This beatmap was submitted using in-game submission on Thursday, January 18, 2018 at 4:12:34 PM
Artist: Ujico*
Title: Letter From Heaven (Kuuchuu Toshi Ver)
Tags: snail's house snail electronic electronica mixture piano techno Japan
BPM: 170
Filesize: 3624kb
Play Time: 00:00
Difficulties Available:
Information: Scores/Beatmap Listing
---------------
いっぱい danke to EscapeReality 和 Master_chan 和 prohibit 和 TheKingHenry 和 Einja 和 EscapeReality 和 Master_chan 和 gracefu 和 blissfulyoshi 和 Weeb Ass 和 EscapeReality 和 Master_chan 和 P A N 和 oneplusone 和 Xexxar 和 Anxient 和 EscapeReality 和 Master_chan 和 EscapeReality 和 Master_chan!
Please buy this song from Ujico*! (This song is Track 5 of the album 空中都市 [Kuuchuu Toshi])
https://0101.bandcamp.com/album/-
Please support the person who drew the BG!
http://boosoohoo.deviantart.com/art/Dea ... -336304705
Artist: Ujico*
Title: Letter From Heaven (Kuuchuu Toshi Ver)
Tags: snail's house snail electronic electronica mixture piano techno Japan
BPM: 170
Filesize: 3624kb
Play Time: 00:00
Difficulties Available:
- asdf (0 stars, 1 notes)
- Insane (3.77 stars, 157 notes)
- Normal (1.99 stars, 197 notes)
- Test (1.15 stars, 8 notes)
- Traveller Backup (5.21 stars, 781 notes)
- Traveller (5.21 stars, 781 notes)
Information: Scores/Beatmap Listing
---------------
いっぱい danke to EscapeReality 和 Master_chan 和 prohibit 和 TheKingHenry 和 Einja 和 EscapeReality 和 Master_chan 和 gracefu 和 blissfulyoshi 和 Weeb Ass 和 EscapeReality 和 Master_chan 和 P A N 和 oneplusone 和 Xexxar 和 Anxient 和 EscapeReality 和 Master_chan 和 EscapeReality 和 Master_chan!
Please buy this song from Ujico*! (This song is Track 5 of the album 空中都市 [Kuuchuu Toshi])
https://0101.bandcamp.com/album/-
Please support the person who drew the BG!
http://boosoohoo.deviantart.com/art/Dea ... -336304705
Traveller Mapping Concept
Traveller Mapping Concept
The theme of this map is symmetry, but not in the sense that objects are copied and flipped, but rather I'm talking about symmetry of the mapping style used in each section.
The music has a pretty simple structure musically. Every verse it adds one additional layer to the music, peaking at the first chorus, then it goes back to the first verse again. Each time an additional layer is introduced, it creates a minor feeling of chaos and just a bit of disorder, as it becomes increasingly hard to keep track of all the layering rhythms.
By the way, you can also hear the piano starting from a background character and moving towards the foreground as the music gets more intense. This doesn't affect the map, but it's one of the reasons why I like this song.
So I tried to mimic the way the song builds up by also introducing one element at a time. However to do this in the exact same way as the music (literally keeping all the objects from the previous section and adding one more) would be boring. Instead I tried to figure out how I can use completely new patterns and still keep this building up concept.
My solution was to start with symmetry and end with dissymmetry, mirroring the way the song gets more chaotic.
The intro starts out with the most symmetry, horizontal, vertical, diagonal, and (90deg) rotational symmetry. In the intro, the main instrument is the clicking noise, which sounds a bit like a clock doesn't it? Similarly the mapping style is spoked in 4 directions, somewhat like the hands of a clock. (nah jk this is bs, the real reason is just the symmetry xP)
It leads into the first verse, which has all the symmetries of the intro except diagonal symmetry, and the rotational symmetry is now limited to 180deg only. The ticking noises are still mapped, but now the main instrument is the newly introduced piano. As you can hear though, the piano is constant and droning, and in a similar way I wanted the map to feel like that. This is why all the objects are arranged in straight lines, and using changes in direction to emphasise sounds.
The second verse is a bit special as it's comprised of two alternating instruments. When the first one comes on, I use rotational symmetry as the main style (losing the axial symmetries somewhat), and when the second one comes on, I use horizontal and 180deg rotational symmetry (losing vertical symmetry). One sounds hard and impactful, and I map this with a 3 slider pattern, while the other one is free and seems to fly around, which I map with a jump section that accelerates and decelerates according to the beat.
The third verse is now left with only horizontal symmetry, losing vertical and rotational symmetry. Here the main instrument is the guitar, which ALSO feels very flowy and singleminded. Similarly I mapped this by having flow move in a single direction, following the pitch of the guitar.
