数字化时代，电子游戏的生产、表征、流通、消费打破了传统商品贸易的线性传导，形成了多主体合作的非线性全球化周期。研究结合人文地理学中的追踪数字文化法和视觉文化分析法，基于经济地理和文化地理视角对荷兰独立电子游戏的全球化过程分析得出：锈湖的生产表现出地理依赖，离不开国际化平台和积极的区域政策；锈湖表征中对主流文化的借用和反主流文化的本质，展现了游戏中多元文化共存的可能；在全球流通中，互联网提供便捷途径的同时显现出无法跨越的边界；受市场影响，独立电子游戏消费呈现出地理不平衡特征，玩家的互动既是“产消”的体现，也是“越界”的实践。相关结论为从关联性视角理解数字化时代下独立电子游戏的全球化提供了新思路。

In the digital era, videogame has been further globalized through Internet and network facilities. Different from the globalization of other cultural products, videogames no longer follow the linear conduction of traditional international trade, but form a non-linear product life cycle that relies on the cooperation of developers, publishers/distributors, and consumers from different regions all around the world. Based on the perspective of the pop culture industry, which is the point of economic geography and cultural geography, the study combines methods of following the digital and visual methodology in the field of human geography, taking the Dutch indie game--Rusty Lake as an example that originates from a two-people game studios but has gone global nowadays, tracking and analyzing its globalization process, drawing the following conclusions: 1) The production of Rusty Lake cannot be realized without the acceptance and encouragement of indie games in Europe, as well as the international and globalized digital platforms, reflecting the significance of globalized production environment and producers' creativity and independence. 2) In the aspect of cultural representations, Rusty Lake's borrowing from mainstream culture and the nature of its counterculture exemplifies the inclusiveness of videogames, showing the possibility of multicultural coexistence and cultural diffusion, no matter it is intentional or not. 3) In the process of global circulation, the rise of virtual platform provides a convenient way for the distribution of indie games and breaks the boundaries of space. 4) Video gamers' behaviors of playing videogames indicate their dual identities as consumers and producers.