Eagle's Corner is still the same Eagle's Corner

This Monday (November 10), at the invitation of Yingjiao, Tea House traveled to Shanghai to attend the media launch event for *Arknights: Endland* (hereinafter referred to as *Endland*) and got an early hands-on look at the “Open Beta” version, which is set to launch on November 28.

Producer Haimao and combat and level designer RUA also attended the press conference, where they shared some of the Endland team’s insights on the creative and iterative process.

As Eagle角’s first foray into the development of a large-scale, “capital-intensive” 3D mobile game, *The End* has consistently garnered significant attention both domestically and internationally. This is evident from the overseas trade shows over the past two years; whether at Gamescom or TGS, *The End*’s booth has always been packed with visitors.

The crowds at the TGS Endland booth this year

As a result, this in-person launch event attracted a significant number of international media outlets and influencers. Together with some familiar domestic faces from the tea house, nearly 80 content creators from around the world gathered at the Endland. An event of this scale is likely the first of its kind since the game’s initial reveal.

After listening to Haimao and RUA’s insights on the game’s development—including its conceptualization and design—and spending nearly six hours playing the demo, we at Tea House have to admit that, after several iterations, *The End* remains as unique and distinctly “Eagle角” as *Arknights* was when it first burst onto the scene.

01

The Spirit of Eagle's Corner

Su Shi once proposed the concept that “one’s writing reflects one’s character.” Applying this idea to the gaming industry, it could be interpreted to mean: the kind of company a developer is determines the kind of products it creates; conversely, the form a product takes is the best reflection of the developer’s underlying philosophy, values, or, one might say, its essence.

So, what is Eagle's Edge like?

In terms of design, it could be summarized as functional style, post-apocalyptic + industrial aesthetics, and a non-stereotypical anime-inspired aesthetic; in terms of aspirations, it’s fair to say that Eagle角 has consistently focused on refining its content while continually pushing the boundaries of mobile gaming; and in terms of its identity, judging by the external accolades such as “Sound Corner” and its past creations, we can clearly see that it is a development-driven studio.

All of these defining characteristics come together to form the unique essence of Yingjiao, an essence that permeates *Arknights* and every aspect of the franchise, and now also permeates *Arknights: Endland*.

Visually speaking, if we consider in-game narrative direction and character/scene modeling as on-screen elements, and UI, UX, and HUD as off-screen elements, then it can be said that after several iterations, the visual design philosophy and practical implementation of these two dimensions in *The Last Land* not only follow in the footsteps of Eagle角’s previous design approach but also go a step further, achieving a stylistic upgrade.

02

In the painting: characters and scenery

To take the core characters of the game as an example, prior to "The End of the World," Yingjiao primarily showcased the charm of Arknights' characters through 2D visuals. The studio excels at using exquisite character art, animated SD sprites, and text that conveys the characters' backstories and personalities to collectively shape players' imagination of the characters.

However, once characters moved into 3D, the logic behind character creation underwent a fundamental shift.

In a 3D environment, to truly bring out a character’s charm, we can no longer rely solely on static “artwork” and “text”; instead, we must expand our focus to include modeling precision, the quality of movement, facial expressions and demeanor, and even dynamic interactions within open environments.

In the final phase of the third beta test, we first comprehensively upgraded the precision of character models and simultaneously adjusted and optimized the rendering.

RUA noted that the number of rendered polygons per playable character in *The End* ranges from 80,000 to 100,000; even on mobile devices, after optimization for performance, the count remains between 40,000 and 50,000. He added that this represents a 50% to 100% increase over current products on the market.

At the same time, the playable characters in the Endland are displayed on-screen together throughout the entire game. To meet the requirements for the richness of the sandbox gameplay, there will be a greater number of NPCs, on-screen enemies, and interactive objects. Additionally, the Endland’s factory construction mechanics feature many dynamic objects, making rendering extremely challenging.

Teahouse has reason to believe that the benchmarks against which RUA’s percentage figures are being compared are no longer limited to the mobile gaming sector.

Since next-gen AAA games—such as *Final Fantasy VII: Remake*, where Cloud’s model has roughly 110,000 polygons, and *The Last of Us Part II*, where Ellie’s 150,000-polygon model is already considered among the very best—some games that prioritize multi-camera shots or open-world presentation—such as *Red Dead Redemption*—feature models like Arthur’s that have as few as 50,000-plus polygons (you can find these figures in content by many modeling analysts, such as Sav3D).

