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Journal articles on the topic 'Videogames on arts'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Keogh, Brendan. "Instantaneously punctuated picture-music: Re-evaluating videogame expression through Pilgrim in the Microworld." Convergence: The International Journal of Research into New Media Technologies 25, no. 5-6 (2018): 970–84. http://dx.doi.org/10.1177/1354856518795095.

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Published in 1983, David Sudnow’s Pilgrim in the Microworld performs an autoethnographic analysis of videogames that details how he acquires the gestures and postures required by skilled videogame play. While often seen as a curious experiment in early videogame analysis, Sudnow points to a descriptive mode of evaluating videogames that sees the audiovisual and mechanic aspects as irreducibly constituting a holistic embodied experience of the videogame as played. This article highlights the interventions that Sudnow’s under-examined work can provide contemporary critical videogame scholarship

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Reed, Emilie. "‘I find this disgusting but I can’t help myself’." Science Fiction Film & Television: Volume 14, Issue 2 14, no. 2 (2021): 169–86. http://dx.doi.org/10.3828/sfftv.2021.12.

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This paper examines the narratives and themes present in two pieces of sf media about videogames: a 1991 Star Trek: The Next Generation episode entitled ‘The Game’ and David Cronenberg’s 1999 film eXistenZ. Both present a ‘moral panic’ narrative about videogames, using the futuristic imagery and technological speculation of the sf genre to explore contemporaneous concerns about the ability of videogames to manipulate the behaviour of players and shape their perceptions of reality. However, these narratives also mirror promotional claims used to market videogames, as well as foundational assert

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Schmalzer, Madison. "Breaking The Stack: Understanding Videogame Animation through Tool-Assisted Speedruns." Animation 16, no. 1-2 (2021): 64–82. http://dx.doi.org/10.1177/17468477211025661.

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This article examines the ways videogames become animated by looking at gaming practices that subvert traditional notions of play: specifically tool-assisted speedruns (TAS). A TAS is a playthrough of a videogame that is preprogrammed by a human so that the inputs can be automatically played back in full without a human operator. This practice requires an intimate knowledge of the inner workings of gaming systems, often to the point of productively breaking the games through glitches and exploits. These extreme practices give a unique insight into the ways animation occurs within videogames an

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Jayemanne, Darshana. "“Gaming and the Arts of Storytelling” Introduction." Arts 7, no. 4 (2018): 100. http://dx.doi.org/10.3390/arts7040100.

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Mochocki, Michał, and Raine Koskimaa. "Story beats in videogames as value-driven choice-based unit operations." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (2021): 5–31. http://dx.doi.org/10.14746/i.2021.38.01.

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We present a framework of story beats, defined as microunits of dramatic action, as a tool for the ludonarrative analysis of videogames. First, we explain the Goal - Action - Reaction - Outcome model of the story beat. Then, we present six types of story beats, Action, Interaction, Inaction, Mental, Emotion, and Sensory, providing videogame examples for each category. In the second half of the paper, we contextualise this framework in the classic game studies theory of videogame narrative and player action: unit operations, gamic action, anatomy of choice, and game design patterns, wrapping it

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6

Newman, James. "Playing (with) Videogames." Convergence: The International Journal of Research into New Media Technologies 11, no. 1 (2005): 48–67. http://dx.doi.org/10.1177/135485650501100105.

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Manero, Borja, Javier Torrente, Clara Fernández-Vara, and Baltasar Fernández-Manjón. "Investigating the impact of gaming habits, gender, and age on the effectiveness of an educational video game: An exploratory study." IEEE Transactions on Learning Technologies 10, no. 2 (2017): 236–46. https://doi.org/10.1109/TLT.2016.2572702.

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This study examines the influence of players’ age, gender and gaming preferences and habits (from now on, “gaming preferences”) on the effectiveness of a specific videogame that has been designed to increase the interest towards classical theater among teenagers. Using a validated instrument, participants were divided into four groups based on their gaming preferences: (1) Well-rounded gamers, who play all types of games often; (2) Hardcore players, who frequently tend to play first-person shooter (FPS) and sports games; (3) Casual players, who play moderately and tend to play music, social, a

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Liu, Xudong, Ven-hwei Lo, and Ran Wei. "Violent Videogames, Telepresence, Presumed Influence, and Support for Taking Restrictive and Protective Actions." SAGE Open 10, no. 2 (2020): 215824402091952. http://dx.doi.org/10.1177/2158244020919524.

