alienflybot wrote:

hi hiii

█ Optional to change --- █ Suggested to change --- █ Unrankable

[ General]

• 
  Combo Colors

1. Keeping them blue is absolutely fine, yet I think Combo Color 2 and Combo Color 3 are similar, so what about changing one of them to a lighter one, as I see there is a stark contrast between Combo Color 3 and Combo Color 4. done! changed all of them a little (1- 2+ 3++ 4-)

[ Destiny]

• 
  Gameplay

1. 00:07:891 (5,6,7) - It looks so strange in gameplay, basically because of the movement at (7), what about Ctrl+H'ing (7) and put at original place? In addition, the jump at 00:08:062 (7,8,9) - is also harder if you put an inward-curved triplet here, i.e. (7), so it would be nicer if you flip it for easier flow, considering that it is just the intro, so difficult jumps are still too early. mmh i think no, tbh it is like this pattern but with more aesthetic, and even little easier imo x:
2. 00:10:634 (2,3,4,5) - This part is supposed to be slightly harder as it is the end of the intro, while I see that the movement of 00:10:634 (2,3,4) - is still too easy and plain, it is also FC'able without dashing there. Maybe you can add some dashes here to emphasize at least the clap at 00:10:634 (2,3) - , and 00:10:977 (4,5) - for the vocal emphasis? ok added dash to 2,3,5
3. 00:16:977 (1,2,3,4,5,6) - This is actually very weird because the one after this is with streams, while this is also one of the stanza involving the later streams. I know you are trying to emphasize 00:19:720 (1,2,3,4,5,6,1,2,3,4,5,6) - as it is the most intense part here so to create a gradient. However, I would suggest changing this part to a stream like the later parts of the stanza you did, yet you may use the dashing density as the emphasis. For instance, for the part at 00:16:977 - 00:18:262 - , you put a stream that only contains dashes, and then at 00:18:348 - 00:19:634 - , there are starting to have HDashes and more dashes, then it continues. It is also be a nice build-up so I suggested it. Additionally, maybe you can remove some of the HDashes for 00:18:348 (1,2,3,4,1,2,3,4,5,6) - because it is a bit much and nearly equivalent to the next part at 00:20:405 - 00:21:005 - . mmh ok, i added some note here, but not in every 1/4, (xxxo 4 times) without hyper to make a buildup as you said >u<
4. 00:21:091 (1,2,3,4,5,6,7,8,1) - The stream is good. I would suggest if you want to make the shape of the stream look like this instead: *screenshot. It has more movements and I think the curve is better here because the end part should be sounding more stronger than the start, so the bending is much bigger at the near end of the curved stream. Also there will be a dash at 00:21:691 (8,1) - yet it is just a mild one so I think it is good to go. woooo i also made a nice pattern around there, thank you so much!
5. 00:33:605 (3,4) - Omit the HDash as there are no other HDashes can be found in the stanza at the exact rhythm position, you may refer to 00:22:633 (3,4) - , 00:25:205 (2,3) - ... or the next one of this part: 00:36:177 (1,2) - . mmmh no sry :C i added in the beginning (00:22:462 (1,2,3,4) - ) and here 00:33:434 (1,2,3,4,5) - to emphasize the start of the kiai (actually the kiai would start again in 00:33:434 - but there is not place too add a no-kiai time, if you look closely, the kiai in 02:47:834 - in 1/2 of this one because is only 1 kiai huahuahuahua) but added in 02:47:834 (1,2) -
6. 02:13:548 (1,2,3,4,5,6,7) - It is a bit hard to catch especially at 02:14:062 (3,4,5,6,7) - , since the sliders and streams are near to straight, and there are a lot of HDashes going on here. What about inclining all the sliders and streams here a bit more? mh tbh i dont think it is hard at all, but ok now 02:14:062 (3) - is horizontal, so i guess it is easier now
7. 02:14:749 (3,1) - Woah, would this part be way too hard? The HDash is already edge-jumping quality and then there is a slider with high slider velocity, so players must dash in order to make a sharp turn here. What about making this easier? Maybe you need to change the stream pattern, or the slider pattern in vice versa. this is supposed to be hard because is the most intense section of the song, and the sliders are not edge jumping o.o in 175 bpm the dash distance is 2.61, thats why i used x1.45 (1.80 vel slider x 1.45 = 2.61~) aaaaa just in case i asked for some testplays and noone suggested about this, so i dont think it is hard
