From the past to the present, the concepts of “game” and “play” have an important place in our lives. Although time and place changed, the need to “play” continued to be a part of human life. According to traditional ludology theorists like Huizinga, Caillois, “play” is an impulse that goes beyond the limits of the basic biological and physiological characteristics "necessary for the species of living things. For the classical game theorists, “play” is the main source of culture, art, literature, law, war, and even civilization. The “game” and “playing” practices have undergone change and transformation with the effect of digitalization. Considering the developments in the light of information and communication technologies, games have become playable regardless of time and place. Therefore, gaming and playing practices have now turned into an activity taking place in virtual space. In this study, it is thought that the field of "game" and "play" that has transformed in the historical process has ceased to be a natural impulse for the species of living things, and has turned into a kind of dispositive (mechanism) in this respect, which is used for the strategies of biopower technology. In other words, with digital games, which are the dispositive of power technology designed from scratch, constructed and produced on the impulse to play essentially for the species of living things, it is assumed that biopower does not only encompass real life but even the synthetic life involved in digital games. In line with this assumption, the study aims to discuss and analyze the discourses and narratives embedded in both the narrative and interactivity of digital games, which are positioned as a new power technique of biopolitics. In this focus, it is aimed to contribute to both national and international literature with the biopolitical approach to digital games.Therefore, this study, which positions digital games as an extension of biopolitics, is intended to be a source and at the same time a basis for future studies. Biopower is a governmentality practice through the use of numerous and diverse fine techniques, in particular the use of statistics, medicine, biology, and probability, to achieve the control of bodies and the regulation of the population. According to Foucault, the creation of new power techniques also brings along new governmental relationships. New power techniques, which bring new power governmental relations with them, produce, circulate and reproduce a certain power- knowledge relationship through dispositive (apparatuses). Today, it is a known fact that biopower has reached a new dimension in body and population control, control and surveillance by articulating neoliberal governmentality and using new power dispositions. It is thought that one of these “new” dispositive is digital games from new media tools. Based on the academic literature, it can be said that in the 21st century, all kinds of new media tools are an important dispositive used to reach the masses of the dominant discourses built with the effect of their digitality feature and to subjectively internalize these discourses. Considering the developments in media and communication technologies in recent years, it can be argued that digitality, which touches many areas of social life, is a "dispositive" used for subjectivation as an extension of "governmentality" in a Foucauldian term. However, the purpose of this study is not how individuals internalize biopolitical discourses. It focuses on a much more specific question than that: How can the discourses and narratives in digital games which are dispositive of biopower, be reconsidered in the focus of biopolitics? The study, shaped in the context of this thought ecology, consists of two parts as theoretical and practical. In the theoretical part of the study, the concept of biopolitics, which forms the backbone of the study, and its relationship with biopolitics are explained. In the practical part, the discourse and narrative in digital games were opened to discussion with the method of critical discourse analysis based on the example of The Sims 4 in the light of biopolitics. The reason why this sample was preferred in the study can be expressed as being one of the most popular games in the history of digital games, as well as its suitability for the purpose and scope of the research. In this study, the limits of the critical discourse analysis method were expanded to cover the new media environment by accepting digital games as a subject-building discourse with a Foucauldian expression. Because discourse; a meta-action is a social practice that produces power relations and subjectivity. The findings obtained from the study were interpreted with a deconstructionist approach.