Mir wrote:

ok so you got memed on that's not even a mod for this map

AyanokoRin wrote:

all i wanted was to trigger gowo i did not ask for any of this

Alheak wrote:

pls no more concerns thank

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Alheak wrote:

pls no more concerns thank

fdsfd wrote:

[General (All difficulties)] It would be an improvement if the Ending Spinner can either gradually decrease in volume or ended with a ~5% mute. The music fades out and keeping the spinner-end to hit at 70% volume is unsettling. spinnerspin sound is irrelevant to gameplay and does not add anything meaningful

01:49:420 (1) - Missing Clap if the intent was to clap every 1s and 3s for this kiai. The music does provide a clap for the first beat of both phrases that's why. I think you need to listen more carefully as there is no snare sound there and generally you'll rarely find a snare sound that starts a section in a song

[Goldenwolf]00:09:770 (11) - This slider should still be on 1/2 to match the rest of the previous sliders. The music doesn't change and there's a drum on red-tick and a clickable blue beat. Because this pattern is about progression, and making the blue tick clickable would take away the emphasis from the next pattern

00:10:157 (1,2,3,4) - The music raises in pitch but with how you treat this spacing assumes the music is going "low-high-low" when in fact, it can gradually get higher in spacing altogether. The placement of the objects is also a bit dubious because there's no correlation between any of the circles - It's possible to make a square or parallelogram using (1,2) as the first side as a means to compile the sounds into one grouping, or space (4) to be higher than (3) because of how the music is being treated here. But I don't need to make everything a perfect geometrical shape, also if I wanted to make the pattern feel like low high low high I wouldn't have increased the spacing on the second part so your assumption is incorrect

00:11:318 (4,7,10) - While it may seem this was intentional, I'd reconsider NC'ing every 3rd beat. My reasoning is that every group of 3 circles has their own DS but when it goes down to (4) and later (7) and (10), they too have their own grouping of specific and lowered DS. But I've said numerous times I don't like NC spamming especially when it isn't necessary

00:13:157 (1) - This NC is completely unnecessary and only adds complications to reading. The DS's are all equal between these three objects 00:13:060 (1,1,1) - so it doesn't give enough of a reason to NC each circle other than something artificial. It would also be wise to give 00:13:060 (1) - a whistle hitsound since it does belong to the grouping of NC's you had. In my recommendation, due to how the music is presenting itself, I would instead focus on trying to gradually space 00:12:770 (2,3,4,1,1,1) - these out because the music moves up the scale and in volume progressively than how you expressed it so suddenly. so while I don't like NC spamming, if I do find a reason I like enough I don't really have a problem with it, here it's about how loud that note compared to the ones around, the last one is a chord so it gets its own nc too, spacing reflect all of that too (the first nc is to avoid an awkward lone blue tick nc)

00:14:028 (1) - Would it be possible to reposition this circle elsewhere? Currently there are two former weaker beats stacked on top of this same location and with the Finish sound provided, I think there would be enough reason to give this emphasis in a way that involves the player to engage at this moment. By stacking over the two previous objects, it diminishes any emphasis provided in the music and it falls flat very quickly. no because I find spacing away 1/1 gaps while the previous was a stack to be obnoxious and uncomfortable

