Hsin video is finally out, hopefully the symbolism and references make the story more enjoyable! Full video: youtu.be/BmUzISkFcZ0 Thumbnail render by @anxientkana #wutheringwaves #hsin

The Second Seal designing the umbrella

In her idle animation Suoming's own umbrella is 2 Suomings tall

Quick vid yapping about Balanophora, who they are, and theories and stuff (including the Camellya thing): youtu.be/7DMPguPE0Ww

tandfonline.com/doi/abs/10.1… axonjournal.com.au/issues/c-… Kinda sad that most high schools won't dive into this caveat of show don't tell and basically leave most people thinking that both need to be used

Twenty years not ten

See this is kind of interesting, because from a purely creative writing perspective 'show don't tell' is actually a rather poor 'law' of storywriting, but it's also quite easy to understand why it gets parroted and taught in schools: because it teaches people to present information such as worldbuilding in an engaging, authentic way. In fact when I teach high schoolers creative writing one of the first things I run through is a more nuanced view of 'show don't tell', because teachers have pushed it as a kind of rule that people later take as an iron hard rule for prose writing (since "don't" is a pretty imperative term). It's not, because 'telling' and 'showing' have their own applications and purposes, which is something I only ended up learning formally in uni. Showing is useful because it presents information in a natural way that tries to mirror how real characters would speak, think and act. A simple example is no one really says "The main character of this story is Aemeath", and instead they will provide that detail through a more natural integration such as a phone call that namedrops a character, or in WuWa terms rumours of the name of the girl who disappeared ten years ago. 'Showing' is essentially an engaging and authentic (this is key, authenticity is not the same as realism) way of usually providing information. Telling is where stuff gets interesting because it really has two purposes. The first is to provide information directly, which has gotten a bit of a bad rep for being boring and has been something teachers have been trying to cull from storywriting. For instance, "Lucilla realised that Rabelle College wasn't going to secure funding after all" may be boring exposition but in some parts of the story being clear cut is necessary. Your reader does not possess the same mind as the writer, their realm of knowledge of the story and it's world is not the same as that of its creator. And understanding trumps all- the artistry you've weaved into a story matters less if the reader can't really understand its meaning or purpose. However what is taught little is the second art of telling. Consider this sentence: "Eris' checkbook was no longer than three pages.". This is purely telling and the direct transfer of information, but it can also be engaging. Why? Because it is a statement that forces you to ask questions about not just what was just presented, but also ask questions about existing assumptions. For example, you would assume that Eris is heavily involved in the financials and business side of running the Fractsidus in the New Fed, so why would her checkbook be so short? Is she doing something in particular or shady that has caused this? If her checkbook is so short, what game is she playing to fund the organisation? Is she even actually responsible for this in the first place? In limited quantities, these questions can be crucial for storytelling because you set up questions that the reader expects to be answered later, and these questions build engagement. Essentially, the second art of telling in a story functions on the omission and admission, that you can selectively add or remove certain details to generate or keep reader interest. That's why I much prefer 'show and tell', rather than 'show don't tell' or 'tell don't show'. They're both use cases with practical applications in storywriting that can be used when a situations requires it.

If anyone was still wondering why the Ministry of Sentinel Affairs is somehow dumped with the duty of astrology and calendar reading, it's becaause Huanglong's 7 Sentinels are based on the real Chinese 7 mansions of the Azure Dragon, a subsection of the total 28 mansions assigned to 4 beasts. There were 28 mansions to correlate to the 28 days that ancient astrologers observed it took for the Moon to make a rotation of the Earth, hence astrology and timekeeping.

Hear me out, I'm beginning to think a little that Camellya and Balanophora are related. IIRC in my Camellya video (she's the real potential woman), the ancient organisation that created her made her as a Rover-assassin, a "Chosen Seed", and you can see how in this trailer one of their forms manipulated vines in the same way that Camellya does. As we know, Balanophora or 'she gu' is quite related to snake (vines?) and plants seeds in people. Maybe Balanophora before the Fractsidus and Camellya have the same origin.

Quick note: the lore entries of 2 4* weapons also hint that the sun trajectories in Solaris may be reversed.

Additionally, someone on CN measured the angle of the sun in different parts of the map and found that it has 'four Norths', where the sun always seems to set in the direction of Lahai-Roi, and cities such as Jinzhou actually designed and constructed on a North-South axis, hence why they are diagonal (youtube.com/watch?v=CsNGBUUO…). This actually makes sense since 1) It is highly auspicious to build anything on the north south axis in feng shui, and 2) after the first global Lament, Lahai-Roi became the new magnetic pole of the world. I suspect that LR is the new Southern Pole of Solaris, and that's why every direction towards it is South, and every direction from it is North (IIRC? I'm pretty sure that's how it works, not too sure though). Interesting that they modelled Jinhsi's sundial/compass and the actual rotation of Solaris-3 around the pole shift in Lahai-Roi's lore. Basically planned since 1.0

The results: youtu.be/R7X4ZKFNobE