Art or media, through any medium, offers us new experiences of familiar worlds. It offers us a particular representation or perspective of real life. It “balances an obligation to accuracy with other aesthetic concerns,” (Reid) and that is exactly what Bogost’s exploration into the definition of art attempts and succeeds at telling us. Chapter one proves that certain video games can share the same status with art, as both incorporate aesthetic and psychological appeal. Procedural rhetoric is not limited to just video games, but extended to all forms of art. The fundamental idea in both games and media is not the game itself, but human interaction with the game (or book, play, T.V, show, movie, etc…). Games that utilize proceduralism/ procedural rhetoric “say something about how the experience of a world works…, how it feels to be subjected to a situation… [marriage, mortality, regret, confusion]” (Bogost). When we are able to form meaning about our own lives, because someone else can make sense of it for us in a way we would have never been able to—from a perspective we never would have considered— we form and enhance the meaning of the initial expression. “We project [our own] experiences and ideas on [abstractions of real life roles] utilized in [games]” (Bogost). Any abstraction of basic human truths provokes consideration of those truths. In this sense, art does not become art until human interaction with the subject takes place. Bogost’s and McGonigal’s perspectives of video games differ greatly, but both understand the power of video games and media in relation to human interaction.