Treabar

Tag: Shooter

  • She wanted to collect all the items dropped by these monsters for Xia Kong, and then fly away.

    Xia Kong was the third character who had come to the village.

    The first was Bai Lu. That year, cattle plague just started, and the old yellow cattle in the village died one after another, as if their souls were taken away by the gods in the sky. The second was Chang Li, who came and left quickly. Before he could stand firmly, he was bitten by the madman Li Er at the east end of the village, and he never spoke again.

    Xia Kong was different. When she came, she stood on the dry well at the entrance of the village, as if she was standing at the source of some legend. Her skirt was not blown by the wind, but the whole village seemed to be blown by her.

    “She is the child of the wind.” The village party secretary Lao Zhou said, his eyes were erratic, as if he saw the future from a pot of unboiled soup.

    But no one knew what she was here for. Until she walked into the cowshed and killed a cow with green light on its head. The blood was not red, but blue, seeping into the villagers’ feet along the cracked ground, but the villagers seemed not to see it, only staring at the shining “tide-eroded sail core” in her hand.

    After she left, the village began to change.

    Scales grew on the roof, wheat sang at night, and the well water became sweet but no one dared to drink it. A brave boy ran into her house under the cover of night, but went crazy the next morning, saying that she lit seven lamps in the house, and there was a face of her sitting in each lamp.

    The villagers said that she was practicing martial arts, wanting to break through, and wanting to “fill the fate seat”. They didn’t understand what it was, but they began to exchange things for her to kill monsters. She didn’t refuse. Someone sent a blind chicken, and she carried the chicken to the forest, and soon brought back a piece of burning phosphorus bone, like burnt amber.

    She said, “You need this.”

    People didn’t know if they needed it, but since she said it, they accepted it. A girl heard that this thing could make people “upgrade”, so she secretly swallowed it. That night, she flew out of bed and crashed into her ancestral tomb, dying.

    More people began to exchange things with her. Some people cut off a finger of their old mother, some people offered their newborn baby’s nails, and some people cut off the ancestral curse paper, just to let Xia Kong “break through” once.

    She said it was not enough.

    She wanted the “Golden Fleece”, the “Iris Petals of the Wheel of Destiny”, and the “Crystallized Phlogiston·High Purity”. She said these things were not what she wanted, but what the system wanted. No one knew who the “system” was, but when she spoke, her eyes were as bright as a fish turning white in a pond, and no one dared to question it.

    Some people secretly followed her into the mountains to see where she got those strange materials.

    They saw her go into the cave, and the four ancient characters “Confession of the Sea Abyss” were written on the entrance of the cave, as if carved by someone with claws. No one who went in came back.

    Every time she went in and came out, she always had a few more things in her hands, sometimes a feather that made a low sound, sometimes a bone that was covered with cold sweat, and sometimes a small bag of crying stones.

    She gave these to the three-eyed clay Buddha in the temple, and the clay Buddha spit out some silver “shell money” from its mouth. She said that this thing could “upgrade talents” and it cost three million.

    Everyone in the village helped her to collect money. Some sold their land, some dismantled the kang, and some knocked down the gold teeth of their ancestors’ tombs – everyone was crazy, as if they believed that as long as she upgraded to “full life”, the village would return to normal.

    She also spoke less and less, just cooking the food called “stuffed meat tofu” over and over again in front of the temple. The fragrance broke through the top of the head, and even the stars in the sky squinted their eyes.

    Once, outsiders came to the village, saying that they were sent by the government to investigate abnormal weather. They knocked on her door and were blown away 30 meters away by a gust of wind. Later, they only left a report saying that the wind in this village was wrong.

    The village became more and more strange.

    The wind would sing “The Song of the Resonator” at night, chickens began to lay talking eggs, and the old people began to recall what would happen in the future.

    And Xia Kong, she finally stood on the top of the temple, and summoned the wheel of fate with the materials she had pieced together.

    That day she rose. She rose very high, as if she had broken free from some invisible rope.

