There are lots of reasons.
We work a lot with core teams—a producer, a creative director, an art director—and sometimes you want to keep the creative team together. Sometimes they've just finished a game.
There are lots of reasons. There are as many reasons as there are people. For some, it will be because they want to create a new IP. They've done two games of the same franchise and they want to do something new. Internally, if we don't have that opening, they will go to another studio.
Sometimes it's because of family. If they move out of Montreal, it's because they go back to Europe, for example. When they get to their mid-thirties, and they have a wife—or husband, but mainly it's males in our industry—they'll go back home because they want their kids to be close to the grandparents.
We try to convince them. We try to offer them opportunities. At one point, though, I won't say there's a limit, but let's say they're making $60,000, and we offer $75,000. It's important not to start a bidding war, and offer $80,000, $85,000, and so on. As an industry it's important not to start a bidding war.
There are some guys who will get a giant raise and fast-track somewhere else. I don't know if it's the case in Edmonton, but for us we have a lot of big studios in Montreal.
We try to keep people, but they all have their reasons for leaving. Some come back. Some want to work on one specific brand. If you want to work on Mass Effect, well, you have to move to Edmonton. If you want to work on Batman, you have to work at Warner. If you want to work on Assassin's Creed, you have to come and see us at Ubisoft.
It goes with the franchise, as well.