中文 ↗Much of the writing in chapters, cutscenes, character bios and rumours has been reworked to read more naturally, with more feeling given to the characters. The description of the Da'an Pavilion in Shangdu no longer names a fixed construction year. It now simply says an old hall was taken down in the south and rebuilt there, to stay clear of uncertain dates.
When the first year's profit from your joint ship with Fo Lian arrives, it now comes as a string of copper coins holding down his note, instead of a piece of silver, which better fits everyday money of the time.
Zhang Shijie's early rank now follows his biography in the History of Song: commander of the Wuding armies at Huangzhou. Wang Shiqiang's entry now only says that Emperor Duanzong's fleet put to sea from Fuzhou and headed south, rather than sailing straight for Guangzhou. Shi Nawei's forebears now handled cargo in Guangzhou's foreign quarter, since the Huaiyuan hostel there was only set up under the Ming. Chen Zan is now a more distant uncle, and the Chen family servant no longer uses a later, Ming-style word when he addresses the young master.
Several companions' fates were also matched to the records: Zhao Zhong's end after the battle of Hàm Tử is now left unknown rather than a death in battle; Wu Zhidou went missing after his ship returned to Penghu in 1292; and Shōni Tsunesuke died in 1292.
The last few mentions of "Mingzhou" in crew, companion and biography texts now read Qingyuan, as the city had been renamed by then — the temple trip to Tiantong, the reef line off Sanjiangkou and the tea and rice news from Huizhou among them. "Monsoon" is a modern word, so the seasonal winds are now called by their Song names, and sailing "against the monsoon" is simply sailing into the wind. The thing young Awang lies beside all night aboard your ship is now the needle compass of the day, and the Arab interpreter's quarter uses its period spelling.
A few interface lines were also reworded: your rented lodging, the note shown when a ruin has already been rubbed, the opening button now simply says "Set sail", and the warning before loading a save says plainly that any days not yet written into the volume will be lost.
Biographies: Zhang Shijie's stand at Jiaoshan now follows the History of Song — ships lashed in squares of ten and anchored mid-river — instead of the popular "iron-chained fleet". Emperor Duzong now calls Jia Sidao "the Master Minister", since Jia had not yet been made chief councillor at that point. Wang Shiqiang's march into Fujian is told in the right order: Jianning and Fuzhou fell first, and Pu Shougeng surrendered Quanzhou only in the twelfth month. Dates for Bayan at Dingjiazhou, Hulagu's western campaign and Chen Yizhong's mission to Champa were checked one by one.
Companions: Shōni Tsunesuke builds the stone sea wall after the first Mongol invasion, not before; Hōjō Tokimune no longer turns up in Hakata in person but sends an envoy with a letter from Kamakura; the Sambyeolcho fleet now appears off Jindo; and since Foloan lies south of Champa, Balu's ship now heads south. Dozens of stock lines repeated across companions were rewritten to fit each person.
In the discoveries, Penghu now records its old garrison and the Penghu channel is described as deep with strong currents; "Champa" is used throughout. At the shipyard, "durability" now reads as the state of the hull, repairs mention fresh tung-oil caulking, and the small gifts handed over at first meetings are paid in copper cash rather than broken silver. Across the city quarters, boatmen and ready money now use one consistent period term.
The main campaign now runs from the opening at Xinghua Harbor in 1255 through all four chapters (Harbor Mouth, Old Debts, Fleet Master, and Southern Seas), 105 story scenes, and four endings in 1279. Automated simulation runs play from the starting coastal junk to the credits to verify economy balance and story branches against dead ends.
Recent updates added sound cues across the sea chart, ports, naval battles, sieges, and cutscenes; portside observations that shift with region, monsoon, and wartime status; and marginalia notes for first-time visits to customs, brokers, and the sea chart. Full keyboard navigation and trilingual documentation are in place, passing 1,600 commits and 36 automated verification gates.
Six phases of naval combat and Song–Yuan wartime mechanics are now wired into the game. Player and enemy ships share ammunition ledgers, ballistics, and archer scaling; damaged hulls take on water, list, and trail smoke downwind. Captains can launch fire ships, hang wet felt screens against fire arrows, cut grappling lines, or send an interpreter to demand surrender once an enemy vessel is crippled. Boarding actions play out in multi-round deck decisions, escort ships follow formation orders, and post-battle ledgers settle captured hulls, rescues, prisoners, and ransom.
In the wartime chapters, port closures and broker prices react to the shifting front, and blockade runners carrying grain risk interception by Yuan patrol boats. The siege of Xinghua adds a defense schedule and four relief options, while the Battle of Yamen introduces a breakout route through fog and fire ships.
The companion roster has grown from 40 to 90 characters spanning Quanzhou’s foreign quarter, Penghu and Ryukyu, Tamna (Jeju), Kyushu, Champa, Java, Ma’bar, and Hormuz, with all 90 biographical entries and the first wave of painted portraits wired into the repository.
This website launched alongside the roster update with Chinese and English introductions, port artwork, and early character profiles.
Implemented the “Silk and Ink” UI theme with lacquer panels, gold-lettered port plaques, chapter folios, and subtitled cutscenes. Naval combat ships now render from a 3D Quanzhou Bay Southern Song hull model (V-bottomed, bamboo-batten sails, high stern gallery) across sixteen headings.
The sea chart was rebuilt on an equidistant conic projection using Natural Earth coastlines, measuring mileage and compass bearings segment by segment along the sea lanes. We also audited dates, official robe colors, and all 53 background paintings for anachronisms, replacing later blue-and-white porcelain with period qingbai glaze and brown-glazed stoneware jars.