    The villagers knelt down, some shouted “God”, and some shouted “She can finally leave”.

    She didn’t look back. But the moment she looked back, a tear fell from her eyes, fell on the ground, and turned into a glowing word:

    “Freedom”.

    No one saw her again. But since then, the wind in the village has never stopped.

    Some people said that she turned into the wind.

    Some people said that she went to the next village and continued to collect the materials she wanted.

    Others said that she finally logged out of the game, returned to that gray reality, turned off the computer, walked into the kitchen, and started her life again.

    But no one knows which one is real, just like no one knows who the “system” is.

    You only know that if you play that game again and choose that character again, she will still be there, waiting for you to collect all her things.

    Then, she can fly.

  • From the complexity of Mingchao Xiakong’s material collection, we can talk about the capital manipulation and player anxiety behind modern game design

    In this increasingly impetuous era, games seem to have become a safe haven for people to escape from reality. However, when we carefully observe the material collection of Xiakong, a new five-star resonator in the game “Mingchao”, it is not difficult to find that there is profound capital manipulation and player anxiety behind it. The complicated material requirements are like the endless task oppression in modern society, and like an invisible net that firmly traps players in it and cannot be freed.

    Xiakong’s breakthrough materials, skill materials and special weapon materials are piled up like mountains, and the huge number is staggering. 29 low-frequency tide eclipse sail cores, 40 mid-frequency, 52 high-frequency, and 61 full-frequency are like the ladder of capital climbing layer by layer, exhausting the player’s time and energy. The existence of burning phosphorus bones and golden wool has increased the difficulty for players. These two things are like the heavy taxes in the old society, as if only by paying a heavy price can you get even a little progress.

    We observe the source of “Burning Phosphorus Bone” – it can only be obtained by defeating the Sighing Ancient Dragon. This is tantamount to the scene of the working class bowing to power in order to survive. No wonder players are exhausted like coolies, repeating the same actions in the game world, trying to obtain those pieces of cold materials. Looking back a few years later, isn’t this another form of slavery?

    What’s more, as one of the breakthrough materials, the Golden Fleece can be purchased in the game, but it is subject to the limit of only buying 15 pieces per week. This is like the monopoly of resources by the powerful, giving you only a little “freedom”, but in fact it is full of shackles. Such a design not only tests the patience of players, but also stimulates their anxiety, creating a panic mentality of “if you are not diligent, you will be eliminated.”

    As for the materials for Xiakong’s special weapons, it is even more sigh-worthy. From simple shackles to special shackles, the name of shackles reveals a hint of irony – it is a symbol of growth, but it implies bondage. The shackles of capital, like these shackles, are interlocked and lock players firmly in the cage of consumption.

    The crystallized phlogiston series in the game progresses from impurities to high purity, layer by layer, just like the stratification of social classes. Players cannot enter the next stage without making great efforts. Little do they know that this is the business logic deliberately created by the designer, kneading the players’ expectations and anxieties into invisible ropes.

    However, “The Day of Iris Blooming”, a material that symbolizes hope, can only be obtained by defeating the weekly challenge “Wheel of Fate”. The game designer uses the word “fate” as a hint to the player’s fate: your growth depends entirely on the rotation of a round of fate. Isn’t this the epitome of “scarce opportunities” in modern society?

    Recharge discounts and discount codes follow closely, and the calculations of capital sound the loudest beat in this virtual world. Players pay real money for their own pleasure, but game manufacturers have long seen through the weaknesses of human nature and imprinted the concept of “paying is progress” in the hearts of every player. In this way, games have long deviated from the essence of entertainment and become a tool for capital plunder.

    Let’s talk about the “stuffed meat tofu”, a small prop that improves the efficiency of material drop. Its existence itself reflects the contradiction between the rhythm of the game and commercial interests. If the player does not have this prop, the efficiency will be low; if it has it, it will be temporarily accelerated, but it will be constantly pulled by the system with new demands. The “quick success” and “efficiency” of real society seem to be reflected in this virtual space.