00:14:996 (1,2,3,4,5,6,7,1,2,3,4,5,6,7,8,1,2,3,4,5,6,7,8,9,1,2,3,4,5,6,1,2,3,4,5,6,7,8,9,1) - Here is where I have some of my bigger concerns - the hitsounds. I want to believe that with all the piano involved, there are a plethora of ways to go about whistling any of this entire section but the way you hitsounded this part is incredibly inconsistent. Firstly, when you hitsound this circle 00:14:802 (5) - and this slider 00:15:576 (6) - it implies that every 1's and 3's would be a whistle but you didn't use a whistle on the first circle 00:14:028 (1) -
Then I have to ask myself, why is only the blue-tick circle having a whistle here 00:15:480 (5) - ? How come the red-tick circle can't have a whistle as well? They are part of the same grouping (4,5,6) but only two of them get the whistle sounds. You show it over here as well 00:16:931 (3,4,5) - it being part of the same grouping.
It might be possible to NC 00:15:576 (6) - because of how you paired (6,7) to be part of the same whistle group. A better solution in my opinion is to NC (6) and remove the whistle from (7) but keep the same whistle pattern as the first measure being 1's and 3's. So essentially 00:16:351 (5) - will have a whistle.
00:17:415 (6,7,8,9) - How come only two circles have whistles but not the rest? The music descends beat-by-beat naturally so I find it strange that only half of the beats get attention. The same can be said about 00:17:802 (1,2,3,4,5,6,1,2,3,4) - where (6) is another strong beat, but is the start of the pianos lowering in volume. You separated (6,1) when they actually belong in the same grouping.
00:19:157 (7,8,9,1) - This is a bit off because you group (8,9,1) being the strong whistles but (7) is just hanging around as part of the stream there when it has no attention like the rest. I feel like you're trying to make it way more complex than it is, really the whistle logic here is much simpler than that; emphasizing the high notes in each of the 3 groups, first one starting here 00:14:996 (1) - second starting here 00:16:738 (1) - and third starting here 00:19:447 (1) - , really the only one I'd understand arguing about would be 00:19:447 (1) - this one because in the third group it's quite a lower ptiches one,
but that's because rhythmically hitsounding as high low low high has a nice feedback, and since those are 1/2s it's preferable, while in the streams it has less importance so the emphasizing prime

00:19:447 (1,2,3,4) - How come there are only whistles on 1 and 4 when all four objects are the same strength in piano? If you don't want to hit whistles on all four, then rhythmically, you can whistle on 1 and 3 and that would make more sense than whistling 1 and 4. Also, because there are still beats on reds, I believe these would fit better as sliders (perhaps low SV) just so it can still hit the rhythms. Low SV sliders might help bring good spacing emphasis since they'll be treated more or less as held circles. ^see just above

00:20:609 (7,8,9,10,11,12,13) - Missing whistles on this half? I get that the volume is decreasing but you can add green lines to change the volumes with the whistles (every circle after 7 can go down in 5% for example). That would be a much stronger approach than ignoring half of the piano hitsounds. Not missing any nope, also reducing the volume to reduce hitsounds additions is really obnoxious while playing especially when feedback is needed like here

00:23:609 (4,5,6,7,8,9) - I don't really know how to explain this but this looks like a reading problem. Either there's a lack of NC'ing somewhere to help distinguish the multiple rhythm snaps, or the stacking itself is placed in a way that is not intuitive to read at all. You do this well in other sections, probably because unlike the one I highlighted, they don't overlap as much on different snaps as part of the same combo. The whole thing is intentionnal as you probably noticed, this part is meant to be hard to read

00:35:705 (1) - Not a too big of a deal, but the rest of the diffs had this hitsounded as a whistle but you were the only one to use finish so... maybe whistle instead? Nein sir, this feels like a finish to me

00:43:447 (1,2,3,4) - I never understood this and why there's so many snaps and rhythms being ignored here. The music is reaching a climax but you let go too early with these 1/8 drums that aren't actually snapped to 1/8 beats, it seems this was placed purely to add some sort of convoluted sense of contrast that is incredibly unfitting to what's happening in the song. It would be far more beneficial to the song to use the snaps the music provided (either 1/3s for piano or 1/4s for drums) and use some sliders or streams to help build the climax with the music instead of falling short with these incorrectly snapped 1/8 sliders. Because it's already hard enough to read/interpret as it is, I don't need to map every single sound you can hear to make sense of what is happening. If you want to call it some fancy words I guess we can go for Selective Emphasis, as it matters more to map what represents that section rather than mapping everything you hear, there is a fine line to not be crossed here in fear of falling into the realm of absurdity.