Image courtesy of PlayStation.Blog

Compared to these products, the character models in *The End* are already incredibly elaborate in terms of polygon count alone; it’s hard to imagine a single character in an anime-style game having as many as 100,000 polygons.

Of course, the lighting precision alone isn’t enough. As an old adage in game development goes, “More polygons don’t necessarily mean better results; the right balance is what matters most.” In the latest iteration, the character rendering style has been further refined. While it’s not a complete overhaul, compared to the previous test, the lighting transitions along the edges of the character’s skin are noticeably more natural, and the hair rendering has shed its previous heavy, “blocky” appearance, appearing smoother and more airy.

Comparison of gameplay footage from the second beta (Part 1) and third beta (Part 2)

We’ve also paid special attention to the characters’ facial features. Take our lead female protagonist, Pelika, for example: in the third beta test, her complexion looks significantly better than in the previous test, and details such as her facial structure and eye spacing have been optimized and refined.

The reason for such meticulous modeling stems from *The End*’s design philosophy, which draws inspiration from *Arknights*—a “2D realistic” style that emphasizes texture.

In the 2D era, achieving a realistic anime-style aesthetic was relatively straightforward. By refining color palettes, adjusting color contrast, and accurately rendering textures—all methods designed to emphasize the visual quality of 2D art—development teams could preserve the distinctive aesthetic of anime while giving characters and scenes a solid sense of volume and realistic texture.

But 3D isn't quite as easy to work with; if you're not careful, differences in textures can cause the characters and costumes to look noticeably disjointed.

Hai Mao provided a detailed account of the efforts made by the development team. He mentioned that, in order to achieve both anime-style and photorealistic aesthetics in 3D, the team not only added numerous hand-painted texture effects to the 3D materials but also devoted significant effort to experimenting with the fusion of PBR (Physically Based Rendering) and NPR (Non-Photorealistic Rendering) for various materials, in pursuit of a balance between photorealism and anime-style visuals in the clothing textures.

This ultimately resulted in the unique 3D "anime-inspired realism" visual style of the Endlands.

On rainy days, the game’s stunning depiction of how different materials react to moisture is another highlight of The Last of Us.

When it comes to mobile games, there’s never too much character-related visual detail. In a 3D setting, a character’s personality—or character design—is brought to life in a more three-dimensional and immersive way through their walking animations, skill effects during combat, casual interactions with the environment, and even subtle facial expressions in response to different events.

Eagle Corner is clearly well aware of this, so for the third beta test, they made adjustments to the storyline, virtually reworked all the cutscenes, and significantly expanded their number. In the Endlands, the characters’ subtle facial expressions and movements have been rendered with great precision. Take our character “Chen Qianyu,” for example: through her bold, dynamic body language and expressive facial expressions, she perfectly embodies the image of a vibrant, cheerful girl who wears her heart on her sleeve.

So, even setting aside the narrative, the characters in Endland currently possess two key characteristics: first, they are “exquisitely rendered,” radiating charm under any lighting or in any environment; second, they are “right before your eyes”—meaning every character in Endland stands up to a 360-degree, “ultra-close-up” examination by players.

At the same time, the details and designs of elements such as clothing and weapons constitute the distinctive *Arknights* aesthetic found in Endland characters—a universal trait shared by every Endland character. In the eyes of the community, this aesthetic is a key source of the *Arknights*-like charm associated with Endland characters.

Another key element within the painting is the scene of Titan II itself, which serves as the narrative vehicle.

Since the overall visual style leans toward realism, the scenes naturally require greater detail, which also poses a significant challenge for rendering and cross-platform optimization. RUA mentioned that for the newly unveiled main city, "Wuling City," the number of rendered polygons has been kept between 3 million and 5 million on PC and PS5 platforms, and between 1 million and 2 million on mobile devices.

Take the new map “Wuling City” as an example: its realistic visual style is paired with traditional Chinese urban design elements, such as the symmetrical layout of the city along a “central axis,”witty slogans found everywhere (including a rally for the 100-day countdown to the college entrance exams), and an academic atmosphere that blends natural and man-made architecture (reportedly drawing heavily on the planning of the China Academy of Art for its details)—all of which make Wuling a modern, Chinese-style main city with a futuristic, high-tech feel that embodies the concept of harmony between humanity and nature at every turn.

