Abstract:

We are now in an era of profound media convergence.

Media convergence is not simply a visible combination of different

media forms, but a sophisticated mode of complementarity that

harnesses cross-media storytelling and cultural fusion. In recent

years, the Chinese film industry has exhibited significant volatility,

accompanied by considerable uncertainties and challenges.

Nevertheless, exemplary works such as Black Myth: Wukong

and Ne Zha 2 have achieved remarkable success by innovating

in cross-media narrative strategies and integrating cultural

resources. Their accomplishments have not only revitalized

domestic cultural market but have also showcased the global

appeal and vitality of contemporary Chinese culture. At the

same time, the practice of film-game integration has continued

to advance across film, television, gaming, and animation, with

relevant 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 becomes

imperative to actively respond to the developmental trends of

the convergence era and to vigorously advance the integration of

film and games.

Key words:

media convergence, convergence era, Chinese

cinema, film-game integration, animation-game integration