In this world constructed by mythology and nature, wind is not only a flowing airflow, but also a symbol of order and spirituality. Chaska, the wind element character that will be launched in version 5.2, seems to be born not only out of temporary design needs, but also a profound dialogue about “wind” and “order”, “growth” and “cost”.
We can get a glimpse of this from the design of the character’s development materials: her breakthrough and upgrade not only require the “free turquoise” from the field of talent, but also need to be proved by the purple leaves nurtured in the forest of Nata Mountain, highlighting its territoriality and cultural roots. As the representative of the wind element, the name “free” is vivid, telling its essence of resonating with the world and dancing with all things. From the tender sharp teeth to the sharp teeth of the rampant overlord, this growth path seems to also tell a trajectory of evolution from weakness to perseverance. It is not only an individual journey, but also a sculpting process of primitive power.
If we classify these materials, we will find that they can be divided into five major systems:
The first is what is needed for character breakthroughs, with the core being the wind attribute crystal “Free Turquoise” and the specialty “Dead Leaf Purple”, and the monster drop – the third-level evolved beast tooth, which runs through the whole process. This design pattern implies the relationship between the character’s geographical context and the hostile ecology.
The second is talent upgrades, which focus on the “Dispute” talent book, evolved beast teeth and the special drop “Silk Feather”, the latter of which is produced by Zhou Lingdi’s servants, forming a chain of acquisition that combines time thresholds and strength tests. Its design logic is similar to the layers of processes in ancient building construction: external materials are available, but the core is rare, and the best ones get it.
The third is weapon materials, which are called “Red Feathers of Starry Sky Vultures”, which is itself a metaphor, connecting wind with birds of prey, and integrating the starry sky with the battlefield. Its strengthening materials come from the “Shenhe Secret Smoke” series and the “Refraction” plant series, and are integrated with the whistle, a tribal token with military meaning, as if to imply that the holder of this weapon is not only a person who dances with the wind, but also a soul on the battlefield.
The fourth is the Mora consumed for breakthroughs and upgrades – the name of this currency may be derived from the “illusion, falsehood” of “Mora”, which is the easiest resource to obtain in the process of cultivation but also ultimately scarce. From the perspective of quantity design, all characters and skills need to consume more than 7 million Mora. Its essence is like the cornerstone of building materials, large in quantity but not conspicuous, necessary and cannot be ignored.
Finally, it is about the geographical distribution of materials and enemy configuration: For example, the Deep Entangled Gaze is dropped by the new version Boss “Deep Imitation Knot”; while the “whistle” type materials come from the tribal dragon warriors, and the “teeth” comes from the primitive beasts in the Nata region. Such enemy design has both regional and ecological reflections, just like when the ancients built cities, they set up defenses according to the terrain of mountains and rivers – there are rules everywhere, and nothing is redundant.
Overall, the development process of Chaska is like a construction process – not just the stacking and stacking of materials, but they are linked together and echoed layer by layer, just like from design drawings to bricklaying and wall building, each process requires mental and time-consuming. From the five dimensions of characters, materials, enemies, regions and weapons, this is a numerical building built on systematic thinking. It not only has structure and layers, but also has its own unique language and style.
And the real value of the girl named Chaska may not only be her combat performance. She is the daughter of wind and the crystallization of the designer’s thoughts. She is a small window opened by wind and nature in a game mechanical building.