skip to main content
research-article
Open Access

"My Soul Got a Little Bit Cleaner": Art Experience in Videogames

Published:06 October 2021Publication History
Skip Abstract Section

Abstract

Videogames receive increasing acclaim as a medium capable of artistic expression, emotional resonance, and even transformative potential. Yet while discussions concerning the status of games as art have a long history in games research, little is known about the player experience (PX) of games as art, their emotional characteristics, and what impact they may have on players. Drawing from Empirical Aesthetics, we surveyed 174 people about whether they had an art experience with videogames and what emotions they experienced. Our findings showcase the prominence of epistemic emotions for videogame art experiences, beyond the negative and mixed emotional responses previously examined, as well as the range of personal impacts such experiences may have. These findings are consistent with art experience phenomena characteristic of other art forms. Moreover, we discuss how our study relates to prior research on emotions and reflection in PX, the importance of games' representational qualities in art experiences, and identify lines of further inquiry. All data, study materials, and analyses are available at https://osf.io/ryvt6/.

Skip Supplemental Material Section

Supplemental Material

References

  1. Jonne Arjoranta. 2018. Interpretive Challenges in Games. In Proceedings of Digital Games Research Association (DiGRA) 2018. SocArXiv, 1--4.Google ScholarGoogle ScholarCross RefCross Ref
  2. Chris Bateman. 2014. Empirical game aesthetics. Handbook of digital games (2014), 411--443. https://doi.org/10.1002/9781118796443.ch15Google ScholarGoogle Scholar
  3. Julia Ayumi Bopp, Elisa D Mekler, and Klaus Opwis. 2016. Negative Emotion, Positive Experience?: Emotionally Moving Moments in Digital Games. In Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems. ACM, 2996--3006. https://doi.org/10.1145/2858036.2858227Google ScholarGoogle ScholarDigital LibraryDigital Library
  4. Julia Ayumi Bopp, Livia J. Müller, Lena Fanya Aeschbach, Klaus Opwis, and Elisa D. Mekler. 2019. Exploring Emotional Attachment to Game Characters. In Proceedings of the Annual Symposium on Computer-Human Interaction in Play (Barcelona, Spain) (CHI PLAY '19). Association for Computing Machinery, New York, NY, USA, 313--324. https://doi.org/10.1145/3311350.3347169Google ScholarGoogle Scholar
  5. Julia Ayumi Bopp, Klaus Opwis, and Elisa D Mekler. 2018. "An Odd Kind of Pleasure": Differentiating Emotional Challenge in Digital Games. In Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems. ACM, 41. https://doi.org/10.1145/3173574.3173615Google ScholarGoogle ScholarDigital LibraryDigital Library
  6. Jürgen Bortz and Nicola Döring. 2007. Forschungsmethoden und Evaluation für Human- und Sozialwissenschaftler: Limitierte Sonderausgabe 4th ed.). Springer-Verlag. Google-Books-ID: 13GbPUYAUHsC.Google ScholarGoogle Scholar
  7. Virginia Braun and Victoria Clarke. 2006. Using thematic analysis in psychology. Qualitative research in psychology , Vol. 3, 2 (2006), 77--101. https://doi.org/10.1191/1478088706qp063oaGoogle ScholarGoogle Scholar
  8. Virginia Braun and Victoria Clarke. 2019. To saturate or not to saturate? Questioning data saturation as a useful concept for thematic analysis and sample-size rationales. Qualitative Research in Sport, Exercise and Health (2019), 1--16. https://doi.org/10.1080/2159676X.2019.1704846Google ScholarGoogle Scholar
  9. Virginia Braun and Victoria Clarke. 2020. One size fits all? What counts as quality practice in (reflexive) thematic analysis? Qualitative Research in Psychology (2020), 1--25. https://doi.org/10.1080/14780887.2020.1769238Google ScholarGoogle Scholar
