super tired NM comin in hot with dat experimental mod format
[Bright and Brilliant]
Use the entire space of the editor!
Bear in mind that everything written here is an explanation of a concept followed by a relevant example. If you want me to go through the map and point out every violation of each concept, I will be glad to do so, but this should suffice when looking for where the map goes wrong.
This is every concept I felt the need to explain, though the same issues present themselves on every map in the set.
Speaking of set, huge props to you for making an entire set of such a long song.
[Bright and Brilliant]
Sliders and Patterns
Sliders look their best when you use them at consistent angles (excluding special cases like triangle patterns that angle sliders for aesthetic consistency). Thus,
objects like 00:02:264 (2) - do not fit, as commonly (and in this map), sliders are established as generally being close to horizontal or vertical.
Example:
00:03:146 (1,2,3) - When making patterns using several different angles, try to make those angles conduct to each other - not necessarily pointing at each other, but sliders that either consistently flow into each other or look aesthetically consistent relative to each other. In this case, there are a few issues. One is that sliders 1 and 2 have an entirely different visual distance from 2 to 3. Another issue is that the slider angles go near vertical-near horizontal-diagonal. It'd probably be better to go near vertical-diagonal-near horizontal, creating a consistent change in angle that forms a good pattern that flows well circularly. A third problem with this particular set of sliders is that while 00:03:146 (1,3) - maintain a consistent curve, 00:03:499 (2) - goes the opposite direction for no apparent reason, leading to some level of inconsistency in the pattern.
2:
objects like 00:02:264 (2) - do not fit, as commonly (and in this map), sliders are established as generally being close to horizontal or vertical.
Example:
00:03:146 (1,2,3) - When making patterns using several different angles, try to make those angles conduct to each other - not necessarily pointing at each other, but sliders that either consistently flow into each other or look aesthetically consistent relative to each other. In this case, there are a few issues. One is that sliders 1 and 2 have an entirely different visual distance from 2 to 3. Another issue is that the slider angles go near vertical-near horizontal-diagonal. It'd probably be better to go near vertical-diagonal-near horizontal, creating a consistent change in angle that forms a good pattern that flows well circularly. A third problem with this particular set of sliders is that while 00:03:146 (1,3) - maintain a consistent curve, 00:03:499 (2) - goes the opposite direction for no apparent reason, leading to some level of inconsistency in the pattern.
2:
Spacing Emphasis
Example:
00:04:735 (1,2,3) - Would you say that 00:05:087 (2) - is stronger than 00:05:440 (3) - ? If not, you have made an error in your spacing emphasis. The movement towards 00:05:087 (2) - is over twice the movement towards 00:05:440 (3) - leading to stronger emphasis of slider 2 than circle 3.
Example 2 (more extreme example):
00:04:205 (4,5,6) - It is difficult to say that this doesn't also fall under overmapping. Claps emphasize 00:04:205 (4,5) - and bring them apart from everything else in the song. 00:04:558 (6) - is a quiet repeat of a guitar strum on 00:04:382 (5) - . 00:04:558 (6) - has received greater spacing emphasis than either of the preceding notes, though.
The use of spacing emphasis is highly important, especially in higher difficulties. Most of the time, the reason for variation in spacing is the intensity of the song itself, and in several places, the map seems to disregard that.
00:04:735 (1,2,3) - Would you say that 00:05:087 (2) - is stronger than 00:05:440 (3) - ? If not, you have made an error in your spacing emphasis. The movement towards 00:05:087 (2) - is over twice the movement towards 00:05:440 (3) - leading to stronger emphasis of slider 2 than circle 3.
Example 2 (more extreme example):
00:04:205 (4,5,6) - It is difficult to say that this doesn't also fall under overmapping. Claps emphasize 00:04:205 (4,5) - and bring them apart from everything else in the song. 00:04:558 (6) - is a quiet repeat of a guitar strum on 00:04:382 (5) - . 00:04:558 (6) - has received greater spacing emphasis than either of the preceding notes, though.
The use of spacing emphasis is highly important, especially in higher difficulties. Most of the time, the reason for variation in spacing is the intensity of the song itself, and in several places, the map seems to disregard that.
Overmapping
In the case that the song does not present you with a beat upon which you can place a note, it is highly unadvisable that you place notes upon these places with a lack of new sounds. There are exceptions to this, but those will not be found on a Japanese Pokemon song.
Example: 00:07:382 (6) - is mapped when there is no sound behind it.
Example: 00:07:382 (6) - is mapped when there is no sound behind it.
Basic Rhythm
There are several different hit objects in osu! that can emphasize beats in the song a little or a lot. However, the few that we can focus on here are the sliderend, the sliderhead, and the hit circle. The sliderhead and hit circle are both forms of active emphasis, meaning the player responds to them by clicking them. The sliderend, though, is passive - the player does not click it, but it still provides feedback, controls movement, and plays a sound when it is completed.
Conventionally in mapping, active emphasis is used to represent stronger beats while passive emphasis is used to represent weaker beats. In pishifat's words, a slider should start on a strong beat and end on a beat of equal or lesser strength.
Example: 00:14:440 (1) - here, you decide to emphasize the vocal track's syncopation by following it with sliders. However, in doing so, you disregard the foundation of drums behind the song, and place a sliderend on one of the strongest beats in the entire song - a downbeat.
