In the field of contemporary digital entertainment, video games are no longer just a simple pastime tool, but a reconstruction of a cultural space. PUBG’s Erangel map, as a “geography” in the virtual world, has a different vitality because of the entry of KFC. This phenomenon deserves our in-depth discussion from the perspective of space and culture.
The Erangel map was originally designed as a battlefield. Its landscape layout and architectural style reflect the abstraction and reconstruction of the real geographical space by game designers. Today, the gas station, a typical public service building, has been transformed into a KFC restaurant. This is not only a redefinition of the function of the building, but also a transplantation of real-life cultural elements into the virtual space. The red and white signs, neat counters, self-service ordering machines and other details all reflect the precise imitation of real-life space symbols. This simulation not only enhances the player’s immersion, but also builds a familiar social space order in the virtual environment.
As an interactive device, the self-service ordering machine not only gives players a sense of ritual, but also symbolizes the interactive relationship between people and technology in public spaces in the digital age. Players can complete the order by simply pressing buttons, and the nickname is displayed on the order screen. This detail strengthens the identity and sense of belonging to the space. It is as if in a restaurant in the real world, the identity of the customer is confirmed and the order is maintained.
The functional innovation is even more commendable. KFC’s fried chicken meal is transformed into a first aid kit, bandages and energy drinks in the game. This functional translation not only meets the needs of the gameplay, but also adds a sensory experience to real life. Players are not only consuming virtual resources, but also enjoying the psychological comfort brought by “food”. This is a recoding of cultural symbols, which makes the “chicken eating” behavior in the battle space gain a new level.
The expansion of the spatial layout also reflects the path of cultural communication. The KFC logo is not only spread across Erangel, but also extends to maps such as Miramar, Sanhok and Vikendi, and is hung on the take-off plane, forming a visual connection across maps. The banners on the plane, like public advertisements flowing in the city, connect different “communities” and enhance the overall sense and cultural consistency of the game world.
This move not only reflects the combination of business and culture, but also reflects the multiple meanings of “architecture” and “environment” in virtual space. The transformation from a gas station to a fast food restaurant symbolizes the dual transformation of function and culture; the visual impact of the red and white sign constitutes a landmark symbol in the game space, helping players to build a cognitive map.
In addition, the design of the time dimension cannot be ignored. The event only lasts for one month, and the use of the ordering machine is limited. The game designer regulates the player’s behavior and ensures the balance of the game through this control of time and use, while also strengthening the scarcity and ritual sense of the event. Such a design strategy is just like the reasonable allocation and management of resources in urban public spaces.
From a broader perspective, the introduction of KFC shows that “architecture” in virtual space is no longer a simple structure, but a complex that carries cultural, commercial and social interactive functions. They connect the players’ senses, emotions and identities, and become important cultural nodes in the virtual community.
In short, the appearance of KFC in Erangel is a model of the interweaving of reality and virtual space, reflecting the evolution of architecture and space in modern digital culture. It not only enriches the gaming experience, but also provides a new perspective for us to understand the culture and space in the virtual world.