Category: Gaming News

Chun, the resonator who quietly appeared in the 1.4 version of “Mingchao”, is like a girl born among vines and raised in the shadow of the wind. She is quiet, but has the power of determination; she is silent, but writes the poetry of battle with her swift sword. The game calls her “five-star annihilation output”, but I would rather say that she is an existence in the name of aesthetics, a blade with both structure and temperament.

She is annihilated. The sword she holds is not a heavy weapon, but a delicate, light, and even somewhat stubborn image. Chun’s attack source is basic movements, smooth and accurate. Her resonant skills and circuits are her true inner self, and her sharp and calm spiritual projection.

In the order of skills, we see the emphasis on rational structure. Resonant skills and circuits are her skeleton, which are formed first; and the liberation of resonance is her short and brilliant emotional eruption like fireworks. Normal attacks and variation skills are more like carvings on an ancient building – it doesn’t matter if they are not there, but it is more abundant with them.

As for her weapon, the name “Caichun” carries a light and cautious atmosphere. It provides an increase in critical hits and basic attacks, and is the best weapon to match Chun’s personality. It is like a talented woman, ready to go in silence. If you don’t have this exclusive weapon, you can also use “Qian Gu Wei Liu” or “He Yi Liu Ming”. Although they have their own emphasis, they are also self-contained, and they are a harmony between structure and function.

Her choice of sound is an aesthetic exhibition of sound and power. The recommended “Shen Ri Jie Ming” set emphasizes a rhythm of layered annihilation damage after basic attacks. Just like in architecture, the power is transmitted from the beam to the column, and then to the ground, distributed layer by layer, rhythmic and harmonious. The skill mechanisms of “Wuwangzhe” and “Wuguanzhe” are like two secret spaces in her heart – the former is a short and efficient burst, and the latter is a continuous and precise layout.

The distribution of attributes should be like constructing a classical garden: the main entry is the structural center of gravity, and the secondary attribute is the environmental atmosphere. Critical hit rate, critical hit damage, annihilation damage and attack power are well-organized in it, like the scattered distribution of stones, water, trees and windows, emphasizing a tension in silence.

Chun will not fight alone. Her team is also like a mutually supporting structure in a building complex. Sanhua is her best partner, who can amplify her basic attack by 38%. That is the person who understands her, the one who can understand her silent language. And behind her are the shore guards, Verina or Baizhi, who are the quiet background, the hidden guardian, the eaves in the wind and rain, and the green tiles cast by the skylight.

As for the recharge – the real operation outside the game, it should also be like the details in the construction: the efficient direct charging method provided by Treabar is a combination of modern industry and aesthetic efficiency. Three minutes, preferential, safe, that is the only way to provide resources for all constructions.

Chun is a character hidden in the power of annihilation, but always with a certain elegant emotion. She is not noisy, not dazzling, but can create a rhythmic feeling between basic attacks. She is like the white stone path in the old courtyard, going deeper and deeper, quieter and farther.

The city is so big that everyone’s shadow seems small. The city is also small, so small that every tremor can reach your fingertips. When the 1.4 version of “Zero” slowly unfolded, a gentle thought emerged in my mind-under all this noise, is there anything that we really want to keep?

Yuzhen and Ya, they are not ordinary characters. It’s more like a kind of psychological projection-when you are hit by the waves of reality again and again, you still choose to stand up; when you feel lonely and helpless, you still don’t want to give up your beliefs. They are the self in our hearts that has never been erased.

Yuzhen is an S-level strong attack character with electric attributes. His electricity is not just an accumulation of damage values, but more like an emotional release, a burst of inner energy. His attacks are crisp and clear, and every blow seems to tell us: “I’m here, I won’t retreat.” Yuzhen has a kind of purity unique to teenagers. He is not as noisy and ostentatious as others. His existence is quiet, but resolute and powerful. Maybe in real life, we have met such people – they don’t talk much, don’t show weakness, but always stand up at critical moments.

And Ya is an S-level abnormal character with ice attributes. Her temperament is calm and restrained, just like a winter morning, with a little distance, but never alienated. What she pursues is order, clarity, and a predictable future. She longs to build an “unbreakable city management system” and have “a lot of swords”. At first glance, this seems to be just a game setting, but I read a deep sense of responsibility. In this impetuous era, how many people are willing to take “guardianship” as an ideal and put it into practice? Ya did it.

