looks like everything that needed addressing has been addressed, so rebubbling-
Since it's the lowest diff of the set, that would be nice to at least respect the ranking criteria's guidelines for this? Using multiple overlaps in a row is kinda misleading for a beginner in my opinion.Ranking Criteria wrote:
Avoid overlapping circles, slider heads, and slider tails. These can be confusing for new players. 1/1 overlaps due to distance snapping should be avoided with higher spacing or slider velocity.
Pachiru wrote:
On Renumi's diff:
00:14:921 (3,4,5,6) - https://i.imgur.com/bFGqapO.pngSince it's the lowest diff of the set, that would be nice to at least respect the ranking criteria's guidelines for this? Using multiple overlaps in a row is kinda misleading for a beginner in my opinion. it is what it is,, a guideline,, i really really doubt there's confusion here,,, lot of my diff is kinda centered on this kinda stuff too adapt and overcome cleanse thyselfRanking Criteria wrote:
Avoid overlapping circles, slider heads, and slider tails. These can be confusing for new players. 1/1 overlaps due to distance snapping should be avoided with higher spacing or slider velocity.
I think I see what you mean, but I had a slightly different approach with what I'm going for here. Basically instead of trying to be accurate with the drums, I chose the stronger (imo) piano to follow:_DT3 wrote:
On question on the top diff:
01:26:934 (1,1,2,3,4,1,2,3,4,5,1,2,3) - Even though I can tell that there is some symmetry and copy-paste there, the spacing here between the circles is kinda weird imo because you can easily tell that there are huge differences in spacing like 01:27:889 (1,2) - and 01:27:616 (3,4) - , but if you listen closely those have the same instruments on them (small kick + piano).
Would have been nicer to either have consistent/the same spacing on these jumps for that repetitive piano or same spacing for snares and kicks respectively there
Really cool map though, I like that consistency in the diffs a lot
Gratz! \w/
Enon wrote:
Please rank my map too thanks
Enon wrote:
Please rank my map too thanks
Kroytz wrote:
The spacing isn't supposed to be seen as "emphasis" because of it being simply 'spaced further'.
Hope this answers your queries Xexxar!Xexxar wrote:
[Entrance to Valhalla]
Kroytz since you're following synth during chorus I'm a bit confused on your rhythm choice here. 01:26:116 (2) - Shouldn't this be a slider like all other instances of strong sounds like this at the start of the kiai? 01:26:525 (3) - i dont get why this is a slider but the other point isnt. I mean it's possible, there are a few rhythm choices to make here. The one I chose decided to make the two circles 01:25:980 (1,2) - stand out a bit more. It's similar to how I represented 01:26:934 (1,2,3) -
01:30:071 (1) - why is this even a note, the rhythm is so weak and the jump isnt really supported, it would fit the beat alot more to break up the monotony of your constant jumps.
01:28:298 (4) - is basically the strongest note of the combo but you have the lowest spacing here of all jumps lo.. 01:28:434 (5) - is clearly weaker, if i were you i'd map it as a slider end. Slider end is much more inferior here. I gave out my reasoning for this in previous page but basically this entire combo is grouped with the piano (synth?) things.
01:45:889 (1,2,3,4,1,2,1,2) - i dont really get your logic on why this is so spaced. when you compare it to 01:49:161 (1,2,3,1,2,3) - , this is way more intense but the other pattern is more spaced.
the whole section is a lower intensity part but you're mapping it cross-screen the whole time 01:46:980 (1,2,3,4,5) - etc. The rhythm is constant, so having lower spacing notes that are more close together would better fit the rhythm. Additionally, the section that follows would feel more distinct. The entire period is to be gradually growing higher in spacing so that when it does get into the next kiai moment, it's not completely out of nowhere whack with the spacing. Perhaps the contrast could be more evident but I figure that because there are virtually no sliders in the next section, that is contrasting enough.
01:53:525 (1,2,3) - is not as intense as 01:53:934 (1,2,3) - or 01:54:752 (1,2,3) - . You probably would find better results with patterns that change in size to fit the beat better, rather than keeping everything the same spacing for the purpose of aesthetic. Then it would go against the theme of the map here... I believe both ways of interpreting are correct, personally I find the triangle stuff more pronounced to the music than having back and forths and so that's why they exist. Another possibility could be smaller triangles and space them out into quadrants but then that wouldn't be as symmetrical as I wanted to establish.