  10. British Academy of Film and Television Arts. 2013. Games -- Artistic Achievement in 2013. http://awards.bafta.org/award/2013/games/artistic-achievement, Last accessed on 2020-06-08.Google ScholarGoogle Scholar
  11. British Academy of Film and Television Arts. 2018. Games -- Artistic Achievement in 2018. http://awards.bafta.org/award/2018/games/artistic-achievement, Last accessed on 2020-06-08.Google ScholarGoogle Scholar
  12. John L Campbell, Charles Quincy, Jordan Osserman, and Ove K Pedersen. 2013. Coding in-depth semistructured interviews: Problems of unitization and intercoder reliability and agreement. Sociological Methods & Research , Vol. 42, 3 (2013), 294--320. https://doi.org/10.1177/0049124113500475Google ScholarGoogle ScholarCross RefCross Ref
  13. Tom Cole, Paul Cairns, and Marco Gillies. 2015. Emotional and Functional Challenge in Core and Avant-garde Games. In CHI PLAY '15. ACM, 121--126. https://doi.org/10.1145/2793107.2793147Google ScholarGoogle Scholar
  14. Tom Cole and Marco Gillies. 2019. Thinking and Doing: Challenge, Agency, and the Eudaimonic Experience in Video Games. Games and Culture (2019), 1555412019881536. https://doi.org/10.1177/1555412019881536Google ScholarGoogle Scholar
  15. Katherine N Cotter, Alyssa N Prince, Alexander P Christensen, and Paul J Silvia. 2019. Feeling like crying when listening to music: Exploring musical and contextual features. Empirical Studies of the Arts , Vol. 37, 2 (2019), 119--137. https://doi.org/10.1177/0276237418805692Google ScholarGoogle ScholarCross RefCross Ref
  16. Katherine N Cotter, Paul J Silvia, and Kirill Fayn. 2018. What does feeling like crying when listening to music feel like? Psychology of Aesthetics, Creativity, and the Arts , Vol. 12, 2 (2018), 216. https://doi.org/10.1037/aca0000108Google ScholarGoogle ScholarCross RefCross Ref
  17. Rui Craveirinha and Lic'inio Roque. 2010. Looking for the Heart of Interactive Media: Reflections on Video Games' Emotional Expression. In Proceedings of the 3rd International Conference on Fun and Games (Leuven, Belgium) (Fun and Games '10). Association for Computing Machinery, New York, NY, USA, 8--17. https://doi.org/10.1145/1823818.1823819Google ScholarGoogle ScholarDigital LibraryDigital Library
  18. Rui Craveirinha and Licinio Roque. 2019. Impact of Game Elements in Players Artistic Experience. In Extended Abstracts of the 2019 CHI Conference on Human Factors in Computing Systems. 1--6. https://doi.org/10.1145/3290607.3313049Google ScholarGoogle Scholar
  19. Rowan Daneels, Nicholas D Bowman, Daniel Possler, and Elisa D Mekler. 2021. The "eudaimonic experience': A scoping review of the concept in digital games research. Media and Communication , Vol. 9, 2 (2021), 178--190.Google ScholarGoogle ScholarCross RefCross Ref
  20. Davis, Kendall Deacon. 2017. Can a Computer Make You Cry? https://medium.com/bestcompany/can-a-computer-make-you-cry-afc76bd27784, Last accessed on 2021-01--26.Google ScholarGoogle Scholar
  21. John Dewey. 2005. Art as experience .Penguin.Google ScholarGoogle Scholar
  22. Keith Diefendorff. 1999. Sony's Emotionally Charged Chip . Microprocessor report , Vol. 13, 5 (1999), 1--6.Google ScholarGoogle Scholar
  23. Pierre Dragicevic. 2016. Fair Statistical Communication in HCI . In Modern Statistical Methods for HCI . 291--330. https://doi.org/10.1007/978--3--319--26633--6_13 arxiv: arXiv:1011.1669v3Google ScholarGoogle Scholar
  24. Denis Dutton. 2006. A naturalist definition of art. The Journal of Aesthetics and Art Criticism , Vol. 64, 3 (2006), 367--377.Google ScholarGoogle ScholarCross RefCross Ref
  25. Kirill Fayn, Paul J Silvia, Yasemin Erbas, Niko Tiliopoulos, and Peter Kuppens. 2018. Nuanced aesthetic emotions: Emotion differentiation is related to knowledge of the arts and curiosity. Cognition and Emotion , Vol. 32, 3 (2018), 593--599. https://doi.org/10.1080/02699931.2017.1322554Google ScholarGoogle ScholarCross RefCross Ref
