After carefully studying the development materials of Xiakong in “Mingchao”, the author can’t help but feel a lot of emotion. The dense “tide erosion sail core” and “crystallized phlogiston”, the layers of material lists, at first glance, are quite a bit like the “eight-part essay”-like rules and regulations in the ancient imperial examination system, which is both daunting and hilarious. The complexity of Xiakong’s development materials is nothing less than a “miniature of modern utilitarianism”, and also reflects the various characteristics of the mentality of modern players and even the entire society.
Looking closely at this material system, it is divided into low-frequency, medium-frequency, high-frequency and even full-frequency “tide erosion sail cores”, just like the “division of subjects” and “grades” mentioned by literati, which are distinguished layer by layer and fit together seamlessly. Looking at the “impurities”, “rough extraction”, “distillation”, and “high purity” crystallized phlogiston, although the names are sci-fi, they can’t help but remind people of the refining process in traditional alchemy, which is a metaphor for the endless pursuit of perfection and extreme by modern people, just like the ancient scholars’ progressive pursuit of fame. However, such grading not only increases the difficulty of cultivation, but also brings a sense of “endless” labor, which makes players gradually tired in mechanical repetition and inevitably resentful.
The exotic flavor of names such as “Golden Fleece” and “Burning Phosphorus Bones” adds a mysterious color, which is quite like a mixture of Western myths and alchemy. In particular, the “Golden Fleece” symbolizes rare treasures in mythology, and also implies the preciousness and restrictions of scarce resources in the game. The rule of limiting the purchase of 15 pieces inevitably reminds people of the monopoly and unfair distribution of resources by capital in reality. The collision between player desires and real restrictions is a vivid metaphor for the “material anxiety” and “class solidification” that are prevalent in contemporary society.
If the materials themselves are the constituent units of the game system, then the way to obtain them is even more interesting. Players must run around in virtual worlds such as “Ancient Dragon Sigh”, “Lina Xi Tower”, and “Laguna City” to challenge difficult dungeons, just like ancient scholars walking around the countryside and running around the school, hoping for fame. One level after another, one material after another, just like the stereotyped test questions and imperial examination rules, not only hone skills, but also wear down the mind. Between the increase and decrease, the player’s investment and the intention of the game designer reach a delicate balance, which not only satisfies the desire for challenge, but also creates an immersive feeling.
What’s more interesting is that the setting of “Stuffed Meat and Tofu”, a dish that increases the drop rate of materials by 50%, is like the “sweating drug” or “power trick” in the imperial examination in the past. Although it is not hard power, it is very practical and helpful, reflecting the ingenuity and humanistic care of game design. If players can use it reasonably, they can get twice the result with half the effort, just like a good cook cannot cook without rice, skills and strategies are indispensable.
In addition, the “brushing materials” behavior carried out by players to collect these materials can also be regarded as a metaphor for “struggle” in modern society. The seemingly simple game operation is actually the internalization of the contemporary people’s concept of “time is money” and “efficiency first”. The accelerated pace of life has made “brushing materials” no longer just entertainment, but gradually evolved into a “workplace”-style task execution. In this way, it seems that we have difficulty distinguishing the boundaries between games and reality, and the boundaries between virtuality and reality are becoming increasingly blurred.
As Mr. Qian Zhongshu satirized in “Fortress Besieged”: “People outside the city want to rush in, and people in the city want to escape.” Players’ pursuit of Xia Kong’s materials not only reflects the desire to control the game world, but also exposes the helplessness and fatigue in the face of a complex system. If you don’t know how to control yourself, you will inevitably fall into the dilemma of “Fortress Besieged”, both exhausted and unable to extricate yourself.
In summary, the Xia Kong cultivation material system in “Mingchao” is not only a detailed game strategy, but also a mirror reflecting the inner world of modern people. It reveals the anxiety, struggle and confusion of contemporary people in a highly institutionalized and stratified society, and also reflects the deep social significance of game design beyond satisfying entertainment needs. As players, perhaps we should occasionally stop and look back at the summer sky that truly belongs to freedom and relaxation in this complex list of materials, so as not to be “cultivated” into another form of prisoner in a cage.