What is your biggest challenge when programming for cover states?

Biggest challenge. There's been a lot. I mean, the core thing that has to keep going through your mind is it's all about the gameplay. It's all about feeling good. It's all about playing good. So there's got to be constant refinement to make it feel right. In terms of challenges, cover has been a little bit buggy at times. There have been occasions where it used to be quite easy to get stuck in the cover pose, just because of the way it was set up. And from a technical standpoint as well, there's a lot of animations. Like I said, there's three leans: there's the peek, the blind fire and the step out. Three different types of them, and for each of them you've got four distances. So you've got to be a certain distance from the edge of the wall, and then it subdivides it down. So if you're half a metre away, it'll play a half-metre step out. If you're 12 centimetres away, it'll play a 12-centimetre step out and the resultant come back in. So there's dozens and dozens of animations. I think we've got 60 or 70-something transitions set up for the cover system in Mannequin. So it's a lot of assets and a lot of transitions to set up and get correct. And I don't want to say it's a headache, but there's been a lot of refinement on the system, a lot of iterations. So every time that it iterates and it changes slightly and I've got to go in and add another 20 animations, it's a little bit... Yeah, I mean, it would be good if the animation system was as good as DataForge, if it was as easy and straightforward as that. I mean, that was one of the brilliant things about the procedural stuff. Originally, it was all overlay animations, so there was an animation of them bringing the gun up, so it would play an upper body and it would make the gun rise. And we switched it to being fully procedural, so it's just a number of values. It's just: the gun moves up two centimeters. It's such a massive time saver, because you can literally go in and go, here's the rifle parameters, and now we need one for when he's looking to the left, so move it half a centimeter that way or however many degrees that way, and then we need a version for the shotgun. The shotgun's a bit bulkier, so copy all those values and just move it a little bit. And it saves so much time, and it's so much easier to iterate on and get the right balance between the designers who want it playing good and animators who want it looking good. Obviously, they both want the other thing as well. You get the nice combination of both aspects of it.