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Ecocriticism of digital games has so far engaged with a rather small corpus of examples, predominantly from a prescriptive perspective and with a quite limited methodological toolkit. This essay systematizes and historicizes some of these commonly found limitations of past research and proposes methods for a more historically and generically diverse exploration of ecological thinking vis-a-vis digital games. The majority of discussions of games from an ecocritical perspective has applied concepts and frameworks borrowed from literature and film studies, thus privileging surface semiotics over game mechanics. More methodically aware studies have oriented themselves toward the popular framework of procedural rhetoric (Bogost 2007), resulting both in a selection bias towards serious games and an author-centric, intentionalist slant inherent in the approach. In general, the discussion revolves around a small number of games with apparent ecocritical potential, such as Myst (Cyan 1993) or Farmville (Zynga 2009), resulting in a selective, a-historic and therefore distorted discussion of ecology in the diverse medium of digital games. This essay discusses strategies for dealing with a larger corpus of digital games through a descriptive matrix for identifying and analyzing the ecological dimension of digital games. It proposes an extension of the ecocritical toolkit by including a more user-centered, ethics-based theoretical framework based on Sicart’s Ethics of Computer Games (2009). The gain of engaging with representation and simulation of the natural environment in mainstream computer game history will be demonstrated in an analysis of two paradigmatic games. In both Red Dead Redemption (Rockstar San Diego 2010) and Dishonored (Arkane Studios 2013), we encounter game design geared toward producing ludo-narrative dissonances which are highly inductive of critical engagement with the ecosphere. Resumen La ecocritica de los juegos digitales se ha centrado en un corpus de ejemplos muy pequeno. Asimismo, la ecocritica se ha basado en un numero muy limitado de metodos. La mayor parte de los debates sobre juegos han utilizado conceptos y teorias tomados de la teoria literaria y el analisis cinematografico, haciendo prevalecer por tanto analisis semioticos superficiales sobre el estudio de las mecanicas de juego. Los estudios que aplican metodos de game studies suelen estar basados en la teoria de retorica de procesos (Bogost, 2007), lo que acarrea una seleccion de ejemplos sesgada hacia los serious games y los juegos de autor. En general, estos debates se centran en un numero pequeno de juegos con potencial ecocritico, como Myst (Cyan 1993) o Farmville (Zynga 2009), lo que deriva en una discusion selectiva y ahistorica de la ecologia en un medio tan diverso como los juegos digitales. Este articulo presenta estategias para analizar un corpus de juegos mayor. Este articulo propone una matriz descriptiva para identificar y analizar la dimension ecologica de los juegos digitales. Metodologicamente, este articulo opera con una extension de la teoria ecocritica que incluye un marco teorico centrado en el usuario y basado en The Ethics of Computer Games (Sicart, 2009). Los beneficios de centrarse en la representacion y simulacion del medio natural en el canon de los juegos digitales seran demostrados a traves del analisis de dos juegos paradigmaticos. Tanto Red Dead Redemption (Rockstar San Diego 2010) como Dishonored (Arkane Studios 2013) producen disonancias ludo-narrativas que promueven una relacion critica con la ecoesfera.

ecozon@

&lt;b&gt;Within the Mainstream: An Ecocritical Framework for Digital Game History&lt;/b&gt; // Dentro del canon: Un marco ecocrítico para la historia del videojuego digital