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This study examines the perceived impact of violent videogames from an influence of presumed influence perspective. The role of perceived telepresence and the amount of time spent playing violent videogames in influencing people’s beliefs about the effects of such games were hypothesized and tested. Results of data collected from a random sample of 528 respondents in China showed that playing violent videogames was significantly related to perceived telepresence. Furthermore, perceived telepresence was found to be the strongest predictor of the presumed influence of violent videogames on other

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9

Spencer, Nicholas. "A Review of: “ScreenPlay: Cinema/Videogames/Interfaces”." Quarterly Review of Film and Video 22, no. 3 (2005): 288–92. http://dx.doi.org/10.1080/10509200490474834.

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10

CUDDY, LUKE. "The Art of Videogames by tavinor, grant." Journal of Aesthetics and Art Criticism 69, no. 4 (2011): 430–33. http://dx.doi.org/10.1111/j.1540-6245.2011.01485_8.x.

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11

Sloan, Robin J. S. "Videogames as Remediated Memories." Games and Culture 10, no. 6 (2015): 525–50. http://dx.doi.org/10.1177/1555412014565641.

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12

Will Brooker. "Camera-Eye, CG-Eye: Videogames and the “Cinematic”." Cinema Journal 48, no. 3 (2009): 122–28. http://dx.doi.org/10.1353/cj.0.0126.

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13

Wade, Alex. "The gunning man." Science Fiction Film & Television 15, no. 1 (2022): 61–79. http://dx.doi.org/10.3828/sfftv.2022.5.

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This paper examines the links and influences between the videogames of Eugene Jarvis and sf. Using Edwards’ “closed world” theoretical framework, this paper establishes the link between the cinematic and textual sf of the 1980s which queried and critiqued the position of the human in relation to new cybernetic technologies and Eugene Jarvis’s videogames, many of which are viewed as some of the most influential in the history of the medium. It is found that themes common to 1980s sf of improbable odds, hostile environments, and media and consumer saturation also run through Jarvis’s titles. The

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14

Bahia, Ana. "GAME DESIGN AT THE ART MUSEUM: THE NUBLA CASE OF EDUCATHYSSEN." Herança 6, no. 1 (2023): 53–68. http://dx.doi.org/10.29073/heranca.v6i1.681.

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O artigo discute um dos principais projetos do departamento educativo do Museu Nacional Thyssen-Bornemisza (Madri/ES): Nubla: Laboratorio de Arte, Educación y Videojuegos, projeto esboçado em 2013, que ganhou corpo entre 2015-2017 e segue em curso. Neste artigo, busca-se compreender o que define Nubla e de que forma diferencia-se dos jogos digitais criados pelo EducaThyssen anteriormente, desde 2001. Foram utilizados os procedimentos de: pesquisa exploratória, nas plataformas online da instituição, e revisão bibliográfica. Primeiramente, o artigo contextualiza e descreve o caso Nubla. Então, d

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Sweeting, James. "Playback: A Genealogy of 1980s British Videogames." Leonardo 51, no. 2 (2018): 201–3. http://dx.doi.org/10.1162/leon_r_01587.

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Escandell Montiel, Daniel, and Miriam Borham Puyal. "Villains and Vixens: The Representation of Female Vampires in Videogames." Oceánide 12 (February 9, 2020): 85–93. http://dx.doi.org/10.37668/oceanide.v12i.29.

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Vampires populate our culture and have become a recurrent presence in fiction and the media. In all cases the inclusion of the vampire has given voice to “socio-culture issues faced in particular times and places; issues that may otherwise remain repressed” (Dillon and Lundberg 2017, 47). This socio-cultural subtext is complicated when the vampire is female, for she is now doubly othered by her gender. Her monstrosity is seen as twofold: as a vampire and as a transgressive woman. While many studies address female vampires in popular culture, their portrayal in videogames has been recurrently o

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17

Molins-Ruano, P., C. Sevilla, S. Santini, P. A. Haya, P. Rodríguez, and G. M. Sacha. "Designing videogames to improve students' motivation." Computers in Human Behavior 31 (February 2014): 571–79. http://dx.doi.org/10.1016/j.chb.2013.06.013.

