So, I think there is - there are, um, certain vocabularies that are useful for games. I mean coming out of someone who studied cinema, the idea of like diegetic and nondiegetic elements in games and things like that, you know, that's useful to have, um, and to understand. Um, they're aspects of, you know, sort of the, you know, just mechanical. Like I feel like we can't forget that - you know, there's a quote that I'm semi-famous for where I say like, "We see games through our hands," right? You know, I guess if you're playing with Kinect, um, that might be a little less true, right? But the idea is, is that - is that it's not just what's coming in through your eyes, um, the idea of like how you experience it through your hands. So, you know, games like, uh, you know, Call of Duty and what, uh, you know, Infinity Ward was able to achieve, sort of the feel of the controls, before them, Bungie and, you know, those kinds of things, those are things that are sort of essential to, uh, the experience. You have companies like, uh, Valve and what they've done with like Half-Life 1 and 2 and sort of like how they introduce you to the game, the idea that moving through the space, And sort of like embedded narrative, that the environment tells a story. You know, these are not necessarily things that are only germane to games. But I feel like games, uh, exploit them in ways that, um, other media don't. And then, games are kind of - to me, it's not whether games are a higher art form than others, but they combine aspects of so many art forms, you know, like, you know, architecture and cinema and television and those kinds of things. Even if you look at storytelling in games, you know, they - the model has been, um, for a long time for blockbuster games has been movies, when, you know, a 10-hour movie or 12-hour movie is a pretty attenuated experience. If they were to sort of look for, uh, television more as a model and sort of segment the experience more along those lines, which they do anyway, but the arc of a movie versus the arc of a season of a TV show is different, right? And so, when I look at those things - I'm a consultant now - um, and, you know, having a background in multi - multiple media and being able to, you know, use the right analogy at the right time, the right example at the right time, and not be limited only to games but be able to draw upon the right games where games are applicable, that's essential. And I think the critical language around games is evolving accordingly.