With the trend of transmedia and the convergence of movies and games a new film aesthetic which presents the games features has emerged Will Brooker distinguishes two forms of film-game integration in

The concept of "Videogame Film" refers to the integration of game elements into the formal grammar of cinema. There are four forms of combination between video games and films: commentary, adaptation, reference, and combination. The "Videogame Film" is a form of film-game integration that is not a direct adaptation of a specific game, but rather incorporates game conventions from various movies. The relationship between games and movies in the "Videogame Film" is nested or intertwined, and game logic is used to construct the film narrative.

The characteristics of "Videogame Film" can be analyzed in five aspects: game avatars, game rules, game visualization, gamified space-time, and postmodernity. Game avatars refer to the virtual identities of gamers in cyberspace and can be explicitly or implicitly incarnated in the film. Game rules in the film are similar to the hero's journey in Hollywood narratives, with game missions, obstacles, and breakthrough mechanisms. Game visualization includes camera perspectives and visual effects, which mimic the perspectives and technology used in video games. Gamified space-time refers to the use of time loops and multiple parallel universes in the film, borrowing from game narratives. Postmodernity is evident in the humor and playfulness of game culture, the non-linearity of game time, and the multiplicity of game space.

The concept of "Videogame Film" was first introduced academically in 2006 by Alexander Galloway, and the world's first recognized "Videogame Film" is "Tron" (1982). The concept has evolved over time, and more films without explicit game elements have been included. However, there is still debate among scholars regarding the definition and scope of "Videogame Film," which requires further study