8. 02:16:977 (5,6,1) - This is not a big problem but I would suggest having (5,6) in shorter distance comparing to (6,1). It is really easy to miss at (5,6) because most of the players will think of turning after the HDash at (5,6), yet the jump is much bigger, so in that way players may miss (6). ok moved 5 a little to the right and 6 to the left
9. 02:25:720 (4,1,2) - Same as 02:14:749 (3,1) - . same > <
10. 02:35:320 (4,1,2,3,4) - The strength of the HDash at 02:35:320 (4,1) - is very intense, however the curvature of (1,2,3,4) is with small degree, which is really easy for players to overshoot here. Also I see that it is possible to stand and catch (1,2,3,4), so maybe you can curve the stream, that it bends more to the left. Just as long as it is not that inclined as 02:35:833 (5,6,7,8) - , then it is good. oh LOL i didnt notice that ds, thank you!
11. 02:47:834 (1,2) - There should be no HDashes with the reason as 00:33:605 (3,4) - . kek actually it used to not have hyper, but now i added with your previous suggestion ofr consistency
12. 03:04:634 (2,3) - So you put a dash at 03:03:433 (4,5) - , so how about doing the same here for consistency? You can just move 03:04:291 (1,2) - to the left if you don't know how to fix it in short period. aaaa i forgot, done! also moved 03:05:662 (1,2) - to the right for aesthetic
13. 03:13:205 (3,4,1) - The pattern of HDash usage is not matching to the song at this point, in my opinion. I would rather add a HDash at 03:13:720 (4,1) - instead for a better emphasis of the triplets. mh i think 4 deserves hyper too, but you are right, added to 1!
14. 03:42:520 (4,1,2,3,4,5,6,7,8,9,10,11,12,13,14,15) - This is also really easy to overshoot, because of the movement at 03:42:520 (4,1,2,3,4) - , the HDash can push players to the edges and thus missing the first bit. What about rotating the stream for 180 degree and place back to original position? also i made new stream <3
15. 04:03:091 (6,1,2,3,4) - ^ oh actually this one is 1/4 so i dont think it is hard x:
16. 04:29:148 (3,1,2) - Same thing related to the first chorus. same answer :c
17. 04:37:548 (1,2,3,4) - The HDash at (2,3) is a bit much in my opinion, the beat at (3) is not prominent in the song so I think you can remove the HDash at (2,3). Maybe a slider like 04:40:291 (1) - can be used to replace (2,3)? You need to change the pattern too if you decided to apply my suggestion. mh yeah maybe the sound in 3 is not too strong, but still has vocal and hitsound so i reduced those distance a lot, now they are almost dash
18. 04:45:263 (9,10) - Where is the HDash like what you did for 02:30:862 (9,10) - ? ayyyy added
19. 04:56:062 (3,4,5,6,7) - Gah, it is just not looking too artistic during the gameplay... Make it shape like *this. true, made a new stream instead~
20. 04:56:577 (8,1) - Maybe add a HDash here? The stanza 04:51:262 - 05:02:062 - is too empty with no HDashes. Additionally, there are HDashes every 4 white ticks after 05:02:234 - so I think you can add HDashes at 04:51:262 - 05:02:062 - for every 8 or 16 white ticks to create a great build-up. mmh yeah, i didnt add hypers in 04:51:262 - this section because i think it is the most calm part in whole the song
21. 05:05:662 (3,4,5,6) - It was going so well with no dashes in streams, very clean. But somehow there is one here and it requires sudden dashes in middle of the stream. Why not remove those dashes? mmh, i think a overdose player will dash anyways XD but sure! removed
22. 05:10:462 (1,2,3,4,5) - This can be more intense in my opinion, right now it requires a few movements, but I think this one would be better: *screenshot. The movement at 05:10:719 (4,5) - (of the original stream) should be more intense, or equivalent to the distance of 05:09:949 (3,4) - , otherwise it is way too hard to catch the HDash at 05:10:805 (5,6) - . done! nice idea
    
