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Wuthering Waves Hsin Rotation Guide–––– Use this rotation to decrease Hsin's overall rotation Ult-BA123 E E UBA12 Dash UBA12 Dash UBA1 HA Ult2 Bookmark for later use!! #WuWa #WutheringWaves #Hsin

Riju

13,048 subscribers

73,497 просмотров • 10 дней назад •via X (Twitter)

#WuWa #WutheringWaves #Hsin

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Комментарии: 6

Фото профиля Silverberg

Silverberg10 дней назад

Rotation so fast bro wasted the ult. The mobs haven't even spawn

Фото профиля Riju

Riju10 дней назад

thats fine i am just doing timing difference lol, not a full clear

Фото профиля Hotaru

Hotaru10 дней назад

Thanks man maybe now I can get 4500 point

Фото профиля Motivated™

Motivated™10 дней назад

Do you niggas just like hate playing the game or something? Is it like ADHD? I wanna play with the god fox mommy on field all the time, not hot swap like I’m a toddler trying to knife “run” in CS:GO

Фото профиля Riju

Riju10 дней назад

then play your way, why you so hurt lil bruh

Фото профиля Aeon ★ Antille 💫

Aeon ★ Antille 💫10 дней назад

Bad rotation, u didn’t maximize your heart stacks from illuminating form

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Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. 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During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa

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55,609 просмотров • 8 месяцев назад

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Papachin/怕怕

29,778 просмотров • 1 год назад

Desveaux’s Theory of Helix Fields Tweet 1 of 2 For decades, we treated the universe like a giant stage where particles act out their lives. What if the stage itself isn't empty? What if the "void" of space is a structured, rotating medium that is constantly twisting & turning? We have been looking at the pieces of the puzzle, but ignoring the board they sit on. It’s been hiding in plain in sight? My idea on Helix Fields suggests everything we see, from the smallest atom to the largest galaxy, is actually a "corkscrew" in the fabric of reality. In standard physics, we think of particles like tiny billiard balls. In Helix Field Theory, we rethink them as solitons - essentially stable, high-energy "whirlpools" or "corkscrews" made of space itself. Imagine a ribbon. If you pull it straight, it’s flat and simple. But if you twist it, you create a spiral. That twist is what we call Torsion. My theory says that what we perceive as "matter" is simply a place where the vacuum of space is rotating so tightly that it creates a "density core." To explain how this all works, we use a mathematical roadmap called a Lagrangian. Think of it as a master recipe or cookbook for the universe. It combines four key ingredients: 1. Electricity and Magnetism: How light and energy move. 2. Scalar Fields: The underlying "pressure" of the vacuum in space itself 3. Matter: The physical "stuff" we can touch. 4. Torsion: The "twist" or rotational force of space. By looking at the universe through this "helix" lens, we can solve two of the biggest headaches in modern science: The Hubble Tension - Astronomers are currently arguing over how fast the universe is expanding because different measurements give different answers. My theory suggests this "tension" exists because we haven't accounted for the universal rotation (torsion) affecting our measurements. The Dark Sector - We know there is "Dark Matter" and "Dark Energy" out there, but we can't find it. Helix Field Theory suggests these aren't invisible particles, but rather geometric artifacts - ripples and shadows created by the rotating vacuum itself. We are moving away from a universe of "things" and toward a universe of geometry and motion. If the vacuum of space is a structured, rotating medium, then we aren't just living in the universe - we are part of its physical rotation. The "Quantum Substratum" isn't just a theory; it’s a new way to understand the very "twist" of existence. - Protons: tiny rotating black hole-like cores anchoring the scalar field - Neutrons: stabilisers that prevent proton cores from decaying - Quarks & Gluons: the deepest torsion knots; the strong force is intrinsic torsion - Electrons: corkscrew-shaped solitons producing microscopic magnetic vortices - Neutrinos: ultra-light messenger waves traveling along the field’s “communication lines.” - Photons: instruction ripples traveling at light speed - Dark Photons: the “torsion messengers” of the Helix Field. They carry the twist, regulate the twist, and stabilize the twisting motion - W and Z bosons: on/off switches and stabilising nodes in the neutrino network - Higgs field: the local density of the scalar field, giving solitons their effective mass - Dark energy: the gentle outward push caused by the field’s overall rotation - Entropy: friction in that rotation, giving time its arrow - Cosmic Microwave Background: the universal “sustain pedal” like on a guitar or piano, keeping the field’s vibrations in phase. In this vision, dark matter isn’t missing matter - it’s the gravitational echo of the scalar field itself. Exploring antiparticles further: they may regulate the flow of time itself. In a rotational and torsional universe Time is a neutral observer: the past and future are fixed, but the present - our free will - is the point where choices echo into fate. Time is the “God” of the universe: ever-present, ever-aware, never interfering - just watching, as we decide which thread to follow.

