电子游戏作为数字时代的产物，其具有的交互性、游戏性、观赏性等特点正深刻影响着当今的媒介生态。在媒介融合的大背景下，电子游戏与影视产业逐渐从早期的互相改编向着影游产业间的互融互通转向，并推动着影游产业的快速发展。作为科技发展的产物，影视与电子游戏均表现出较强的技术依附性，数字技术的快速发展，很大程度上平衡了影视与电子游戏之间的媒介差异。伴随着数字技术的快速发展以及“游生代”的出现，影视游戏化创作倾向愈加凸显，在产业和市场的支持下，“影游融合”作为影视作品的新发展方向，为影视艺术的实践和创新提供了一个新的思路。

本文以跨媒介叙事相关理论为指导，采用案例分析、文本分析等研究方法，结合具有代表性的“影游融合”作品展开研究。一是厘清了“影游融合”的概念界定，从数字技术、内容生产、产业联动三个方面入手，梳理了影视与电子游戏间的互联互通从无到有的过程。二是从跨媒介叙事理论入手，整理分析“影游融合”作品不同于传统影视作品的独特属性，交互性、游戏性与观赏性的加入使得“影游融合”作品呈现出全新的视听效果。三是结合相关的案例进行分析，整理出“影游融合”作品的跨媒介叙事策略。创作团队通过有目的的元素移植和媒介互文，实现了故事世界的构建。其次通过增加叙事元素和基于原始文本的创新，加快了媒介融合的整体进程。最后归纳总结出“影游融合”作品在跨媒介叙事中对于游戏化叙事的过度依赖、作品类型同质化且叙事结构混乱的问题，并根据这些问题从创作者的角度出发提供优化建议。

以上分析基于结合目前影视市场已有的“影游融合”作品，对当前影游的跨媒介叙事实践及研究现状进行考察，以期本研究能对“影游融合”研究的进一步发展提供一些创新性的启示。

As a product of the digital age, electronic games have profound impacts on today's media ecology due to their interactivity, gameplay, and visual appeal. In the context of media integration, the electronic game and film and television industries have gradually shifted from early mutual adaptation to the integration and interconnection between the film and video games industries, and are driving the rapid development of the film and video industry. As a product of technological development, both film and video games exhibit strong technological dependence. The rapid development of digital technology has largely balanced the media differences between film and video games. With the rapid development of digital technology and the emergence of the "game generation", the trend of gamification in film and television creation has become increasingly prominent. With the support of industry and market, the "integration of film and television" as a new development direction for film and television works provides a new approach for the practice and innovation of film and television art.

This article is guided by the relevant theories of cross media narrative, using research methods such as case analysis and text analysis, and combining with representative works of "integration of film and video" to conduct research. Firstly, the concept of "integration of film and video games" has been clarified, starting from three aspects: digital technology, content production, and industrial linkage. The process of interconnectivity between film and video games has been sorted out from scratch. The second is to start with the theory of cross media narrative, and analyze the unique attributes of "film and game integration" works that are different from traditional film and television works. The addition of interactivity, gameplay, and viewing makes "film and game integration" works present a new audio-visual effect. The third is to analyze relevant cases and organize the cross media narrative strategy of the "integration of film and video" works. The creative team achieved the construction of the story world through purposeful element transplantation and media intertextuality. Secondly, by adding narrative elements and innovating based on the original text, the overall process of media integration has been accelerated. Finally, summarize the issues of excessive reliance on gamified narratives, homogenization of work types, and chaotic narrative structures in cross media narratives of "film and game integration" works, and provide optimization suggestions from the perspective of creators based on these issues.

The above analysis is based on the existing "film and game integration" works in the film and television market, and examines the current cross media narrative practice and research status of film and game. It is hoped that this study can provide some innovative insights for the further development of "film and game integration" research.