r/SignoraMains

Does this mean anything to our Rosalyne?

I think this is the first time we finally got to see her moths in-game near the mausoleum, it seems like we can't pick them up in the beta yet, but interestingly the only time we got to pick them up and use them was in her boss fight where we would break her ice cocoon to reveal the crimson witch of embers, so maybe this time around we will do a similar thing by using the moths to break the ice surrounding the mausoleum and gain access to the entrance as it seems to be blocked by the ice at first, also just a little theory of mine is that I still find it to be very interesting how they called her the Crimson Witch Of Embers and not the Crimson Witch Of Flames, it kind of hints that she has grown weaker as her flames have already consumed her and are now dying out, so maybe this was all a plan of the Tsaritsa and her where she needed to sacrifice her old weak body to be reborn (pheonix style) as the prime CWOF?

https://x.com/tamathersky/status/2071127798102810684/photo/1

And Vodyanitsa. Or do you think it's marketing and isn't worth it?

I'm kind of tired honestly. They bring Dottore's test subjects, Capitano's friends like Ororon (and Valery's cape is just like Capitano's in trailer), and Signora's marketing of other characters.

When in reality, I want the harbingers themselves. Not the others. Odette looks gorgeous, only problem for me is her wearing heels. Vodyanitsa is more like Lanyan styled character. I'm not sure about pulling, so I'm asking to you..

It's only Signora here - Anyone who's been keeping up with the lore, story and leaks and isn't a doomposting NPC Tourist knows that Capitano will be playable in the future, and so will Dottore.

With that being said, would I sacrifice Ronova for Signora ? - Yes. Ronova's situation's very different from Signora, cuz unlike Signora, she's more disliked than liked even as an NPC and even before we got to know her properly.

Many great villains in fiction are deliberately revoked off the chance for a full thorough backstory, character development, etc., as it builds sentiment and investment towards them, something gacha devs use to often sell their characters and build player investment - Imagine if we got a backstory of Frieza back in Namek on how he was as a kid, how King Cold raised him, and getting to see how he became such a heartless tyrant and killer, right before he fought Goku. Now ask yourselves this - Do y'all "seriously" think yall would've hated Frieza being as evil as he was and how much Goku beat him up right after ? - If you say you "would've", then you're lying, and you know that. Same logic with Ronova here - "softening" her "edge" is gonna to ruin her "villain" impact.

I also see no reason for Mihoyo to now start Promoting Signora so much and start developing her character, background, and showing more of her in general because if she's actually being geared to come back through the "Resurrection S" Strategy then by all means, Mihoyo should continue keep doing what they're doing, but if not, it's just a waste of time, resources, and illusions of implied promises that ultimately just pisses off your fanbase, A.K.A. your consumers, which will keep stacking on them till they eventually quit - So it's a very hypocritical decision.

With that said, back to Ronova - With everything I said in mind, if Signora's really being planned to come back, and if Ronova really needs to die, then the time is now, but MHY needs some real titanium balls to show that they CAN do that, otherwise, it's just gonna be like the Irminsul-Aaru in 6.6 perfectly capturing Genshin's biggest storytelling flaw - A Story with no consequences.

I used to play a lot from 2021-2022 and Signora was my most wanted because we love a cunty diva with a tragic backstory that serves

After seeing the mess that happened in Inazuma, and the terrible writing/storytelling that followed, I just quit.

But seeing all this hopium and spotlight she’s been getting has to mean something and I’ve been doing a lot of lurking on this sub again and I’m convinced.

Plus I’m a sucker for swan lake so seeing Odette adds fuel to the fire.

I really hope she makes it back to us, my finger is on that download button

(I originally posted this in the comments, but I felt like I needed to post it as its own post as well…)

After all the leaks we’ve had over the past few days, many of us are afraid of getting bad news… and that’s understandable because it’s Mihoyo, but…

but there are several things that reassure me :

— The cathedral could have remained a simple place to visit or contemplate, yet it is part of a quest.

— Her pyro moths are still present five years after her death: it's a miracle for us.

— We have to collect her moths. Why? Maybe to gather them and help bring her back.

— Odette will likely be involved and could either be the one who initiates things or be connected through Pierro or the Tsaritsa.

— This part of the quest ~ collecting the moths and visiting the cathedral ~ is part of the Archon Quest and happens at the end. That's perfect for building massive hype and ending on a huge cliffhanger.

— Plus: we already witnessed a farewell ceremony through an entire video, A Winter Night's Lazzo, so why repeat a simple farewell scene if it isn't meant to lead to something completely different at the end?

We're scared, and that's normal, but there is more hope here than we've had in six years...