00:55:382 (1) - Example 2: This slider begins on moderately strong vocals, ignores a very strong downbeat, and ends on slightly weaker vocals. This is poor because it prioritizes weaker sounds and entirely flouts the strongest among them.
Conventionally in mapping, active emphasis is used to represent stronger beats while passive emphasis is used to represent weaker beats. In pishifat's words, a slider should start on a strong beat and end on a beat of equal or lesser strength.
Example: 00:14:440 (1) - here, you decide to emphasize the vocal track's syncopation by following it with sliders. However, in doing so, you disregard the foundation of drums behind the song, and place a sliderend on one of the strongest beats in the entire song - a downbeat.
00:55:382 (1) - Example 2: This slider begins on moderately strong vocals, ignores a very strong downbeat, and ends on slightly weaker vocals. This is poor because it prioritizes weaker sounds and entirely flouts the strongest among them.
Movement and Flow
Flow, in short, can be defined as movement taken by the player between objects.
It can then be divided into a few extra categories - a few prominent ones including linear, zig-zag, and circular.
Some movement taken by the player can be jarring and unexpected. This is not good flow.
Example:
00:39:676 (3,4,1,2,3) - Relatively low spacing goes into 00:40:029 (1) - followed by a much, much higher spaced circle, which sits upon another note 1/2 a beat later, forcing the player to both move more quickly than the map has established and subsequently immediately stop their movement. To say the least,
this is uncomfortable and difficult movement.
It can then be divided into a few extra categories - a few prominent ones including linear, zig-zag, and circular.
Some movement taken by the player can be jarring and unexpected. This is not good flow.
Example:
00:39:676 (3,4,1,2,3) - Relatively low spacing goes into 00:40:029 (1) - followed by a much, much higher spaced circle, which sits upon another note 1/2 a beat later, forcing the player to both move more quickly than the map has established and subsequently immediately stop their movement. To say the least,
this is uncomfortable and difficult movement.
Complex Slider Shapes
When making a slider with more than one point between the beginning and the end, it no longer follows the normal algorithm used for sliders, and becomes a bezier curve. These curves tend to have harsher, uglier angles (look at maps from 2011 and earlier, a prime example being FREEDOM DiVE.
For this reason, most mappers making complex sliders will make their curves using multiple grey points. Thus, instead of this (notice the bottom curve looks sharper and more imbalanced than a normal curved slider), one might create something more like this, which is the same shape, but using 2 grey points in each curve. This creates a better looking slider.
As a footnote, complex sliders usually work best either in sliderart or when representing an abnormal sound. Thus, using one to represent simple held vocals like 00:49:735 (1) - may not hold water.
For this reason, most mappers making complex sliders will make their curves using multiple grey points. Thus, instead of this (notice the bottom curve looks sharper and more imbalanced than a normal curved slider), one might create something more like this, which is the same shape, but using 2 grey points in each curve. This creates a better looking slider.
As a footnote, complex sliders usually work best either in sliderart or when representing an abnormal sound. Thus, using one to represent simple held vocals like 00:49:735 (1) - may not hold water.
Representing Sounds
When representing the same sound, a mapper will often use the same objects. Maybe the same slider shape, the same spacing,
a similar pattern, or something else, but there is always some sort of consistency. On the other hand, when mapping a different sound, they will not represent it in a way that is visually similar (or the same), nor will they represent it in a way that plays the same way.
For example, 00:53:970 (3,4,5,6) - follows vocals for 3 sliders, then claps for a 4th slider that joins the combo and plays the same way, yet represents a sound in the song that is entirely separate from the previous vocals.
a similar pattern, or something else, but there is always some sort of consistency. On the other hand, when mapping a different sound, they will not represent it in a way that is visually similar (or the same), nor will they represent it in a way that plays the same way.
For example, 00:53:970 (3,4,5,6) - follows vocals for 3 sliders, then claps for a 4th slider that joins the combo and plays the same way, yet represents a sound in the song that is entirely separate from the previous vocals.
Held Sounds
Conventionally, a sound in the song that is held into the next sound that the mapper wants an object to be placed on is represented in the map by a slider that ends 1/4 of a beat before the sound that interrupts the held sound.
Example:
01:17:264 (3,4) - While this also falls under overmapping (4 is mapped to nothing), there is a guitar strum that is held from 01:17:264 (3) - to 01:17:617 (5) - . In this case, conventional wisdom states that you represent that held sound with a slider that starts at 01:17:264 - and ends at 01:17:529 - .
Example:
01:17:264 (3,4) - While this also falls under overmapping (4 is mapped to nothing), there is a guitar strum that is held from 01:17:264 (3) - to 01:17:617 (5) - . In this case, conventional wisdom states that you represent that held sound with a slider that starts at 01:17:264 - and ends at 01:17:529 - .
Use the entire space of the editor!
Bear in mind that everything written here is an explanation of a concept followed by a relevant example. If you want me to go through the map and point out every violation of each concept, I will be glad to do so, but this should suffice when looking for where the map goes wrong.
This is every concept I felt the need to explain, though the same issues present themselves on every map in the set.
Speaking of set, huge props to you for making an entire set of such a long song.