Mingchao’s 1.4 version update introduced two new characters: Tsubaki and Deng Deng.

I didn’t pay much attention to it at first, because every version update looks like a systematic visual stimulation and emotional marketing. But when Tsubaki appeared, my fingers stopped for a moment.

A female character who can change hair color, red, blue, and white, three states, corresponding to different attack modes. The official definition is that she is an annihilation attribute, a swift sword character. Her skill demonstration is like a smooth performance, almost without pause, calm, precise, and extremely self-disciplined.

She doesn’t speak, but her attacks are very similar to those professional women who wear windbreakers and walk hurriedly in the city. They switch emotions between meetings, maintain balance in social interactions, and put away emotions at home. Tsubaki is such a metaphorical character: repressed, restrained, but extremely dangerous. She doesn’t need language, her power itself is all expression.

And Deng Deng looks completely different. She is lighter, a four-star character, has a summoned creature, seems to have a pet-like cuteness, and is set to be a “girl” body. I can imagine that many people like her: she is well-behaved, cute in battle, and has a certain sense of security. She is the ideal projection of “control-oriented” players.

But what I care more about is that she is not just “cute”. The summoned creature mechanism on her is a subtext: she is not independent. She needs partners and needs to rely on. Her attack rhythm is not as smooth as Chun, and it can even be said that it is a bit chaotic. But this chaos is very real.

Most people in life are not Chun, but Deng Deng. We are unstable, uncertain, and will not always stay calm under pressure. We do not have the sense of existence that comes with a script like Chun, but we are always trying new positions, hoping to find a small exit of our own in the system.

The composition of the version card pool is not complicated. The upper half is Chun, and the lower half is Yinlin. As a four-star character, Deng Deng will most likely be interspersed between the two. Jin Xi and Sanhua changed their skins, which is a typical visual induction. You think you are pursuing a new character, but you are actually pursuing a sense of freshness in familiarity, the psychological satisfaction of “old people wearing new clothes”.

In addition to all strategies, there is Treabar’s three-minute recharge commitment. Fast, accurate, and efficient. Complete the transaction in the gap between your emotional fluctuations. Does it look like urban life? We use fragmented time to buy hope and use impulse consumption to fight against powerlessness.

But the real question is, why are we still drawing cards? Is it for the character? For the value? Or for some feedback that cannot be obtained in reality? Mingchao’s 1.4 version is just a part of this game system. Behind Chun and Dengdeng, they actually carry a kind of “imagination of the ideal state of self”.

Chun is a fantasy of the strong. Dengdeng is a projection of reality. And we, repeatedly clicking, confirming, and waiting between them, are also approaching or avoiding a certain truth in “drawing cards” again and again.