    New Combos
    Please check the NC once again, I will take a look at that later. I have found some of them, such as:
23. 00:12:862 (5) -
24. 00:15:434 (4) -
25. 00:23:491 - 00:25:034 -
    
    etc. mmh ok, i understand that you do the ncs in a different way (my ncs are following pattern + instrument stanzas except 01:04:120 - this one which follows the vocal, or it would be a nc spam huehue), but i agree there were some combos with too much fruits, so i added (and removed) some ncs, hope now is better ^^

Tell me when you updated.
Good luck!

AFB

alienflybot wrote:

recheck

█ Optional to change --- █ Suggested to change --- █ Unrankable

[ General]

• 
  AIMod

1. Unsnapped object: 00:39:947 (3) - aysh

[ Destiny]

• 
  Gameplay

1. 00:38:920 (1,2,3,4,1,2,3,4) - Since it is just the start of the stream, what about moving them closer to the middle? The HDashes at 00:39:434 (4,1) - and 00:40:119 (4,1) - are quite big, and even larger than the gaps like 00:40:805 (4,1) - . o sure reduced
2. 03:10:121 (2,3,4) - The distance of (3,4) is a bit big in my opinion. Could you minimize them slightly? oko~ done in 03:10:977 (8) - too
3. 04:40:291 (1,2,3,4,5,6,1,2,3,4,5,6) - There are one more HDash in the previous pattern 04:40:291 (1,2,3,4,5,6) - at 04:40:977 (3,4,5,6) - but there are none for 04:42:348 (3,4,5,6) - in the next pattern. Maybe you want to swap them? I think there should be more HDashes in the latter pattern comparing to the former one, so it sounds more intense and difficulty gradually ramping up. nice idea done
4. 05:03:434 (8,1) - Because of what you said in the mod I posted yesterday, what about removing this HDash as well, to emphasize the loud sound at 05:04:977 (1) - ? It is also with the same stanza as the previous one but with some cymbals, so adding HDashes on cymbals instead would be a better option. mmh no sorry it would break the consistency :c as you said in the previous nod, there is hyper in every 4/1 since 05:02:234 -
5. 05:06:177 (6,1) - Remove this with the same reason above. same > <
   
   New Combos
6. 00:08:062 (1) - Remove the NC?
7. 00:23:148 (6,1,2,3,4,5,6,7,8,1,2,3,4,5,1,2,1) - For this part, try this NC pattern: *screenshot For 00:23:491 (1,2,3,4) - , you may also assort them into one combo.
8. 00:27:262 (4) - NC since you did the same for 00:26:748 (1) - .
9. 00:28:634 (4,1,2,3,1,2,3,4,1,2,3,4,5,6,1) - You may change to the one I suggested above if you applied the changes.
10. 00:34:120 (8,1,2,3,4,1,2,3,4,5) - ^
11. 00:36:862 (4,1,2,3,4,5) - Why not they are in same combo?
12. 00:38:234 (3) - NC?
13. 00:56:748 (5,6,1,2,3,4) - In a combo?
14. 00:59:320 (5,1,2,3,4,5,6) - ^ no because it would be a long combo
15. 01:17:320 (1,2,3,4,5,1,2,3,4,5,6,7) - Maybe you want to make good use of the vocal changes, try adding NC at 01:17:834 (4) - and 01:19:377 (6) - . as i said in the previous reply, i usually prefer to nc the intrument, not the vocal aaaa also i think the current one is easier to notice
16. 02:02:748 (4,1) - Maybe remove the NC - OR - you change the NC, that it starts at 02:02:748 (4) - instead?
17. 02:47:834 - 02:53:234 - Exactly the same as the first part that is after intro. Make sure you double check the NC here.
18. 03:31:719 (1,2,3,4,5,6,1,2,3,4,5,6) - You can NC as how the vocal goes, like what I suggested above. same reason
19. 04:17:148 (5,1) - Same as above that I have mentioned.
20. 04:32:748 (1) - Remove the NC.
21. 05:01:548 (3) - You may want to add a NC here, because there are numerous claps so you can emphasize them.
    
    agreed with the rest1

Call me after the fix.
Good luck!