    The material system of Mingchao Xiakong is nothing more than a mirror, reflecting the cold nature of capital supremacy in contemporary game design. Players are like prey being lassoed, struggling in layers of levels and material accumulation, but they have to admit that this is the price of “growth”. Looking at it, I can’t help but sigh: the freedom of the virtual world is just another cage designed by capital.

    Ultimately, if gamers cannot consciously see through the web of games and capital, they will only lose themselves in virtual labor. The materials used to cultivate Mingchao Xiazora are not only the hard labor factory in the game world, but also the epitome of class oppression in modern society. Only by awakening can we truly break free from these invisible shackles and gain our own freedom.

  • Discussing the dual shackles of virtuality and reality in modern society from the acquisition of Xiakong materials

    Speaking of what games young people play today, some people may think that this is just a boring pastime, or even an absurd act of escaping reality. However, when we take a closer look at the various materials required for the five-star resonator “Xiakong” in the game called “Mingchao”, we will find that there are hidden worries of an era and the shadow of modern society.

    “Xiakong” needs to break through, first of all, it must have “low-frequency tidal eclipse sail core”, “medium-frequency tidal eclipse sail core”, “high-frequency tidal eclipse sail core”, and then “full-frequency tidal eclipse sail core”. Listening to this name, although it is full of technological sense, it is essentially just a game symbol stacking virtual numbers. Not to mention those strange “burning phosphorus bones”, “golden wool”, “containing impure crystal phlogiston”, all kinds of names are full of mysterious mystery, as if to let players gain some sacred power in the virtual world.

    But if you think about it carefully, the way to obtain these virtual materials just reflects the cruelty of real life: if you want to get the “Burning Phosphorus Bone”, you must fight desperately with the “Sighing Ancient Dragon”; if you want to get the “Golden Fleece”, you have to search everywhere in the game, and even limit yourself to buying 15 per week; if you want to “contain impure crystals and phlogiston”, you have to participate in limited activities – this difficulty is not like easy fun, but more like real labor.

    How ironic is this? Real life is already tiring enough, and these young people are “working” again in the virtual world for the seemingly glamorous “Xiakong” role. Behind it is the invisible consumption of time and the virtual satisfaction bought with money; and this virtual satisfaction reflects the helplessness and difficulties of many people in real life. In other words, the game is nothing more than a reflection of reality, a substitute and compensation for all kinds of dissatisfaction in reality.

    What’s even more ridiculous is that for these materials, players have to “recharge” frequently in order to quickly obtain resources. The 22% discount on Treabar.com makes recharging seem cost-effective, but in fact it tempts people into a trap of constantly spending money. As digital currency circulates, many players have unknowingly become gears in the capital machine. Under the illusion of economic independence, capital exploits young people’s time and emotions.

    The growth of “Xiakong” depends on this endless accumulation and recharge, just as countless young people in reality are forced to work hard and work overtime in exchange for a little unstable “success” and “recognition”. Virtual characters are very similar to the ideal self in reality, which is a vision that cannot be easily realized. Therefore, people are willing to devote themselves to this virtual labor in order to get a little comfort.

    However, this virtual satisfaction does not really solve the problem. On the contrary, it makes people more and more lost. Real life is thrown behind and becomes a mechanical process of continuous recharge, monster swiping, and collection. Games have become an anesthetic for modern society, not an antidote.

    On a deeper level, the acquisition rules, storage channels, and reward mechanisms behind the game materials all reflect the inequality of power and resource distribution in modern society. The seemingly mysterious names of “Ancient Dragon of Sighs”, “Lina Xi Tower”, and “Wheel of Fate” in the game are actually metaphors of the system and insurmountable barriers. Only a few people can break through quickly, while the vast majority can only consume their energy and money.

    Behind these numbers is a contest of time, money, and energy, and a reflection of the virtual economy on the real social order. Young people are addicted to the cultivation of “Xiakong”, which is nothing more than trying to find a sense of control and self-realization in this game.

