Talking about the relevance of videogames on cultures and societies is stating the obvious. They are everywhere around us, influence every aspect of our present social reality and imaginary, and, more importantly, they have a key role in shaping the future by being the medium for the new generations. Because of this, several disciplines and fields have focused on this object of research and developed specific methods of analysis to study videogames. Yet, a proper and theoretically organic semiotics of digital games, endorsed with interdisciplinary relevance and with high social value, is yet to be established. On the hand, theoretical works on the semiotics of games are often scattered. On the other hand, semioticians often use digital games instrumentally to study other objects (music, cultural representations, etc.) without significant methodological changes. Why is that? Because the past semiotics of videogames studied them as texts and media in generic terms (hypertextuality, immersiveness, multimodality, etc.) rather than studying them as playful practices and experiences producing reality through a specific language. Simply put, it misunderstood the real meaning of their virtuality and the real reason for which they matter. In our talk we wish to discuss how the new theoretical advances in semiotics and a renewed interest in play are giving birth to a second spring to the semiotic study of ludic virtual words. Moreover, we will highlight a common framework by pointing at four pillars of such meaningful production of reality: mirrored narrativity, embodied metaphors, pragmatic economy and cultural enunciation.