AFB

Yuii- wrote:

that message is literally the ultimate way of triggering people ascendance are you mad

Ascendance wrote:

Yuii- wrote:

that message is literally the ultimate way of triggering people ascendance are you mad

can't be as bad as what i got from image material so lets see the creative new insults they have this time

A r M i N wrote:

time to vote 10 Stars

Ascendance wrote:

circlejerk

Ascendance wrote:

its k

JBHyperion wrote:

Some concerns:

Destiny

1. 00:19:291 (4,5,6) - 00:19:977 (4,5,6) - Why are these chained 1/4 hypers? The only strong sounds here are the following snare+cymbals at 00:19:720 (1) and 00:20:405 (1) - by hypering these additional weak sounds you take emphasis away from the strong sounds and are left with an exaggerated pattern with unfitting flow the vocal is pretty strong in 00:19:548 (6) - 00:20:062 (5) - 00:20:234 (6) - 00:20:748 (5) - 00:20:920 (6) - to have hypers imo 00:19:377 (5) - i guess i could agree with remove this one if more people thinks the same, but there is still a strong sound in every 1/1 which could have hyper like this
2. 00:24:691 (2,1,2) - Short antiflow pattern after rapid flow reversal is awkward to play, would be better to have (2) to the left of (1) or else remove a direction change element by mapping three circles in a line instead of a repeat slider mmmh sorry i tested it many times and it isnt awkward imo, maybe it could be hard if there is a hard dash or hyper but it is almost possible to walk
3. 00:30:348 (3,4,5,6,7,8) - ^ same reason :/
4. 00:33:091 (1,2,3,4) - The strongest sounds in this section and you map a single 4plet when all previous weaker sounds were pairs of 1/4 hdash? Doesn't make sense to me, the emphasis is reversed here in and I don't understand why add hyper in every note would be unaesthetic and boring, so i added more distance in every note, it is not possible to fc without holding dash, try to compare it with 01:04:977 (1,2,3,4) - , they are obviously different o.o
5. 01:10:120 (6,1) - 01:11:662 (8,1) - 01:14:234 (6,1) - etc. Any reason why you decided not to hyper here? There are strong vocal and synth sounds to justify them, and it feels weird that you mapped the exact same sounds from 01:20:062 (1) onwards with frequent hdash... Some sections feel really underemphasized at present, notably 01:17:834 (4,5,1) - 01:10:120 (6,1) - and 01:10:120 (6,1) - , these are the most calm sections in the song, so i decided to not add hypers until 01:10:120 (6,1) - and 01:10:120 (6,1) - where a sound starts to increase until 01:10:120 (6,1) - and 01:10:120 (6,1) - , so the amount of hypers makes a build-up, for example 01:10:120 (6,1) - since here hyper in ever 4/1, since 01:10:120 (6,1) - in every 2/1 and 01:10:120 (6,1) - 1/1
6. 01:53:234 (2,3,1) - Why no hyper to (1) when you have one to (3) which is far weaker? Artificially carrying on this pattern at the expense of proper emphasis is unfitting and lazy. Same can be seen at 01:58:720 (2,3,1) - etc. well, maybe if you listen in 25% they could sounds a little stronger, the sounds in 01:52:977 (1,2,3) - 01:55:720 (1,2,3) - 01:58:462 (1,2,3) - 02:01:205 (1,2,3) - 02:03:948 (1,2,3) - 02:06:691 (1,2,3) - are pretty different to the rest so i decided to add hyper only in them, i dont want to spam hypers, if i follow every sound which could have hyper in this section (because this section is the most stronger except kiais) i'd need to add in almost every object (slider/circle)
7. 02:03:948 (1,2,3) - and similar play really awkwardly due to requiring delicate antiflow dash after a strong 1/4 hyper. I get what you were trying to do here but it doesn't really work, since you end up emphasizing the tail of (2) way more than necessary with that normal dash. A more normal flow where dash isn't required e.g. 02:01:205 (1,2,3) - plays so much better i dont agree because to me it plays pretty fun and i dont understand how is awkward huh, is just a normal hyper with a diferent direction, this movement is the same as 02:12:177 (1,2,3,4,5,6) - 02:12:691 (7,1,2,3) - maybe there you could notice that is not like that, also is exactly the same movement as 04:10:120 (1,2,3) - but with a different direction as i said, (2 with ctrl+g) so i guess it is only how it looks in the editor