  26. Alan Page Fiske, Beate Seibt, and Thomas Schubert. 2019. The sudden devotion emotion: Kama muta and the cultural practices whose function is to evoke it. Emotion Review , Vol. 11, 1 (2019), 74--86. https://doi.org/10.1177/1754073917723167Google ScholarGoogle ScholarCross RefCross Ref
  27. Alf Gabrielsson and Siv Lindström Wik. 2003. Strong experiences related to music: adescriptive system. Musicae scientiae , Vol. 7, 2 (2003), 157--217. https://doi.org/10.1177/102986490300700201Google ScholarGoogle Scholar
  28. Berys Gaut. 2000. "Art'as a Cluster Concept. Theories of Art Today (2000), 25--44.Google ScholarGoogle Scholar
  29. Chad Phoenix Rose Gowler and Ioanna Iacovides. 2019. "Horror, guilt and shame"--Uncomfortable Experiences in Digital Games. In Proceedings of the Annual Symposium on Computer-Human Interaction in Play . 325--337. https://doi.org/10.1145/3311350.3347179Google ScholarGoogle ScholarDigital LibraryDigital Library
  30. Julian Hanich, Valentin Wagner, Mira Shah, Thomas Jacobsen, and Winfried Menninghaus. 2014. Why we like to watch sad films. The pleasure of being moved in aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts , Vol. 8, 2 (2014), 130. https://doi.org/10.1037/a0035690Google ScholarGoogle ScholarCross RefCross Ref
  31. Houlden, Sophie. 2012. Can Art be Games? https://sophiehoulden.com/can-art-be-games/, Last accessed on 2021-01--27.Google ScholarGoogle Scholar
  32. Wijnand A IJsselsteijn, Yvonne AW de Kort, and Karolien Poels. 2013. The game experience questionnaire. Eindhoven: Technische Universiteit Eindhoven , Vol. 46, 1 (2013).Google ScholarGoogle Scholar
  33. Katherine Isbister. 2016. How games move us: Emotion by design .Mit Press.Google ScholarGoogle ScholarDigital LibraryDigital Library
  34. Henry Jenkins. 2005. Games, the new lively art . In Handbook of computer game studies . IEEE Comput. Soc, 175--189. https://doi.org/10.1109/MASCOT.2002.1167092Google ScholarGoogle Scholar
  35. Bryan Jenner, Uwe Flick, Ernst von Kardoff, and Ines Steinke. 2004. A companion to qualitative research .Sage.Google ScholarGoogle Scholar
  36. Rilla Khaled. 2018. Questions over answers: Reflective game design. In Playful disruption of digital media . Springer, 3--27.Google ScholarGoogle Scholar
  37. Kroll, Jack. 2000. Emotion Engine? I Don't Think So. https://www.newsweek.com/emotion-engine-i-dont-think-so-156675, Last accessed on 2021-02--14.Google ScholarGoogle Scholar
  38. Shringi Kumari, Sebastian Deterding, and Jonathan Freeman. 2019. The Role of Uncertainty in Moment-to-Moment Player Motivation: A Grounded Theory. In Proceedings of the Annual Symposium on Computer-Human Interaction in Play . 351--363. https://doi.org/10.1145/3311350.3347148Google ScholarGoogle ScholarDigital LibraryDigital Library
  39. Karen S Kurasaki. 2000. Intercoder reliability for validating conclusions drawn from open-ended interview data. Field methods , Vol. 12, 3 (2000), 179--194. https://doi.org/10.1177/1525822X0001200301Google ScholarGoogle Scholar
  40. Helmut Leder and Marcos Nadal. 2014. Ten years of a model of aesthetic appreciation and aesthetic judgments : The aesthetic episode - Developments and challenges in empirical aesthetics. British Journal of Psychology , Vol. 105, 4 (Nov. 2014), 443--464. https://doi.org/10.1111/bjop.12084Google ScholarGoogle ScholarCross RefCross Ref
  41. Limesurvey GmbH. 2020. LimeSurvey .Google ScholarGoogle Scholar
  42. Kirsti Malterud, Volkert Dirk Siersma, and Ann Dorrit Guassora. 2016. Sample size in qualitative interview studies: guided by information power. Qualitative health research , Vol. 26, 13 (2016), 1753--1760. https://doi.org/10.1177/1049732315617444Google ScholarGoogle Scholar
