Thanks for the mod!
-Faded- wrote:Hey, m4m from your queue!
- Your soft-sliderslide99 is unused, which goes against the ranking criteria as it states that you mustn't have any useless files in the beatmap folder. Good catch. Mistake on my part, not necessary to have sliderslide99 when I only use 99 for sliderends (I think)
- Likewise, the following hitsounds have a delay >5ms: I remember doing this already, maybe you have old ones? Dunno. Interesting though is that this hitsounds is from osu! default skin iirc, making delay like this unexcepted. Anyways it should be fixed now, checked them.
This also goes against the ranking criteria, as it is important that hitsounds provide proper feedback. I would use a program like audacity to get rid of the delay.
- Combo colour 5 (the dark blue) is too dark. When using a 100% dimmed background, it blends in, causing reading difficulties. Not really having this problem, and I like the shade. Made it little lighter though, maybe it helps.
- 00:26:110 (1,2,3,4,1) - I'd tone these jumps down a bit, considering that the music is very calm right now. Although drums do make an appearance, the overall intensity of the song isn't enough to justify this spike in difficulty. It'll also make the sudden jumps at 01:16:650 (2,3,1,2) - stand out more. I think they are fairly fitting though. The sounds are very aggressive compared to what it has been so far, and the spacing is done in similar fashion to sounds of similar fashion later on. There's still some fat on them though so they can be trimmed little without hurting too much.
- 00:43:677 (4,1) - I would increase the distance between these two notes. (1) lands on a comparatively strong sound in the music, so it'll better represent the music that way. While it's true there downbeat with fairly strong kick there and whatnot, I like the feeling of this better, considering the most distinct instrument for that atleast for me is that bass with the line that feels like throwing smth that then slowly descends back to earth (or in the thematics of this map, how ship rises to the crest of the wave only to descend back down after -> spacing of this pattern. Also how loud it is aside, most of the time kick doesn't sound very aggressive, but is rather soft sound. Depends on context too though. No change
- 00:50:434 (1,2) - It'll flow better if you moved (2) so that it's in the trajectory of the cursor, as it won't have to do any awkward angle changes. Perhaps an area like x80 y40 would work? Not necessary in part like this. Also, imagine curve similar to 00:50:434 (1) - but upwards (or downwards, which would be the right way to say it) between them, continuing from 00:50:434 (1) - on smoothly and it's actually pretty much on the trajectory too.
- 02:24:488 (2,1) - I would change the shape/angle/position of (1) a bit, because it is directly overlapped by (2). I highly recommend you do this because the ranking criteria states that you should avoid directly overlap slider trails, and that players may have trouble reading it. Even if they could read it, these kind of directly overlapping sliderbodies look a bit out of place and finnicky. Same applies for 02:33:137 (2,1) - Good point in a way, but with density this low it will pose no problem. Thus actually, the completely overlapping patterning is the idea here. Think of how sometimes sailing against the waves you'd feel you ain't going anywhere but rather bouncing on the same wave again and again. (that's why it's also not used all the time)
- 02:45:299 (3) - Shouldn't this slider start on the red tick after? Because that is where the guitar strum starts, and it is the stronger sound. You've done it this way with 02:45:840 (3) - and etc. so I don't see why this should be any different. Same issue applies for 02:49:623 (3) - , 02:53:948 (3) - , 02:58:272 (3) - , etc. Hmm not quite. There is clear difference between those places. When this whole section begins, there is strong dominant guitar chord.
The first chug (this one you linked) feels rather like it ending than new beginning. Only when similar chugs are done so that they are the sound that breaks the silence of the guitars does it feel like they are the main thing, thus gaining control of the patterning as well.
- 02:49:894 (1,2,3) - You know, I think it would be really cool if you kept the circular flow for these sections going one direction throughout. The music is quite repetitive here, so I don't see why you're suddenly making the cursor change direction when the song doesn't call for it - there isn't a strong sound to justify the change in circular flow. Same with 03:02:867 (1,2,3) - , 03:15:840 (1,2,3) - , 03:55:840 (1,2,3) - , 04:00:164 (1,2,3) - etc. What is strong sound and what isn't? One could also say there are strong sounds almost every beat. That's not important here though. Allowing breaking the direction of the flow (that being said the flow ain't even circular all the time anyways) bring more variation possibilities to the table. Due the freedom objects don't collide as much or you don't run out of space. Imo even the thematics feel better with changing direction, since while using one direction each would remind of smth like whirlpool (I actually do it) I like changing the direction more often. It's kinda more like how raging sea kicks you around to all directions.
While still mostly powering towards only couple (the shores / direction of circulation here). A lot of this will be relevant when you comment about the kiai time as well.
