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On the red carpet of the Venice Film Festival, the ink painting-like visual style of "Chang'an 30,000 Miles" aroused heated discussions among international film critics; at the booth of the Tokyo Game Show, the sound effect of the golden hoop breaking through the air in "Black Myth: Wukong" was deafening. When digital technology collides with millennium civilization to create brilliant sparks, Chinese stories are using film and television games as a boat to raise the sail of cultural confidence in the wave of globalization.

The space elevator model of "The Wandering Earth 2" was collected by the Museum of Modern Art in New York, and the character demonstration video of "Genshin Impact" was played in a loop backstage at Paris Fashion Week. Behind these cultural phenomena is the creative transformation of traditional culture by digital technology. The "Digital Supporter" project jointly developed by the Dunhuang Research Institute and Tencent allows the millennium murals to be reborn on the mobile phone screen; the VR experience project of the Palace Museum allows the audience to travel through time and space to touch the green mountains and waters of "A Thousand Miles of Rivers and Mountains". Digital technology is not only a tool, but also a recombinase of cultural genes, transforming the yin and yang philosophy of "The Book of Changes" into a game skill tree and encoding the strategy and wisdom of "The Art of War" into the plot system.

When the particle ink painting technology of "Deep Sea" won the Oscar nomination for the best animated feature film, and when the trial version of "Black Myth: Wukong" was snapped up by global players on the Steam platform, Chinese cultural products are breaking the law of cultural discounts. This breaking circle effect stems from the artistic expression of common human propositions: the collectivist spirit and the concept of a community with a shared future for mankind explored in the "Wandering Earth" series, and the wisdom of harmonious coexistence between man and nature shown in the Liyue region of "Genshin Impact", all triggered emotional resonance in different cultural contexts. As Huang Jiakang, director of "White Snake: Origin", said: "We are not selling oriental symbols, but telling eternal stories about courage and growth."

China's film, television and game industries have formed a complete creative ecological chain. In the field of film and television, the success of "30,000 Miles in Chang'an" is inseparable from the technical accumulation of Light Chaser Animation over a decade; in the field of games, the "Honkai Universe" constructed by MiHoYo has formed a cross-media narrative system. This ecological system breeds a unique creative methodology: the "particle ink" technology pioneered by Tian Xiaopeng, the director of "Deep Sea", is both a digital deconstruction of traditional ink painting and an innovative breakthrough in modern film and television language; the "Black Myth" team spent five years reconstructing the worldview of "Journey to the West", transforming the world of gods and demons described by Wu Chengen into a modern growth fable.

Standing in front of the digital torch stand at the opening ceremony of the Hangzhou Asian Games, we see not only a technological wonder, but also a new paradigm of cultural inheritance. When film and television games become the carriers of cultural genes, Chinese stories are writing the "Travels of Marco Polo" of this era.