8. 02:09:434 (1,2,3,4,5,6,7,8) - Your hdash patterns follow the synth for this combo, but for the rest of the stream follows the drums - why when the synth is still really strong here? I was expecting 02:10:462 (4,5,1) - 02:11:662 (3,4,5) - to have the emphasis for some interesting flow but you just switched right back to the drums randomly when the synth is prominent making the patterns hard to follow. I'd prefer to follow synth until 02:12:177 (1) and then switch to the drums once the 1/4 rhythm really kicks in there drum? o.O mmh i followed the same sound always, is exaclty the same as sounds like 02:10:291 (3,4,5) - but with streams, i only didnt add hypers in 02:10:291 (3,4,5) - and 02:11:662 (3,4,5) - because it would be a spam of hypers, you still need to dash in them so they are emphasized, the only different sound which i added hyper is in 02:10:805 (1) - because is too strong and i think i shouldnt make a dash or walk to it
9. 02:14:920 - Ok so most of the vocal patterns in the kiai are all horizontal sliders with hdash that can be caught by just holding dash, which is really lacking in variety for the part of the song you seem to want to emphasize the most (the kiai). There are a lot of great vocal rhythms you could have layered in here to make this more interesting along with some variation in slidershape it is supposed to dash in every note to emphasize the vocal and kiai (i think that the kiai must be alot harder than the "normal" time), this is the thing which testplayers most liked, so i dont think i could change it even if i agree, there is still a lot of variety in the distances and movements, so the only thing which wouldnt have variety is the horizontal sliders, and that isnt true because i added some vertical sliders too (02:19:034 (1) - 02:19:377 (2) - 02:23:662 (4) - 02:25:205 (1,2) - 02:28:634 (1) - 02:31:034 (10) - etc), same in the next vocal-kiai
10. 03:16:634 (1,2,3,4,1) - Jump parity makes little sense to me here, why emphasize 03:17:148 (4) with a hdash when the strong vocal and cymbal sound 03:17:320 (1) gets a lacklustre (and uncomfortable) walking pattern? Same thing happens at 03:17:662 (3,4,1) - your hdash is much stronger to an average-strength vocal sound than it is to the intense 03:18:005 (1) - such that following the rhythm is very confusing here humm, i cant hear a new vocal sound in 03:17:320 (1) - , just a different sound in the backround but i followed the vocal here so it doesnt looks recommendable imo, and the distances in 03:17:662 (3,4,1) - ar almost the same (03:17:662 (3,4) - x264 and 03:17:834 (4,1) - x240) i dont think that a player would notice it if they are not in the editor > <
11. 03:23:491 (1) - Same concerns about missing hypers as in the previous verse 01:10:120 (6,1) etc. same reason :/
12. 04:04:891 (4,5) - 04:05:577 (4,5) - Care to explain your decision behind these direction changes, and also why (5) is forced up against the screen border? This movement is really unexpected and results in a harsh flowstop as the catcher is forced against the wall the direction change is just for aesthetic, it would plays the same if i ctrl+g in 04:04:977 (5) - (try to test it, in 1/4 you cant move the ryuuta) but i'd agree with move it a little to the left if more people thinks that it is a problem
13. 04:07:891 (3,1) - 04:13:377 (3,1) - etc. Same as 01:53:234 (2,3,1) previously since this is copypaste and suffers from the same issues same reason
14. 04:13:120 (2,3) - 04:15:862 (2,3) - etc. Same as 02:03:948 (1,2,3) except issue displaced to (2,3) instead of (1,2) same reason
15. 04:24:520 (1,2) - Your synth emphasis is better here than in the previous pre-kiai stream, but you're missing a hdash between these two to follow the music since (3,4) are comparably strong with hypers. 04:25:977 (9,1,2) - Could also support a hyper pattern if you wished for consistency here is a different pattern, as before i think it is for how it looks in the editor, actually it is the same movement as in 01:52:977 (1,2,3) - but only 1 of them, again i tested many times and i cant find it as awkward or so hard, even is a little easy > < aaaa
16. 04:29:320 - Same concerns as in the previous kiai 02:14:920 same reason, there are vertical sldiers here too :<
17. 04:39:262 (3,4,1,2,3,4) - There are no 1/4 beats in the music, nor vocal effects to support the inclusion of these extra beats hum.. D: try to listen again and be sure about have sample and music at the same volume, maybe it was a mistake? i can hear sounds in every 1/4 easily, you could notice it too because there is the same in the last kiai 02:24:862 (2,3,1,2,3,4) - (hahah asterisk is a little repetitive xD) compare them, they are exactly the same, i always be sure of never overmap x3
18. 04:53:320 (3,4,5,6,7) - What are the 1/4 beats following here? Aside from 05:01:548 (1) - I don't hear any 1/4 sounds in this section at all until 05:07:034 (2) leaving this feeling very forced there are sound here too, mmmh maybe you didnt hear them for the same reason? o.o

