With the newest version of Wuthering Waves being on the horizon, it’s time to bring closure to Version 2.6 and Iuno. In the first part of that update, we had to participate in the Great Hunt and join Augusta in the final battle against the False Sovereign. On this journey, we had learned about the prophecy and uncovered the truth of Augusta’s past. However, there was one person who walked this path with us, but who was that again? Was there someone else?
The second part of the 2.6 starts with the revelation that no one remembers the priestess who fought alongside them. Iuno completely disappeared from the memory of other priestesses, warriors and commoners. Even Augusta, who used to spend the most time with her, doesn’t feel a trace of her presence.
Iuno simply vanished from the memory of the world, but Rover wouldn’t be an Arbiter if they were affected by such inconvenience. Once more, they have to take everything in their hand and turn the tables on fate and reshape the universe.
The entire quest is built around Rover’s attempts to bring Iuno back. However, that’s not an easy task since she is stuck in a strange world beyond life and death. The idea reminds of the Greek myth about Orpheus and Eurydice, with the tweaks that lead to a happy ending. However, these similarities to the legend give the quest a specific tint, but let’s discuss it a bit later.
As Rover jumps into the Chaos, this dark work threatens to consume them. The dark atmosphere and creepy entities lurking around give this place a disturbing vibe, mingled with sorrow and dread. Here we have to find Iuno, and pull her back to the light from the deep shadows, tearing the hero away from the grasp of the unknown creatures. However, Iuno we find not the same person we knew, but rather a remnant with little self-awareness.
As we know, in the second part of the update Kuro likes to experiment with the mechanics and storytelling, and this time is not different. Iuno’s quest brings to the table interactive storytelling, turning the familiar experience into an interactive fiction. Through this adventure, the player has to use QTE actions to advance through the cutscenes. Either tug Iuno up, move through the narrow space, or crush the ore – everything comes through the QTE.
There are many QTE moments, and it gives a feeling that you are not playing WuWa, but some interactive fiction quest. Only one difference separates this quest from that genre of the games – the impossibility to fail these QTE. If the player doesn’t press the required button, there won’t be any immediate consequences. The cut scene remains static while waiting for the input to continue.
This change in approach to narrative seems to appear right on time, as HoYoverse promised to improve their narrative impact as well. The QTE actions give more agency to the player, and offer more involvement into the events on the screen. Yet, these mechanics, as many others, should be used in moderation, considering the main audience of the game.
WuWa is still an action RPG, which might resonate with the additional actions in the cut scenes, but there is a nuance. Previously, the QTE action was used in scenes like dance with Carlotta and there it had a great impact. It felt right and impactful, used in a limited moment. Meanwhile, in Iuno’s quest it’s scattered all over the story, and, while some moments are entirely needed and great, some of them feel overused and tedious. Though Kuro managed to keep it on the positive side, there is still a danger of overdoing it in the future quests.
Another interesting decision in the mechanics was the parts where we have to hold Iuno’s hand while walking around the Chaos. Narratively it refers to the need to keep the resonance and anchor Iuno, while in gameplay it’s an old, familiar mechanic. In general, it’s the same kind of action, as staying within a range of a protective shield, but different in its presentation. It’s a nice decision and nod to the connection between characters, yet again it comes with the little “but”.
In the fandom, Wuthering Waves is jokingly referred to as “Gathering Wives” and these hand-holding mechanics might be considered by many as a fan service. I won’t call it neither good nor bad, but it’s a point of contradictory emotions. As I mentioned before, the entire quest feels like a reference to the love story from Greek legends, and it brings a tint of romance to the play. And here comes the fact that Iuno barely remembers who she is. From a certain perspective, some scenes become very awkward. But I like to believe that it’s not the intention of the developers, while the perception of the fandom does the trick.
The middle part of the quest introduces the mechanic of investigation and object interactions. Taking place of Iuno of the past, we examine the object people bring to the priestess to receive a prophecy. Interactive turning and rolling of the object around in 3D view is a nice touch, while the game still keeps the option to skip this action.
However, that part of the quest brings more interesting things to the narrative side. As Iuno gives the prophecies, the player can decide should they be vague or give a direct answer. One way or another, prophecies come to life, but the path the people make on the way differs. However, is that true? Maybe the very fact of giving hints or facts about the future predetermines it? Is it really a fate or self-fulfilling prophecies?
Iuno suffers from these questions her whole life and struggles to change the things she sees in the moonlight. As her very first prophecy seemed to be about the fate of her mother, but she brushed it off as a delusion, she carries the guilt through her life. Iuno decides to face every prophecy head-on and try to find a way to change the future. And she finally finds it in the one who isn’t part of them. Herself.
This part of the quest is very heavy and touching. Iuno carried the burden alone for years, knowing her own outcome. She also lied to Augusta, who tried to share the burden with her and the outcome of this fate together.
She sacrificed herself as one who shouldn’t die for the lives of all who should. It’s a strong set-up, but the very presence of the Rover ruins it from within the core.
In fact, the unwritten hero who saves Septimont is Iuno. She becomes unwritten because she wasn’t part of the prophecy, as she is the one to make them. She erased herself and became an unwritten character of the story. But there’s another thing, Rover can’t be a part of any prophecy either. The entire thing could be solved even without Iuno’s sacrifice. And in the end that self-sacrificing trope leads to a romantic adventure in the Chaos and the finale that diminishes her to another piece of Rover’s harem.
The final part of the quest was rather disappointing, as it once more wraps and revolves around the main character. The best final touch would be the scene where Rover reintroduces Iuno to everyone, brings her to Augusta and says, “Hey, I told you she was real.” But instead, the entire finale feels like we are walking among people who don’t see Iuno. They mention that they saw some girl like her, but then just brush off her existence yet again. And then we can just go and sit together with Iuno near a tree, as a peaceful moment with a very specific context.
While Kuro previously began to discover relationships between characters, giving them more personality beyond Rover’s fan girl, here we are back to square one. The entire development between Augusta and Iuno erased, quite literally. Once more, Rover turns from the indifferent and nearly immortal observer into a sailor that has a wife in every port. And it’s not entirely friendship- final scenes with Cantarella or Shorekeeper confirm that, not to mention Phrolova or Camellya.
Sure, this is fan service and can be easily ignored, but there is a dangerous line where the game might just follow the footsteps of Tower of Fantasy. This game has more potential, and Kuro can chase success without cheap tricks.