01:58:366 (1) - Pretty sure this beat is on 1/4th not 1/3rd It's on 1/3 -_ -
01:39:343 (1,2,3,4,5,6,1,2,3,4,5,6,1) - this is rly anticlimatic and underspaced given the intensity. compared to other 1/3rd sections this should be more spaced. I think it can be spaced further too. Problem is having it too spaced wouldn't make the next section feel as a build-up section. Everything would feel a little too similar spacing. Yknow, everything is intense so nothing is intense idea. Trying to avoid that here.
inb4Taken a little out of context but this refers to the triangle symmetries in previous sections zzKroytz wrote:
The spacing isn't supposed to be seen as "emphasis" because of it being simply 'spaced further'.
Mirrukyun~ wrote:
Hi, I'm going to outline a couple of the issues I have with the topdiff in terms of its overall symmetry concept. The jist of it is the symmetry forces random high-spacing jumps on unemphatic notes inconsistently. There's also the fact that the majority of the map is just way too high spacing in places that it ruins any sort of contrast you could make between the kiai and the non-kiai parts. Hi, so we've talked a bit on Discord and you already know my thoughts as to why I disagree with all of these but I'll relay them on forum because you spent the time to do it here too. First, I'll preface most of these arguments with a classic definition of emphasis faking despite it not being my sole argument for a lot of things:"The core of emphasis faking lies in using synergistic mapping techniques to augment the implementation of the map as it relates to the song.
At its most quintessential, we can see that the goal of emphasis faking is to holistically create artificial "highs" and "lows" insofar as to make the player feel that a repetitive part of the song is still variable rather than remaining in its fundamental, monotonous state.
As you very well know already, symmetry is the core concept of this map and it's virtually impossible to achieve proper emphasis when using this concept.
The Entrance to Valhalla
00:04:953 (1,2) - The song barely started and you already have a half-screen jump. It's a bit excessive I think lol, especially considering 00:07:856 (2,3) - has the same sound on it yet you don't go for this kind of spacing here. It would make sense to, but I would advise against it. I think nerfing these double-jump things would be the best course of action. Overall though, the intro just seems way too much. I don't believe you're seeing this eye-to-eye with me because the first two objects you pointed out are clear isolated beats compared to the latter. In addition, the latter you mentioned does have about a half-jump spacing (with added slider-leniency) so I'm not sure what you're trying to get at here. Yes, the map has only started but I find it important to lay out a foundation for the kind of spacing that will be reflected later in the song but in its' impending increase of density.
00:19:953 (1,2,3,4,5,6,7,8,9,10,11,12,13,14,15) - This is extremely hard to read considering the majority of the intro has utilized this spacing for streams only half of the speed. It's basically asking to be missed on the first runthrough and if you're not paying attention you'll miss it and die instantly. The spacing of this anyways is too high for the song I think, since it's only the intro and while I understand the sound is quite intense, in context the rhythm density itself is enough emphasis, so putting spacing on top of that seems excessive. With the kind of variable spaced streams I have in the beginning sections, whether this is low DS or high DS will always be hard to read because of the different snap. So I opted to the kind of DS I felt comfortable using for this. Also, looking at first-run tries is not a good argument since people who are not familiar with the song beforehand will usually have difficulty. Considering how this is an 8.3* map, it's naturally going to be difficult in multiple aspects...
00:43:824 (1,2,3,4,5,6,7,1,2,3,4,5,6,7) - The piano is getting softer and lower yet your spacing increases. This doesn't really make sense to represent what the song is doing and I suggest you change it to be the opposite way. I can agree with this, but I'll also disagree with it. There are two ways to look at this: ending period dramatically or ending it passively. Both work because it's the end of the period and there's a rhythmic gap to separate what happened beforehand. I decided to make the spacing bigger cuz that's just something I like to do, end phrases or periods with small spikes and then restart the highs/lows on the new phrase or period. Not to mention for this particular stream, the piano ends on a high note so... I believe it reinforces my idea to end it with higher spacing too. I'm sure lowering spacing gradually also works but my idea is also valid.
00:48:616 (2,3,1,2) - This is one of many examples here where the spacing is higher than it really needs to be and the angle that it produces is extremely uncomfortable due to how wide it is. At this BPM sharp angles play the best, and you do utilize those sharp angles, but the sudden switch to wide angle right afterwards is very difficult to hit properly and feels extremely awkward in game. This is the most obvious recurring theme that happens in the map and as to not repeat myself dozens of times I'm just going to say that the spacing is not a real emphasis and that patterns are to be seen individually rather than to compliment each other through general spacing principles.