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18

MIKULA, MAJA. "Gender and Videogames: The political valency of Lara Croft." Continuum 17, no. 1 (2003): 79–87. http://dx.doi.org/10.1080/1030431022000049038.

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19

Sweeting, James. "Atari to Zelda: Japan’s Videogames in Global Contexts." Leonardo 50, no. 2 (2017): 213–15. http://dx.doi.org/10.1162/leon_r_01390.

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20

Egliston, Ben. "Quantified Play: Self-Tracking in Videogames." Games and Culture 15, no. 6 (2019): 707–29. http://dx.doi.org/10.1177/1555412019845983.

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This essay develops the concept of “quantified play” to describe and analyze the recent practice of self-tracking in the play of videogames. I argue that statistical, self-tracking utilities in videogames shape how gameplay “appears” and how it is experienced and valued by users. I proceed by situating contemporary self-tracking in games as part of a broader history of play as “quantified.” From there, drawing on interdisciplinary studies of self-tracking, as well as Bernard Stiegler’s postphenomenological analyses of technology, I characterize quantified play in three main ways. First, it is

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21

Smethurst, Tobi. "Playing Dead in Videogames: Trauma in Limbo." Journal of Popular Culture 48, no. 5 (2015): 817–35. http://dx.doi.org/10.1111/jpcu.12330.

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22

de Wildt, Lars, and Stef Aupers. "Playing the Other: Role-playing religion in videogames." European Journal of Cultural Studies 22, no. 5-6 (2018): 867–84. http://dx.doi.org/10.1177/1367549418790454.

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In contemporary ‘post-secular society’, videogames like Assassin’s Creed, BioShock Infinite or World of Warcraft are suffused with religious elements. Departing from a critique on studies perceiving such in-game representations as discriminatory forms of religious Othering, the main research question of this article is: how does role-playing the (non-)religious Other in games affect the worldview of players? The study is based on a qualitative analysis of in-depth interviews held with 20 international players from different (non-)religious backgrounds. Rather than seeing religion in games as r

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23

Krzywinska, Tanya. "Gaming Horror’s Horror: Representation, Regulation, and Affect in Survival Horror Videogames." Journal of Visual Culture 14, no. 3 (2015): 293–97. http://dx.doi.org/10.1177/1470412915607924.

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This position article outlines a personal perspective on the way that Horror games create affect in a complex play between representation and performance and that, in some cases, operate against the usual Vitruvian coordinates of games that are used in order to work with the types of affect associated with pleasure, agency and assuredness. The author argues that against the usual informative pleasures of self-affirmation and a clockwork universe, Horror games configured against normative game vocabularies have the potential to create a more complex form of ‘pleasure’ that is both complex and t

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24

García Sedano, Marcelino. "Arte y videojuegos. Reflexiones sobre lo lúdico, el arte y la tecnología en Asturias." Liño 23, no. 23 (2017): 175. http://dx.doi.org/10.17811/li.23.2017.175-184.

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RESUMEN:La apertura de LABoral Centro de Arte y Creación Industrial y el lanzamiento del primer festival sobre música electrónica experimental y artes visuales LEV Festival en el año 2007, coloca a Gijón y al Principado de Asturias en los puestos de cabeza de la reflexión y exhibición de las cuestiones relacionadas con la tecnocreatividad. Semejante despliegue institucional, arranca con fuerza y con propuestas arriesgadas, entre ellas, la programación de varias grandes exposiciones sobre la relación del videojuego y la cultura en el corto periodo de dos años. Lo que podría considerarse un deba

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25

Reynolds, Daniel. "LETTERS AND THE UNSEEN WOMAN." Film Quarterly 68, no. 1 (2014): 48–60. http://dx.doi.org/10.1525/fq.2014.68.1.48.