  43. Tim Marsh and Brigid Costello. 2013. Lingering serious experience as trigger to raise awareness, encourage reflection and change behavior. In International Conference on Persuasive Technology. Springer, 116--124. https://doi.org/10.1007/978--3--642--37157--8_15Google ScholarGoogle ScholarDigital LibraryDigital Library
  44. Elisa D Mekler, Ioanna Iacovides, and Julia Ayumi Bopp. 2018. "A Game that Makes You Question..." Exploring the Role of Reflection for the Player Experience. In Proceedings of the 2018 Annual Symposium on Computer-Human Interaction in Play. 315--327. https://doi.org/10.1145/3242671.3242691Google ScholarGoogle ScholarDigital LibraryDigital Library
  45. Winfried Menninghaus, Valentin Wagner, Julian Hanich, Eugen Wassiliwizky, Milena Kuehnast, and Thomas Jacobsen. 2015. Towards a psychological construct of being moved. PloS one , Vol. 10, 6 (2015), e0128451. https://doi.org/10.1371/journal.pone.0128451Google ScholarGoogle ScholarCross RefCross Ref
  46. Winfried Menninghaus, Valentin Wagner, Eugen Wassiliwizky, Ines Schindler, Julian Hanich, Thomas Jacobsen, and Stefan Koelsch. 2019. What are aesthetic emotions? Psychological review , Vol. 126, 2 (2019), 171. https://doi.org/10.1037/rev0000135Google ScholarGoogle Scholar
  47. Katharine Neil. 2007. My game in your gallery? the user manual (2007).Google ScholarGoogle Scholar
  48. C. Thi Nguyen. 2020. Games: Agency As Art 1 ed.). Oxford University Press. https://doi.org/10.1093/oso/9780190052089.001.0001Google ScholarGoogle ScholarCross RefCross Ref
  49. Niedenthal, Simon. 2009. What We Talk About When We Talk About Game Aesthetics. Digital Games Research Association (DiGRA) Online Library. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-11023, Last accessed on 2021-02-08.Google ScholarGoogle Scholar
  50. Ninja Theory. 2017. Hellblade: Senua's Sacrifice . Videogame [Multiplatform]. Ninja Theory, Cambridge, England.Google ScholarGoogle Scholar
  51. Karen Nylund-Gibson and Andrew Young Choi. 2018. Ten frequently asked questions about latent class analysis. Translational Issues in Psychological Science , Vol. 4, 4 (2018), 440. https://doi.org/10.1037/tps0000176Google ScholarGoogle ScholarCross RefCross Ref
  52. Mary Beth Oliver and Tilo Hartmann. 2010. Exploring the role of meaningful experiences in users' appreciation of "good movies". Projections , Vol. 4, 2 (2010), 128--150. https://doi.org/10.3167/proj.2010.040208Google ScholarGoogle ScholarCross RefCross Ref
  53. Felan Parker. 2018. Roger Ebert and the Games-as-Art Debate . Cinema Journal 3 (2018), 25. https://doi.org/10.1353/cj.2018.0032Google ScholarGoogle Scholar
  54. J. R. Parker. 2013. Games are art: Video games as theatrical performance. In 2013 IEEE International Games Innovation Conference (IGIC). IEEE, Vancouver, BC, Canada, 203--208. https://doi.org/10.1109/IGIC.2013.6659148Google ScholarGoogle ScholarCross RefCross Ref
  55. Matthew Pelowski and Fuminori Akiba. 2011. A model of art perception, evaluation and emotion in transformative aesthetic experience. New Ideas in Psychology , Vol. 29, 2 (2011), 80--97. https://doi.org/10.1016/j.newideapsych.2010.04.001Google ScholarGoogle ScholarCross RefCross Ref
  56. Matthew Pelowski, Michael Forster, Pablo P. L. Tinio, Maria Scholl, and Helmut Leder. 2017a. Beyond the lab: An examination of key factors influencing interaction with "real' and museum-based art. Psychology of Aesthetics, Creativity, and the Arts , Vol. 11, 3 (Aug. 2017), 245--264. https://doi.org/10.1037/aca0000141Google ScholarGoogle ScholarCross RefCross Ref
