everyone. They were all in their respective rooms healing while you had prepared everything.

“They really fought hard today, I thought Kanato was about to rip that vampires jaw off. He’s really protective of you, Y/N.” she winked. “I think he likes you more than he lets on.” 

Kanato and you had a very strange relationship. He hated you, but he didn’t HATE you. No one could lay a finger on you, no one could even look at you, even if he said he didn’t care. Reiji tried to and Kanato almost murdered him.

“He then told me that Teddy said I was ugly.” you reminded her flatly. “Yeah he so cares.” you snorted.

“Maybe he has trouble telling you his feelings”

“I wish everyone was as optimistic as you.” you shook your head. “Looks like the soup is finished.” 

“I’m just saying Y/N, just think about it.”

...

You only had one bowl of soup left to deliver, to Kanato’s room. You grumbled as you stood outside the door. 

“Kanato? It’s me.” you knocked on the door. “I’m coming in okay?” 

Before you could wait for an answer you opened the door and walked in with the cart. 

Kanato was laying on his bed when you entered, groaning in what you assumed was boredom.

“Teddy, tell Y/N that I don’t want whatever she made.” Kanato turned away from you. The scars he had suffered on his back said it all. All for you...

Your recalled the terror in your voice as you had screamed for help as the rogue vampire wrapped his claws around your leg. Kanato’s name was the first to escape your lips as you had tried to crawl away to Yui. You remembered reaching out to Kanato with your strongest hand, begging him to save you.

The look in his eyes was feral as he screamed your name too, grabbing you hand and pulling you to him. You were sobbing into his chest, clutching onto him for dear life for a good ten seconds before Yui replaced him, hugging you tightly in her small arms too. Before you knew it, the rogue’s head had been thrown through a window...

...

“Y/N, Look at me! You’re safe now...you’re safe with me...”

...

“Teddy, could you please tell Kanato that while his pouting is very adorable, it won’t get him out of this?”

“Don’t call me cute! You can’t do that.” Kanato glared at you through hooded eyes. “If I wasn’t so weak I’d-”

“Well let me take care of you.” you cut him off, taking the bowl to him. “For me?”

Kanato paused, his glare softening. 

“You must be in love with me if you’re so insistent on me getting better.” he grumbled, sitting up. “Y/N is in love with me Teddy!”

“Kanato.” you felt your face heat up violently. “Don’t say things like that.” you groaned.

“It’s blushing teddy, how cute!”

Kanato’s use of the word ‘it’ wasn’t new to you. In fact when he wasn’t calling you names, chasing you around with forks pretending to stab you, or worse, it was denoting you to objects.

“H-hey! I am not blushing!” you pouted. “My face just looks that way.” you lied. “S-shut up.” you grumbled.

“And what if I don’t feel like it?” he challenged, knowing you wouldn’t say a word back. You were kind of like Yui. You wouldn’t dare challenge any of the Sakamaki brothers. It was a death sentence in every sense of the word.

“Kanato, I just want you to feel better.” you looked down at your feet. 

“There’s one thing you can do.” Kanato used his strength to stand to his feet. Despite his looks, he was tall, and under that cute exterior was a mean and feral beast. He staggered over to you, a sick smile on his face. That couldn’t be good, not by a long shot. 

“And what exactly would that be?” you asked. You couldn’t look at him. You didn’t wanna know what he was planning. You were positive that it wasn’t gonna end well either. 

“Get on your knees.”

“My knees?” you repeated. “Why do you want me to-”

“Now Y/N.” he spoke over you. You felt his hand on your shoulder. “I don’t like repeating myself.” his nails dug into your skin, causing your knees to wobble under the pain. “On. Your. Knees!”

Your feet gave out, practically sending you crashing down to the floor. You looked like a dog, on your hands and knees. You appeared weak and pathetic.

You found it in yourself to look up at Kanato. Teddy was perched on the bed, ‘watching’ you two. You felt his fingertips creep under your chin. 

“Aww...” he smiled. “You’re like a little...What’s the word I’m looking for...PET!. It’s cute.” He caressed the side of your face. “Too bad I kill all my pets...they can’t handle me...can you handle me, Pet?”

“Yes, Kanato.” you found yourself saying. You felt like you didn’t have a choice...

and you loved every second of it.

“Bullying you has made me regain my strength! Isn’t this wonderful?” he wrapped one of his hands around your neck. “You’re so fun to torment” he laughed.