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This paper discusses three games that are characterized by what I call “epistolary architecture,” showing how the games use their spatial distribution of communicative acts to subvert the common videogame trope of the unseen woman. In his essay “Game Design as Narrative Architecture,” Henry Jenkins outlines how some games distribute narrative progression across space rather than time, so that arrival at a particular location will trigger an event in the game’s story. Gone Home (2013) and Dear Esther (2012) use similar techniques, but to markedly different effect, by distributing subjective acc

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26

de Castell, Suzanne, Hector Larios, and Jennifer Jenson. "Gender, videogames and navigation in virtual space." Acta Psychologica 199 (August 2019): 102895. http://dx.doi.org/10.1016/j.actpsy.2019.102895.

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27

Kirkland, Ewan. "Digital Zombies, Undead Stories: Narrative Emergence and Videogames, Lawrence May (2021)." Australasian Journal of Popular Culture 12, no. 2 (2023): 227–30. http://dx.doi.org/10.1386/ajpc_00081_5.

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Review of: Digital Zombies, Undead Stories: Narrative Emergence and Videogames, Lawrence May (2021) London: Bloomsbury Academic, 264 pp., ISBN 978-1-50136-354-2, h/bk, AUD 162 ISBN 978-1-50137-487-6, p/bk, AUD 53.99 ISBN 978-1-50136-354-9, e-book, AUD 43.19

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28

Maraffi, Christopher, Sascha Ishikawa, and Arnav Jhala. "Inferring Performer Skill from Aesthetic Quality Features in a Dance Game Gesture Corpus." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 2 (2021): 17–24. http://dx.doi.org/10.1609/aiide.v9i2.12585.

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In this paper, we describe experiments for inferring the artistic skill of performers by analyzing pose features in a gesture corpus. Poses were generated by having participants play a popular Kinect dance game in a markerless motion capture studio. Skeletal data was analyzed for features derived from both statistical analysis as well as arts and animation theory, and aesthetic metrics were designed to score pose features along three dimensions: balance,asymmetry, and readability. We applied our metrics to poses in a corpus of 10,080 annotated frames generated from 20 dance performances ranked

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29

Gass, Ari. "Review: The Counterfeit Coin: Videogames and Fantasies of Empowerment, by Christopher Goetz." Film Quarterly 77, no. 3 (2024): 105–6. http://dx.doi.org/10.1525/fq.2024.77.3.105.

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30

Ibarra, Álvaro. "Ancient Greece and Rome in Videogames: Representation, Play, Transmedia." Mediterranean Studies 30, no. 1 (2022): 131–34. http://dx.doi.org/10.5325/mediterraneanstu.30.1.0131.

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31

Hannah Gerber and Abrams, Sandra Schamroth. "Videogames in the Classroom: Why One-Size Does not Fit all in the English Language Arts Classroom." STEM Journal 16, no. 2 (2015): 123–36. http://dx.doi.org/10.16875/stem.2015.16.2.123.

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32

Swinkels, Lieke M. J., Harm Veling, and Hein T. van Schie. "Playing videogames is associated with reduced awareness of bodily sensations." Computers in Human Behavior 125 (December 2021): 106953. http://dx.doi.org/10.1016/j.chb.2021.106953.

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33

González-González, Carina, Pedro Toledo-Delgado, Cesar Collazos-Ordoñez, and José L. González-Sánchez. "Design and analysis of collaborative interactions in social educational videogames." Computers in Human Behavior 31 (February 2014): 602–11. http://dx.doi.org/10.1016/j.chb.2013.06.039.

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34

Castiñeiras López, Javier. "Game Studies. Methodological Approaches from the History of Medieval Art." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 9 (October 15, 2021): 419–40. http://dx.doi.org/10.5944/etfvii.9.2021.31815.

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This article presents an updated state of the art about the relation of videogames with the cultural sphere and the historical disciplines. Specifically, we will try to address the role that the History of Medieval Art can play in the analysis and assessment of these cultural objects from a double way defined, on one side, by the historical Middle Ages and, on the other side, by the recreated medioevo. The Assassins Creed saga and titles as Bloodborne or A Plague Tale: Innocence, offer very particular visions of medieval and neomedieval architecture, all of them likely to be part of the cannon

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35

Spokes, Matthew. "The Democratic People’s Republic of Korea, Procedural Rhetoric and the Military-Entertainment Complex: Two Case Studies from the War on Terror." Media, War & Conflict 13, no. 2 (2019): 153–69. http://dx.doi.org/10.1177/1750635219828761.

