In this map, I am striving to capture the delicate nuances brought about by various aspects of placement (particularly rhythmic and movement aspects), in order to balance the intuitive enjoyment inherent in the expression and manipulation of the music. More specifically, I intend to ease the sense of "forced gameplay" that can arise from directly conveying the song's expression. Instead, I aim to express the rhythmic feel of the music and provide players with a more immersive gameplay experience through the use of lively movements and well-placed tapping patterns.
For instance, the jump at 00:17:918 (1,1) emphasizes a certain melody section of the song, and the following sequence at 00:17:918 (1,1,2) achieves an intuitive and enjoyable flow of rhythm and movement. Furthermore, through experimentation, I found that altering the rhythm of the slider at 00:18:160 (1) or changing the length of the slider, as removing 00:18:402 (2), would result in finding out that is difficult to construct more interesting rhythm and movement compared to the current arrangement. This arrangement taken here is a deliberate approach.
While considering the composite balance of various mapping elements, I have strategically emphasized the nuanced variations in the "rhythmic placement" here. The expression through contrasting placements also plays a crucial role. For instance, the rhythmic patterns of 00:18:160 (1,2,1,2,3) and 00:27:837 (4,1,2) are contrasting, contributing to the coherence within the section. Moreover, the timing of emphasis differs slightly due to the density of jumps and notes (pairs like 00:17:918 (1,1) and 00:28:563 (1,2), 00:18:402 (2,1) and 00:27:837 (4,1)), adding depth to the overall expression of the map. These relationships work to create a dynamic and fresh impression of musical changes and developments within the map.
I have attempted to articulate my intentions to the best of my ability, but if there are still points that haven't been fully conveyed, please feel free to ask any questions.
00:18:644 - you aimed to express the rhythmic feel of the music and provide players with a more immersive gameplay experience through the use of lively movements and well-placed tapping patterns (this is what you were referring to)
however, emptying this section is very different and contradictory from the direction you are pursuing and explaining. also you went for "consistency within parts" throughout but nothing followed here at allso could this be described as consistency?
honestly your object is "mostly" clickable on the whitetick and youve placed to them so that a new beat starts (00:16:224 - / 00:16:708 - / 00:17:192 - and so on) thats why emptying this place can make it awkward both rhythmically and in terms of the flow of the song. therefore "contrasting placements" doesnt work here
also, compared to the overall maps rhythm selection, you tried to follow this by placing objects in almost every vocal part (some examples in this section: 00:16:224 (1,2,3,1) - / 00:20:095 (1,4,6,1,2) - / 00:23:966 (2) - / 00:25:902 ( 1,3,4,5,4) - , 00:54:934 (1,5) - / 00:58:805 (1,3,1,2) - on kiai) or to explain more simply, when comparing 00:18:402 - and 00:18:644 -, when "visual contrast" is excluded, which one is louder and should be emphasized or have potencial?
so what i want to say is that players will have a hard time accepting this as a rhythm arrangement; infact it is cuz the rhythm selection of the entire map is out of sync only here; we dont call it consistency, also do not call it a special rhythmic choice i guess (actually its not a part that needs to be emphasized that much cuz its a calm part imo)
plus, players wont expect a break to suddenly occur here in a non-stop rhythm after 00:16:224 (1,1,2,3,1,2,3,1) - or if not, i guess i could explain that its better to follow your rhythm choices by removing parts like 00:16:587 (1,2) - ; which could make it enjoyable flow of rhythm and movement
as i said #3874683 i am unable to tell whether ur trying to follow the vocal or the backgrounds here to be honet. it was very difficult to find any consistency cuz of how much difference there is between sections and sometimes even within the same section, but the way you want to express it is quite different imo
the reason i didnt use 00:27:837 (4) - as an example is that there wasnt really much coercion here. cuz it doesnt have vocal and the part doesnt feel awkward even if the beat is paused like this for a while. also you can check rest diffs and refer to how they were expressed in each part
I ‘d like to apologize and correct my mistake of using a word in the process of translating.
In my sentence last time, there were some expressions that cause misunderstanding and unclearness to insist my opinion.