These character- and setting-driven features ultimately translate into the game’s cinematic sequences. In the special preview episode for the “Full-Scale Test,” Haimao and RUA mentioned that the cinematics for the Endland region had been completely overhauled during the third beta test. The actual experience in the teahouse confirms this: the current narrative flow in Endland rarely features static dialogue scenes anymore; instead, it offers a cinematic experience reminiscent of a film.

This restructuring is particularly evident in key scenes. For example, at the end of the first two chapters, the final battle in Valley 4 against the Cretaceous Guardians uses sophisticated camera work and pacing to weave together the actions of multiple characters on the battlefield.At the same time, close-ups of key characters echo the player’s contributions to the story throughout the preceding chapters. These panoramic scenes create an ensemble drama effect for the Endland that masterfully balances tension and release.

By reimagining the performance, high-quality visual assets were brought to life through dynamic cinematography and precise pacing, ultimately transforming technical advancements into an immersive experience that players can truly feel, while effectively evoking an emotional response.

Overall, *The End* is already quite polished. As mentioned by Haimao and RUA, the third beta version of *The End* offers roughly 50 to 60 hours of playable content. Based on our hands-on experience at the Tea House, the 60-hour estimate is certainly accurate; in fact, exploring all the details would likely take even longer.

Focusing solely on the main storyline, there’s certainly plenty to discuss regarding the narrative behind a game of this scale. However, first, even after playing until closing time, I haven’t fully experienced all the stories unfolding on Tower 2. Second, to avoid spoilers, it’s best to save the details of the narrative for another time. What I can say, though, is that this story, set within the Arknights IP universe, explores entirely new themes—pioneering and discovery.The story’s essence revolves around the future and hope, and it also features plenty of lighthearted moments.

The visual elements mentioned in the teahouse—namely the UI and HUD—are yet another manifestation of the distinctive atmosphere of The Land of the End.

03

Interaction Design and Hybrid Gameplay

Arknights has been widely discussed in the industry for years now for its UI design, and some design professionals have even conducted detailed analyses of it. So I won’t presume to lecture on design here. But to put it simply, the success of Arknights’ UI design undoubtedly lies in its perfect balance of functionality and usability in a mobile environment with “tech-industrial aesthetics.”

Ultimately, if Eagle角 wishes to maintain this balance between functionality and aesthetics, it faces two major challenges: first, cross-platform distribution, which requires the UI design for *The End* to accommodate mobile, PC, and console platforms;Yingjiao must simultaneously address issues such as intuitive touch-based gestures on mobile, precise cursor control and efficient shortcut keys on PC, and controller focus management on consoles. Each input method requires unique interface layout logic and feedback mechanisms, making it a formidable challenge to create a UI that excels across all three platforms.Not only is this the company’s first time developing a large-scale, 3D, live-service game, but building upon that foundation to launch a multi-platform, multi-device global release from scratch presents an immense challenge for Yingjiao—one that is undoubtedly even more daunting.

Another challenge is the shift in UX logic brought about by large-scale 3D games. It’s important to note that The End does not feature the centralized main interface structure—akin to an information hub—found in 2D games. Players will devote a significant amount of their time and attention to exploring and adventuring on Titan II, as well as building integrated industrial facilities. Figuring out how to nest and transition between interface elements, and how to incorporate interactive components and gameplay modules—such as combat, map exploration, simulation-based construction, and regional trade—into the UI and HUD is no simple task.

What’s shocking is that Eagle Corner actually pulled it off. The image below shows the latest UI from the third beta test. In addition to serving as a navigation hub for secondary functions, the central section of this interface displays the map the player is currently on. Furthermore, by design, this is the protocol menu bar accessed by administrators.

As for the teahouse, I haven’t tried playing it on mobile yet, but I’ve tested it with both a keyboard and mouse and a controller. I won’t go into detail about the keyboard and mouse setup, but the controller’s button mapping is incredibly user-friendly—it’s not at all clunky. It’s awesome.