00:50:934 (3,1) - Another very emphasized jump, but really the song is doing nothing different than 00:48:752 (3,1) - which was much less emphasis. The angle here is even harder if you consider how the player has to move from a wide angle to the right all the way to a sharp angle into the left of the screen. Naturally this is very taxing on the player and for a part not as intense as the kiai it doesn't seem very fitting. It's not a real emphasis. To reiterate, the patterns are meant to be played as one after the other without much connection between NC's (that's why they are NC's afterall).
00:52:434 (1,2,3,1,2,3,1,2,3,1,2,3) - Here the spacing increases substantially despite the song being exactly the same as 00:48:616 (2,3,1,2) - and seems a little bit overemphasizing the same thing and inconsistent with itself at that. This goes back to what I previously stated with my idea for building-up. The song is more/less the same but to keep the map moving and feel like the player is going along with the song, the spacing will gradually increase until it hits it's peak and then the highs/lows reset.
00:57:480 (4,1) - There's so much spacing here and the actual interesting part of the song barely even started. It's also comparable to spacing you use in the kiai at 01:51:343 (1,2,3,1,2,3,1,2,3) - which kind of ruins any contrast the kiai would otherwise give this part. I think in general your non-kiai parts are extremely spaced, adversely affecting how much contrast you can give to the actual kiai. Some more examples of places like this:
01:00:616 (1,2,1,2) -
01:03:343 (1,2) -
01:02:116 (2,3,1) - If I really wanted to, I could just make this a kiai section since it is the base melody for the kiai moments that are included in the map already. I didn't want to make this as a kiai tho because it's not as powerful with jumps as the later parts. What makes this section weaker is how simple the patterns are and how friendly the sliders are to each other. Compared to the later kiais, there is contrast because of higher density of circles and more complicated patterns. The direct symmetry here is not hard to understand than the later parts.
Your piano part also has inconsistent emphasis that should be addressed:
01:11:116 (1,2) - 01:08:525 (1,2) - and 01:12:343 (3,4) -
01:09:480 (1,2,3) - and 01:12:071 (1,2,3) -
01:13:298 (3,4,5) - Same spacing as 01:09:480 (1,2,3) - but compare how soft the 1:13 is. Compare 01:14:934 (1,2,3,1) - as well of which the latter 1 is extremely hard to hit with the angle and the spacing seems a bit much too.
01:15:343 (1,2,3,4) - with 01:14:252 (1,2,1,2) - compare how you angled and NC'd this. The base piano you're following has the same rhythm, but the higher pitch piano is the only difference. I would recommend this instead.
01:16:434 (1,2,1,2) -01:17:116 (1,2,1,2) - and 01:14:252 (1,2,1,2) -
01:18:071 (1,2,3,4) - and 01:18:616 (1,2,3,4,5) - should have similar spacing since their intensity is similar. I looked through all of these and I'm really not sure you're understanding the mapping tbh... You're absolutely trying to nitpick volumes and pitches and keys and as I mapped this, I figured that that would be overly complicated to match with the map. I'd rather have something more simplified and clean to look/play rather than trying to be 1:1 accurate with the song's tone and pitches because frankly, it goes all over the place here. What I do consistently however is isolate the obvious high notes with an antijump 1/2 and separate the basses from the trebles in terms of NCs.
01:19:298 (6) - Is overmapped, would replace the whole pattern with a pentagon rather than a hexagon here to compensate for its removal? It's part of the sheet music.
01:19:843 (1,2,3,1,2,3) - Pitch is decreasing here but spacing is increasing? Seems backwards like that stream in the intro climax. This isn't inherently wrong either as I mentioned before with the stream section.
01:25:161 (1,2,3) - This angle plays so badly, like the implied movement here is so crass, and would play a lot nicer if you didn't blanket 1,2 or did something like 01:29:525 (1,2) - instead. Possible, I chose not to however.
01:25:571 (3,4,1,2,1,2,3) - I don't really agree with having this much spacing for these notes and the same spacing for 01:27:343 (1,2,3,4,1,2,3,4) - which is a lot stronger. I get it's more circles but the movement amount is the same. I would suggest nerfing the first set so the jumps stand out more. You understand that it's more circles and that's the exact intention I bring. What you suggest is either nerf the first or buff the latter but the third option of higher density is contrast enough. It's also a bit more complicated to play and it does stand out visually more than the first.