“K-kanato.” you coughed.

“Is it hard to breath. Y/N?” he asked sinisterly, that crazed smile gracing his lips. His words were terrifying although his actions said otherwise. He loosened his grip on your throat, allowing air to flow more freely. It was those small things that made you think he didn’t hate you as much as he loved to preach.

“Y/N...when that vampire came...I thought I was gonna lose you for good this time” he said sadly, allowing his arm to return to his side. “I thought I had-...that you were gonna die.” 

“You saved me though.” you replied. Kanato knelt down to your level, still slightly above you. 

“Yeah...because if anyone is gonna break you, it’s gonna be me.”

“I care about you a lot, Kanato.” you finally said it. “I like you too much.” you exposed yourself. “I want you stay by your side.” you said pathetically. “Even if you hate me.”

Before you could say another word, Kanato claimed your lips in a kiss. He held the sides of your face in his hands. It was the first time he had ever kissed you. He hummed thoughtfully, pushing you down to the floor so you were laying on your back. He crawled over you, not breaking the kiss. 

“K-kanato.” you whimpered.

“You need to be taught a lesson. If your gonna be my girlfri- I mean pet, you’ll have to learn.” he kissed down your neck.

Suddenly, Kanato ripped the seam of your jeans all the way up your left leg, leaving it completely exposed to the air.

“Oh look, your clothes are messed up, guess we’ll have to take them off.” he smirked. In another swift motion, your pants were torn to shreds. The fabric fell in a circle around you both.

“Teddy look! Y/N is wearing such cute panties.” he cackled maniacally. “Her naughty place is leaking.”

You trembled, waiting for him to do whatever it was he was planning.

“I heard blood tastes better when it’s from your naughty place.” he ran his tongue along the top row of his teeth. “Y/N” he moaned, running his index finger along your clothed heat. “You smelled so much better here...I just want to- ungh.”

He suddenly drove his fangs into your right thigh. You gasped, arching your back. He violently grabbed your legs, holding them down. His tongue lashed against your freshly made wound. 

You could hear him whimpering, cursing under his breath. 

Kanato would deny it with his life, but everything about you was like a drug to you. Tasting your blood was even sweeter than every dessert he’s ever tasted. Feeling you whimper and plea for him did things to him that would make a sailor blush. 

Forget Yui, forget his brothers, forget it all.

“Fuh-” Kanato couldn’t take it anymore. He couldn’t stop himself from ripping off your panties and driving his tongue into your most sensitive parts. Hearing you moan for him, cry for him. 

The rumors were right, vampires were godly lovers. It was like Kanato knew what you wanted and where. He lashed his tongue against your heat, grabbing your legs. 

“Wrap your legs around my head,” he demanded. “Not like it’s gonna kill me.” he laughed manically. “

Knock knock

“Y/N, are you in there?” Yui’s small voice caused you to panic a little. As you tried to get up, Kanato pushed you right back down, growling into your pussy,

“FUCK!” you whined, making it very obvious what you two were up to. “Kanato, I can’t-”

“Then don’t.” he grunted, not ceasing his movements. “Cum, cum for me.”

“K-KAANAAA!” you cried as you came. You thrashed and writhed under his touch, but he didn’t stop. His tongue never stopped moving. “fuh- fuck! Kanato, t-too much!”

“I said cum for me, I didn’t say I’d stop.” he thrust his fingers into you to add insult to injury. “You’re so fun to fuck with!” he spat.

“Kanato!” you sobbed. You couldn’t stop moving, you couldn’t stop thrashing. Th epleasure had gotten to you so much, you were drooling.

He finally withdrew his mouth from you, smiling evilly at the mess he left.

Kanato had grabbed one of his ties that had left on the floor and bound your wrists together.

“You look so inviting tied up for me...” he shuddered as he bit his lip. He licked his fingers clean of your blood and juices. “Good thing the night is young...because I’m not done with you.”

...

[symbianosgames]

Arkane Studios' Raphael Colantonio is probably best known among developers today for his work on Dishonored with fellow co-creative director Harvey Smith. 

But by the time Dishonored shipped in 2012 Colantonio had already been working at Arkane for over a decade, leading development of games like Arx Fatalis and Dark Messiah of Might & Magic. 

These games, made back before the French studio was acquired by Bethesda parent company ZeniMax and expanded with a sister studio in Austin, failed to achieve high-profile commercial success -- to this day, Colantonio is quick to acknowledge Arx was "full of bugs."