They belong to the upper and lower card pools, as if they walked into our sight one after another. Yuzhen represents departure, action, and rushing to the ideal regardless of the consequences; while Ya is gazing, judging, and drawing boundaries for herself in chaos. Their existence reminds us: real growth is not to become strong, but to learn to keep the light in your heart in complexity.

If you want to have them, you need some preparation. Outside the game, we are always accumulating resources for the things we love and waiting for opportunities. As a recharge platform, Treabar is not only a trading tool, but also a kind of existence. When players need help the most, we provide stable, efficient and preferential services so that those small hopes will not be crushed by reality. You may not know that it is this kind of support that allows countless people to continue to move forward in exhaustion.

Games are never escape, but a way to understand the world. It hides the complex human nature under skills and mechanisms, and writes dreams and frustrations into the plot. As players, we are not only controlling the characters, but also claiming our unfinished parts.

Yuzhen and Ya are not mythical statues, nor virtual phantoms. They are more like ourselves, two beliefs that grow from the depths of our hearts on a sleepless night: one tells us to move forward, and the other reminds us to stick to it.

I hope you can have them too. Not just two characters in the game, but the heart that remains unshakable when facing the storm in reality.

In this virtual wasteland, we have been waiting. Waiting for a name, a ray of light, and the beginning of a story. Her name is Yao Jiayin, the only new S-level agent in version 1.5, and a cry behind the cold numbers.

Her arrival was not grand, but silent footsteps, like a silent poem, passing through the fog and smoke, and falling into this world woven by machinery and code. She is not a product of the old faction, but a preview of the new order, the shadow that is about to change the trajectory of the game.

The news of Yao Jiayin’s appearance, like the first ray of light in the morning light, gently broke the silence. In the first half of the card pool, her figure will be unveiled, carrying unknown power and secrets. In the second half of the card pool, the cold Ailian will return to the battlefield. She is a memory of the past and a watcher in the cold winter.

This light, although weak, cannot be ignored. It is waiting, waiting to be understood, waiting to be told. Players are like travelers standing in the wilderness in front of her, with expectations and doubts. She symbolizes a hope after being broken, and is a fire that has not yet been extinguished in the wilderness.

Countless speculations are floating in the wind. Her power, her belonging, and her story have not yet been written. But it is this unknown that makes her full of possibilities. She is the narrative of the future and the silent contract between the game and the players.

At the same time, the support of reality is like solid land. Treabar’s fast recharge and thoughtful discounts give players a solid support. The 20% discount is not only a number, but also a return to every love, an oasis in this wilderness.

Yao Jiayin’s arrival is a revelation and a call. She makes us believe that even in the cold and loneliness, light still exists, waiting to be ignited. She is not a continuation of the past, but the beginning of the future.

We stand here, waiting for the light to come, waiting for her to tell the unfinished story. That light will pass through the fog, illuminate the wilderness, and guide us forward.

The wind passed through the cracks, blowing away the silence and fog. She is the shadow in the cracks, Chaska, the messenger of the wind, and also a wanderer. Her name is a silent poem, burying the silence before the storm.

Growth is an endless road, fragments like dust, mottled like dreams. From debris to crystals, the free turquoise progresses layer by layer, but it cannot cover the traces of this broken world. The dead leaves and purple flowers are like withered memories, accompanied by the coldness of animal teeth, engraved on her skin, becoming an unhealable wound.

The light of talent flickers in the disputes, teaching, guidance, philosophy, and secret words, summoning the lost souls in the wind. The silk feather is the softness she picked up from the ruins, but it also hurts her heart.

The weapon is a red feather under the starry sky, which is her tightly held belief. The secret smoke of the divine union is diffused, and the refraction germ shines. Every material is like a broken dream, which cannot be pieced together, but is indispensable. The low whistle is a silent call from afar, broken yet continuous.

Mora is the time that passes in the endless desert, and the broken gold she picked up, supporting this seemingly lonely but inevitable journey. The deep and entangled gaze is the reflection of the storm in the eyes, and the purple leaves of Nata are the symbol of loss and rebirth.

Her growth is the gaze of the cracks in the wind, the interweaving of light and shadow. She moves forward in silence and sings in the cracks. Chaska, the poem of the wind, is written in the bones and blood of this land.

Tsubaki is like a fire that blooms faintly in the night, lonely and persistent. She walks in the world of annihilation, like an unfinished poem, waiting for the final dawn. Her attacks are not noisy, but only calm and decisive. Every swing of the sword is like a silent cry, penetrating the endless darkness.