01:28:298 (4,5) - Related to the above, if you want to follow the melody here a slider on 4 would be optimal since the song's melody stops on that and starts on 01:28:571 (1) - again which would reinforce your rhythm more than if you slapped a note on 01:28:434. Seems unnecessary to have something there.
01:29:934 (3,1) - Similarly to the above, you could have a slider here instead to put more contrast on the triple 01:30:207 (2,3,4) - (which honestly should be way more spaced than it is) and follow the melody more succinctly. I showed this to you and one other before but here is the section of the sheet music that helps me define how this jump pattern is to be played out rhythmically
01:31:161 (1,2,3,4,5,6,7,8) - I don't really know why this gets so much spacing yet 01:34:980 (1,2,3,4,5,6,7,8) - gets nowhere near as much despite being similar in intensity and even higher in pitch. The former you pointed out leads into a stronger period (thats why its higher spacing) where the latter leads into a weaker period (that's why it's a bit lower spacing). Despite their pitches, their place in the music is reflects their intention for how they're mapped with the rest of what's next to come in the song.
01:46:434 (1,2,1,2) - 01:44:252 (1,2,1,2) - Literally cross screen jumps mapped to what exactly? The piano is low pitched, tense, not highly active here. Spacing like 01:43:707 (1,2,3,4) - is way more reasonable. Then you look at 01:49:161 (1,2,3,1,2,3) - which is way more intense and doesn't have so much spacing, coupled with 01:50:798 (1,2,1,2) - which is more intense yet has the same spacing. Your contrast all over is just dead, there's no contrast at all. Everything feels the same intensity and the song has so much dynamic that isn't being expressed. It's the same build-up theme thing I did all throughout the map with just about everything else you've pointed out. It's okay to keep everything spaced the same if the music is all the same but it's also more exciting and convey visual movement if I artificially create the concept of rising points and climaxes which is what this entire map is all about.
01:52:980 (1,2,1,2) - This isn't consistent with what you did above with 01:50:798 (1,2,1,2) - so.. and neither is 01:55:161 (1,2,1,2) - in terms of movement. I'm not really looking for movement here, so much as patterns
01:56:934 (1,2,3,4,5,6,7) - Here, the only place where you actually have some contrast, it turns out to be a bit too much contrast. The song doesn't suddenly drop in intensity like the pattern here implies, but rather it slowly decreases. Something that decreases in intensity more gradually may fit more here. This idea is possible too but I chose not to, the song doesn't end on a high note so that's why all this spacing ends lower. If I ended it higher like some people mentioned, it would be jarring to the last slider since it feels too sudden.
01:57:889 (1,2,3,4) - With the lack of 1/3 in the last kiai I think having a slider here or something would be nice, or space it significantly more.No
damn dadKisses wrote:
Why are you wallmodding, you already passed the BN apps
To be QATKisses wrote:
Why are you wallmodding, you already passed the BN apps
I think there actually is a way to make it work, you just have to look at the other difficulties! Just use some pretty low spacing at the beginning of the stream, that will introduce players to the fast nature automatically and it's contrast enough because your other streams all start with high spacing.Kroytz wrote:
00:19:953 (1,2,3,4,5,6,7,8,9,10,11,12,13,14,15) - This is extremely hard to read considering the majority of the intro has utilized this spacing for streams only half of the speed. It's basically asking to be missed on the first runthrough and if you're not paying attention you'll miss it and die instantly. The spacing of this anyways is too high for the song I think, since it's only the intro and while I understand the sound is quite intense, in context the rhythm density itself is enough emphasis, so putting spacing on top of that seems excessive. With the kind of variable spaced streams I have in the beginning sections, whether this is low DS or high DS will always be hard to read because of the different snap. So I opted to the kind of DS I felt comfortable using for this. Also, looking at first-run tries is not a good argument since people who are not familiar with the song beforehand will usually have difficulty. Considering how this is an 8.3* map, it's naturally going to be difficult in multiple aspects...
I agree with Mir on this one and I'd like to hear your reasoning why you placed it like that instead of just brushing it off.Kroytz wrote:
01:25:161 (1,2,3) - This angle plays so badly, like the implied movement here is so crass, and would play a lot nicer if you didn't blanket 1,2 or did something like 01:29:525 (1,2) - instead. Possible, I chose not to however.