Desveaux’s Theory of Helix Fields Tweet 1 of 2 For decades, we treated the universe like a giant stage where particles act out their lives. What if the stage itself isn't empty? What if the "void" of space is a structured, rotating medium that is constantly twisting & turning? We have been looking at the pieces of the puzzle, but ignoring the board they sit on. It’s been hiding in plain in sight? My idea on Helix Fields suggests everything we see, from the smallest atom to the largest galaxy, is actually a "corkscrew" in the fabric of reality. In standard physics, we think of particles like tiny billiard balls. In Helix Field Theory, we rethink them as solitons - essentially stable, high-energy "whirlpools" or "corkscrews" made of space itself. Imagine a ribbon. If you pull it straight, it’s flat and simple. But if you twist it, you create a spiral. That twist is what we call Torsion. My theory says that what we perceive as "matter" is simply a place where the vacuum of space is rotating so tightly that it creates a "density core." To explain how this all works, we use a mathematical roadmap called a Lagrangian. Think of it as a master recipe or cookbook for the universe. It combines four key ingredients: 1. Electricity and Magnetism: How light and energy move. 2. Scalar Fields: The underlying "pressure" of the vacuum in space itself 3. Matter: The physical "stuff" we can touch. 4. Torsion: The "twist" or rotational force of space. By looking at the universe through this "helix" lens, we can solve two of the biggest headaches in modern science: The Hubble Tension - Astronomers are currently arguing over how fast the universe is expanding because different measurements give different answers. My theory suggests this "tension" exists because we haven't accounted for the universal rotation (torsion) affecting our measurements. The Dark Sector - We know there is "Dark Matter" and "Dark Energy" out there, but we can't find it. Helix Field Theory suggests these aren't invisible particles, but rather geometric artifacts - ripples and shadows created by the rotating vacuum itself. We are moving away from a universe of "things" and toward a universe of geometry and motion. If the vacuum of space is a structured, rotating medium, then we aren't just living in the universe - we are part of its physical rotation. The "Quantum Substratum" isn't just a theory; it’s a new way to understand the very "twist" of existence. - Protons: tiny rotating black hole-like cores anchoring the scalar field - Neutrons: stabilisers that prevent proton cores from decaying - Quarks & Gluons: the deepest torsion knots; the strong force is intrinsic torsion - Electrons: corkscrew-shaped solitons producing microscopic magnetic vortices - Neutrinos: ultra-light messenger waves traveling along the field’s “communication lines.” - Photons: instruction ripples traveling at light speed - Dark Photons: the “torsion messengers” of the Helix Field. They carry the twist, regulate the twist, and stabilize the twisting motion - W and Z bosons: on/off switches and stabilising nodes in the neutrino network - Higgs field: the local density of the scalar field, giving solitons their effective mass - Dark energy: the gentle outward push caused by the field’s overall rotation - Entropy: friction in that rotation, giving time its arrow - Cosmic Microwave Background: the universal “sustain pedal” like on a guitar or piano, keeping the field’s vibrations in phase. In this vision, dark matter isn’t missing matter - it’s the gravitational echo of the scalar field itself. Exploring antiparticles further: they may regulate the flow of time itself. In a rotational and torsional universe Time is a neutral observer: the past and future are fixed, but the present - our free will - is the point where choices echo into fate. Time is the “God” of the universe: ever-present, ever-aware, never interfering - just watching, as we decide which thread to follow.

