The Story of Hulan River is one of the representative works with unique artistic achievements in the history of modern Chinese literature. Its literary value and artistic effects have been highly recognized by famous writers. "A narrative poem, a colorful local custom painting, and a string of sad and gentle ballads". Mr. Mao Dun highly summarized the aesthetic characteristics of The Story of Hulan River with these words. The reason why it can achieve such unique artistic effects is not only because of its rich and profound content, but also because of the author's innovative use of child perspective in writing. Through the naive and ignorant observation and narration of the little girl protagonist, it shows the human feelings and social conditions of the small town of Hulan River. This perspective not only gives ordinary life a defamiliarized and poetic filtering effect, but also reflects the numbness and cruelty of the adult world with children's innocence, forming an implicit and profound social criticism. In the tension between lightness and heaviness, vitality and decay, Xiao Hong completed the recollection and reflection of the cultural genes of her hometown, and also made the work transcend personal memories and become a cultural fable of the national living conditions.

This paper uses the method of literature research and comparative research to study the development path of Confucian filial piety culture in China and Japan and its interaction with the old-age care system. By sorting out the development path of Confucian filial piety culture in the two countries, it is found that the two countries share the origin of Confucian culture, but different paths of national construction since modern times have led to the differentiation of old-age care ethics. China adheres to the core of filial piety culture and implements family-based old-age care, while Japan has formed an ethics with loyalty as the core after localized transformation and implements socialized old-age care. However, this difference is not absolute. China is using social services to make up for the practical difficulties of family-based old-age care. The study believes that the old-age care model is the result of the combined effect of culture, system and economy. The construction of China's old-age care system needs to respect cultural inertia, base on the foundation of filial piety culture, strengthen system supply and improve old-age care security.

This study focuses on the underwater noise pressure endured by the Yangtze River finless porpoises in the context of shipping and coastal human activities, and explores how virtual reality can transform "invisible and difficult-to-perceive" noise pollution into perceptible visual and interactive experiences. The research objective is to construct a soundscapes expression framework based on typical noise sources and spatial characteristics of the Yangtze River, and in VR, create a set of visual grammar centered on a particle system using "medium distortion + particle density + frequency band layering form"; finally, design a strategy module to conduct interactive reasoning, and provide real-time feedback on noise distribution and ecological pressure indicators changes. The noise visualization method and participatory reasoning prototype enable the audience to intuitively understand noise intensity, spatial aggregation, and frequency band differences, and through strategy selection and combination, observe noise changes and form comparisons and scheme outputs. This is applicable to science popularization exhibitions, environmental education, and issue communication, helping the audience move from perceiving the problem to understanding its underlying mechanisms and trade-offs.

The digital age is witnessing the deep integration of artificial intelligence and virtual reality, and generative AI, VR agents, as well as embodied interaction technologies have brought forth new film formats—this comes as a response to the high thresholds associated with traditional film production. Integrating interactive narrative theory with the gamified design philosophy of VR, this research establishes a two-stage full-process interactive system, which is composed of image construction and image deconstruction. This study realizes interactive companionship within the game by converting the key procedures of film production into a game and inserting intelligent agents to take the place of conventional fixed NPCs. There is a specific requirement for the first level: players must finish filming the scene, whereas the second level uncovers the inherent logic of image production via embodied interaction. Not only does this research align with the developmental direction of digital content creation in the AI era, but it also offers a novel approach and practical guidance for improving the media literacy of the general public and innovating the interactive modes of VR film and television.