Health value, attack power, defense power, these numbers are like her backbone, supporting her in the storm. She holds the swift knife “Caichun”, the blade is as sharp as the night, but it hides a gentle edge. Every move she makes is a struggle against fate and a questioning of the future.

Five-stage combo is the rhythm of her life rhythm, heavy blows are like pauses in poems, and aerial attacks are dreams of flying. She weaves her own silent song on the battlefield, and every attack is a period and a new beginning.

Red Toon·Ru and Red Toon·Bud are symbols of her heart and traces engraved by time. In the bud state, she accumulates strength and waits for an explosion. At that moment, all silence turned into flames, burning every inch of life.

The resonance skill of “One Day Flower” is her challenge to time, a short and brilliant bloom. The combo and counterattack in the blooming state are her response to loneliness and a silent cry. She writes poems with annihilation and depicts faith with power.

“Fang Hua Zhan Jin” is her final chapter and a new beginning. She knocks the enemy away, like the wind blowing away fallen leaves, and like a poet releasing the last emotion. Her power is not destruction, but rebirth, the deepest darkness before dawn.

Every enhancement in the resonance chain is the scale of her life and the gift given to her by time. She grows in silence and finds the meaning of existence in annihilation.

Tsubaki’s battle is a quiet poem and a silent struggle. Her blade cuts through the night and the barriers of the soul. She is a lonely walker and a poet of life, singing her song in annihilation.

I walked on the Star Dome Railway,
and heard the wind blowing from afar, with cold whispers.
The shadows of version 3.0 overlapped on the track,
Aglaya and the Great Black Tower, the two names are like the firelight on the wasteland,
weak, but not to be ignored.

Aglaya, the daughter of ice, came from the eternal Omphalos,
the ghosts she summoned, walked alone on the battlefield,
silently telling the forgotten past,
they cannot be healed, but still struggle in time,
like the pain in memory that refuses to disappear.

The Great Black Tower, the ice wise man wearing a witch’s hat,
her mark is like a spark in the dark night, lighting up the coldness,
the explosion shattered in silence, tearing the enemy’s defense line,
that is the power of knowledge and the light of loneliness.

Memory, this new destiny, is like a river, flowing slowly through our hearts, taking away something and leaving something behind, allowing us to see our own shadows, secrets hidden deep in the stars. On this Star Dome Railway, we are both travelers and watchers, looking at the future with cold eyes, and stepping on the riverbed of memory with firm steps. In the sound of Treabar charging, we are waiting for the arrival of new characters, waiting for the symphony of ice and fire, and the Star Dome Railway continues to extend between darkness and light.

The wind of the Black Sea, carrying silence and secrets, blows through the folds of time. Chun stood on the shore, her figure like a crack, breaking the silent sea surface. The swift knife danced in her hand, not just a weapon, but the language she used to talk to the world. The power of annihilation is hidden in every moment of swinging the knife, like the passing light and shadow, fleeting but unforgettable.

Deng Deng appeared, like a faint light, swaying in the wind and rain. She held the long blade, lonely and firm. The summoned creature was not only a fighting partner, but also the loneliness and desire that could not be expressed in her heart. She sought light in the darkness, but she also clearly knew that light and darkness were just two sides of the same coin.

The 1.4 card pool is a new summon and an echo of an old dream. Chun and Deng Deng, like two intertwined trends, collided with each other and merged with each other. Yinlin’s reproduction is like a mirror, reflecting the shadow of the past, reminding us of the past that has not been forgotten.

Jinxi and Sanhua’s new skins are like the traces left by time on the characters, gentle and irreversible. They have witnessed changes and also tell of unchanging persistence.

Players stand between the ebb and flow, choosing and being chosen, waiting and struggling. Treabar fast recharge becomes their bridge to the future, and the short wait condenses all hopes and anxieties.

Mingchao is a poem about time and memory, a silent narrative written on the Black Sea. The story of Chun and Dengdeng is like the tide, fluctuating, but never stopping.

The wind blows from afar, bringing with it a cold chill and a silent call. On the land of Teyvat, the Dragon Ridge Snow Mountain is like a lonely monument, engraved with the cruelty and eternity of time. The sound of the wind in 5.2 rang softly in my ears, and the names of Chaska and Olorun, like shouts in silence, cut through the darkness of the night.