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This article explores how the Democratic People’s Republic of North Korea is represented in video games developed and played during the height of the War on Terror. Drawing on Šisler’s article, ‘Digital Arabs: Representation in video games’ (2008) and Robinson’s articles ‘Videogames, persuasion and the War on Terror: Escaping or embedding the military-entertainment complex? (2012) and ‘Have you won the war on terror? Military videogames and the state of American exceptionalism’ (2015), this article explores two case studies Tom Clancy’s Splinter Cell: Chaos Theory (2005) and Tom Clancy’s Ghost

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36

Johnson, Daniel, Madison Klarkowski, Kellie Vella, Cody Phillips, Mitchell McEwan, and Christopher N. Watling. "Greater rewards in videogames lead to more presence, enjoyment and effort." Computers in Human Behavior 87 (October 2018): 66–74. http://dx.doi.org/10.1016/j.chb.2018.05.025.

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37

Turel, Ofir. "Videogames and guns in adolescents: T ests of a bipartite theory." Computers in Human Behavior 109 (August 2020): 106355. http://dx.doi.org/10.1016/j.chb.2020.106355.

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38

De Oliveira Milantoni, Luanna, and Ilka Oliveira Mota. "A cidade e o meio ambiente em jogos digitais." Cadernos UniFOA 17, no. 50 (2022): 1–13. http://dx.doi.org/10.47385/cadunifoa.v17.n50.3982.

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Para além de mero objeto de entretenimento, os jogos digitais têm sido uma fonte profícua para a compreensão das imagens produzidas sobre a cidade e o meio ambiente. O presente trabalho analisou as representações sobre o meio ambiente e a cidade em dois videogames, The Sims e Cities Skylines, a partir da seleção e recorte de cenas representativas do tema em questão. Para isso, a pesquisa apoiou-se nos estudos sobre a Educação Ambiental e o campo discursivo do digital. Embora ambos os jogos digitais abordem questões relativas ao meio ambiente e à cidade a partir de um viés sustentável, neles, n

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Carr, Diane. "Game On: The Culture and History of Videogames (May-September 2002, London; October 2002-February 2003, Edinburgh)." Visual Communication 2, no. 2 (2003): 163–68. http://dx.doi.org/10.1177/1470357203002002002.

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40

Szolin, Kim, Daria Kuss, Filip Nuyens, and Mark Griffiths. "Gaming Disorder: A systematic review exploring the user-avatar relationship in videogames." Computers in Human Behavior 128 (March 2022): 107124. http://dx.doi.org/10.1016/j.chb.2021.107124.

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41

Alfred, Ndi. "Rethinking Video Games in Critical Discourse: Re-Visiting Intersections of the ICT Hypertext and Artistic Consumption." International Journal of Information Technology 3, no. 12 (2020): 21–29. https://doi.org/10.5281/zenodo.3685715.

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This paper set out to investigate the critical environment of videogames not merely as technology but also as art. Departing from the premise that functionalist readings of videogames say little about the evolution of the technology in its critical environment, it applied a de Certeaurian critical paradigm and came up with certain findings. As a digital technology, the videogame has been subject to new definitional considerations; it is a new agency of production, consumption and distribution of digital goods and services, sharing, communication, interaction, and socialization. Beyond technolo

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Kagen, Melissa. "Archival adventuring." Convergence: The International Journal of Research into New Media Technologies 26, no. 4 (2019): 1007–20. http://dx.doi.org/10.1177/1354856519847875.

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This article describes the ‘archival adventure’ mechanic, in which players assemble a story by piecing it together from the archival memorabilia left behind. I compare the use of this mechanic in immersive performances and videogames, analyzing Meow Wolf’s House of Eternal Return (2016–present) and Giant Sparrow’s What Remains of Edith Finch (2017) to argue that an archival adventure’s sense of liveness is created by a player, who arrives not to complete an extant story but to confound it with the confusing messiness of life. I lay out the conundrum of the archival – a concept associated with

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Alves Fernandes, Luís Miguel, Gonçalo Cruz Matos, Diogo Azevedo, et al. "Exploring educational immersive videogames: an empirical study with a 3D multimodal interaction prototype." Behaviour & Information Technology 35, no. 11 (2016): 907–18. http://dx.doi.org/10.1080/0144929x.2016.1232754.

