Departing from Jane Suzanne Carroll’s contention that “Landscapes are at once geographical and historical, natural and cultural, experienced and represented, and present a spatial interface between human culture and physical terrain” (2), this article draws on game studies (Aarseth; Sicart; Yee; Isbister) and on discussions of game design (Schell; Chen; Sahlin) to analyse the landscape and avatar design of Journey and Unravel. Developing the term semiotic register as an analytical lens, the article seeks to pin-point the means by which the two games move the player to adopt distinctly different attitudes and relationships to the games’ natural scenes. The article starts by positioning the study in relation to previous ecocritical analyses of games (Backe; Bianchi; Bohunicky; Chang; Lehner; Parham) and by discussing some aspects of indirect player management before analysing and comparing the two games in more detail
