Treabar

Category: Game Activities

  • Looking at the endless interweaving of modern people’s desires and loneliness from the complex materials of Mingchao Xiakong

    Xiakong, a five-star resonator who emerged in the Mingchao game. Her growth seems to be a long and tortuous road, paved with various materials and tasks, just like the entanglement of desires and loneliness in modern people’s lives. What kind of stories and people’s moods are hidden behind those seemingly simple materials?

    First of all, the four materials of low-frequency tidal eclipse sail core, medium-frequency tidal eclipse sail core, high-frequency tidal eclipse sail core, and full-frequency tidal eclipse sail core are not just game resources, but more like four stages in life. Low frequency is like the ignorance and struggle of childhood, medium frequency is the confusion and blood of youth, high frequency represents the passion and impulse of adulthood, and full frequency is the ultimate exploration of the true meaning of life. In order to collect these materials, players continue to fight in dungeons, just like people running under the pressure of life, trying to seize those opportunities that seem to change their destiny. However, there is no end to this road, only constant pursuit and repetition.

    Burning phosphorus bones are the marks left by the sighing ancient dragon. The sigh of the ancient dragon is like a call in the wind, which is both a symbol of strength and a synonym for pain. In order to get this bone, players repeatedly fought against powerful enemies and endured the frustration of failure. Isn’t this a portrayal of modern people facing difficulties in real life? Everyone carries their own “sighs”, struggling in hardship, but has to move forward.

    There is also the “Golden Fleece”, which sounds like a dream. In ancient mythology, it is the goal of heroes and a symbol of finding happiness. But in the game, it is limited in quantity and purchase methods, which is very similar to those unattainable dreams in reality. We work hard to save money and work hard, but we don’t know when the “Golden Fleece” will really fall into our hands. It brings not pure joy, but endless anxiety and expectations.

    The shackles and crystallized phlogiston of special weapon materials are like various hardships and tests on the road of life. Every upgrade has a price to pay, and every breakthrough is accompanied by sacrifice and loss. The “special weapon” in the game is the embodiment of the character’s power, and the “special weapon” in reality may be people’s knowledge, skills and experience. They are heavy and indispensable, carrying our hopes and fears for the future.

    The materials of the resonance circuit are more delicate, from impurities to high purity, and each step is a process of purification and sublimation. Players shuttle through the complex materials, as if looking for a piece of pure land in the depths of their hearts. In particular, the “Day of Iris Blooming” can only be obtained through the “Wheel of Fate Fragment”, which seems to tell us that true beauty and growth require great efforts and waiting. It also reminds everyone that there are always some moments in life that are worth cherishing, but they are often fleeting.

    The stuffed meat tofu in the game, such a seemingly inconspicuous prop, has undertaken the task of increasing the drop rate. It is a small care in the game design, and it is the warmth that occasionally appears in the tired journey of players. There are also many such “stuffed meat tofu” in life. Those small and beautiful things have become the motivation and comfort for people to move forward.

    The recharge platform Treabar and the discount code “Treabarblog3ge” are symbols of modern capital. Behind the virtual world is the money and interests in reality. Players use real money to exchange for virtual growth, which is not only a pursuit of entertainment, but also an escape from the pressure of reality. Behind the discount is the indifference and calculation of capital, which makes people feel the deep rift between virtual and reality.

    Xia Kong’s development process is very similar to the desire and loneliness that modern people pursue on the road of life. We strive to obtain resources, upgrade ourselves desperately, and pursue the “golden fleece” of our dreams, but we often feel tired and confused in all this. Every material in the game has become a metaphor for life, reflecting our desire for happiness, helplessness for failure, and expectations for the future.

    Mingchao’s world is not only virtual, but also a mirror of reality. Xia Kong’s material collection tells us that the road to growth is full of hardships, and behind desire is loneliness and struggle. Perhaps, we are all on this road, looking for our own “iris”, looking forward to its blooming and illuminating the darkness ahead.

  • From the complexity of the materials for the cultivation of Xiakong in Mingchao, we can see the lack of rationality and absurd dilemma in modern society

    The game “Mingchao” has been very popular recently, especially the list of materials for the cultivation of Xiakong, the five-star resonator, which is so complicated that it makes people doubt their lives. Looking at the series of “low-frequency tide erosion sail core”, “burning phosphorus bone”, “crystallized phlogiston”… and “golden fleece” and “iris blooming day”, it is really varied and dazzling. This can’t help but remind me of contemporary society, where there are not a bunch of inexplicable rules and regulations that tie people up tightly?

    First of all, we have to admit that the design of this cultivation material system is really “clever”. It allows players to constantly swipe monsters, collect, and upgrade, forming an endless cycle. At first glance, it seems to provide people with challenges and goals, but in fact it is more like using complex tasks to trap players in a cage, making people unable to stop at all. Some people say that games are escaping from reality, but such a design is like recreating a small cage in reality. Wang Xiaobo once said: “People live to change the world, or at least change themselves”, but such a cultivation process only changes the number of materials, and they still repeat boring actions like machines.