00:54:875 (1,2,3,1,2,3) - Not the worst thing here but it's the only inconsistent pattern in this section. It'll be more consistent to have the latter (1,2,3) imitate or copy/flip the former (1,2,3) as being a triangle. Yes it is a variation that breaks the consistency, it isn't random either as it happens on the last bit of that section, also when the song breask its pattern too

01:01:420 (1) - Missing Finish hitsound on an obvious crash it is a cymbal but they both feel too weak to warrant a finish especially when the patterning doesn't support it (and it doesn't bcs it's following the melody, not the drums)
01:03:602 (3) - ^

01:18:876 (1) - Your pattern/design suggests this circle would follow the previous combo as (7) but the NC makes it awkward to look at. From a rhythmic point of view, (1) doesn't really belong here because you'd be combining two separate measures together when (1) is unique apart from the rest, there's an obvious emphasis to it that it should begin elsewhere or have an increased spacing to accommodate. To me it makes perfect sense as it is well separated from the previous grouping, also it shouldn't be expected to go back on itself as the notes aren't repeating (which was the reason it did previously)

01:21:466 (3) - Spacing is extremely low compared to everything else that's happened in this difficulty thus far and it's unnatural and awkward to play this especially when the song is having it's huge build-up moment before the kiai. I'd suggest placing this elsewhere, maybe overlapping on top of 01:20:511 (6) - to keep your structure. dropoff + half stop, then builds back up is the logic here, which I find to be fitting

01:26:102 (3) - Hitsound error Additive hitsounding

01:26:239 (1,2,3,4,5,6,7,1,2) - Clap spamming isn't suggested by the music here... I can understand the pattern as a means to show rising intensity but the music still holds claps on 2s and 4s. I don't know, this seems like a poor decision because it doesn't help follow what the song is suggesting. Continuing on, it might be wise to whistle 01:27:193 (1,2,3) - since there are strong pianos attached to them. You even have them grouped under their own combo so it makes sense to apply whistles here. I think I've discussed this part more than enough already, if you haven't read about it yet I'd encourage you to do so. Tl;dr though; additive hitsounding

01:27:602 (1,2,3,4,5,6,7) - Clap spamming might be suggested here, since the music is more pronounced and so are the instruments, but Finish spamming is a bit over the top lol (since this just suggests clap spamming as part of the music) see above ^

01:32:511 (3,4) - Should be repeat slider for consistency with 01:31:966 (1,2) - or it could be three 1/3 circles for the intonation in the song. Neither, it should be a slider leading into a circle then another repeat according to the song here, as the first 2 notes don't warrant circles, plus it helps spacing out and emphasizing the next repeat too

01:53:784 (1) - Obvious Finish is missed same reason as before, not following the drums but the melody and patterning (which follows the melody) doesn't support a finish here

GoldenWolf wrote:

[Goldenwolf]
00:19:447 (1,2,3,4) - How come there are only whistles on 1 and 4 when all four objects are the same strength in piano? If you don't want to hit whistles on all four, then rhythmically, you can whistle on 1 and 3 and that would make more sense than whistling 1 and 4. Also, because there are still beats on reds, I believe these would fit better as sliders (perhaps low SV) just so it can still hit the rhythms. Low SV sliders might help bring good spacing emphasis since they'll be treated more or less as held circles. ^see just above Except those arent high low low high, these are all high pitch sounds that should be complimented with a whistle. While I see where you're coming from, a pattern like that doesn't work in this case because having whistles emphasizing the strong beats leading into a buildup should be necessary imo

00:20:609 (7,8,9,10,11,12,13) - Missing whistles on this half? I get that the volume is decreasing but you can add green lines to change the volumes with the whistles (every circle after 7 can go down in 5% for example). That would be a much stronger approach than ignoring half of the piano hitsounds. Not missing any nope, also reducing the volume to reduce hitsounds additions is really obnoxious while playing especially when feedback is needed like here Don't see how reducing the volume of this stream would be obnoxious at all when the sounds its being mapped to decrease in volume too. There's still going to be feedback, but now you can include all the proper whistles while complimenting the music with the decrease in volume rather than simply ignoring half of them.