As a whole I just feel like the map is really overdone. The song doesn't call for such strong hypers and harsh flow throughout, and some overmapping is extremely obvious. I'd like to see some more opinions on this before ranking. thank you so much for your time and effort x3!! but i think you didnt understand some things in the map like the overmap suggestions and the vocal-kiais (i explained all), personally i dont agree with a lot of them :s sorry for it, actually noone of the rest modders suggested about the vocal-kiais (an obvious thing except if they didnt testplay, so i think they have no problem with that) or overmap (ayy wait ok i remember that there were 2 suggestions about overmap in the first kiai but i removed them) so i dont want to change the map without more opinions, in any case thank you for your mod >v<!!

1. 00:19:291 (4,5,6) - This is a fair point. 00:19:291 (4,5) - is far greater than 00:19:548 (6,1) - which makes no sense. Also, you state that the vocal is strong in 00:19:548 (6) - but you don't explain why you hyper 00:19:291 (4,5) - at all.
2. 00:25:205 (2) - I'm fine with this, its not awkward because its not wide enough for force movement, but I like the idea of placing it at an opposite side as the movement would make sense.
3. 00:30:348 (3,4,5,6,7,8) - ^
4. 00:33:091 (1,2,3,4) - Adding a hyper in every note would be boring, but that's exactly what you have done at 00:32:062 (1,2,3,4,5,6) - , leaving the stronger 4plet of 00:33:091 (1,2,3,4) - with poor patterning for it being much stronger than the 1/4 6 note hyperspam. How about repatterning this so that the 4plet has the hypers and 00:32:062 (1,2,3,4,5,6) - has a reasonable pattern.
5. 01:10:120 (6,1) - Point is fair, maybe a bit more distance to emphasize them instead?
6. 01:53:234 (2,3,1) - 01:52:977 (1) - is the strongest here, followed by 01:53:234 (2) - and 01:53:834 (1) - and lastly 01:53:491 (3) - , there is no need to listen to this on 25% to notice it. You don't want to spam hypers, so you make 01:53:491 (3) - not hyper as it is the passive slider in the pattern and hyper into 01:53:834 (1) - instead. Conserving hypers is not required and is not an argument.
7. 02:03:948 (1,2,3) - I'm fine with this as it is. However, due to the antiflow hyper, 02:04:462 (3) - is a strong hyper compared to the others here so maybe you could somehow place it on the other side?
8. 02:09:434 (1,2,3,4,5,6,7,8) - Yet again, hyper spam is not an argument here. 02:10:291 (3,4,5) - are all valid hyper spots that play really well. Just before a 6 note 1/4 hyper section was commented on and you defended it over a more prominent sound. This rejection just seems to be you clutching at straws.
9. 02:14:920 - Having only dashes or hypers does not mean there is a stronger emphasis. A layered and convoluted usage of walks, dashes and hypers together that add emphasis to one another create more emphasis as the stronger notes are shown, constant dash usage is boring and feels very lazy, especially for a kiai.
10. 03:16:634 (1,2,3,4,1) - 03:16:977 (3,4,1) - is my worry here. 03:17:320 (1) - is CLEARLY the stronger note here, but its a walk? 03:17:148 (4) - is stronger than 03:16:977 (3) - so it does deserve some differentiation but this hyper is blatantly misplaced. You don't discuss this in your rejection so please take a look at it.
11. 03:23:491 (1) - I'm not that bothered about this. 03:23:148 (2) - is well defined and a cross screen hyper is ugly here. However, it is possible to repeat 03:23:148 (2) - so that a hyper can reach to 03:23:491 (1) - without it looking ugly.
12. 04:04:891 (4,5) - I'd move 04:04:977 (5) - in slightly, maybe ctrl+g if you wanted to. I don't have a problem with this personally.
13. 04:07:891 (3,1) - 04:08:234 (1) - should be hypered to here 04:07:891 (3) - is the weakest of the triplet sliders and much weaker than 04:08:234 (1) - but you hyper to that. I'd suggest what I said about the previous one.
14. 04:24:520 (1,2) - Hyper to 04:24:691 (2) - and 04:24:862 (3) - or remove your hyper to 04:25:034 (4) - here. The symmetry of 04:24:862 (3,4) - suggests a grouping of their key notes, but 04:24:862 (3) - is not hypered to so it is rather confusing.
15. 04:39:262 (3,4,1,2,3,4) - 04:39:262 (3) - shouldn't be 1/4, the tail is a very small pitch change that reverts back to the head, meaning 04:39:434 (4) - should be grouped with it. 04:39:605 (1,2) - should be a 1/2 slider, I have no idea what the tail of 04:39:605 (1) - is doing. 04:39:863 (3) - is a ghost note and is haunting the map. 04:39:948 (4,5) - should also be a 1/2 slider. and 04:40:206 (6) - is also a spooky ghost. Thats what I got from listening here, not much 1/4 to map unless you overmap.
    

JBHyperion wrote:

Some concerns:

