This article explores Cuphead (Maddigan, 2020) as a paradigmatic example of aesthetic authorship in the independent video game scene. Rather than treating animation as a decorative or narrative supplement, Cuphead integrates traditional animation techniques, such as frame-by-frame drawing, watercolour backgrounds, and analogue visual effects, as the core language that structures the game’s visual identity, mechanics, and emotional experience. From this perspective, the game is not merely a video game that features animation, but an animated work that comes to life through interaction. The study adopts a qualitative and interdisciplinary methodology combining animation studies, game theory, and cultural analysis. Through an examination of characters, visual style, musical composition, and gameplay rhythm, the article demonstrates that Cuphead operates as a “playable cartoon” in which animation, sound, and mechanics form an inseparable expressive system. The paper further discusses the role of authorship within the indie production model, highlighting how the creative direction of the Moldenhauer brothers contributes to a coherent aesthetic signature. Ultimately, Cuphead is proposed as an auteur game that reinterprets early animation languages through a contemporary, interactive lens.
Elisabet Fonts González (Wed,) studied this question.