What they did achieve, though, was attracting communities of players passionate about the games' mechanics and systems-driven design.

As Colantonio now prepares to ship Arkane's latest project, Prey, Gamasutra sat down with him to briefly chat about the projects he's shaped over the years, and how they've in turn shaped his approach to making games. 

So you gave a presentation at the 2006 Montreal Game Summit -- this was ages ago -- and you talked about your experience building a small indie studio in a world of big-budget game companies.

Colantonio: Yeah, with Gamasutra, actually.

So it's been over a decade since then. Arkane is pretty big now, and split across continents. How does it feel?

  "We seem disorganized and like we don't know what we're doing, but I think it's part of a process and I really think that it's something that we now embrace and accept."

Feels like a different life. Well, it feels yet so far, and at the same time so recent. It's funny how time works in people's head; in many ways we still feel like this little unknown company that just started a few years ago. Even now, like people say, "So what are you working on?"

"Oh, Dishonored."

"Oh, yeah, I played that game!"

"Yeah, sure." That's how I feel. You're just saying that to be polite, you know?

But yeah, it took a while, but it's great. It shows that with determination and believing in what you do, eventually it works out.

How has the working environment changed? I think fellow devs would be curious to know what it was like, going from one studio to two, each with their own separate projects.

I think it works out for us because it was such a slow incremental process. It took us seventeen years to go from one game - one studio, to two games - two studios.

So it's been a very very meticulous adding one piece at a time. You look at how many people we add a year, it's really not much. So at the end now it's very different even though it felt natural, because Dishonored was made between Lyon and Austin; that was probably the weirdest move for us.

I can't remember exactly how many people we had in Austin and how many we had in Lyon, but it was like two teams -- slightly bigger in Lyon. That was a real weird move and then after that, once we were done just adding people on both ends started to almost feel like you were managing two different studios at that point.

But we're still sharing the same DNA for game design; it's like the cousin that went to a different country and evolved their own way. Because you can still recognize the styles in both games, right? In Dishonored 2 and Prey, even though they're not the same team behind it.

Do you miss having that small studio focus?

Sure, yeah. It's different; when you're ten in the same room and just yell across the room because you need some file or whatever, it's not the same thing as when you have to input it in some software that goes into a list of tasks that maybe one day will be read by someone on the other side of the building.

So I do miss it, but I think we still manage to maintain the same culture and passion because we -- I think we have a very strong culture and we know why we're doing what we do, so we hire people that embrace the same values and they hire people with the same passions. So if you ask anyone at Arcane, most of them know why they're doing what they're doing, even though it's a pretty big team now.

Do you have any specific techniques or processes that you put in place to maintain that sort of culture? 

Yeah, I can think of two things -- well three things. One, recruiting is very, very important. We are very, very picky.

I think the second thing is, we have a few values that are important to us. One of them is player choice, for example. So for each game that we do, Dishonored was the same and it's the same now with Prey, we have some little posters that we place everywhere in the office with the name of those values and an example and why it's important to us. Like mantras, almost. Then people wherever they go for a break or lunch or something they see this thing on the wall that would say "multi-solutions" or--

Motivational posters.

Yeah, motivational posters. That's two, and three I would say the leads, who you choose to represent what you want for the team and the game, making sure that they are really in alignment with you and they will perpetrate that culture.

Sure. I know some team leaders who do things like regular team lunches or dinners to help build studio cultures they can rely upon. But that's usually with teams of like ten or twelve people. If you have thirty or forty in your studio...

Yeah, you can't. And funnily enough we've never been so much into those things at Arkane. Like you know there are those big corporate companies that take everybody to Disney World or something. We're just, everybody does what they want to do. Some actually gather together because they want to play some RPG -- you know, Role-Playing --

Tabletop games, yeah.

But this is nothing we enforce. It's strange, we don't do the lunches and all this stuff.

Ahh, everybody's different. Do you yourself ever play tabletop role-playing games?

Not anymore. I used to play Cthulhu, actually, more than Dungeons and Dragons.

You played Call of Cthulhu?

Uh-huh, yeah.

I'm impressed. That's a rough game to play; everybody loses at the end.

Yeah, exactly. Maybe that's why I like it. The tensions between wanting to progress and not wanting to progress because you know that you are a cooler character now, but you're sooner to die.

Playing those games, did that inform your approach to videogame development at all? The way you run teams or the way you design levels or anything like that?

