This article describes work in an atypical, niche segment of game development. I feel that the description of the nature of the of the work, the development processes and needed skill sets was skewed from the reality of 90% of the gaming industry. To qualify my conclusions, I worked briefly in traditional animation early in my career, but moved into the gaming business 11 years ago. In that time, I've seen and worked in many facets of the interactive entertainment world. Much of the work described by the article is on the periphery of the gaming industry. Interactive DVD "games" and titles such as Blade Runner (which is 3-4 years old and not typical of the current state of the industry) are not at all typical of the kind of work someone making the cross-over would find. The article's assesment of similarities between the two industries is correct in a very loose sense. "Script, dialogue recording, character and background design, animation, color, camera or composite and render, editing and post production, including the addition of music and sound effects" -these things do happen, but are not what developers spend most of their time doing.The reality of most games these days is that they are long on action and short on story. Consequently, anything requiring a script, storyboard, cinematography, rendering and post comprise a relatively small segment of the game development process. The work you focus on lies almost entirely in the realm of in-game cinematic sequences. These generally comprise less than 10% of total production effort. 80% of game development is dedicated to production of in-game assets (mostly real-time models, textures and animation these days). The remaining 10% goes to pre-production design work. Most of what is being produced these days (and most of the work available) is in PC and Console games. Most of these titles in turn are based on real-time 3D animation and most are produced with 3D StudioMAX. A typical game developer will spend their time modeling, texturing and animating real-time assets. Beyond that, there will be some interface design work and of course the aforementioned in-game cinematic sequences -which in turn are more and more being replaced with game-engine generated sequences using in-game assets. All of that said, I would love to see more people make the cross-over from animation to feed our industry with fresh creative ideas, but those people need a realistic portrayal of the nature of the work. The one thing that I love most about working in the game business (as compared to traditional animation) is that I get to wear a lot of different hats on one project. I get to do design work, color styling, 3d modeling and animation, 2D animation, graphic design and lot more than that. It never gets too dull or monotonous. I would encourage anyone from a traditional animation background to take the leap if that appeals to them, but they need to recognize that the production methodology, tools and skills as well as industry "culture" is quite different, and not as smooth a transition as this article seems to imply. Marc Hudgins