A discussion of Aaron's recent book chapter

Abstract

There is considerable discourse regarding the status of video games as an artform, a narrative art, a form of play, or any combination of the preceding, and many have turned to literature from film, animation, game, and media studies to further these claims. When considering approaches to teaching arts multiliteracies, these ideas of video games as arts, narratives, and/or sites of play can serve to further pedagogical goals.

This chapter explores three approaches for teaching arts multiliteracies via video games: teaching around, alongside, or through video games, where video games are either physically absent, directly utilized, or created as learning. Methods explored within these approaches include gamification and game-based pedagogy, game-inspired student works, community field trips to video game performances/exhibitions, edutainment games, video games which serve as an artistic medium, demonstrations, immersive “real-world” video game production programs, game designs toward social justice, and interdisciplinary collaborative opportunities in video game creation.

Price, A. (2025). Video games are art: Teaching arts multiliteracies around, alongside, and through video games. In B. Peters (Ed.), Arts-based multiliteracies for teaching and learning (pp. 185-208). IGI Global.  https://doi.org/10.4018/979-8-3693-3184-2.ch007

This paper has been presented at the North American Conference for Video Game Music (Ithaca College), Ludomusicology2020: Ninth European Conference on Video Game Music (University of Malta), and Music and the Moving Image Conference (NYU).

Abstract

In role-playing games (RPGs) many players repetitively battle enemies in order to advance their characters, a process often referred to as grinding. While grinding, players will hear the same combat music hundreds or even thousands of times. Despite often being highly percussive and energetic, Stephen Armstrong found that the music heard while grinding instills a sense of stasis through repetitive melodic figures and stationary tonal centers. This sense of stasis in the music, which Armstrong calls musicospatial stasis, reflects the gameplay state of being temporarily removed from the exploratory or narrative space until the battle is complete.

Although musicospatial stasis is extremely common in RPG combat music, the music of Motoi Sakuraba is a notable exception: his combat compositions contain limited repeated material, fast-paced harmonic changes, and varied tonal centers. I investigate how these elements of Sakuraba’s music correlate with scientific studies of groove phenomenology (the subconscious desire for the body to move with music) and how they could create further kinesthetic interaction with the gameplay. Additionally, I examine how Sakuraba’s use of syncopations, appoggiaturas, and suspensions both create and then subvert listener expectation, whereas many other combat themes tend to be more predictable in rhythm and harmony. I then demonstrate how these elements of groove and subverted expectation in Sakuraba’s compositions fit within established theoretical metrics and models for measuring gameplay immersion. This analysis reveals that despite not creating musicospatial stasis, Sakuraba’s combat music is functional in utilizing groove and subversion to create further immersion in the grinding experience.

An exploration into the ways that evolving technologies influenced choices in composition, the influences of film music in video game scoring, and the intricacies involved in arranging or licensing music for games. This talk has been well-received by middle and high school students, but can be adapted for adult learners as well.