- 04:23:947 (1,2,3) - You should reverse the circular flow here, like you've done with 04:18:271 (1,2,3) - and 04:14:487 (1,2,3) - . The consistency is important because I thought you only reversed circular flow on the strong sound, or when the grizzly vocal kicks in, but this pattern breaks that idea. Same goes for 04:39:082 (1,2,3) - too, along with some areas in the second kiai as well. (such as 06:25:838 (1,2,3) - ). I kinda saw this coming.
Now to be fair, I had no logic in changing the direction (as in not a logic I'd use constantly). It's mostly random in some meaning of the word. Most dominant factor was how I felt (which was based on how I thought it flowed and what kind of space I had I could use for the following ones). Only when I happened to have more freedom in terms of flow and space I kinda thought about if I should implement some emphasis on important parts (which in the end lead most of the stronger parts getting emphasised). But in the end it's not under any logic. Of consistency, it would be fitting to say: "there's nothing constant except change". Similarly to what I may or may not have said above, it's supposed to be like sea raging around with whirlpool type shapes and aggressive direction changes here and there.
- 05:22:460 (2,1) - Perhaps you could move (1) so that it is directly in the middle of the end and head of (2). This'll make it structurally consistent, making it look nicer. It's already somewhat in the middle of 05:22:055 (1,2) - though (so in the middle of 2 waves instead of one wave so to say).
Also this way the spacing between 05:22:460 (2,1) - is more consistent with for example the spacing between 05:22:055 (1,2) -
- 06:48:540 (1,2,1) - Make it so 06:48:811 (1) - gets the most emphasis out of these notes. Right now, the most emphasised note is (2) which isn't that intuitive since it is on a comparatively weak sound. Moving (2) to an area like x356 y232 or x368 y316 should do the trick 06:48:540 (1,2) - are way more aggressive sounds than 06:48:811 (1) - (I think I have many other places mapped like this with the snares). That being said, 06:48:811 (1) - sure should be emphasised. And it is, in a way fitting for it imo. This of this pattern like how you are holding your breathe, tensing yourself in preparation for smth, steadily increasing the "intensity", until when the actual thing comes you let your breathe go, relaxing yourself. Similarly here the snares kick in the tension even higher than the kiai was, but then the theoretically emphasised point 06:48:811 (1) - actually feels less intense (with the sounds are less raw spacing) but it's still actually fairly emphasised with the structure. Also from purely practical reasons the spacing is slightly tuned down because the SV gets down so it's more comfortable to transition. And I did this before too see 04:43:136 (3) - while actually here the SV is fairly high, but the spacing is still lowered for the calmer guitar sound.
- 09:02:861 (1) - Can we please not do this? The map goes from being a highly aim orientated map for 9 whole minutes. And then suddenly at the end, you throw in a massive 100+ note spaced deathstream. Absolutely nothing in the song foreshadows the appearance of this stream later on, so it just appears sudden and unwarranted. Either get rid of this stream, which is what I would recommend; or find places in the song where you can place difficult streams so this doesn't appear so sudden. Is that graph of the density-related intensity in the map (as in which streams inflate). Anyways, even stream and whatnot aside, that graph ain't too far off from what the songs intensity is tbh lol. That aside, fair concern you have there. And to be fair, I actually have some concerns myself too about this stream too I'll be going over (at some point). But no, the existence of it in some form isn't one of those. If the song gives me a stream, it shall be a stream. I won't discuss about that. The real discussion should be about how I execute the stream (your comment about finding places to insert difficult streams before in the map isn't good idea though, since it's not like the intensity of the ending section makes the section before it any more intense. If there isn't sounds for intense streams before this, I shall not. Thus the real question should be how do I implement this stream that is in the music, while making it of relevant intensity compared to both the map and the song. Compared to song I feel it's cool as is. It has some problems in terms of map though (on which I have gotten some testplayer-feedback), and I'll need to see to that. If in the end changes are to be made, I'll figure out smth. But it's not going to get removed.
Good map. It represents the music quite well, with only a few small emphasis issues. However, you need to make the circular flow consistent in places. In the kiai sections, I see where you were coming from; but for sections like 02:45:029 (1) - and 06:00:973 (1) - then the changes in flow seemed random. Also, fix the stream. Placing an 8* stream on a 9 minute long, non-stream map right at the end isn't good. Well yeah for the flows, just think of it as using similar logic of change as the kiais but with less whirlpools. For the stream, even if it tilted you, the stream is still less than 7,2* lol (I think it's over 8*
with HR though, but the actual intensity of the patterns is more important than SR anyways)
EDIT: was already wondering why I didn't remember you owing me any mods but then I checked my queue. I'll be modding your map either tomorrow or some day next week (anyways after I have closed the queue and thus actually picked your request)