00:43:447 (1,2,3,4) - I never understood this and why there's so many snaps and rhythms being ignored here. The music is reaching a climax but you let go too early with these 1/8 drums that aren't actually snapped to 1/8 beats, it seems this was placed purely to add some sort of convoluted sense of contrast that is incredibly unfitting to what's happening in the song. It would be far more beneficial to the song to use the snaps the music provided (either 1/3s for piano or 1/4s for drums) and use some sliders or streams to help build the climax with the music instead of falling short with these incorrectly snapped 1/8 sliders. Because it's already hard enough to read/interpret as it is, I don't need to map every single sound you can hear to make sense of what is happening. If you want to call it some fancy words I guess we can go for Selective Emphasis, as it matters more to map what represents that section rather than mapping everything you hear, there is a fine line to not be crossed here in fear of falling into the realm of absurdity. Players at this level would be able to interpret this "complex" rhythm (if you could even call it that) easily. This is a lame excuse and the 1/8's aren't fitting to the song in any sense, if you're not going to change the rhythm in this section atleast silence the sliderends... They're completely unfitting and take away from the drums in the background you do want to emphasize

01:01:420 (1) - Missing Finish hitsound on an obvious crash it is a cymbal but they both feel too weak to warrant a finish especially when the patterning doesn't support it (and it doesn't bcs it's following the melody, not the drums)This is one of the highest points in the entire song??? Not having a finish here is just absurd, and having an entire section that spams finishes like 01:27:602 - where it barley comes close to matching the intensity is just absurd.
01:03:602 (3) - ^


01:26:102 (3) - Hitsound error Additive hitsounding Lol as if, you use the excuse that there isnt a strong enough sound for a finish on 01:01:420 (1) - but you throw in a random drum finish here?

01:26:239 (1,2,3,4,5,6,7,1,2) - Clap spamming isn't suggested by the music here... I can understand the pattern as a means to show rising intensity but the music still holds claps on 2s and 4s. I don't know, this seems like a poor decision because it doesn't help follow what the song is suggesting. Continuing on, it might be wise to whistle 01:27:193 (1,2,3) - since there are strong pianos attached to them. You even have them grouped under their own combo so it makes sense to apply whistles here. I think I've discussed this part more than enough already, if you haven't read about it yet I'd encourage you to do so. Tl;dr though; additive hitsounding While i agree that 01:26:784 (5,7) - sound fine with added claps, 01:26:511 (3) - does not. If you take away the clap sound on 3 it would give a better build up feel to the jump section that follows this instead of how it is now, which makes it feel like random snare drum spam.

01:27:602 (1,2,3,4,5,6,7) - Clap spamming might be suggested here, since the music is more pronounced and so are the instruments, but Finish spamming is a bit over the top lol (since this just suggests clap spamming as part of the music) see above ^ Except in this case the additive hitsounding is just annoying and unneeded, finishes are generally used for emphasizing strong individual moments in the music and as it is now its incredibly annoying to have 80% volume finishes being spammed for a section.


01:53:784 (1) - Obvious Finish is missed same reason as before, not following the drums but the melody and patterning (which follows the melody) doesn't support a finish here Same counter point as above for this part, literally the largest climax in the song and you're just using inconsistent excuses at this point.

