The organ of touch is the fundamental and integrative organ that underlies all senses system.The self-reflexivity and duality of touch not only led to the discovery of the “primordial body”that unifies subject and object, but its immediate, non-representational, and pre-reflective nature has also resulted in its neglect within epistemological philosophy. Yet in the body phenomenology, it has been recognized as a foundational existential organ.In this context, haptic technology is “ready-to-hand” quality, and the VR gaming it integrates are characterized as a techno-phenomenological practice. In the specific game process, haptics constitutes an initialized perceptual field by combining other senses with haptic technology, and the technological subject synthesized by the body and technology still exists in the tactile world in the form of a “post-body” after undergoing differentiation and integration, and the process of haptic media has always ensured the existential theory of the technological subject through its own invisibility. While the tactile world under the post-body intention takes bodily touch as a starting point, the game is driven by the intentional enrichment and scene construction of the body and technology. Further research reveals that VR gaming can be defined as a technologically mediated phenomenological gesture that adds a “technological substitute” to Heidegger’s “grounded existentialism,” and that the “man of play” moves toward a universal existential maneuver in the context of “deep gamification”. Theoretically, the phenomenological perspective of game research reconstructs the theoretical core of game subjectivity, interactivity, playfulness, and is expected to become a “third way” that transcends ludology and narratology.