Even after the game returned to the main menu, Zhang Yi still had not recovered from the shock.
What was the most common thing for a gamer to do?
Wasn't it looting?
Flowers and grass by the roadside, stones, fish, and shrimp in and by the river, as well as the tables and cabinets of every NPC—what adventurer had not thoroughly explored them?
Though in some games, this kind of theft would get you wanted.
But in this game, that was just too damn brutal.
You got exiled to the frontier directly, and then the game failed?
Yet after thinking it over, Zhang Yi felt that this actually gave the game a greater sense of realism.
Why did it feel more real? On one hand, the game itself recreated its details exceptionally well. From textures and set dressing to buildings, clothing, and voice acting, everything was made as fitting as possible.
There was no need to mention Kaifeng and Hangzhou in the game. Even the villainous Anti-Heaven Alliance had a substantial historical basis.
The Song dynasty itself had been the golden age of Go. The game's boss, Yi Zun, took his title from the game of Go and treated all things as pieces on his board. His four great pieces were likewise named after the elephant, chariot, advisor, and general in Chinese chess. Beyond that, Go puzzles could be found throughout the game's world.
Gambling games, Go... a whole series of elements blended together countless details, making it easy for players to immerse themselves without ever feeling pulled out of the experience.
As for the various intricate Side Quests, although most centered on investigations and puzzles, they ranged from the imperial palace and noble families down to ordinary country folk.
Through all kinds of cases, players could experience the true