The part of the music sheet you have posted here is basically confirming Mir's point instead of defending yours. There's a slur between the notes on 4 and 5 which means that they are not played seperately so having that jump to 5 makes no real sense in your pattern structure.Kroytz wrote:
01:28:298 (4,5) - Related to the above, if you want to follow the melody here a slider on 4 would be optimal since the song's melody stops on that and starts on 01:28:571 (1) - again which would reinforce your rhythm more than if you slapped a note on 01:28:434. Seems unnecessary to have something there.
01:29:934 (3,1) - Similarly to the above, you could have a slider here instead to put more contrast on the triple 01:30:207 (2,3,4) - (which honestly should be way more spaced than it is) and follow the melody more succinctly. I showed this to you and one other before but here is the section of the sheet music that helps me define how this jump pattern is to be played out rhythmically
How do you think "No" is an appropriate reply to this? Can you at least please explain your reasoning briefly.Kroytz wrote:
01:57:889 (1,2,3,4) - With the lack of 1/3 in the last kiai I think having a slider here or something would be nice, or space it significantly more.No
better than mapping easy and normal while getting GDs' to fill top diffs tbh.Ascendance wrote:
I say it a lot but
mapping only the top diff to a set is really lazy to me :/ Obviously it's just my opinion but when you're an experienced mapper, you have higher expectations imo, it just comes across as "hm I'm just gonna map one diff and sit back" instead of putting substantial effort into the creation of your set
Mao wrote:
Hey Kroytz, I'm taking this down for now because of the concerns Mir has pointed out. I think you have not replied to all of them properly. Moreover I have some concerns of my own:
[The Entrance to Valhalla]I think there actually is a way to make it work, you just have to look at the other difficulties! Just use some pretty low spacing at the beginning of the stream, that will introduce players to the fast nature automatically and it's contrast enough because your other streams all start with high spacing. Whether it starts low->high->low->high or high->low->high->low the fact of the matter is that both extremes of the DS are taken. It's not really about "making it work" but subjugating my idea but finding a compromise with the different snap.Kroytz wrote:
00:19:953 (1,2,3,4,5,6,7,8,9,10,11,12,13,14,15) - This is extremely hard to read considering the majority of the intro has utilized this spacing for streams only half of the speed. It's basically asking to be missed on the first runthrough and if you're not paying attention you'll miss it and die instantly. The spacing of this anyways is too high for the song I think, since it's only the intro and while I understand the sound is quite intense, in context the rhythm density itself is enough emphasis, so putting spacing on top of that seems excessive. With the kind of variable spaced streams I have in the beginning sections, whether this is low DS or high DS will always be hard to read because of the different snap. So I opted to the kind of DS I felt comfortable using for this. Also, looking at first-run tries is not a good argument since people who are not familiar with the song beforehand will usually have difficulty. Considering how this is an 8.3* map, it's naturally going to be difficult in multiple aspects...I agree with Mir on this one and I'd like to hear your reasoning why you placed it like that instead of just brushing it off. I said it was possible but I didn't do this at the time. With this Disqualification, maybe I can choose to do this now. The idea is that the circle is a significantly weaker beat,Kroytz wrote:
01:25:161 (1,2,3) - This angle plays so badly, like the implied movement here is so crass, and would play a lot nicer if you didn't blanket 1,2 or did something like 01:29:525 (1,2) - instead. Possible, I chose not to however.
but in this case it was a bit too weak is all.The part of the music sheet you have posted here is basically confirming Mir's point instead of defending yours. There's a slur between the notes on 4 and 5 which means that they are not played seperately so having that jump to 5 makes no real sense in your pattern structure. And we talked in PM about how this is still viable because of the finish sound on the end of the slur. If I used a slider then the finish would not get hit properly, the two circles is okay to use here because of the finish (and because despite it being a slur it still is technically a part of the previous keys.Kroytz wrote:
01:28:298 (4,5) - Related to the above, if you want to follow the melody here a slider on 4 would be optimal since the song's melody stops on that and starts on 01:28:571 (1) - again which would reinforce your rhythm more than if you slapped a note on 01:28:434. Seems unnecessary to have something there.