  57. Matthew Pelowski, Young-Jin Hur, Katherine N Cotter, Tomohiro Ishizu, Alexander P Christensen, Helmut Leder, and IC McManus. 2019. Quantifying the if, the when, and the what of the sublime: A survey and latent class analysis of incidence, emotions, and distinct varieties of personal sublime experiences. Psychology of Aesthetics, Creativity, and the Arts (2019). https://doi.org/10.1037/aca0000273Google ScholarGoogle Scholar
  58. Matthew Pelowski, Patrick S Markey, Michael Forster, Gernot Gerger, and Helmut Leder. 2017b. Move me, astonish me? delight my eyes and brain: The Vienna integrated model of top-down and bottom-up processes in art perception (VIMAP) and corresponding affective, evaluative, and neurophysiological correlates. Physics of Life Reviews , Vol. 21 (2017), 80--125. https://doi.org/10.1016/j.plrev.2017.02.003Google ScholarGoogle ScholarCross RefCross Ref
  59. Matthew John Pelowski. 2015. Tears and transformation: Feeling like crying as an indicator of insightful or "aesthetic" experience with art. Frontiers in Psychology , Vol. 6 (2015), 1006. https://doi.org/10.3389/fpsyg.2015.01006Google ScholarGoogle ScholarCross RefCross Ref
  60. Xiaolan Peng, Jin Huang, Alena Denisova, Hui Chen, Feng Tian, and Hongan Wang. 2020. A Palette of Deepened Emotions: Exploring Emotional Challenge in Virtual Reality Games. In Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems. ACM, 94. https://doi.org/10.1145/3313831.3376221Google ScholarGoogle ScholarDigital LibraryDigital Library
  61. Pippin Barr. 2011. The Artist Is Present . Videogame [Browser]. Pippin Barr, Montréal, Canada.Google ScholarGoogle Scholar
  62. Pippin Barr. 2020. The Artist Is Present 2 . Videogame [Browser]. Pippin Barr, Montréal, Canada.Google ScholarGoogle Scholar
  63. Doris C. Rusch. 2017. Making deep games: designing games with meaning and purpose .CRC Press, Taylor & Francis Group, an Informa business, Boca Raton, FL.Google ScholarGoogle Scholar
  64. Doris C Rusch and Andrew M Phelps. 2020. Existential Transformational Game Design: Harnessing the "Psychomagic" of Symbolic Enactment. Frontiers in Psychology , Vol. 11 (2020), 3021. https://doi.org/10.3389/fpsyg.2020.571522Google ScholarGoogle ScholarCross RefCross Ref
  65. Mike Schaekermann, Giovanni Ribeiro, Guenter Wallner, Simone Kriglstein, Daniel Johnson, Anders Drachen, Rafet Sifa, and Lennart E Nacke. 2017. Curiously Motivated: Profiling Curiosity with Self-Reports and Behaviour Metrics in the Game" Destiny". In Proceedings of the Annual Symposium on Computer-Human Interaction in Play. 143--156. https://doi.org/10.1145/3116595.3116603Google ScholarGoogle ScholarDigital LibraryDigital Library
  66. Ines Schindler, Georg Hosoya, Winfried Menninghaus, Ursula Beermann, Valentin Wagner, Michael Eid, and Klaus R Scherer. 2017. Measuring aesthetic emotions: A review of the literature and a new assessment tool. PLoS One , Vol. 12, 6 (2017), e0178899. https://doi.org/10.1371/journal.pone.0178899Google ScholarGoogle ScholarCross RefCross Ref
  67. John Sharp. 2015. Works of game: On the aesthetics of games and art .mit Press.Google ScholarGoogle Scholar
  68. Aleksandra Sherman and Clair Morrissey. 2017. What is art good for? the socio-epistemic value of art. Frontiers in Human Neuroscience , Vol. 11 (2017), 411. https://doi.org/10.3389/fnhum.2017.00411Google ScholarGoogle ScholarCross RefCross Ref
  69. Eugénie Shinkle. 2005. Feel It, Don't Think: the Significance of Affect in the Study of Digital Games . Digital Games Research Association (DiGRA) 2005: Changing Views: Worlds in Play (2005), 7.Google ScholarGoogle Scholar
  70. Paul J. Silvia. 2010. Confusion and interest: The role of knowledge emotions in aesthetic experience. Psychology of Aesthetics, Creativity, and the Arts , Vol. 4, 2 (2010), 75--80. https://doi.org/10.1037/a0017081Google ScholarGoogle ScholarCross RefCross Ref
  71. Martin Skov and Marcos Nadal. 2020. A farewell to art: Aesthetics as a topic in psychology and neuroscience. Perspectives on Psychological Science , Vol. 15, 3 (2020), 630--642. https://doi.org/10.1177/1745691619897963Google ScholarGoogle ScholarCross RefCross Ref