    If you think about it carefully, the names of these materials are also full of metaphors of modern society. What “impurity crystallized phlogiston”, “rough extraction crystallized phlogiston”, “rectified crystallized phlogiston”, “high purity crystallized phlogiston” sound like different levels of social classes. Most people can only barely get “impurity” or even “rough extraction”, and only a few people can touch “high purity”. In social reality, the unfair distribution of resources and the solidification of classes are not another reflection of this cultivation system? This makes people have to ask calmly, are we playing games, or are games playing us?

    Let’s talk about the “Golden Fleece”, which is limited to 15 pieces, and each player can buy a maximum of so many per week. Think about real life, key resources are always limited, and you have to rely on queuing and buying, and everyone is working hard for profit. Game designers bring this sense of scarcity and competition into the game, as if to tell us: social resources are originally a zero-sum game, and only those who grab them can make progress. Isn’t it absurd? We are clearly playing a game, but we feel the competitive pressure that is more cruel than reality.

    Even better, there is a dish called “Stuffed Meat and Tofu” in the game. After eating it, the material drop efficiency is increased by 50% and lasts for 30 minutes. How ironic! Isn’t this just giving players a stimulant? In reality, we often rely on various “shortcuts” and “skills” to make life look more efficient, but the essence is running around, always chasing a vain goal. As Wang Xiaobo said: “Absurdity is the essence of life.” This pot of “Stuffed Meat and Tofu” is just a small condiment of absurd life.

    Of course, this complex development system also reveals another side of modern society: lack of rationality. It stands to reason that life and games should be designed to make people happy and fulfilled, but we invest our time and energy in meaningless “brushing materials” and forget why we are here. Just like the “rational romanticism” advocated by Wang Xiaobo, we must face reality rationally and retain our passion and curiosity for life. But reality tells us that rationality is often suffocated by commercial design and social pressure.

    The name of the material “Iris Blooms Day” reminds me of the romance and humor in Wang Xiaobo’s writing. What a beautiful name, like a blooming flower, but it takes a lot of complicated materials to “collect”. In life, our dreams and beauty are always disrupted by tedious reality. We struggle hard, but forget to enjoy the fragrance of the “iris”. Isn’t it a bit like each of us?

    In summary, the complexity of the list of materials for Xiakong’s cultivation is not just the ingenuity of game design, but more like a mirror, reflecting the absurdity, class differentiation, resource scarcity and lack of rationality in modern society. We all repeatedly swipe monsters in this system, repeat meaningless labor, and desire a little progress, but often lose our way.

    Finally, I would like to borrow Wang Xiaobo’s words: The greatest happiness of life is “thinking”. Perhaps we don’t have to be completely trapped in this endless accumulation of materials, but should stop and think about what we really want? How to live a real and interesting life in this absurd world? Only in this way can we get out of the virtual world like “Mingchao” and face a more complex but more real life.

  • As time goes by, the old loess still silently tells the story of the past

    It all started from the path on the loess slope. The poplar trees on both sides of the path are no longer what they used to be. The branches are dry and most of the leaves have fallen off. When the wind blows, the dust on the ground seems to tell a story without an ending. That was my favorite path when I was a child. It was less than one meter wide and meandered through the fields beside the village to the old yard on the hillside. Whenever I walked on that road, the warm soil was under my feet and the sound of the wind penetrating the treetops was in my ears. I always thought of the past that had been diluted by the years, and the memories that had settled on this land.

    When I was young, I always liked to walk aimlessly on this road. Every step seemed to be able to step into another world. That world was my world, full of childhood fantasies and unspoken thoughts. I don’t know why, when I was a child, I always felt that I was living in a distant place, and everything around me seemed to have nothing to do with me. At that time, I always liked to stay on the loess slope behind the house, drawing on the ground with a stick, imagining that I could find a kingdom of my own on this land.

    However, time always slips away quietly. The ideals and fantasies of youth slowly fade away, replaced by the pressure of reality. The passage of time has taken away those once green dreams and the land that I yearn for so much. Back here, I am no longer the carefree boy, and my once light steps have become heavy. Standing on this loess slope, a complex emotion that cannot be explained surges in my heart, as if every slate and every dead tree here are reminding me that everything that has been gone will never come back.

    The smell of loess is an irreplaceable fragrance. Whenever I smell this smell, my heart unconsciously rises with warmth. I remember when I was a child, my grandfather always liked to sit on the old stool in the yard, light a pipe, and talk about the past. At that time, I always asked him why there were so many stories on the land on the loess slope? Grandpa smiled and said that the land has our common memories, and every inch of land is alive and has stories. I didn’t understand what grandpa said at that time, but every time I stood on this land, I would unconsciously feel a sense of historical precipitation in my heart. That is an indescribable emotion, it is not in words, but in every step, in the wind of every fallen leaf, and in the rustling sound of every evening breeze blowing over the loess slope.

