The financial side of things is crucial. If you don’t have the money to make your games what do you do? I think that, right now, for the past, uh, ten years we were hostage to the box and the sixty bucks game and, you know, the only way you can put out a game is if you have ten million dollars in the bank. You don’t need that anymore. It’s bad that you don’t need that anymore; you still need money to make games and differentiate from-from-from the crowd and suddenly you want to be novelty. That takes time. That takes a lot of risk. So, in consequence we had to have finances and then what happens is like if you have a family you cannot go, “Hey, I’m going to eat cereal for the next three years.” You have to figure out ways to-to-to-to-to figure out how to bring money in this one. And asking that, uh, you have to-we have to learn from other industries, for example, like, uh, my partners come from the film indie-film indie industry. So, there’s a lot of different ways of financing indie films that we don’t apply in video games. That’s what we’re doing. Papo & Yo was financed a bit from the Canadian government, Sony Pub Fund and a bit from our [unintelligible]. So suddenly-so suddenly the financing came out from different buckets. That way you can keep your creative artistship. Because once someone is giving you the whole money to do your project they can put their finger inside. When you spread it the risk is spread and suddenly the creator has more power. I think that’s something that we can take from, uh, the independent film financing and we should apply to the games.