Clinton Desveaux

23,492 просмотров • 9 месяцев назад

*** Mega Parodius Sega Megadrive Update *** Lately I've been having some fun seeing how far we can push the Parodius game engine . This is not arcade accurate - just for testing, decreased bullet timers and upped the bullet count to see what would happen re cpu usage when things are made a lot busier ! Maybe something like this could be insane mode in the options etc. Since last update we are a lot more optimised under the hood . The C based sprite engine, particularly visibility checking was speedup , overall 25 % faster. Then re-wrote the sprite engine completely in 68k assembly , 30% faster again. It took about 3 days and 1500 lines of assembly , thankfully the gains were worth it. All these gains will be back ported to S.O.T.A also as its using the same sprite engine. Usage is around 19% of cpu per frame with a full sprite load - 33 % cpu left in the busiest frame currently . Parodius is using a write the sprite list every frame type engine , so priority and meta-sprite objects can be handled with ease albiet its still a bit slower than static allocation sprite engines such as the one in lufthoheit but this is a bit easier to code for in the long run. All collision checks are been done , we are using a spatial grid system to get the collision checks done faster than a brute force approach . To get to maximum sprite count destruction is disabled in the video. We hit 80 sprites onscreen in this sequence , the sprite counter is one the Left side. We use about 16 sprites in the top hud and water line , about 21 for player attacks / missiles / shots / options . Up to 35 bullets + enemies . No lazer usage here as the Lazers use zero sprites thanks to the raster tricks , this video is all about the sprites ! Improved the water line when the Catboss is active , as he is Sprites + Forground we are doing some tile rotation tricks eg bit scrolling to give the impression of parrallax at that point . Vector Orbitex has updated the stage 1 music again and has made things even higher quality , hes mixed pcm and fm channels together to create higher quality orchestral hits for example . Pyron has started converting assets from stage 2/3 , some amazing work there . Hes well ahead of me at present which is a good thing. Still lots of incomplete animations missing logic etc , its slow going with RL getting in the way haha and 2 other projects !! Still its fun !! #SGDK #SegaMegadrive #SegaGenesis #Parodius

* Mega Parodius Sega Megadrive Update * Lately I've been having some fun seeing how far we can push the Parodius game engine . This is not arcade accurate - just for testing, decreased bullet timers and upped the bullet count to see what would happen re cpu usage when things are made a lot busier ! Maybe something like this could be insane mode in the options etc. Since last update we are a lot more optimised under the hood . The C based sprite engine, particularly visibility checking was speedup , overall 25 % faster. Then re-wrote the sprite engine completely in 68k assembly , 30% faster again. It took about 3 days and 1500 lines of assembly , thankfully the gains were worth it. All these gains will be back ported to S.O.T.A also as its using the same sprite engine. Usage is around 19% of cpu per frame with a full sprite load - 33 % cpu left in the busiest frame currently . Parodius is using a write the sprite list every frame type engine , so priority and meta-sprite objects can be handled with ease albiet its still a bit slower than static allocation sprite engines such as the one in lufthoheit but this is a bit easier to code for in the long run. All collision checks are been done , we are using a spatial grid system to get the collision checks done faster than a brute force approach . To get to maximum sprite count destruction is disabled in the video. We hit 80 sprites onscreen in this sequence , the sprite counter is one the Left side. We use about 16 sprites in the top hud and water line , about 21 for player attacks / missiles / shots / options . Up to 35 bullets + enemies . No lazer usage here as the Lazers use zero sprites thanks to the raster tricks , this video is all about the sprites ! Improved the water line when the Catboss is active , as he is Sprites + Forground we are doing some tile rotation tricks eg bit scrolling to give the impression of parrallax at that point . Vector Orbitex has updated the stage 1 music again and has made things even higher quality , hes mixed pcm and fm channels together to create higher quality orchestral hits for example . Pyron has started converting assets from stage 2/3 , some amazing work there . Hes well ahead of me at present which is a good thing. Still lots of incomplete animations missing logic etc , its slow going with RL getting in the way haha and 2 other projects !! Still its fun !! #SGDK #SegaMegadrive #SegaGenesis #Parodius