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Crawford, Garry. "Is it in the Game? Reconsidering Play Spaces, Game Definitions, Theming, and Sports Videogames." Games and Culture 10, no. 6 (2015): 571–92. http://dx.doi.org/10.1177/1555412014566235.

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Davies, Hugh, and Zhuying Li. "Travel Frog: Traversing cultural borders with mobile games." Convergence: The International Journal of Research into New Media Technologies 26, no. 5-6 (2019): 1194–210. http://dx.doi.org/10.1177/1354856519856619.

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This study concerns the Japanese mobile game Tabi Kaeru (2017), ‘旅かえる’, or Travel Frog as it is known in English. We explore Travel Frog’s astonishing success in China in early 2018 despite no marketing campaign or Chinese localization of this Japanese language game. First outlining the game and its development, we then trace its reception in Chinese and Western social media and its popularity among Chinese players. Combining comparative media and digital ethnographic methodologies, we explore the role of Internet influencers and investigate North Asian cultural commonalities such as Buddhist

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46

Kropyvko, I. "Fantasy in Ukraine: an in-action cultural tradition." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 16, no. 28 (2023): 127–39. http://dx.doi.org/10.34079/2226-3055-2023-16-28-127-139.

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Fantasy as a metagenre exists in many (art and non-art) forms, due to which scholars refer to it as a symbol of broad modern cultural development (O. Manakhov). Fantasy enhances the magicization of the real world and creates the secondary, non-existing one; it pushes numerous amateurs toward artistic self-implementation, unites the experts in various fields in their shared attempt to explore and create fantasy worlds, to arrange their life space. Fantasy as an in-action cultural tradition has not yet been interpretated as separate research; however, certain issues are regularly raised. Modern

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47

Reinhard, CarrieLynn D., and Brenda Dervin. "Comparing situated sense-making processes in virtual worlds." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (2012): 27–48. http://dx.doi.org/10.1177/1354856511419914.

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What happens when a person engages with a virtual world? Are there unique processes of engagings that occur? One approach to understanding how a person makes sense of a virtual world is to compare the engaging processes with other media technologies, focusing on situated performative and interpretive sense-makings. This article reports on a study conducted to compare how novices make sense of four media technologies: film, console videogames, massively multiplayer online role-playing games, and social virtual worlds. Using Dervin’s Sense-Making Methodology (SMM) and our conceptualization of me

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48

Wilson, Jason A. "Reviews : Geoff King and Tania Krzywinska (eds), ScreenPlay: cinema/videogames/inferfaces (London: Wallflower Press, 2002), 230pp. ISBN 1-903364-23-X." Convergence: The International Journal of Research into New Media Technologies 11, no. 1 (2005): 116–19. http://dx.doi.org/10.1177/135485650501100110.

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Bingham, Christopher M. "Talking about Twitch: Dropped Frames and a normative theory of new media production." Convergence: The International Journal of Research into New Media Technologies 26, no. 2 (2017): 269–86. http://dx.doi.org/10.1177/1354856517736974.

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Twitch is an online video distribution platform that allows users to broadcast live video of themselves playing videogames. This distribution infrastructure includes features that allow viewers to financially support their favorite Twitch streamers, creating a new type of media professional: the entrepreneurial Twitch streamer. Like other professionals, Twitch streamers meet regularly to discuss the profession and business of live streaming. This article applies critical discourse analysis to one such venue for insider dialogue on professional Twitch streaming: the weekly talk show, Dropped Fr

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Cervigón-Carrasco, Verónica, Laimi Schulze-Steinen, Rafael Ballester-Arnal, et al. "Attentional inhibitory control interference related to videogames, pornography, and TV series exposure: An experimental study in three independent samples." Computers in Human Behavior 143 (June 2023): 107683. http://dx.doi.org/10.1016/j.chb.2023.107683.

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