So I correct it.
Correction ;
＊”Unity”, not coherence
In the former sentence I mentioned as below, ;
“For instance, the rhythmic patterns of 00:18:160 (1,2,1,2,3) and 00:27:837 (4,1,2) are contrasting, contributing to the coherence within the section. “
Actually, I wanted to say “unity “I mean “oneness “, instead of “coherence “.
I wrote that in the previous sentence, “I aim to express the rhythmic feel of the music and provide players with a more immersive gameplay experience through the use of lively movements and well-placed tapping patterns.”
But, actually I think it's important that the contrast of structure as well as rhythmical feelings
As for the visual, aim, rhythm, I really pay attention to emphasize the contrast in this beatmap.
As an example, let me touch a little on my placement philosophy regarding rhythm.
I do not always try to express my feelings limited layer of the particular sound.
Not picking up an only drum sound as “solo”, or not picking up a vocal sound, during a long term unit,
but swapping sounds of picking up during shorter term unit, or trying to integrate methods of picking up sounds (for example, way of 3 repeated hits : between 1 hit and 5 hits) or putting rhythm gap intentionally recognizing as one structure.
As an actual example of this mapping, this 00:18:160 (1,2) is making a size contrast like a visual of 00:17:192 (1,1) and, an aim contrast like 00:17:676 (3,1,1,2)
Besides, I make over 8 different methods of picking up sound for
00:16:224 - 00:31:708,
paying attention to the contrast of that. (I’ll mention it later because there are so many.)
Others as well, I place rhythm gap in 00:18:160, a little stronger sound ( if I aim to insert rhythm gap ), generally, people think that 00:27:837 is might be 00:20:095 but, I guess it might be weaker feelings of the song comparatively.
Lastly, actually 00:18:160 (1,2,1,2,3,4,5,6,7) is honest to my feelings as for the rhythmical point.
As for your intentions of pointing out, you might be based on the image, for example, like “Mir” mapping.
Ordinary, people imagine that “rhythmical arrangement” is a placing notes, as the sound itself is main, after deciding a way of picking up sound perhaps in each one section.
On the other hand, I think that
“rhythmical arrangement” is using various methods picking up sound and contrast of arrangements, (for example, picking up sound by placing “slider end” instead of placing notes where I’d like to emphasize, etc.)
I think it is important to placing notes for the players that they can feel fresh expressions.
However, speaking of various methods of picking up sounds, the placement itself is done by feelings when I listen to the song and that is difficult to verbalize.
The base of outputting various methods of picking up sound is done by the reason of unexplainable by words.
So, considering an aspect of style that express the song’s complex nuance with a variety of rhythm (as osu!’s map), it’s a placement/structure that is not kind of full of oddness, but effective as it is.
Example:
I mentioned 8 different methods of picking sound as below :
No.1 00:16:224 (1,1,2,3,1,2,3,1) - used a repeatable pattern of picking up sound.
No.2 00:18:160 (1,2,1,2,3,4,5,6,7) - Focus on special sound (long tone chord and bongos)
No.3 00:20:095 (1,2,3,4,5,6,7) - It harmonizes guitar sound with vocal sound.
No.4 00:22:031 (1,2,1,2,3,4,5,6,7) - It combines guitar sound with drum sound.
No.5 00:23:906 (1,2,3,4,5,1,2,3,4) - It harmonizes guitar sound with vocal sound, also placing 2 repeated hits of 1/8 where I’d like to emphasize.
No.6 00:25:902 (1,2,3,4,5,1,2,3) - It combines elements from 00:16:224 (1,1,2,3) and 00:19:611 (5,6,7).
No.7 00:27:837 (4,1,2,3,4,5) - It emphasizes vocal while highlighting long tone chord.
No.8 00:29:773 (1,2,1,2,3,4,1,2,3,4) - At 00:29:773 (1,2), it emphasizes guitar and vocal sound with a 1/8 reverse, and at 00:30:620 (2,3,4,1,2,3,4), picking up the drum sound. Here, it is not picking up sound comparatively, but main movement that towards next part, resetting “area limited mapping” at 00:31:224 (1,2,3,4).