01:29:934 (3,1) - Similarly to the above, you could have a slider here instead to put more contrast on the triple 01:30:207 (2,3,4) - (which honestly should be way more spaced than it is) and follow the melody more succinctly. I showed this to you and one other before but here is the section of the sheet music that helps me define how this jump pattern is to be played out rhythmicallyHow do you think "No" is an appropriate reply to this? Can you at least please explain your reasoning briefly. "No" is inappropriate now? Because sliders make the final slider stand out less, and I personally like the straight down the center ending of my four circles versus two sliders on let's say left and right sides or something.Kroytz wrote:
01:57:889 (1,2,3,4) - With the lack of 1/3 in the last kiai I think having a slider here or something would be nice, or space it significantly more.No
I have some more points to mention about this difficulty:I also think the contrast between the chorus and sections like 01:40:434 - could be a bit better. The chorus feels more intense in the music but the jumps in all of these sections blend somewhat together. If what you're looking at is spacing alone then that's understandable but the difficulty of the jumps themselves is completely obvious with regards to difficulty and intensity.
- 01:25:980 (1,2,1,2) - The spacing on this seems random to me because there's nothing to emphasize here at all, the song is not doing much from 01:26:116 (2) - on except for holding the note. A slider might be nice there. There is a clear beat on the first (2) but I can add a slider for the second pair of circles instead.
- 01:31:161 (1,2,3,4,5,6,7,8) - Mir has already mentioned this and I really agree here. I get why you do this but tone the spacing down a bit, it's too much for the sharp turn at 1 and even if 01:34:980 (1,2,3,4,5,6,7,8) - leads into something different, the note intensity itself is not that much different. Except for the fact that even on the aforementioned stream there's a mess of crashes that indicate how much more stronger it is than the latter. The period in which is leads to is important because in this case, the first stream wants to be stronger for a much more demanding phrase where the latter wants to be weaker for a less demanding phrase (as you can hear with the 1/1s and 1/2s).
Mao wrote:
[Sharkie's EXHAUST]Some more mods on this difficulty wouldn't hurt either.
- 00:03:502 (2,3) - Nothing that major but the stack makes this cramped and you used this nowhere else.
Okay.- 00:33:114 - are you sure that you want to go with 0.33 for these? You don't even see sliderticks for reading on the first one which makes this very easy to sliderbreak. I think 0.5 would work well enough considering your SV is low anyways.
Changed.- 00:39:308 (1,2,1,2) - Any particular reasoning behind those being 3/4? There's not really anything on the blue tick that stands out to me.
That's why those slider ends are silenced. I wanted to put a circle on the open hi-hats on beat 4 and then beat 2 the following measure.- 00:52:434 - This section just builds up into a stream and you are decreasing your density to almost zero? I'd just be consistent with the one before instead of only mapping the drums here.
Okay.- 01:01:434 (3,4) - The emphasis here should be on 4 yet you are using extremely low spacing here.
Okay.- 01:23:798 (3) - Not really a huge deal but this is the only of its kind in the map.
Yes because it's the only part where you have an extremely noticeable accented hi-hat.- 01:49:161 - You are pretty inconsistent with what you are following in this section. You usually follow the drums but then you just go for that piano with 01:52:434 (1,2) - even though you ignore it at places like 01:51:752 -.
I don't think that's inconsistency. The first two measures starting here 01:49:161 - are repeated again. Although the piano doesn't have exactly the same notes, they are extremely similar and have the same rhythmic idea. That changes here 01:53:525 - to a completely different rhythm.
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ArtistUnicode:ぺのれり
Creator:Kroytz
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Source:SOUND VOLTEX III GRAVITY WARS
Tags:sdvx konami kac song contest champion Renumi Akitoshi pkk Sharkie Zexous Kawashiro Fushimi Rio
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264,53,118343,1,4,3:0:0:0:
264,53,118434,6,0,B|299:46|335:53|335:53|373:37|373:37|425:38|470:65|470:65|484:128|443:170|446:173|450:177|413:214|426:296,1,450.799984866944,6|0,3:2|0:0,0:0:0:0:
If I received 50 lines I would quit lifeKawashiro wrote:
That's why I love Modding v2
If I receive long long wallmodding, I quit osu lol
Same, I won't change anything when it's too long for me to readKisses wrote:
If I received 50 lines I would quit lifeKawashiro wrote:
That's why I love Modding v2
If I receive long long wallmodding, I quit osu lol