 Rather than dismissing all digital works as too easily achieved to be interesting, medium-based appreciation requires that we consider the digital on its own terms and allow for the possibility that certain kinds of increased technical efficiency can bring new creative risks. For example, even though committing to certain editorial decisions does not entail irreversible alterations to a filmstrip, arriving at those decisions involves sifting through and eliminating far more options, a process which can easily become overwhelming and therefore more error-ridden. When we properly appreciate a digital movie, therefore, part of what we need to appreciate is the significance of any scene or sequence looking just the way it does when it could have, so easily, looked so many other ways. Similarly, when we properly appreciate an interactive digital installation or videogame, we are, in part, appreciating certain representations, functions, and capabilities of the input-output system that are made possible by digital media. This is undeniably a form of medium-based appreciation, but the medium to which we appeal is the digital medium rather than traditional media. If the digital medium is computer code used in certain ways—for example, to make moving images, then it is only when we think of a digital movie as in this medium that we can appreciate it as a particular response to the creative problem, introduced by coding, of finalizing selections from a vast array of equally and instantly available options.