    However, when they look up from the screen, they are still greeted by the cold reality. The virtual growth of the game cannot replace the change of reality. As Mr. Lu Xun said: “Hope is attached to existence. If there is existence, there is hope. If there is hope, there is light.” But when hope is only placed in the virtual world, how real is that light?

    Therefore, we have to reflect: Why does contemporary society allow young people to only find identity and power in the virtual world? Does the lack of education, economy, and culture make them nowhere to tell and nowhere to realize? If these problems are not faced squarely, the game will eventually become an illusion that makes people lose themselves, rather than a real paradise.

    The list of materials for “Xiakong” may be just a detail of game design, but it inadvertently exposes the various difficulties of modern society. Only by understanding the social reality behind this can we truly help young people break free from the double shackles of virtuality and reality and embrace a more real and dignified future.

  • Plateau visitors and veterans confront: the new order of firepower in version 2.8

    The wind came down from the plateau, blowing through the battlefield of dust and gunfire. Some people stand on the top of the mountain, while others run in the valley. The world is updating, and even the most familiar tools are changing. In the 2.8 version, the AUG gun is no longer a rare weapon in the sky, but comes to the ground, competing and fighting with thousands of people in the world, like a wild horse that once ran on the snow line, walking down the mountain and mixing into the camel herd on the grassland.

    It was originally an elite born from an airdrop box, and now it is in the same world as the old horse M416, which makes people inevitably make some comparisons. This comparison is like two rivers meeting at the foot of the mountain, a confrontation between speed, strength and fate. Starting from the damage value, both stand on the number 41, like two seemingly equal peaks, but upon closer inspection, the terrain, wind direction, and water source are different, making each way up the mountain have its own hardships and scenery.

    Control is the essence of all shooting art. The recoil of a gun is the hidden wind, the echo of the earth after every pull of the trigger. In the past, the recoil of AUG was small, because it was born in airdrops and had advantages from the beginning of its design. Now, its recoil has been adjusted again – 20% vertically reduced, and 20% of the horizontal frenzy has been cut, like a tamed horse, which retains its wildness and is willing to obey the master’s gestures when running. In comparison, although the M4 is stable, it is more likely to lose control when firing continuously, like an old craftsman, who has moments of failure in between skilled gestures.

    But this is not a simple battle of victory or defeat. The M4 is one second faster in reloading speed. That second may be a breathing space when facing the enemy, or it may be a desperate situation when the opponent is pressing. The AUG bullet is faster, 900 meters per second, more than the 880 meters of the M4, but what does that 20-meter speed mean in the real melee world? Maybe it just makes the wind pass the enemy’s ears a little earlier.

    When shooting from the hip, the AUG is also more accurate, because it is stable, just like a carved stone that does not shake easily in the wind and sand. But how many people can survive by shooting from the hip? In the intersection of mountains and cities, in the flames and smoke, what is truly tested is the human heart – trust in weapons, grasp of rhythm, and judgment of fate.

    The change of versions is like the arrival of monsoons, and all familiar orders may be disrupted. AUG fell from a high place, no longer rare, but not so easy to find. Some people say it is as rare as M24, which means that luck is still needed. But if you encounter it, you might as well try the feedback of the grip and the more stable trajectory. Maybe you will find that this horse from a high place can still run like the wind in the mud.

    Of course, this world is not only about performance, but also about face. Skin is like armor, and if a gun is not decorated with brilliance, it will inevitably be looked down upon. So, the virtual currency called UC became the key to changing the appearance. How can I get it faster? Some roads can be shortcutted, and places like Treabar provide better options than the original ones, just like a narrow path that actually leads directly to the top of the mountain, but you don’t often walk it.

    In the end, no matter whether the gun in your hand is AUG or M4, it will eventually obey your will and decide who will survive and who will be silent in countless confrontations. And behind this gun dispute, what is hidden is actually everyone’s attitude towards change – whether to stick to the familiar or embrace the new life.