HootOwlStar wrote:
Quite concerned about the rhythm especially the offbeats throughout the In My Remains part, and how the drags are represented with 1/8 sliders in A Light That Never Comes. Besides the albums might need to be switched since A Light That Never Comes is imtroducex first.
Quite a number of things but I can't get access to my comp just yet. So I'm just pointing out the major ones first so that it will raise some attention.
About the rhythm, you may refer to rhythm that seems "weird" like 17:16:591 (2,3,4) - , 17:35:601 (3,4,5,6) - etc. As a matter of fact, I am DEFINITELY comfortable with the rhythm, especially those similar to 17:35:601 (3,4,5,6) -
- I have to point out foremost that this song doesn't provide much rhythm to follow in a map. Or maybe you can do that, but I believe the rhythm would turn out to be quite dull and frustrate players(especially during a 40-min map!). So I tried to recreate the music under the guidance of intuition. This technique was and is widely used, and some of my favorite mappers like tieff featured this (feel free to check out https://osu.ppy.sh/s/42092 , that's amazing). So I find no fault with the overall rhythm.
- Besides, to show that the rhythm is "recreated", hitsounds are of higher volumn so it won't be hard for players to find what to follow.
...or 16:48:521 (4) - , 17:13:620 - , 17:58:175 - , 18:13:026 - . And I'd like to explain the reasons why I put a down beat on slider tails.
- First, taking 17:28:769 (3,4,5) - as an example. The following diagram shows the movement of a player's finger
Timeline: 3-0 4---0 5-0
Movement: D U D U D U (D for down, U for up)
Drumline: X X X X X X
You may argue that the downbeat 17:29:660 - should be clickable, but from my perspective, rhythm can be shown both actively and passively. Clickable rhythms are played out actively by pressing down the button while tails are played by loosening the button. Since this part are more played by singletapping, players could feel the rhythm due to finger movement. That's why I think it is valid. - Second, symmetric design was taking into account while mapping this part. Patterns like 16:47:779 (2,3,4) - , 17:28:323 (2,3,4,5) - , etc. are of this kind. Still, taking 16:47:779 (2,3,4) - as example, I'd like to emphasize 16:47:779 - 16:48:076 - , and the way to do so is to place slider heads on them. To make it a symmetric pattern, 16:48:670 - should be of passive rhythm. So why didn't I alter 16:48:521 (4) - into 2 circles? That means I had to do the same with 16:47:779 (2) - . In that case, 16:47:927 - is of the same status in rhythm as 16:47:779 - , and that's what I don't want for this pattern.
- Third, the downbeat 17:13:620 - is occupied by the tail of 17:12:432 (3) - . What I'd see as more important is the inner logical connection of lyrics here. "Feel alive" works as a verb-complement phrase, so it should be a union, by placing a slider covering 17:12:432 - 17:13:026 - 17:13:620 - . And what's more, the single word "alive" should not be split up, especially when I choose to follow the logic of lyrics. So a circle on 17:13:620 - is not a good idea from my perspective.
About the 1/8 sliders in A Light That Never Comes: I don't know which slider you are referring to since I'm good with all of them. So here is the list of 1/8s.
- 00:07:971 (3) - Obvious drums. No need to explain more.
- 00:24:666 (1,2,3,4) - Same above, but I added movements in order to show the transition of music.
- 01:16:318 (1) - Obvious. I even added whistles.
- 01:17:362 (1,2,1,2,3,1,2,3,4) - Nice from my perspective. I mapped out the rhythm by covering 01:17:362 - 01:17:623 - 01:17:884 - 01:18:145 - , and the change of pitch by placing 2 1/8 sliders 01:17:884 (1,2) - and one 3/8 slider 01:18:145 (3) - , instead of 2 3/8 sliders 01:17:362 (1,2) - or 4 1/8 sliders 01:18:405 (1,2,3,4) - , as 01:18:405 (1,2,3,4) - , 01:17:884 (1,2,3) - , 01:18:405 (1,2,3,4) - are of different pitches.
- 01:20:492 (1) - Obvious.
- 01:23:101 (1) - Obvious.
- 01:39:797 (1,2,3,4) - +movements.
- 01:48:145 (3) - Obvious.
- 02:13:188 (3) - Same.
- 02:21:536 (1) - Same
- 02:29:884 (2,3) - The same. I even stressed 02:30:145 - out.
- 02:38:231 (1) - Obvious.
- 03:01:710 (1,2,3,4,1,2,3,4,1,2,3,4) - Perfectly snapped. And you know a slow slider after 1/8s requiring high moving speed is quite entertaining.
- 03:11:623 (1,2,3,4) - +movements. Players can play them as 4 circles.
- 03:19:971 (2) - Obvious.
- 03:28:318 (1) - Obvious.
- 03:43:449 (1,2,3,4,1,2,3,1,2,3,4,1) - By placing 1/8 sliders the FX effect is vivid. Circles just make them dull.
... or you mean extended 3/8 sliders. I'd want to explain 00:18:927 (1,2,3,4) - , 02:32:492 (1,2,3,4) - .
A map reflects the mapper's feelings of the music. And so does this pattern. When listening to this, I suggest that Mike is trying to stress the four words. My sixth sense told me that 3/8 sliders can be thus used. And 02:32:492 (1,2,3,4) - is more awesome, as sliders back and forth are relatively vivid.
About the title: Taking into consideration that Recharged := A Light That Never Comes + Remixed Living Things + Remixed A Light That Never Comes, and Recharged is released following Living Things, it is weird to put Recharged first. The reason that I put A Light That Never Comes first is that I intended the part to be a bit tricky (as it involves many extended sliders). And thus it should not be put at the very end of the compilation. Putting it into the middle is also strange (tracks from Living Things should be consecutive), so the only choice is the beginning.
Besides, and offtopic, ending the compilation with Powerless is the best choice in my opinion. All living things are bound to end up ash and dust, and creatures are powerless faced with eternal things like time and space. When the compilation comes to its end, I hope the player could realize it, and be thankful that we are not dead to the world.
I wish I've explained it clearly and thoroughly. Thank you for your concern!
？