This main UI embodies the interactive philosophy of the Endland UI; the core experience it conveys is not one of separation between the player and the game, but rather one of immersion. When players open this main UI, they do not feel a sense of detachment—as if they were “a user operating the game’s menus”—but instead naturally experience a sense of immersion, as if they were “an administrator accessing the protocol’s core to review details.”

This design is of immeasurable importance to player immersion and the consistency of in-game feedback; it is also the source of that elusive sense of "realism," allowing players to visually merge with the characters they play and ultimately blurring the line between gameplay and the game world.

To fully appreciate the UI quality of The End, you’ll need to try it out for yourself, as it’s a multi-sensory experience. Switching between menus and tapping buttons are accompanied by smooth, logical animations and audio feedback. When interacting with the Teahouse, you truly feel as though you’re handling The End’s technology, with a solid, tactile sensation akin to operating precision instruments.

Throughout the various sub-screens within the main UI, you’ll notice that the interface design of The End is exceptionally clean and understated. Rather than filling the screen with dazzling visual effects and elaborate decorations, it makes extensive use of white space, retaining only the most essential information and buttons.

The overall color scheme remains highly consistent and understated, maintaining the brand’s signature style with a palette of black, white, and gray, accented by subtle metallic tones and the distinctive yellow of the End-World.

This gives the entire interface of The End a rational, efficient, and trustworthy professional feel, and the same can be said for the HUD design.

The same is true of this fully three-dimensional potential matrix.

In short, what Teahouse is trying to say is that the UI and HUD design in The End truly live up to Yingjiao’s usual high standards.

Excellent interaction design, of course, is all about enhancing the user experience, which naturally brings us to the gameplay of *The Last Land*. To borrow a remark made by a German player at this year’s Gamescom, the game’s “unconventional” approach is undoubtedly its most distinctive feature.

And by "these two," the player was referring to the fusion of combat and strategic card-based gameplay.

Teahouse believes that the "uniqueness" of *The Last Land*'s gameplay goes beyond this; it lies in the seamless integration of open-world exploration, combat that blends strategy and action, and base-building mechanics—a combination that gives the game's overall experience a truly distinctive character.

In terms of combat, Operators in the Endlands can now perform consecutive dodges. Cooldowns for all skills and Stamina regeneration rates have been increased, and the mechanics for precise dodges and red-circle interrupts feel much smoother. Essentially, the fluidity and action-oriented nature of combat have been further enhanced.

Regarding the decision to enhance the game’s action elements, RUA mentioned that following the “re-test,” the development team received significant feedback from players requesting more action-oriented and visually dynamic designs based on the previous version. Building on this feedback, the team iterated gradually to incorporate as much action and polished movement design as possible into combat without compromising the core strategic gameplay, ultimately achieving the current state of balance.

Teahouse believes this is also in line with current trends, as players need more immediate feedback.

As it stands, the combat system in *The Endlands* offers players seeking action-packed gameplay the chance to enjoy thrilling battles and responsive controls through skillful controls. Meanwhile, players looking for strategic depth can unleash their creativity in team composition, executing multi-stage combos and applying physical or magical status effects to outmaneuver enemies and explore a wide range of tactical possibilities.

I didn’t have time to thoroughly study the various special effects in *The Endland*; I just threw together a random party and, relying on my experience with action games, successfully defeated the two bosses in the demo version, pulling off quite a few combos along the way. Judging by the combat feel and overall fluidity, *The Endland*’s combat system definitely offers plenty of depth and potential—it’s the kind of game that’s easy to pick up but hard to master.

Next, let’s talk about another core feature of The End: the integrated industrial system.

After seeing the "Blueprint" system in action during the Preview Special, I asked Eagle角 a question in the forum: "Integrated Industry," as the pinnacle of automated assembly line gameplay, inevitably faces the issue of "optimal solutions." Often, when playing, it’s faster to copy someone else’s setup than to spend time figuring out the wiring and layout on your own.

Blueprints that can be shared also serve as a means of asynchronous social interaction

What Tea House is curious about is: how will Endland ensure that players who don’t want to copy others’ work don’t have to worry about falling behind?