Shannon Birt

16,259 просмотров • 10 месяцев назад

The Public Health Agency has another psyop in store for us The stated priorities include vaccination uptake, mental health, and — of course — climate-related health challenges. The Public Health Agency of Canada has put out a procurement notice asking for infrastructure to support large-scale, design-focused behavioural studies. That’s the language they chose. Behavioural. Design-focused. At scale. The stated priorities include vaccination uptake, mental health, and — of course — climate-related health challenges. Those are not treatments. They are behaviours. They want compliance. Obedience. This is PHAC saying, plainly, that it wants better tools to study how Canadians act and how to influence that behaviour in line with government priorities. This matters because we already know how PHAC operates. During COVID, PHAC admitted it tracked the mobility data of 33 million mobile devices in Canada. That is nearly the entire adult population. With no warrants. No individualized consent. Movement data was collected to measure compliance with lockdowns and the information was sold for a profit behind users' backs by providers. At the same time, internal government documents show the Canadian military was running influence and propaganda exercises. One exercise involved circulating a fake story about wolves being released, as a test of information spread. Senior officers later warned that these activities risked undermining public trust. Now Health Canada and PHAC is institutionalizing this manipulation work. This RFP is about building permanent capacity to conduct behavioural research tied to government objectives, and making sure we are all obedient little drones. All of this is happening while PHAC continues to fail at basic administration. The agency has repeatedly had to destroy millions of dollars’ worth of expired PPE. Masks, gloves, gowns sitting in warehouses until they aged out and were thrown away. Inventory mismanaged. Rotation failures. Distribution failures. Quiet write-offs paid for by taxpayers. PHAC could not manage boxes on shelves. But it wants sophisticated infrastructure to study and influence the behaviour of an entire population. If the priority were preparedness, the investment would be in logistics, stockpile management, hospital capacity, staffing, and emergency response systems that actually function. Instead, the investment is in behavioural science. The language is explicit. The history is documented. The pattern is consistent. Tracking people. Testing messaging. Studying compliance. Building tools to do it again and again. When government agencies define behaviour as a health problem, personal freedom becomes a variable to adjust. Travel, movement, medical decisions, energy use, and speech all become subjects of research rather than rights to be respected. PHAC is not asking how to be more competent. It is asking how to be more effective at influencing Canadians. And that tells you everything about what comes next.

The Public Health Agency has another psyop in store for us The stated priorities include vaccination uptake, mental health, and — of course — climate-related health challenges. The Public Health Agency of Canada has put out a procurement notice asking for infrastructure to support large-scale, design-focused behavioural studies. That’s the language they chose. Behavioural. Design-focused. At scale. The stated priorities include vaccination uptake, mental health, and — of course — climate-related health challenges. Those are not treatments. They are behaviours. They want compliance. Obedience. This is PHAC saying, plainly, that it wants better tools to study how Canadians act and how to influence that behaviour in line with government priorities. This matters because we already know how PHAC operates. During COVID, PHAC admitted it tracked the mobility data of 33 million mobile devices in Canada. That is nearly the entire adult population. With no warrants. No individualized consent. Movement data was collected to measure compliance with lockdowns and the information was sold for a profit behind users' backs by providers. At the same time, internal government documents show the Canadian military was running influence and propaganda exercises. One exercise involved circulating a fake story about wolves being released, as a test of information spread. Senior officers later warned that these activities risked undermining public trust. Now Health Canada and PHAC is institutionalizing this manipulation work. This RFP is about building permanent capacity to conduct behavioural research tied to government objectives, and making sure we are all obedient little drones. All of this is happening while PHAC continues to fail at basic administration. The agency has repeatedly had to destroy millions of dollars’ worth of expired PPE. Masks, gloves, gowns sitting in warehouses until they aged out and were thrown away. Inventory mismanaged. Rotation failures. Distribution failures. Quiet write-offs paid for by taxpayers. PHAC could not manage boxes on shelves. But it wants sophisticated infrastructure to study and influence the behaviour of an entire population. If the priority were preparedness, the investment would be in logistics, stockpile management, hospital capacity, staffing, and emergency response systems that actually function. Instead, the investment is in behavioural science. The language is explicit. The history is documented. The pattern is consistent. Tracking people. Testing messaging. Studying compliance. Building tools to do it again and again. When government agencies define behaviour as a health problem, personal freedom becomes a variable to adjust. Travel, movement, medical decisions, energy use, and speech all become subjects of research rather than rights to be respected. PHAC is not asking how to be more competent. It is asking how to be more effective at influencing Canadians. And that tells you everything about what comes next.

Rebel News

37,362 просмотров • 9 месяцев назад