Also… this is just pure speculation on my part, but:

• The Pyro Gnosis is missing and we have no information about it. Yet it is a part of the Tsaritsa’s husband’s body, so she will eventually need it.

What if that Gnosis is located in a place tied to fire, somewhere only Rosalyne could reach? As an elemental pyro being, she might be able to survive where no one else could…

• Also, let’s not forget that in the trailer, the Tsaritsa clearly made some kind of secret deal with Rhinedottir, who is nothing less than someone capable of creating living beings… and especially bodies which Rosalyne might potentially need in order to return without everything being burned on her way back.

• Oh, and the Tsaritsa is about to face none other than a figure like Renova (the so-called “God of Death”), who could be the one preventing Rosalyne from returning all this time, since she might be stuck in a state between life and death. With a scene of Rosalyne’s mausoleum suddenly appearing while she is speaking to her… just that alone!

Who knows??? We might get some surprises! Even if the Fatui are still using her because they need her, as long as they help bring her back, I’m okay with them…

>!Tsaritsa looks really really tall, taller than the usual tall female model if I could say so. Signora was also a very tall female. What if they make a new tall female model and they use it as an excuse to release Signora by the new standards as well? They may have kept it as an introduction for the Tsaritsa because they want her to be special (she's one of the most awaited characters after all) and after they use it on her, Signora can be released with this model?!< Just random thoughts for food idk.... Lmk your opinion?

&#x200B;

I predicted it from the very beginning, and every subsequent development has done nothing but vindicate each of my theories. Not only has Odette been revealed as the leading candidate to inherit the title of The Lady, better known as La Signora, but the splash art has unveiled an even more profound truth: the existence of an alter ego—a shadowy silhouette that unmistakably evokes Odile.

With revelations of this magnitude before us, the time has come to present what I believe to be the definitive theory regarding Odette's future in Genshin Impact. To do so, I will use the narrative structure of Swan Lake as my foundation, drawing parallels with the ballet's three most iconic endings: the tragic ending, the bittersweet ending, and the hopeful ending. Through these, I will attempt to determine which of these fates truly awaits Odette.

Before delving into this hypothesis, however, it is essential to revisit the premises I have previously established concerning Odile, La Signora, and Odette herself. Only by understanding the bond that unites them can we fully appreciate the magnitude of what is about to unfold.

It should go without saying, but it bears mentioning nonetheless: this theory contains spoilers for Sandrone's story quest. You have been warned.

Odile and Odette: Two Counterparts?

It is worth remembering that Odette and Odile represent two manifestations of the same essence; two faces of a single reality, destined to mirror and oppose one another.

In the original ballet, the wicked sorcerer casts a spell to transform his daughter—though some adaptations portray her as a supernatural being or a woman placed under hypnosis—into an almost perfect replica of Odette. Yet not even magic can suppress Odile's inherent nature. Her elegance, magnetism, and seductive presence transcend the disguise imposed upon her.

Whereas Odette embodies purity, melancholy, and serene grace, Odile abandons herself to a dance overflowing with passion, delight, and brilliance. Every movement she makes is an imperfect imitation of the true Odette—a performance that reproduces her appearance, but never her essence.

Blinded by his desperate longing to reunite with the woman he loves, however, Prince Siegfried falls victim to the deception. Unable to discern the truth hidden behind that flawless facade, he pledges his eternal love to the impostor, sealing Odette's misfortune and, at the same time, condemning the fate of every swan maiden.

These events take place during Act III, the moment when Rothbart savors the triumph of his scheme while Odette descends into utter despair. With the beginning of Act IV, Odile disappears from the stage entirely, relegated to oblivion as nothing more than a tool whose existence served solely to complete the deception. Yet despite the brevity of her role, she has long been celebrated as one of the ballet's most fascinating, complex, and enigmatic characters.

To understand the true purpose of this parallel, however, it is necessary to examine the reunion between Siegfried and Odette, and to transpose the meaning of that encounter onto one of the most significant events ever witnessed by the Genshin Impact community.

Is Odile the Reflection of La Signora?

I have found countless elements within La Signora that seem to embody, with remarkable fidelity, the archetype of the Usurper. Beyond her undeniable elegance, her seductive nature, and the refined mastery she displays in dance—whose mesmerizing choreography we witness during her final battle in Inazuma—there exists an even more revealing layer of symbolism. La Signora appears cloaked in a majestic mantle adorned with black feathers, immediately evoking the image of the Black Swan, Odile's inseparable emblem.

Yet the similarities extend far beyond aesthetics. Both share a destiny defined by instrumentalization. They were created as expendable pieces within the designs of greater powers, destined to be discarded the very moment they ceased to be useful.

