Because what you're saying kind of resonates with some of the Arthurian stuff that I know about, but maybe you're thinking of something else.

It's interesting how this project, the more I work on it, the more I find myself going back to very old conversations about Sure.

Like, what I'm relying on in this generalization is a distinction between the classical epic and the medieval romance.

Okay.

Which are both, you know, something like the Odyssey is clearly an adventure story.

But, you know, there's a longstanding discourse of distinguishing that... from early late antique romances, like for example, Apollonius of Tyre, which, you know, it's similar to the story of the Odyssey in that the dude like just kind of bounces around the Mediterranean, but he's seen as relatively passive as opposed to Odysseus is relatively active.

You know, there are these distinctions that folks would make, and I'm not gonna try to paraphrase them right now, but you see what I mean? Like there's a sense that in the middle ages, you have the emergence of romance storytelling.

So something unexpected that's kind of there and that goes back to kind of like flow and stuff like that, right? Is that the kind of vicarious experience of kind of seeing somebody else overcome challenges or not at times, right? And like, but there being some sort of balance between the difficulty of what's happening and the ability of the person, the subject or the hero of the story, if you will, kind of experiencing that at a time.