Among many virtual worlds, the game “Mingchao” has won the favor of countless players with its exquisite graphics and rigorous development system. The five-star resonator Xiakong, which will be launched soon, has a complex development material that reminds people of the desire and struggle described by Mr. Qian Zhongshu in “Fortress Besieged” that “people in the city want to go out, and people outside the city want to come in.” A closer look shows that the crystallized phlogiston, tidal erosion sail core, burning phosphorus bone and even “golden fleece” required for Xiakong’s development are nothing less than a microcosm of modern players’ psychology, and also a rhetorical test of patience and perseverance.
First of all, if players want to upgrade Xiakong from level 0 to the peak level 90, the complexity of the materials required is staggering. The low-frequency, medium-frequency, high-frequency and even full-frequency tidal erosion sail cores are like layers of radio waves of various frequencies, abstractly but concretely showing the foresight of the game designer. This classification is not only numerous in number, but also a portrayal of the anxiety of the players’ gradual advancement: if you don’t take a steady step, it will be difficult to enter the hall, just like a modern people’s cultivation epic.
The existence of “Burning Phosphorus Bone” and “Golden Fleece” adds a sense of magical realism. Burning Phosphorus Bone can only be obtained by defeating the Sighing Ancient Dragon, like a rare treasure in the secular world, tempting but dangerous; and “Golden Fleece” seems more like an unattainable ideal, hard to get, and there are limited purchase rules, how strict! The settings of these two undoubtedly create a sense of scarcity and expectations in the game, and also happen to reflect the scarcity and preciousness of resources and ideals in real life. Players are exhausted for this, as if climbing a steep mountain, often feeling powerless, but have to persist, the so-called “you can’t have your cake and eat it too” suffering.
Looking at the details of the skill materials, they are impure, crudely extracted, distilled, and highly pure crystallized phlogiston, which are progressive layer by layer, like a secret book of alchemy, refining ordinary substances into sacred power. When players continue to swipe these materials, they can’t help but feel subtle: this game is not just entertainment, but more like a spiritual purgatory. In this purgatory, patience and perseverance become the most important alchemy stones, otherwise they will be swallowed by endless repetition and boredom. If there are no auxiliary props such as “Stuffed Meat Tofu”, the swiping process is just like Yugong moving mountains, which is in vain.
“Iris Blooming Day” as a special material has a poetic symbol. It must be obtained by defeating the weekly challenge “Wheel of Fate Fragment”, just like an extremely precious opportunity in life, fleeting and difficult to capture. Players work hard for this, constantly honing their skills and strategies, just as life is short, only by working hard can you see the flower of hope. This layer of design undoubtedly adds a philosophical flavor to the game: the game is not just a pastime, but also a metaphor for the meaning of life.
In addition, the design of the game’s economic system must be mentioned. The huge consumption of shells and the complex acquisition of materials form a delicate balance. While players are brushing materials, they are also thinking: time and money, which one is the “real money” in the game? This invisibly touches on an eternal topic in modern life-the limited resources and the helplessness of choice. The so-called Treabar recharge discount in the game is more like a consumption temptation under the market economy, which makes players struggle between spirit and material. They want to save money but are afraid of missing opportunities, just like a microcosm of the real society.
In general, Xia Kong’s list of materials for cultivation is not just a pile of numbers, but more like a vivid social allegory. It reflects the psychological changes of modern players-from the enthusiasm of entering the game for the first time, to the confusion of facing complex systems, and then to the calmness and introspection of finding strategies and rhythms. This process is undoubtedly quite educational, allowing players to not only improve their game skills, but also learn patience, planning and trade-offs.
Qian Zhongshu changed his style in Fortress Besieged and compared life to a “fortress besieged”. People inside the fortress want to get out, and people outside the fortress want to get in. The development system of the game is also like a fortress besieged. People outside are deterred, but people inside are deeply trapped and can’t stop. Xia Kong’s material list is the bricks of this fortress besieged, building up the players’ desires and difficulties piece by piece.
In short, the design of modern games is not only a show of technology, but also a profound reflection of culture and psychology. The complexity of Xia Kong’s development is a microcosm of this phenomenon, reminding us: in a world where virtual and reality are intertwined, patience and wisdom are the keys to freedom and happiness. Such a complex development system may be reminding players that the real game is not just a superficial victory, but inner growth and self-cognition.