In the 1.4 version, which is both cool and restless, Yuzhen and Ya are not “on stage”. They are **generated**, in the deep system, in the gap between the fictitious logical violence and human emotions. Their existence is like a philosophical broken line – both a concrete game character and a specimen of collusion under the institutional fantasy of “players”.
I must start with **electric**, Yuzhen, an S-level strong attack electric attribute individual. His generation is not out of the traditional “aesthetic choice”, but an arithmetic deduction of the system in response to confrontational needs. His skill mechanism is like a disguised disenchantment action, fast, accurate, and dehumanized. And it is in this excessive “calculation” that his eyes full of absolute speed and unavoidable fate make people shudder – what you read in him is not “fighting”, but a completely programmed collision. In the ruins, the way he walks reminds me of a stream of consciousness that has been separated from the mother body, polishing the sharp corners of existence on the edge of reality.
Ya, on the other hand, has ice attributes and abnormal control. She is not an individual controlled by the player, but a counter-control. She symbolizes the other extreme – delay, freeze, inhibition, limitation, and ruling. What she constructs is a mirror image of the system, a scepter that simulates rationality. She said that she wanted to build an “unbreakable city management system”, which is not the intention of the character’s voice, but the designer’s implicit externalization of the “desire for control”. Her desire for the “sword” is a reference to desire and a demand for the instrumentalization of multiple power organs. She is calm, restrained, and extremely marginal, but she has mastered the core structure of the dominant narrative in a certain dimension.
They belong to the upper and lower card pools, like the two poles of the flow of time, rather than a linear relationship between before and after. They form each other’s counter-proof in the asymmetric alternation of time – Youzhen comes from the “utopia of speed”, while Ya constructs the “illusion of stillness”. Between the two, we see mechanisms, balance, dislocation, and dilemmas – they are generated, distributed, and owned, and at the same time they are also devouring our cognition of “roles” and “self”.
As another materialized means in the recharge structure, Treabar is not a simple economic tool, but a “threshold mechanism”. It is a medium for players to touch the edge of desire, and a bridge for negotiation between the system and the individual that never stops. The 20% discount seems practical, but it is actually the threshold of addiction, and it is a “human negotiation table” placed in the numerical game. The 3-minute arrival time is the gap between “will” and “execution”, and it is the crack where you give up sobriety in an instant.
Yuzhen and Miyabi never belong to you. What you draw is not them, but your brief touch of “meaning” in the middle of the night – you think they can give you a sense of accomplishment in order or battle, but what really happens is: you become their fragments, the part embedded in the system.
1.4 is not an update, it is a dislocation reprogramming of the internal world. And have you discovered that in addition to the loading progress bar, your reality is also constantly disappearing in the probability of the card pool.