Probably, yeah. Yes, because, in fact, even to this day, if I design a piece of level because I want to highlight a situation that is important to me, I will actually use -- how do you say?

Graph paper.

Yeah, I will still use that with the same kind of iconography that you do on the Dungeon and Dragons.

I think that stuff's fascinating, but before we fall down that rabbit hole I should ask: now that you're wrapping up work on Prey, what have you learned from it that you'll take forward to other projects?

In the specific case of Prey? There's many lessons...on the positive side, I do think that it's really confirmed our approach to multilayered system development where we just develop a system out of context, just with the tools, and we drop it in the simulation and let it live and see what happens. Usually it spawns new ideas.

So you have an AI, for example, that you did not have before and you just give it a few rules and as it's in the game and starts to interact with the rest of the simulation and something weird happens. It pushes objects, for example -- you never thought of that. And because of that it creates some new gameplay, some new opportunities.

So we rely a lot on that and it's actually a really cool way to make games because it falls back to player expectations, I think, in the way that when these things happen, "Oh, you know what? Since this thing happens maybe we should support it and actually do this, this this." As opposed to having some sort of plan from the get-go and then just follow the plan.

So I think that's a technique that...we seem disorganized and like we don't know what we're doing, but I think it's part of a process and I really think that it's something that we now embrace and accept as mythology for us.

Yeah, like the Mimic enemies early on in Prey -- Is that an example of a thing you tested, a creature that can crawl and hide and transform into objects? Where did that even come from?

Initially, it was just we thought it would be cool to have a creature that actually turned into things to hide because we have full ecology for our aliens and how they work and each of them have a role. So the role of the Mimic was to be a scout: it scouts around to gather energy, hides, turns into things. Turning into things came as a later idea. Like, "It hides." 

"Okay, how does it hide?"

"Well, you know it goes into corners and it waits for you to show up and jumps you."

Okay, that's a cool idea. Then someone had an idea, I don't remember who. "What if it turned into objects? If it actually picked an object in that room and turned into the object?"

"Oh wow, that's awesome." So we did that. Then that led to another thing because as we were developing this game we also started to think, "How are we going to acquire the powers?"

"Well, what would be really awesome would be if you could steal the powers from the enemies." So we started down that route of, "You can steal this or that." And sometime in a meeting we said, "Hey, hold on. If we can steal the powers, really we should be able to turn into objects as well."

As we said that, half of the room was terrified by the idea because it means, "Oh god, this is going to be -- maybe ridiculous, maybe silly, maybe super-hard to implement," because now you are a small thing in the world and...how are the physics going to handle that? The other half was super-excited about that and people started to laugh about it. So that's what I mean by the game designed itself.

It's like a painting where you know where you're going more or less, but not exactly, and as you're painting and you realize that the blue of the sky over there should actually reflect on that corner over there. And so at the end the painting becomes really defined as you go.

So how do you balance the needs of that creative process with the demands of operating a business?

I think if you look at the leader, you will know what is the culture of the company. In our case it started with game design, game designers, so our very first game [Arx Fatalis] is very game design-oriented. Not very technological. It crashes all the time, is not very production-ready and full of bugs.

I remember thinking it was very neat, though, with stuff like the gesture commands for casting spells.

Right, right. It's neat, but it was not very marketable. It was not ready for the market, and I think as we grew we started to accept other disciplines a little better. So now I think we've reached a balance where we have strong production, strong art, strong tech, while at the same time still maintaining the strong design.

I still think design will always win at the end of the day if there's a conflict between, "Should this game be polished or should it be designed?" I'll still push for the fun thing, rather than the polish. And maybe it's a mistake. It did bite me in the ass a few times, but at some point as you grow you have to...well, now we are also part of Bethesda. So there's a lot of money involved in these games. We cannot just make games in a vacuum and not care about it. So I had to give more and more power to production and et cetera. But unfortunately for everyone I am also the president of the company, so.....

It's tricky. It means that I will always have a personal push for creativity over any of the other disciplines. But I also try to be mindful about it and not run the company against the wall.

I think a lot of devs face the same problem. I should ask also, I notice it's not the same engine as Dishonored 2. You went with CryEngine, right?

Yeah.

Why choose to go with someone else's engine rather than something you build yourself?