  72. Smithsonian American Art Museum. 2012. The Art of Video Games. https://americanart.si.edu/exhibitions/games, Last accessed on 2021-02--14.Google ScholarGoogle Scholar
  73. Aaron Smuts. 2005. Are Video Games Art? Contemporary Aesthetics , Vol. 3, 1 (2005), 6.Google ScholarGoogle Scholar
  74. Eva Specker, Michael Forster, Hanna Brinkmann, Jane Boddy, Matthew Pelowski, Raphael Rosenberg, and Helmut Leder. 2018. The Vienna Art Interest and Art Knowledge Questionnaire (VAIAK): A Unified and Validated Measure of Art Interest and Art Knowledge . Psychology of Aesthetics, Creativity, and the Arts October (Oct. 2018). https://doi.org/10.1037/aca0000205Google ScholarGoogle Scholar
  75. Steve Swink. 2008. Game feel: a game designer's guide to virtual sensation .CRC Press.Google ScholarGoogle Scholar
  76. Grant Tavinor. 2009. The art of videogames .John Wiley & Sons.Google ScholarGoogle Scholar
  77. thatgamecompany. 2012. Journey . Videogame [Multiplatform]. Sony Interactive Entertainment, Tokyo, Japan.Google ScholarGoogle Scholar
  78. Alexandra To, Safinah Ali, Geoff F Kaufman, and Jessica Hammer. 2016. Integrating Curiosity and Uncertainty in Game Design.. In Proceedings of the First International Joint Conference of Digital Games Research Association and Foundations of Digital Games .Google ScholarGoogle Scholar
  79. Alexandre N. Tuch and Kasper Hornbæk. 2015. Does Herzberg's Notion of Hygienes and Motivators Apply to User Experience? ACM Trans. Comput.-Hum. Interact. , Vol. 22, 4, Article 16 (June 2015), bibinfonumpages24 pages. https://doi.org/10.1145/2724710Google ScholarGoogle ScholarDigital LibraryDigital Library
  80. April Tyack and Elisa D. Mekler. 2021. Off-Peak: An Examination of Ordinary Player Experience. In Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems (Yokohama, Japan) (CHI '21). Association for Computing Machinery, New York, NY, USA, Article 115, bibinfonumpages12 pages. https://doi.org/10.1145/3411764.3445230Google ScholarGoogle Scholar
  81. Jan B Vornhagen, April Tyack, and Elisa D Mekler. 2020. Statistical Significance Testing at CHI PLAY: Challenges and Opportunities for More Transparency. In Proceedings of the Annual Symposium on Computer-Human Interaction in Play. 4--18. https://doi.org/10.1145/3410404.3414229Google ScholarGoogle ScholarDigital LibraryDigital Library
  82. Jonna K Vuoskoski and Tuomas Eerola. 2017. The pleasure evoked by sad music is mediated by feelings of being moved. Frontiers in psychology , Vol. 8 (2017), 439. https://doi.org/10.3389/fpsyg.2017.00439Google ScholarGoogle Scholar
  83. Ge Wang. 2018. Artful Design: Technology in Search of the Sublime, A MusiComic Manifesto .Stanford University Press.Google ScholarGoogle Scholar
  84. Matthew Alexander Whitby, Sebastian Deterding, and Ioanna Iacovides. 2019. "One of the baddies all along" Moments that Challenge a Player's Perspective. In Proceedings of the Annual Symposium on Computer-Human Interaction in Play . 339--350. https://doi.org/10.1145/3311350.3347192Google ScholarGoogle ScholarDigital LibraryDigital Library

Index Terms

  1. "My Soul Got a Little Bit Cleaner": Art Experience in Videogames

        Recommendations

        Comments

        Login options

        Check if you have access through your login credentials or your institution to get full access on this article.

        Sign in

        Full Access

        PDF Format

        View or Download as a PDF file.

        PDF

        eReader

        View online with eReader.

        eReader
        About Cookies On This Site

        We use cookies to ensure that we give you the best experience on our website.

        Learn more

        Got it!