• 
  Your whistle placement from 00:02:028 - to 00:07:834 - feels entirely random, half of the time you're missing very important sounds and putting whistle on the off beats

1. 00:02:028 (2,3,4,5,6) - What logic is behind the whistle being on an offbeat blue tick and not on any of the white tick sounds, it makes no sense and just sounds bad. Especially because you don't have a whistle sound on literally the first important piano sound but have one on an off tick rhythm
   
2. 00:03:770 (1,2) - Same point as above with off tick whistle sounds
   
3. 00:05:222 (3,4) - Swap whistle placements here, the important sound is on 00:05:318 - and not the blue tick before it
   
4. 00:06:092 (1) - I see no reason for there to be a missing whistle here at all

1. (Insert random issue here).

Stjpa wrote:

I looked through fdsfd's mod and I literally agree with nothing he mentioned, stop overmodding difficulties because that's how you ruin actual good stuff

Linada wrote:

https://osu.ppy.sh/help/wiki/Ranking_Criteria/Code_of_Conduct

u might need a good read of this

fdsfd wrote:

Linada wrote:

https://osu.ppy.sh/help/wiki/Ranking_Criteria/Code_of_Conduct

u might need a good read of this

like that changes anything lmao

Pachiru wrote:

Yes, it will teach you something that your parents might not have taught you.

1. 00:01:254 (1,1) - Excellent use of a slow slider onto a circle! It really emphasizes the head in a unique way due to the shift in velocity from the slider to the head!
2. 00:10:931 (1,2,3,4,5,6,7,8,9,10,11,12) - I'm a really big fan of patterns like this. Wonderful use of 3-note groupings to follow the 1/3 rhythms in the back! And they are scaling downward in spacing too, which help to convey the pitch change!
3. 00:23:318 (1,2,3,4,5,6,7,8,9,1,2,3,4,5,1,2,3,4,5,1,2,1,2,3,4,1,2,3,4,5,1,2,1,2,3,4,1) - Excellent rhythm choices that really showcase the shifting polarity in the song here!.
4. 00:28:867 (1,2,3,4,5) - This is actually so fun to land.
5. 00:52:693 (1,2,3) - Excellent use of triangles here for those 3 note groupings like what you did earlier!
6. 00:56:511 (1,2,3,4,5,6,7,8,1) - Well designed accelerating stream.
7. 01:01:420 (1,2,3,1,2,3,1,2,3,1,2,3) - I really love what you did here with the triangles. They get bigger and smaller depending on the pitch. Man, you really thought these patterns through.
8. 01:05:239 (1,2,1) - This pacing change is really nicely done. And you have the sliders set up so its easy to catch the slider velocity shift too!
9. 01:10:148 (1,2,3,4,5,6,7,8) - These stacks actually make so much sense with the music since its the same note repeated over and over again. Nice
10. 01:21:057 (1,2,3) - Very unique spacing here of 3, but it works wonderfully with what you're trying to emphasize, and the low spacing and angle shift is really nice too in creating an interesting flow.
11. 01:24:193 (1,2,3,4,1,2,3) - Excellent flows here!
12. 01:26:239 (1,2,3,4,5,6,7,1) - Nicely designed cross pattern here!
13. 01:33:057 (1,2,3,4,5,1,2,3,4,5,1,2,3,4,5,6) - Really like what you did here with the spacing correlation with pitch again!
14. 01:41:511 (1,2,3,1,2,3) - You know I love my triangles <3
15. 01:49:420 (1,2,3,4,5,6,7,8) - Oh, this rhythm is so fun to play, and it flows so well here!
16. 01:51:602 (1,2,3,4,5,6,7,8) - ^Same!
17. 01:53:784 (1,2,3,1,2,3,1,2,3,1,2,3) - These triangles again!! <3

Naotoshi wrote:

- _ -

Sinnoh wrote:

What exactly do you get from using profanity in this situation besides looking immature

Stjpa wrote:

But his difficulties are structured really well and your suggestions are optional stuff and also very subjective, nothing that would improve this set very much if at all

PoNo wrote:

Sorry, I just woke up

fdsfd wrote:

Thank you for your reply, Alheak. I now return into my eternal slumber where I shall not be awakened for another 100 years.