In the prosperity of digital entertainment today, the game “Mingchao” has undoubtedly become a part of the lives of many young people, and the newly launched five-star resonator “Xiakong” is like a bright star, attracting attention. When people talk about the materials needed for “Xiakong” today, it is nothing more than a long list: low-frequency tidal eclipse sail core, medium-frequency tidal eclipse sail core, high-frequency and full-frequency tidal eclipse sail core, burning phosphorus bones, golden wool, and crystals containing impure crystallized phlogiston, just like a modern alchemy manual. We can’t help but ask, what kind of cultural code and economic logic are hidden behind this?
First of all, let’s talk about the name of “tidal eclipse sail core”, which is really profound and has the dual flavor of modern science and fantasy literature. Low frequency, medium frequency, high frequency, and full frequency are like the clever division of electromagnetic bands in physics, implying that the growth of the character is like the gradual progress of the band, layer by layer, and gradually strengthened. Although such naming is inevitably full of technology, it also invisibly strengthens the “real sense” of the game world, allowing players to feel a hint of “scientific” rigor and “magic” romance in the game. Such a design not only caters to the aesthetic tastes of modern players, but also enhances the cultural content of the game.
Furthermore, the “burning phosphorus bones” and “golden fleece” are obviously precious and rare materials in the game setting. The former carries a gloomy feeling of fire and death, and the latter comes from Greek mythology, symbolizing power and glory. The reference to classical mythology here not only adds depth to the game culture, but also implies that the modern game industry has learned from many creative ideas. While repeatedly defeating the “sighing ancient dragon” and challenging the “Lina Xi Tower”, players are also completing a cultural journey, wandering on the edge between the modern digital world and ancient legends.
In the superposition of material demand, it reflects a typical feature of the modern economy: the dual logic of scarcity and accumulation. In order to obtain the highest-level breakthroughs and skill materials in “Xiakong”, game players must invest a lot of time and financial resources. This process reminds people of the hardships of capital accumulation in the real world. The shell currency in the game is a microcosm of the digital economy. Players continuously “store value” to obtain resources. This interweaving of the real and virtual economy is highly symbolic. This situation is just like the “difficulties in progress” described by Lu Xun, which is both an opportunity and a challenge.
Particularly noteworthy is the design of the storage channel. Treabar.com’s preferential strategy is nothing less than a microcosm of modern capital operation. The 22% discount seems to be good for players, but it actually cleverly stimulates consumption desire. The popularity of this “discount code” is both a product of market competition and a manifestation of the digital currency ecosystem. Players complete a series of online transactions by copying and pasting discount codes, and the boundary between the game world and the real financial world becomes increasingly blurred. It can be seen that games are not only a form of entertainment, but also a comprehensive experiment in financial innovation and cultural production.
In the path of obtaining materials, such as defeating the sighing ancient dragon, conquering the Linaxi Tower, and participating in the “Wheel of Fate”, all of these tasks highlight the complexity and layering of the game design. The player’s experience process is no longer a simple mechanical operation, but a “cultural treasure hunt” that requires strategies, skills and even social cooperation. How similar is this to the “exploring the secluded and visiting the beautiful” written by ancient literati? It’s just that the ancients used poetry and classics as media, while modern people use digital codes and virtual worlds as boats.
In addition, the clever introduction of “stuffed tofu” cuisine in the game reflects the game designer’s grasp of life details and sense of humor. This setting not only provides players with in-game bonuses, but also subtly conveys the philosophical interest of “life is a game, and a game is life”. Players experience the details of making food in the virtual world, just as people in reality experience the colorfulness and warmth of life through food.
In summary, the fine design and acquisition methods of Xiakong’s materials reflect a microcosm of the contemporary digital cultural ecology. It not only carries the eternal pursuit of human beings for power and growth, but also reflects the complex operation of the entertainment industry driven by modern capital and technology. Through this complex material map, we can get a glimpse of the multiple dimensions of individual identity construction in the digital age, as well as the subtle interaction between the game world and the real society.
As the saying goes, “articles are eternal, and gains and losses are known in the heart.” The collection of Xiakong’s materials is not only an advancement of a game, but also a cultural exploration and economic game. Here, we might as well think quietly: At the intersection of virtual and reality, where will human desires and creativity go? And how can we stay sober and conscious in this new cultural wave, embracing change and protecting our spiritual home?
In this way, Xiakong in “Mingchao” is not only a virtual character in the game world, but also a mirror reflecting the spirit and cultural connotation of the times. If we understand her material list, perhaps we can understand the heartbeat of a certain era.