A flower bloomed
A flower

A flower bloomed
It was terribly afraid of the wind
A flower no one's seen before was blooming

A flower bloomed
A flower
A flower bloomed
It was terribly afraid of the wind
A flower no one's seen before was blooming

A flower bloomed
A flower
A flower bloomed
A flower no one's seen before was blooming

There's no flower
When I thought...
I thought it couldn't be there
and then,
when I thought that, there was a flower
A flower no one's seen before, that couldn't be seen
that couldn't bloom, was blooming
It's there
nonetheless, there
certainly, there

A flower bloomed
A flower
A flower bloomed
It was terribly afraid of the wind
A flower no one's seen before was blooming
And then when it did,
it was terribly afraid of the wind
What no one had seen before
A flower, a flower
afraid of the wind
trembling in the wind
The flower swayed
shaken in the wind
afraid
trembling

The wind blows
It carried flowers and rumors
so terribly afraid of the wind, the flower
afraid of
the wind
trembles
shaken
afraid
A flower no one's seen before
a flower that can't been seen
seems to have been afraid of the wind
swaying
shaken

The flower cried
The flower
The flower cried
It was beaten terribly by the wind
A flower that's never seen light
was crying

From the sound of the wind a while ago
More
With the sound of the wind
The wind
of sound
From the wind's sound of the wind
More, the sounds
by a storm, by a storm, by a storm

When it did
then the flower
the flower was crying
There's no dreams
There's no wind anymore
The clouds, too, don't move anymore

Yet,
and yet
The flower, it
The flower chooses darkness, loves darkness
the flower
celebrates darkness, loves darkness and also cries
it cries in darkness
Yet
and yet
the flower's made to cry by darkness, is selected, celebrates
and is loved

A flower that's never seen light was chosen
exhausted, loved, and seems to love the darkness
Oh flower
Like the light laughs
for the unyielding heart of the flower
The flower with an unyielding heart
so that it's not swayed in the wind
so that it's not made to cry by darkness
so that it's not cut by those sharpening their shears
so that it's not swayed
so that it's not made to cry
so that it's not cut

Oh flower
Look at the moon
Not at the stars
Oh darkness
The moon is the true light
It's fine

Yessss..sssssss..sssss..ss...

The stars are beautiful too
Something like the light of the moon darkness
The light of the true stars are no good
The darkness
The moon is the true light
The true light
The true light

If so
If that's so
Force back the wave of darkness
Untie the moon of darkness
Light for the flower
for the flower
Light for the flower
Light, light for the flower
I've wished for that

And, and then
And, and then
And, and then
The flower answered
It answered just once
It answered just four times

I don't need light, please give me water

Hana. It's difficult to describe Hana and its appeal because Hana's appeal doesn't just come from the chart. The chart is mostly sparse chords and LNs for about 7-8 minutes with occasional faster spurts of chordjacking, bursts and rolls, but the chart is accompanied with a minimalistic yet mesmerising and tragic percussion-based remix of Hana (Aku no Hana's 1st ED). In a sense, Xay's Hana is less of a standalone product and more of a product that enhances the listening experience of its complementing track like not many charts can. This enhancement has definitely been noted by several circles in the osu!mania charting community, given Hana's praise in those circles.

The track itself is extremely freeform; you would normally expect notes to land on nice fractions of beats: 1/1, 1/2, 1/4, 1/6, you name it. Hana, on the other hand, has practically **zero** sounds that land on whole beats. This forces players to pay full attention to the sounds that Xay has layered throughout—usually the combination of percussion and vocals. This hyperfocus, with the track's offkey vocals, mesmerising percussion, melancholy violin, and sparseness of the chart, creates an intimate atmosphere that feels impossible to steer away from. Given the chart and track, Hana feels a lot less like a 6-minute marathon and more like a 3-minute navel-gazing session. The track also has many repeated rhythms littered throughout, which Xay captures in the chart wonderfully—creating not only an immersive but also a chart that feels gratifying to play through.

There will be very few charts like Hana. Songs as unique as Hana are difficult to come by, and charting it would require a fairly freeform approach (but still somewhat stringent) to charting that is very slowly dying off. This is not a chart that I'd suggest players necessarily to play just for a high score—I would suggest players to play this chart casually. It's almost absurd to think about how an "easy" and somewhat freeform chart can create an enriching experience, but Hana, miraculously, pulled it off with the highest of merits.