Because in fact, when you look back to when we started Dishonored 2, which was a little before we started Prey, actually, we were faced with a few challenges. In the case of Dishonored, our biggest challenge was to make the technology work. Because we knew what game we were going to do, but we did not have an engine for it. Back then the CryTek engine was not ready.

So we said, okay, this is our try is going to be to make our own engine. Because we know what the game is and and we have to make a new team. So that was enough challenge already.

And then you look at Prey, we were not wanting to add some more burden on the Dishonored 2 team because Dishonored 2, we had to to make our own engine there. Now with the same engine if you have to make two games, that would be multiplying the challenges. So [for Prey], the challenge was more like, let's take an engine that we know exists and is solid that we have and tackle a new challenge which is inventing a game.

It's essentially a new type of game, even though it's Prey, it's still a new IP in a way. So it's just risk management, and choosing the right thing. So, you know I was saying your company culture informs how you work, like in my case it's all creative, but at the same time, in this case it was a lot of production calls. We have to be logical.

Yeah, but I do think it's surprising you'd want to avoid having everyone working on the same tech. Whereas I feel an organization like EA, which is obviously much bigger, they're making an effort to bring all of their stuff into one engine.

Yeah, I'm not sure why because it's only a million dollars for those -- It's nothing secret here. The cost of an engine is about a million dollars. Any engine that you can buy and I honestly can't remember how much we payed on the case of CryTek, but it doesn't justify -- It's not a big win to say, "Well, we're going to unify all our games onto one engine." It seems more risky and more of a constraint for teams.

In fact, the entire Bethesda organization, everytime we try starting a game, they never care. They always ask us, "What engine do you want to use?" It doesn't matter if we want to use our engine, some new engine. It's a cost. If you make your own engine it's going to cost you something. If you buy one it's going to cost you something. There is a cost -- I can understand why some people want to unify everything because this way they can have their teams that know how to use their tools. Once you know the production pipeline of an engine you can reuse that for every time. So there is some sort of a save.

But at the end of the day there are so many constraints as well to use -- I know a publisher that now went under who were obsessed with using the unified engine across all their teams all their studios all over the world. It drove them to their death, because it's more constraint on the developers than there is any benefit.

I honestly think it's an ideology and it's a political idea that sounds beautiful. "Well, we'll put our efforts combined into one thing. Then we can share technology between studios." It sounds beautiful, but it never works.

So let's talk about beauty, for a sec. What is one thing you hope fellow game developers see in this game? Is there a certain level, or a mechanic, or a little production trick you did somewhere?

Well, your question has multiple facets to it. One could be, "What is it that they will praise us for?" The other one would be, "What there is that hopefully will inspire them?" So the inspiring thing -- As a player, I want to play more games that are real-life simulations and let me play the way I want and give me an experience that I feel I own, as opposed to something very directed. There are some games that do that, but there's also a lot of games that go somewhere else.

So I want to see more and more games that allow me -- Because that's the difference between a movie and a game, I think. So the more games that are simulations, the more fun it is to me. So I hope some future generations are going to go deeper in that genre.

As far as the thing I hope people recognize, I think it's the complexity of making a new world. Everything is designed in this world. The chairs, the tables, everything is designed -- The fashion. So I'm sure the artists and storytellers will have a chance to appreciate the amount of work that was put into the researching the background of the world and how it works.

Yeah, you had the idea for this long before you decided to use the Prey name, right? Do you remember any of the names you were originally going to use?

There were many and I think one of them was after the name of the alien race themselves, which is the "Typhon." So then we started to think, "Hold on, people aren't going to know if it's with an i, a y, is it ph, is it f?" So at the end of the day Prey was actually a pretty solid name.

Yeah, it's easy to spell, short. So if you had to give one piece of advice to fellow game developers, given your time in the industry, what would you say now?

You know, I think we're at a fascinating phase because there's way many more propositions than there ever was before. Now you can play mobile, different types of formats of games, like the indie games for $20 or the AAA for more. I think it's a great time to succeed. Better than when there was only one channel.

Now, there's more noise as well so it's hard to get through this noise. And also the other thing that I notice is that people give less importance to how amazing is your graphics. That I think is a great, great opportunity for developers to focus on their message, whether it's artistic message or gameplay message, rather than the form so much. Because we've been so blinded by trying to get the latest technology, the latest shader, the latest detail that costs a fortune. It's a big distraction from what really matters in the game. So I hope people focus on the art intentions and the gameplay intentions more than the technology, and how amazing the graphics are.