Rosalyne perished at the hands of the Raiden Shogun once her usefulness to the Fatui had come to an end. Odile, likewise, vanished from the story shortly after the deception that led Siegfried to swear eternal love to a false Odette had been fulfilled. In both cases, their existence was sacrificed to propel the tragedy forward and to shape the development of the true protagonists.

There is yet another striking parallel: both concealed their true identities beneath an assumed appearance.

Rosalyne abandoned her mortal body to become the Crimson Witch of Flames, yet her true form, her memories, and the blazing power consuming her remained sealed beneath the Cryo Delusion bestowed upon her by Anastasia, the Cryo Archon.

Odile, by contrast, relied upon one of Rothbart's enchantments to assume Odette's likeness, appropriating her appearance in order to usurp her place during the royal ball held in Prince Siegfried's palace.

Finally, both share one last symbolic characteristic: vanity. Odile is invariably portrayed wearing a magnificent black gown accompanied by makeup as extravagant as it is defiant, while La Signora transforms magnificence and splendor into extensions of her very identity. It is difficult to overlook that Saltatio Favillae, La Signora's musical theme, proclaims a phrase that seems to define both women with unsettling precision:

&gt; "All is vanity."

The Battle Before the Throne

Do you remember the event I mentioned earlier—the one that left an indelible mark on the Genshin Impact community? The time has come to examine it: the Battle Before the Throne.

Within the solemn chambers of the Raiden Shogun, at the heart of Tenshukaku, either Aether or Lumine—depending on the chosen protagonist—challenges La Signora to a duel to the death before the throne of the Omniscient Archon. Stripped of any possibility of resolving the conflict through diplomacy, and with the honor of her title as well as the prestige of her nation hanging by a thread, La Signora has no choice but to accept the challenge and face the Traveler with the dignity and elegance befitting one who was forged for greatness.

Yet there is one detail whose significance often goes unnoticed. Both the narrative of the battle itself and various official sources—including the materials obtained from her Weekly Boss fight—describe this confrontation through the metaphor of a dance: a final dance in which two destinies converge to determine which one will be claimed by the closing curtain.

The parallel is impossible to ignore. Just as Odile and Siegfried shared a single dance before the tragedy exposed the deception, the Traveler and La Signora seal their fates through a confrontation symbolically portrayed as a choreography whose only possible conclusion is death.

&gt; "Very well... It is time for us to share this last dance together, until death do us part."

— La Signora

And the symbolism does not end there. The description of one of her ascension materials seems to reinforce this interpretation even further:

&gt; "After breaking free from her icy chrysalis, the undying butterfly, remembering the appearance and the name of the man she once loved, danced amidst the burning blood."

— Hellfire Butterfly

The more I reflect upon this parallel, the harder it becomes to dismiss it as mere coincidence. If we interpret Odile's disappearance as the character's narrative death—the moment she no longer has a place in the story once her purpose has been fulfilled—then her connection to La Signora acquires extraordinary depth. Both fulfill the role of the usurper; both carry out the part imposed upon them; and both disappear once the curtain falls on their tragedy.

Viewed through this lens, the Traveler emerges as the counterpart to Prince Siegfried: the figure destined to break the spell, expose the truth hidden beneath the deception, and guide the story toward its conclusion.

It is precisely at this point that Swan Lake begins to diverge. Unlike many other works, its ending has never remained fixed. Every adaptation has reinterpreted the fate of its protagonists, giving rise to conclusions that differ profoundly in both symbolism and the message they seek to convey.

For that reason, I have chosen to focus this theory on the ballet's three most iconic and widely recognized endings: the tragic ending, the bittersweet ending, and the hopeful ending. Each offers a different future for Odette and Siegfried and, by extension, presents a possible interpretation of the destiny that may await Odette in Genshin Impact.

Let us begin, then, with the bleakest of them all: the tragic ending.

The Tragic Ending

In the tragic ending, Siegfried returns to the lake consumed by remorse after falling victim to Rothbart and Odile's deception. Upon his arrival, the swan maidens learn what has happened and realize that the vow of love has been broken, condemning them to remain under the spell forever.

Even so, Odette does not blame Siegfried. She knows Rothbart's cruelty and understands that the prince was merely another victim of his schemes. Their reunion, however, is interrupted by the sorcerer's arrival, as he comes to claim the Swan Queen and secure his victory.

It is then that Odette realizes there is only one way to end Rothbart's dominion. If she dies before returning to his side, the spell will lose its very reason to exist, and the swan maidens will finally regain their freedom.

Determined never to let the sorcerer enslave her again, she bids Siegfried farewell and throws herself into the abyss.

Unable to accept a world without Odette, Siegfried follows her and embraces the same fate.

