As Azul is a kind of a fun one because in a lot of ways he's basically Lucifer, he's the Fall of Angel, he's got the feathery wings, he's got the Alliance with the God of Man and all that, so he's a kind of a fun character to be around in that respect. A big part of that is the idea of the Intempation of kind of the deal with the Devil, right? We kind of touch on some aspects of that in the Nacali campaign with some of the futures like, you know, it's producing units and stuff of influence and we kind of want to bring that across to Azul, but we also wanted to explore how that kind of works within the context of Chaos, right? So he's gathering up these undivided champions and he's saying, well, if you serve Sonesh rather than Gorn or Nurgle, this is what you get, this is the kind of, you know, the gift that I'm offering you. So in gameplay terms of the four champions, he's the one who leans most into our past Drogly system, which is about the character progression of that big, greatly character. So he'll find it, you know, a bit cheaper to upgrade his characters if I get easier to upgrade his characters. And to kind of lean into this idea that he's almost like mentor figure to this next generation of Sonesh's champions. Azul's really flexible. He's a really good pick for Sonesh because he can fly. Previously, they didn't have a flying lord. He is a bit of a can opener. He's got this kind of armor piercing quality to him. He's also very, very good casting. He's a, he's a law of Soneshcaster. So he's great for just dropping really powerful air we spells like slicing shards on your enemies. What was really cool about this project was obviously at four champions of Chaos and we had four sound designers. We all took one H and all kind of made it our own and worked together as a team and went back and forward. So it was my good friend Alex Hines who did Azazel. And I think one of the key things we talked about when talked about Azazel and how Azazel should sound is it just needed to be very slanesh. So all of Azazel's sounds have this really organic texture to it. There's a bit synthetic, so it sounds a bit off. It's a nice hybrid. So again, it feels like slanesh. So like a lot of his abilities have these like pulses that happen and they're like almost like synthetic heartbeat, so they feel right but wrong. And of course our animators in VFX department did a phenomenal job. So it made it really easy for Alex to make all the sound design for all of Azazel's melee. It's probably a big thing. And because Azazel is a quick character, all his attacks are very quick into the point and there's a lot of kick drums and a lot of his impacts and it's just there to give him a nice, like, straight to the point. For Azazel, we were mostly trying to adapt the lore into the animation. He likes himself. From his point of view, he's the most beautiful thing in the earth. He's trying to show off while he kills people. His speed and his skill are his best assets and the battlefield and that's what we're really showing his animation. The more shrines, they're all bespoke war shrines to each god. And I think it would be very easy to give them all the same sounds and just leave it there. It's giant chaos monsters carrying giant metal shrines essentially. So them sounds the same, but what we've done differently is just big VFX that are playing off them and they are all very bespoke to them. God, we play as undivided. It's this really chaos lightning type thing when you play corn. It's got this really aggressive fire super distorted, really over the top, really corn and the slush one's really cool because we gave it a lot of the audio in the mix. We gave it a lot of Doppler effects. So as the little VFX are wishing by, you're getting it because then slush is speed. So we like to have the idea that the shrines sound effects have the slush have these like constant playing because it's slush.