This study analyzes the evolutionary progression of Korean digital game narratives toward transnationalism, focusing on the paradigm shift where the core competitiveness of digital games pivots toward narrative depth and aesthetic value in the era of technological parity. Titles such as Lies of P and Sanabi, which depart from established Korean game conventions to pursue genre diversity and artistic merit, were designated as primary research objects. Early Korean gaming, premised on nationalism, utilized cultural archetypes to actualize the 'globalization of the most Korean thing.' This approach possesses policy significance for excavating unique traditional culture, yet was limited by the inadequacy of narrative reinterpretation and transformation, considering the digital game medium's characteristics and global universality. Subsequently, postnationalist works appeared, attempting to formally align with international standards according to the norms of globalization and capitalism. For instance, Lies of P, grounded in the universal narrative archetype of Pinocchio, conveyed an original theme commensurate with Posthumanism while following the Soulslike genre mechanics. These postnationalism games are significant for eliciting empathy across a broad spectrum of players, but they also possess the limitation of potentially constraining creativity and diversity through adherence to mimicry and stability concerning existing titles. Consequently, this paper ultimately focused on the transnationalism phenomenon of games, which centers on the dynamic gameplay itself that transcends national and cultural boundaries. Fundamentally, contemporary digital games exhibit strong hybridity and dynamism in their narrative environments—including capital, personnel, and intellectual property—as well as in the gameplay process, thereby constituting a transnational culture. Notably, players can actualize multiple identities through their avatars in virtual worlds and establish transnational relationships and imagined communities by engaging in a shared ludic experience within environments characterized by low linguistic barriers. Recently, certain Korean indie titles experimentally pursue these transversal values that interpenetrate the boundaries of universality and particularity. For example, the Korean indie game Sanabi declared the unique genre of 'Joseon Cyberpunk', signaling transversal values that oscillate between the past and the future. Thus, the Korean digital game industry is evolving into the 'Trans-Game' paradigm, traversing the binaries of virtuality and reality, and technology and imagination. The future development of Korean games must be predicated upon balanced narratives that embrace diversity and coexistence.