Destiny

1. 00:19:291 (4,5,6) - 00:19:977 (4,5,6) - Why are these chained 1/4 hypers? The only strong sounds here are the following snare+cymbals at 00:19:720 (1) and 00:20:405 (1) - by hypering these additional weak sounds you take emphasis away from the strong sounds and are left with an exaggerated pattern with unfitting flow - For 00:19:291 (4,5,6) - atleast, this will give a kinda empathizment for the vocals, and also fits thanks to the beat at the next combo. 00:20:062 (5,6) - for these, it follows the vocals. And i do find these ok to have here.
2. 00:24:691 (2,1,2) - Short antiflow pattern after rapid flow reversal is awkward to play, would be better to have (2) to the left of (1) or else remove a direction change element by mapping three circles in a line instead of a repeat slider - Awkward to play? THis is not awkward at all, lol. These are perfectly fine to have here, as you got more than enough time to react for the reverse.
3. 00:30:348 (3,4,5,6,7,8) - ^ - ^
4. 00:33:091 (1,2,3,4) - The strongest sounds in this section and you map a single 4plet when all previous weaker sounds were pairs of 1/4 hdash? Doesn't make sense to me, the emphasis is reversed here in and I don't understand why - I do kinda agree with you. But it does also fit. I do not find this to be any problem tho.
5. 01:10:120 (6,1) - 01:11:662 (8,1) - 01:14:234 (6,1) - etc. Any reason why you decided not to hyper here? There are strong vocal and synth sounds to justify them, and it feels weird that you mapped the exact same sounds from 01:20:062 (1) onwards with frequent hdash... Some sections feel really underemphasized at present, notably 01:17:834 (4,5,1) - - I do agree with how koli mapped this. 01:09:091 (1) - 01:19:720 (7) - , the music is way too calm for hdash here, and i know it is the same music/level for 01:20:062 (1) - 01:27:262 (2) - , but it fits much better with HDash on the last part, due to empathizment for the change that follows. So this is completely fine to have.
6. 01:53:234 (2,3,1) - Why no hyper to (1) when you have one to (3) which is far weaker? Artificially carrying on this pattern at the expense of proper emphasis is unfitting and lazy. Same can be seen at 01:58:720 (2,3,1) - etc. - This do empathize the song correctly imo. There is really no strong sound in between the notes that say "high distance". Between 01:58:462 (1,2,3) - etc, there is a constant sound, but when it transitions from 01:58:977 (3,1) - , there is no sound. Thus it does not fit high distance.
7. 02:03:948 (1,2,3) - and similar play really awkwardly due to requiring delicate antiflow dash after a strong 1/4 hyper. I get what you were trying to do here but it doesn't really work, since you end up emphasizing the tail of (2) way more than necessary with that normal dash. A more normal flow where dash isn't required e.g. 02:01:205 (1,2,3) - plays so much better - Looking at this, it does play fine, and i do not personaly find it awkward at all. The antiflow here is not hard at all too hit, and the tail of (2) does not get too much empathizm imo. And i think it fits the song.