Both perish, yet their sacrifice strips Rothbart of his powers and brings the curse upon the lake to an end. As dawn breaks, the swan maidens behold, for the first time, a horizon free from chains, while the souls of Odette and Siegfried remain united for all eternity.

The Bittersweet Ending

The bittersweet ending begins with an Odette consumed by sorrow. Convinced that Siegfried has given his heart to another woman, she recounts to the swan maidens everything she witnessed at the royal palace. Despair overwhelms her as she realizes that this apparent betrayal has sealed not only her own fate but also that of her companions, condemning them all to remain forever under Rothbart's spell.

Resolved to end her suffering, Odette attempts to throw herself into the abyss, but the swan maidens stop her.

At that moment, Siegfried arrives at the lake and begs her to hear the truth. Although he insists that he was merely the victim of Odile's deception, Odette cannot immediately cast aside the pain consuming her heart. Torn between lingering love and profound mistrust, she ultimately chooses to forgive him.

The two seal their reconciliation with one final dance upon the lake.

Their reconciliation, however, lasts only a fleeting moment. Rothbart appears to claim Odette and bring the tragedy to its inevitable conclusion. Siegfried attempts to confront him, but he is utterly overwhelmed by the sorcerer's immense power.

Realizing that no other path remains, Odette resolves to deny Rothbart his victory. Rather than allow herself to be captured once more, she throws herself into the abyss, dying instantly.

Her sacrifice greatly weakens the sorcerer's power. Seizing that brief moment of vulnerability, the swan maidens descend upon Rothbart and finally bring his reign to an end.

Shortly thereafter, Siegfried regains consciousness and, guided by nothing but his unwavering love for Odette, descends into the depths of the abyss in search of her.

When he finally returns to the swan's glade, he carries Odette's lifeless body in his arms. The curse has vanished; she is no longer the Swan Queen, but a young woman freed from her enchantment. Odette's sacrifice, together with Siegfried's unshakable love, shatters the spell once and for all, liberating every swan maiden.

In the final scene, Siegfried walks forward cradling Odette's lifeless body, unable to restrain his tears. Then, behind him, Odette's spirit appears one last time. Though death has robbed them of any possibility of sharing a future together, she offers the prince one final promise of eternal love—a bond that not even fate itself could break.

The Hopeful Ending

The hopeful ending begins much like the previous two. Believing herself betrayed, Odette eventually forgives Siegfried after learning that he had merely fallen victim to Rothbart and Odile's deception. Their reconciliation, however, is interrupted by the sorcerer's arrival at the lakeside clearing.

Unlike the other endings, Siegfried chooses to confront Rothbart in a final battle. Determined to atone for his mistake and protect Odette, he fights with every ounce of his strength until he succeeds in tearing away one of the sorcerer's wings, proving that even Rothbart can be defeated.

Throughout the battle, Odette watches from a safe distance, sheltered from the danger while awaiting the outcome.

In the end, Siegfried defeats Rothbart and brings the curse to an end. With the sorcerer's death, the swan maidens regain their freedom, and Odette is finally released from the enchantment that had condemned her for so long.

The ballet concludes with the two lovers swearing eternal devotion to one another—not through tragedy or sacrifice, but with the promise of a future that finally belongs to them.

Applying Swan Lake to Genshin Impact

Having examined the three principal endings of Swan Lake, the time has come to transpose their narrative into Genshin Impact.

We know that Odette is the leading candidate to inherit the title of La Signora. But what if she were to reject that destiny?

Under this interpretation, Rothbart could symbolize Anastasya—or perhaps even the Fatui Harbingers themselves. Siegfried would find his counterpart in the Traveler. Odile would represent La Signora, both as an individual and as the legacy she embodies. And the swan's curse would be none other than induction into the ranks of the Eleven Harbingers.

Viewed from this perspective, the duel between La Signora and the Traveler takes on an entirely new meaning. That confrontation, repeatedly described as a dance, becomes the reflection of the dance shared by Siegfried and Odile during the ballet's third act.

If that parallel is indeed intentional, then Odette's story would not truly begin with her ascension as a Harbinger, but rather with the events that unfold immediately after that dance.

And it is precisely here that the central question of this theory emerges:

What fate truly awaits Odette?

Will she sacrifice her life to prevent the mantle of La Signora from ever becoming hers?

Or will she discover, far too late, that escaping such a destiny is impossible?

We must not forget that Arlecchino inherited her position only after killing Crucabena, suggesting that the Harbingers' legacy is not a distinction one can simply refuse. Perhaps Odette now stands before the very same choice: to accept the destiny others have written for her—or to defy it, even at the cost of her own life.

Because, in the end, Odette is destined to become the next Odile, the next Signora, the next Black Swan...

...and if there is anyone capable of breaking that cycle, that person may very well be Aether.