01:18:734 (3,1,2,3,4,1,1,1,1) - この配置はこのようにぐにゃぐにゃの横エイムをさせた後に急に上に上がるようなエイムをさせているためすごい難しい
https://imgur.com/6Bxyhyk
01:19:184 (1,1,1,1)のスペーシングを小さくしてぐにゃぐにゃの横エイムを継続させるか
https://imgur.com/AQwS8mu
スペーシングを小さくしてあまり鈍角でない、流れにそった角度にすると簡単になる
https://imgur.com/hqTZPsg
スペーシングを変えないまま連打の角度を変えて試行錯誤してみたがエイムの違和感が解消はされなかった
かなり主観的な論を述べているのかもしれないので他の人とも相談してください
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.
05:41:407 (1,2,3,4,5,6,7,8,9) -
ボーカルの取ってるのはわかるんやけど、盛り上がっていく場所でリバーススライダーでホールドさせるのはちょっと違和感すごかった
https://osu.ppy.sh/ss/18603049/8b9c
配置はともかく、音取りはこのようにした方が ボーカルも取れて盛り上がり表現も出来て一石二鳥な気がする
00:37:344 (1,2) - ちょっと遠すぎるかも かといってスタックは良くないから前の配置に少し近づけるだけがいいかも
理由として 00:36:021 (5,6,1,2) - で1-2ジャンプが終わった次に来るジャンプは小さいというパターンがあるのに 急に遠くなると反応できない人が多いかも
00:50:844 (1,2,3,4,5,6,7) - - 同じ理由？かはわからないけどこれも反応できないと思うから 前の配置に1を近づける必要があるかも