We are now in an era of profound media convergence.Media convergence is not simply a visible combination of differentmedia forms, but a sophisticated mode of complementarity thatharnesses cross-media storytelling and cultural fusion. In recentyears, the Chinese film industry has exhibited significant volatility,accompanied by considerable uncertainties and challenges.Nevertheless, exemplary works such as Black Myth: Wukongand Ne Zha 2 have achieved remarkable success by innovatingin cross-media narrative strategies and integrating culturalresources. Their accomplishments have not only revitalizeddomestic cultural market but have also showcased the globalappeal and vitality of contemporary Chinese culture. At thesame time, the practice of film-game integration has continuedto advance across film, television, gaming, and animation, withrelevant theoretical research developing in parallel.As the Net generation and game-native audiences increasingly demand‘imaginative consumption’of new media arts––such as films,games, and animation and youth subcultural forms––it becomesimperative to actively respond to the developmental trends ofthe convergence era and to vigorously advance the integration offilm and games.

    In the digital age, repetitive operations in indie games are undergoing a paradigm shift from simulating mechanical labor to enabling an ethical construction of subjectivity.Characterized by cyclical action patterns and immediate feedback, these operations enable players to achieve selfethical verification through embodied practice: operations shift from passive execution to active choice, allowing them to exercise agency within repetition and reconstruct an‘ authentic temporality’ that resists algorithmic efficiency. Indie developers,prioritizing self-expression over commercial imperatives,refuse to reduce repetition to mere mechanical function.Instead, they endow repetitive actions with expressive and conceptual purpose. As players engage in strategic optimization, they embody ethical qualities such as focus and autonomy,transforming operational cycles into practices of value through temporal embodiment. This ethical reconstruction is not an escapist retreat but a new possibility for self-ethical construction via technical media in the digital age: when repetitive operations are structured around subjective choice, mechanical actions are elevated into an ethical practice that affirms‘ Dasein’.