Chaska is the embodiment of the wind, but not completely owned by the wind. Her bow is full of still air, and the arrow has not been shot, but it has already cut through the nothingness. She flies in the sky, like a wandering soul, rootless and helpless, as if it is an unfulfilled dream of the past. The wind trembles at her fingertips, but it never belongs to her completely. She needs the response of other elements, which is a lonely resonance and a broken chord.

Olorun, a name carved by lightning, was swallowed by the shadow. He betrayed Natlan, betrayed himself, and betrayed the expectation of light. His story is hidden in the depths of the shadows, like an unfinished rebellion, silent and violent. We see his eyes, but we cannot see through his heart. Lightning swept across the sky, bringing a momentary light, and then fell into endless darkness.

The reproduction of Villette and Zhongli is the echo of time to the old days. They are as steady as rocks and as silent as flowing water, but they cannot hide the scars of time. The meaning of reproduction is not just reappearance, but more like a remembrance of the past and a gaze at the irreversible time. Water and rock, movement and stillness, weakness and strength, in opposition to each other, appear particularly desolate.

The Dragon Ridge Snow Mountain is the indifferent heart of this land. It does not speak, but tells the ruthlessness of time with wind and snow. As we walk through it, it seems as if we have walked into the cracks of history and feel our own insignificance and helplessness. The whistling of the wind and the shaking of thunder are just a flash of light in this eternal silence.

The game is no longer a simple entertainment, but a reflection of the depths of the heart. Every update is a self-questioning. Chaska and Olorun are not characters, but the unspeakable loneliness and struggle in our hearts. Villette and Zhongli are the perseverance and hope in our hearts.

When you are ready for the crystal of creation and the baptism of wind and snow, please also bring a silence. Let the wind take away all the noise, and let the thunder wash away all the glitz. The story of Teyvat continues, and we are just passers-by in the wind and snow.

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.

On an unrecorded rainy night,
I heard four names
coming from the cracks of the future.
Not a declaration, nor a prophecy,
They were like poems picked up from a shipwreck,
dripping, glowing, and silent.

Version 4.5,
Before the clock pointed to that moment,
people had already begun to line up, calculate, and wait.
But it doesn’t matter,
what matters is,
the shadows that will appear
are approaching our breath.

The first person to come——
Qianzhi, the silence from the rocks.
She is not calling, but an echo.
When she raised her sword,
you can hear the silence before the landslide,
a kind of existential pressure,
rising from the center of the earth and reaching the palm.

She is not for love, nor for hate.
She is a fragment thrown by time,
looking for her own landing point between light and gravity.
Every step she takes
is like coming from a ruin——
silent, but shocking.

The second one is the image of water,
Sigwen,
she is the eye of the storm.
Holding a bow and arrow, she is not aiming at anyone,
she is aiming at nothingness,
aiming at those forgotten exits.

She is not a warrior,
more like an unsent letter,
written on the surface of the lake,
using time as a pen,
sent to a place without an address.

The third one is fire.
She has no name – only a code name: Summoner.
When she comes,
you will see the smoke on the wasteland,
the embers that have not yet been extinguished,
becoming a long handle of light in her hand.

She does not represent destruction,
she represents the choice after destruction.
She burns, not to illuminate,
but to pass through the darkness,
exchanging pain for freedom.

The last one is the incarnation of thunder.
Clorinde,
she is the grammar of lightning,
the punctuation when the night sky is torn apart.

She does not talk about faith, nor does she lie.
She is like the truth extracted from mistakes,
like a silent revolutionary,
making up her mind in silence.

Her sword cuts through the air,
and also cuts through the connection between history and fate.
When she appears,
you have to admit that
the world has owed too much to some people.

Four people,
four flags, four directions.
They do not belong to any kingdom,
nor do they submit to the blueprint of the designer.
Their birth is
a correction and a proof.

At this moment,
some people are still asking: When will the version be launched?
Some people are still calculating: Are there enough raw stones?
But the real question is:
Do you still believe in
the truth in fiction?
Are you still willing
to keep a silent space for an uncertain force?

If you are still willing,
then you will see:
This is not just an update,
but a walk about faith.

If you lack resources,
please go to the place called Treabar.
It is a passage, not a destination.
Like a pier in the wind,
gives passers-by a little shelter,
does not ask where they come from, and does not ask when they return.

There is a 24-hour voice there,
which will not criticize your choice,
but only provide tools and paths.
In this world,
there are not many such places.

So, don’t be afraid of being late.
The character is still on the road,
and you are still on the road.
Before the next wind blows,
we will meet again,
in a coordinate unknown to anyone.