Finally in the chorus, there is no more symmetry as we enter a freeform mapping style. Here the main instrument is a mixture of lower pitched piano chords and a high pitched fast piano melody, which I map to jumps and streams respectively.
In the second half of the chorus, it gets a bit simpler rhythmically, and I reflect this by reintroducing some vertical symmetry, as well as a directional constraint I don't think is actually a symmetry, by having all the triplets move to the left and all the quintuples move to the right. I keep the intensity up by using triplets to force a fast-slow motion, emphasising that bling/blung sound.
The three verses repeat, and I keep the styles.
The second half of the second chorus is similar in style to second half in the first chorus, but it's pitched up and is getting more intense as ever. Similarly I follow the style of the first, but as it's more intense I introduced some variations by removing the directional constraint, and mapping the 3 guitar sounds as large linear jumps instead of a triangle, which is harder to play and I think reflects the increase in intensity.
The climax of the song is a fast piano melody, which I map with insane streams. The piano alternates between not-so-intense and intense sections, and keeping with the style I more symmetry in the not-so-intense sections, and breaking symmetry and using more curves and more diagonals in the more intense sections.
The theme of this map is symmetry, but not in the sense that objects are copied and flipped, but rather I'm talking about symmetry of the mapping style used in each section.
The music has a pretty simple structure musically. Every verse it adds one additional layer to the music, peaking at the first chorus, then it goes back to the first verse again. Each time an additional layer is introduced, it creates a minor feeling of chaos and just a bit of disorder, as it becomes increasingly hard to keep track of all the layering rhythms.
By the way, you can also hear the piano starting from a background character and moving towards the foreground as the music gets more intense. This doesn't affect the map, but it's one of the reasons why I like this song.
So I tried to mimic the way the song builds up by also introducing one element at a time. However to do this in the exact same way as the music (literally keeping all the objects from the previous section and adding one more) would be boring. Instead I tried to figure out how I can use completely new patterns and still keep this building up concept.
My solution was to start with symmetry and end with dissymmetry, mirroring the way the song gets more chaotic.
The intro starts out with the most symmetry, horizontal, vertical, diagonal, and (90deg) rotational symmetry. In the intro, the main instrument is the clicking noise, which sounds a bit like a clock doesn't it? Similarly the mapping style is spoked in 4 directions, somewhat like the hands of a clock. (nah jk this is bs, the real reason is just the symmetry xP)
It leads into the first verse, which has all the symmetries of the intro except diagonal symmetry, and the rotational symmetry is now limited to 180deg only. The ticking noises are still mapped, but now the main instrument is the newly introduced piano. As you can hear though, the piano is constant and droning, and in a similar way I wanted the map to feel like that. This is why all the objects are arranged in straight lines, and using changes in direction to emphasise sounds.
The second verse is a bit special as it's comprised of two alternating instruments. When the first one comes on, I use rotational symmetry as the main style (losing the axial symmetries somewhat), and when the second one comes on, I use horizontal and 180deg rotational symmetry (losing vertical symmetry). One sounds hard and impactful, and I map this with a 3 slider pattern, while the other one is free and seems to fly around, which I map with a jump section that accelerates and decelerates according to the beat.
The third verse is now left with only horizontal symmetry, losing vertical and rotational symmetry. Here the main instrument is the guitar, which ALSO feels very flowy and singleminded. Similarly I mapped this by having flow move in a single direction, following the pitch of the guitar.
Finally in the chorus, there is no more symmetry as we enter a freeform mapping style. Here the main instrument is a mixture of lower pitched piano chords and a high pitched fast piano melody, which I map to jumps and streams respectively.
In the second half of the chorus, it gets a bit simpler rhythmically, and I reflect this by reintroducing some vertical symmetry, as well as a directional constraint I don't think is actually a symmetry, by having all the triplets move to the left and all the quintuples move to the right. I keep the intensity up by using triplets to force a fast-slow motion, emphasising that bling/blung sound.
The three verses repeat, and I keep the styles.
The second half of the second chorus is similar in style to second half in the first chorus, but it's pitched up and is getting more intense as ever. Similarly I follow the style of the first, but as it's more intense I introduced some variations by removing the directional constraint, and mapping the 3 guitar sounds as large linear jumps instead of a triangle, which is harder to play and I think reflects the increase in intensity.
The climax of the song is a fast piano melody, which I map with insane streams. The piano alternates between not-so-intense and intense sections, and keeping with the style I more symmetry in the not-so-intense sections, and breaking symmetry and using more curves and more diagonals in the more intense sections.