    As time goes by, this loess slope is no longer as vibrant as it used to be. The former rice fields and wheat fields have long been invaded by some foreign species, and the wild flowers that once bloomed are no longer as brilliant as they used to be. The people here, like most villages, have begun to gradually disappear. Most young people have gone to the city, and only some old people are still here. Time is like a ruthless knife, and every knife has left traces on this land.

    It’s not that I have never thought about leaving this place. Once, like those young people who left their hometowns, I longed for the brilliance and bustle of the city, thinking that I could find my own future there. However, when I really walked to the city, I found that the sky there was not as bright as I imagined. The steel forest in the city is full of strange faces and indifferent air, as if everything is forcing me to adapt and cater to it, and the years I spent with me on this loess slope have become a distant dream.

    Some people say that homesickness is empty and not worth remembering. But I never felt it was empty. Homesickness is like the mist rising from the loess slope, which gradually dissipates with the first ray of sunshine in the morning, but it still takes root deeply in my heart. That loess slope, that small yard, those once warm days, in my memory, are always like a painting, quietly hanging on the wall, waiting for me to savor it at any time.

    Looking back at this loess slope, I gradually understood the “story of the land” that my grandfather said back then. It is not a specific story, but a kind of accumulation, a silent power, carrying the common memories and emotions of generations. Here, every slate can tell the past wind and rain; every dead leaf can echo the laughter of the past; every breeze can gently bring up those forgotten days.

    Today, Huangtupo still lies there quietly, and the years are like a slowly flowing river, carrying my thoughts and passing quietly. I know that I am no longer the innocent boy who left this land. After experiencing the hustle and bustle of the city and the complexity of life, I returned here again. Standing on this land, I finally understand that no matter how far I go and how many choices I have made, the attachment to Huangtupo in my heart has never changed.

    As time goes by, the land of Huangtupo still silently tells its story. And I am still in its arms, looking for my own answer.

  • Teyvat version 4.1: The beauty of culture and order in the interweaving of elements

    The 4.1 version update of the world of Teyvat is like a well-designed new wing of a building. New elements and details are cleverly integrated into the overall structure, making this virtual magnificent building richer and more harmonious. Every character and system in the game is like a component and space. They are both independent and mutually dependent, forming a complex and vibrant cultural structure.

    The new water character Neuvilet in this update is like a smart bridge, connecting the ancient water civilization with modern combat needs. His design focuses on both functionality and aesthetics. His swordsmanship is as smooth as water, powerful and clever, just like water flowing through stones, sometimes soft and sometimes turbulent. This design concept reflects a deep understanding of natural elements, just like the introduction and use of water in traditional architecture, which not only regulates the environment, but also gives vitality to the space.

    The fire character Walnut is like a vibrant stove, placed in the center of the space, which is not only the source of light and heat, but also a symbol of the exuberance of spirit and life. Her skill design combines explosiveness and flexibility, similar to the fire sacrifice ceremony in ancient temples, which is both mysterious and warm, bringing players a strong visual and emotional impact. Fire elements are often used in architecture to symbolize purification and rebirth, and Hu Tao’s role embodies this symbolic meaning.

    Roy Asley of the Ice System is like a solid stone tablet, calm and heavy. The cold texture of ice coincides with the stone in the building, giving the structure stability and durability. His control skills are like screens and partitions in the building, which not only separate the space, but also guide the flow line to ensure the order and safety of the overall structure. It is this rationality and perseverance that makes the overall layout more rigorous and balanced.

    Wendy of the Wind System is like a smart window, bringing flowing air and light, and revitalizing the entire space. The wind is invisible but ubiquitous, just like the consideration of ventilation and lighting in the building, which not only improves comfort, but also promotes the circulation and renewal of the environment. Wendy’s group control is similar to the public space in architectural design, which promotes interaction and communication between people.

    The combination of these four characters, like the harmonious unity of structure, function, decoration and environment in a building, embodies the idea of ​​”harmony between man and nature” in ancient and modern architectural concepts. Their elements complement each other and together build a vibrant Teyvat world.

    At the same time, Treabar, a trading platform, is equivalent to a commercial block in a modern city, and is the center of resource circulation and value exchange. It provides players with a convenient trading environment through a variety of payment methods and security guarantees, just like public facilities in a building, supporting the normal operation of the entire ecosystem.

    The version update on September 27 brought new maps and plots, just like the expansion of a new wing in a building, which inherits tradition and incorporates innovation. The new geographical environment and storyline provide more dimensions for players to explore and experience, just like a new block in a city, enriching urban culture and life.

    Overall, this update is not just a superposition of content, but also a careful carving and deepening of the game world. It is like a complex of buildings that blends history and modernity, respecting the essence of elements and embodying the humanistic spirit. Players can not only feel the excitement of battles, but also appreciate the profound culture and the harmony of aesthetics when traveling in it.

    As shown by excellent architectural works, game design also requires rigorous logic and artistic creation. The update of Teyvat version 4.1 is the embodiment of this concept. It makes the virtual world more alive and meaningful, and becomes another space for people’s spiritual habitat.

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