I think that we're kind of at that point now, right? Where we've got this photo-realism and we're sort of there, we've sort of done it, and now a lot of us are looking back on things we've missed along the way and uses for the medium besides photorealism. And if you go into a modern gallery, art gallery today where top-quality art is being sold for hundreds of thousands or millions of dollars per canvas, photorealism plays a very small role there. Because you start to get up to that point, and you've done it, and its sort of not so interesting anymore. There's other interesting things that you can do. But I think that the video game industry is still really fixation on that, and I guess, I don't know, I don't know when that will run its course. But I think because of that, because of the way that video games look, modern video games, that's what connecting them to film. Because if you kind of squint at the screen and kind of ignore the interactivity for a moment, it kind of looks like a film. Its starting to get pretty close to looking like a PIXAR film, at least. So yeah, that comparison becomes very obvious. But when you stop thinking about video games as sort of representing reality and pointing a camera at some sort of realistic scenery, they don't really seem like film so much anymore. I don't think that my games, or the games of other people working in this two-dimensional space in the independent game movement, you wouldn't really mistake them for a film, you wouldn't really think of them as a film, they sort of are something else, right? They're...some people think they're akin to music or akin to ConnorsDane or theater, or akin to some sort of abstract, more two-dimensional painting, or kind of doing this thing that's totally new and you can't really peg them as being akin to anything.