During the Q&A session, Haimao and RUA addressed these concerns, assuring players that they can rest assured: the integrated industrial gameplay will offer an inclusive experience for all types of players. The game’s objectives are relatively flexible, and the designers have taken into account players of all paces—whether they prefer a fast-paced or leisurely experience—so everyone can enjoy the game with a more relaxed mindset.Achieving the ultimate goals will yield results far exceeding the objectives required for each stage. As long as players fully understand the game mechanics and invest some thought and time, they will be able to complete the game’s objectives in diverse ways, with freedom and flexibility. Future updates will continue to refine the factory system, allowing players to experience new versions and limited-time events first. Whether new or veteran players, everyone will have the opportunity to complete the game content at relatively similar paces.

This undoubtedly alleviated many of the teahouse’s concerns. Previously, the teahouse had been worried that, after all, *The Endland* is a live-service game characterized by regular version updates. Even if “Integrated Industry” could capture players’ attention early on and offer relatively long-lasting gameplay, it would still face the challenge of a “downturn” as the game’s operational lifespan extended. What should *The Endland* do at that point?

Hai Mao and RUA stated that, based on the realities of development, they will release content on a regular, rhythmic basis in the form of updates. Drawing on their operational experience with Arknights, they have already mapped out an update plan for the post-Apocalypse era, and will periodically introduce new characters, new maps, and new gameplay features—including plans to continue rolling out major new events. Moving forward, they will strive to deliver meaningful content and experiment with and refine more engaging gameplay mechanics.

In previous updates, they also mentioned that one of the core principles of the Endland team’s gameplay design is to emphasize the interplay between gameplay and narrative. They actively seek to strike a balance between gameplay mechanics and narrative content, and aim to align each update with the game’s overarching theme, striving to improve further in the future.

Teahouse believes that, based on the third beta version, this may also be reflected in specific processes that vary by region.

Taking the integrated industrial gameplay as an example, Valley 4 and Wuling are two distinct systems. The theme of Wuling City is "water-based Xirang energy," and the factories that players can build, harvest from, and operate will revolve around Xirang technology, presenting a completely different experience.

Eagle's Corner introduces the "dynamic water system" design to Wuling, allowing players to channel water into their facilities to produce Fertile Soil, which can combat erosion. The accompanying structures—such as water pumps, water transfer stations, and Sky-Fired Furnaces—are entirely distinct from the mining machines found in Valley 4.

At the same time, the introduction of regional currency—specifically, "dispatch vouchers" as a trade element—has created a means for local specialty products to circulate, and the proceeds from these transactions also contribute to map development. From a broader perspective, the flow experience generated by the simulation gameplay is engaging enough to keep players occupied for quite some time.

Looking back now at the central themes of *The Endlands*—pioneering and exploration—we can see that the game’s overarching cycle is remarkably cohesive. Forging a path forward requires combat, while exploring and building in *The Endlands* demands the support of productive capacity. Essentially, map exploration, the combat system, and factory automation are not isolated from one another; in fact, based on the current game design, they interact, interlock, and complement each other, creating a virtuous cycle.

The Endland grants administrators extensive "privileges." As administrators, players serve as the central hub for coordinating operations with various agents and expanding territories, while also acting as pioneers in the development of future industrial technology, contributing to the growth of Tower II through Endland Industries.

Logically speaking, the integration of gameplay mechanics in the Endlands is seamless. Moreover, the game uses its narrative to further refine this logical framework. For instance, the story in the Wuling chapter illustrates how, under local technological methods, the production efficiency of Xirang is low, leaving the situation precarious; in contrast, “integrated industry” represents advanced productive forces capable of boosting Xirang’s production efficiency, and so on.

Conclusion

Returning to the essence of Eagle's Corner, at its core, Endland has always retained the creative spirit of Eagle's Corner.

At least for now, Endland hasn’t succumbed to the trends of a more industrialized development process; it still retains the essence of Eagle’s Corner.

Teahouse even feels that, given the current quality and scale of the game, it could be released as-is. However, Eagle角 still wants to conduct further testing to gather more feedback and make additional refinements, striving to create the best possible experience and constantly striving for perfection. This dedication to the product is perhaps one of the things that makes Eagle角 so special.

Teahouse has often wondered why this developer stands out so distinctly in its niche, and why Yingjiao, as a company, exudes such a strong creative spirit. It wasn’t until I arrived at the press conference, met Yingjiao’s two lead creators, heard their insights and reflections, and verified through hands-on gameplay that their claims were true—that my overall impression ultimately became the best answer to this question.