One of the earliest forms of art is the static image, the single frame.
		Then came films, which use a sequence of frames to simulate motion.
		Then there were video games, which provide branching possibilities. At a given moment, a game generates a frame to display to the player. Based on the player's input, the game's internal state will change, and a new frame will be displayed. These frames (hopefully) appear as a fluid expression of the consequences of the player's actions.
		Any recorded play of a game presents the specific frames that did occur, and someone can watch these frames as a movie. A speedrun aims, among other things, to minimize the frames needed. On some level, such a run represents the essence of the game, its perfect form.
		The single frame speedrun is the next step in this progression, reducing all of the frames in the run to a single frame that summarizes them. On some level, this image represents the essence of the run, and therefore the game itself.

Video games are one of the only ways to do this. Single frame summaries of a movie are likely to reveal some basic patterns of lightness and darkenss, but there isn't generally enough consistency between the frames to allow details to emerge. But video games have visual consistency over the course of their play, that allow elements to appear ghostly in the frame.

In addition to giving some insight into the graphical patterns of the game's imagery,  I think some of these frames are pretty striking in their own right, presenting a chaotic mess in which famliar elements overlap and emerge. The images of games representing real-world settings are especially terrifying, with all the blur and chaos of memory, of countless days or near-forgotten moments.

The work is similar to Jason Salavon's play with dimensions, color and time - but with the logic of the NES generation. Check him out.