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In this article I describe the implicit conceptualization of social order which exists in Death Stranding — localized in both the setting and the mechanics of the game — and compare it with the conceptualization of Thomas Hobbes's "Leviathan". First, the theoretical tension between Death Stranding and "Leviathan" is traced: the speculative conceptualization of the Leviathan and the procedural conceptualization of Death Stranding are compared by clarifying the role that the concepts of action, authorization, right and sovereignty play in Hobbesian theory and the video game. Sec­ondly, the theoretical tension between the political and natural capacities of the Sovereign according to Hobbes is explicated; with the help of mate­rial from Death Stranding, a variant of its resolution is proposed, suggest­ing the conceptualization of the Sovereign-without-a-body: an instance devoid of physical capacity and materiality, yet still capable of maintaining social order as a product of its activity. Subsequently, attention is paid to the mechanics of state expansion in Death Stranding: I describe and analyze how the Sovereign-without-a-body's messenger — the protagonist of the video game — interacts with people outside the Sovereign's zone of influ­ence, convincing them to consent to return to the commonwealth. This theoretical move makes it possible to supplement Hobbes's binary scheme of the state of nature and commonwealth with a third concept — the state of memory, in which the memory of the Sovereign turns out to be a deci­sive factor influencing whether the commonwealth will be restored to its former boundaries. By explicating the Hobbesian theory of imagination, I demonstrate that — in the state of memory — the Sovereign is contingent, not fully defined, and virtual.

The paper investigates the video game discourse of the Russian state media from 2011 to 2015. Critical discourse analysis serves as a methodological framework for this work, and Foucault's power/knowledge model is used to explain the logic behind the «grotesque discourses». In the Russian press, video games are described as an instance of inculcation, provoking overintense emotions and forcing individuals to commit symbolic acts impossible from the standpoint of "normal" pedagogy. The paper problematizes the mythologization of violence in video games and identifies the main tropes used to establish the connection between video games and violence (murders) as "natural" and "obvious". Particular attention is paid to the publications of Aleksandr Minkin, a reporter at "Moskovskij Komsomolets" ("Moscow Komsomol Member") and one of the most prominent critics of video games, as well as to the media coverage of the first school shooting in Russia (shooting at school № 263 in 2014). It is shown that video games are used in the media discourse as an explanatory principle that allows a shift from the crime to the criminal, to those acts which reveal moral depravity or psychological disorder, and those circumstances which foster criminalism. Pointing to the games helps restore the "normal" connection between social and moral qualities, explaining the crime committed by an honours student from a "good family" as being the result of the depictions of violence in video games affecting the child's psyche. Video games are also described as a factor in shaping the "digital generation" or "generation of gamers" — odd and politically dangerous. The dangers that games create for both gamers and society in general (the non-distinction between the "real" and the "virtual", the illusion of a "possible restart") allow the journalists and experts to insist on strengthening measures of supervision and protection, and expanding legal and medical control.

In this paper we conduct an analysis of the critical narratives of Stardew Valley and compare them to other relevant videogames in order to develop new possibilities for an ecological critique of capitalist extractive econo­mies. Critical narratives of this game are aimed primarily at the alienating conditions of labour and deeply devastating modes of production under capitalism that impact and severely damage the environment. Analysing these narratives, we superimpose the immediate messages of the game with the procedural rhetoric and material conditions of their existence. Over the course of our analysis, we highlight a material-narrative disso­nance which, in the case of Stardew Valley, fails to function as a commu­nicative strategy of the game and remains its mere external contradiction. Although the game's critical narrative may seem overly utopian and its political imaginary a bit underdeveloped, the game elaborates on concrete ways to tackle the alienation of labour and resolve the ecological crisis. In addition to this, the paper covers the history of the interplay between the video game industry and the field of global ecological crisis research. We compare the attempts to raise awareness of the videogames' own material­ity that preceded Stardew Valley. We conclude that Stardew Valley utilises the language of sustainable co-existence and wasteless local production, expanding this logic both to the sphere of labour and the spectrum of en­vironmental problems. In the case of ecological critique, some gameplay decisions in Stardew Valley enable us to come up with new strategies aimed at creating critical narratives about the environment in videogames. Thus supplementing Stardew Valley's findings with critical tropes derived from other games (mainly, Rain World), we were able to gather a set of theoretical instruments that could facilitate the creation of games about ecosystems. Following Donna Haraway's emphasis on the crucial role of narrative fram­ing ("it matters which stories tell stories"), we highlight new opportunities for the entire medium of videogames.