8. 02:09:434 (1,2,3,4,5,6,7,8) - Your hdash patterns follow the synth for this combo, but for the rest of the stream follows the drums - why when the synth is still really strong here? I was expecting 02:10:462 (4,5,1) - 02:11:662 (3,4,5) - to have the emphasis for some interesting flow but you just switched right back to the drums randomly when the synth is prominent making the patterns hard to follow. I'd prefer to follow synth until 02:12:177 (1) and then switch to the drums once the 1/4 rhythm really kicks in there - I can tell that the stream part is very easy. And i find it interesting to play. It is not weird or anything. 02:09:434 (1,2,3) - 02:09:691 (4,5,6) - follows the synth, 02:10:634 (5,1,2) - this is to empathize new combo, and then 02:11:234 (5,6,2,3,5,1) - follows the synth again, and so do the rest. This is fine to have.
9. 02:14:920 - Ok so most of the vocal patterns in the kiai are all horizontal sliders with hdash that can be caught by just holding dash, which is really lacking in variety for the part of the song you seem to want to emphasize the most (the kiai). There are a lot of great vocal rhythms you could have layered in here to make this more interesting along with some variation in slidershape - She have empethized the correct parts of the kiai the right way. Whatsoever if most is horizontal? It is still fun and interesting to play. The flow here is pretty good too. And i find every pattern to fit.
10. 03:16:634 (1,2,3,4,1) - Jump parity makes little sense to me here, why emphasize 03:17:148 (4) with a hdash when the strong vocal and cymbal sound 03:17:320 (1) gets a lacklustre (and uncomfortable) walking pattern? Same thing happens at 03:17:662 (3,4,1) - your hdash is much stronger to an average-strength vocal sound than it is to the intense 03:18:005 (1) - such that following the rhythm is very confusing here - The vocals hits on 03:16:805 (2,4) - thus making it fit here. And the pattern is not awkward to walk at all, i do find it quite fun and interesting as a matter of fact. The strong hyper at 03:17:834 (4,1) - Do make the strong sound fit. And i do not see any problem with it at all.
11. 03:23:491 (1) - Same concerns about missing hypers as in the previous verse 01:10:120 (6,1) etc. - This is still too weak for hyper imo..
12. 04:04:891 (4,5) - 04:05:577 (4,5) - Care to explain your decision behind these direction changes, and also why (5) is forced up against the screen border? This movement is really unexpected and results in a harsh flowstop as the catcher is forced against the wall - The harsh stop here against the wall actually helps to gain control to move the other direction. Making this a valid part to have imo.
13. 04:07:891 (3,1) - 04:13:377 (3,1) - etc. Same as 01:53:234 (2,3,1) previously since this is copypaste and suffers from the same issues - Same as the other parts.
14. 04:13:120 (2,3) - 04:15:862 (2,3) - etc. Same as 02:03:948 (1,2,3) except issue displaced to (2,3) instead of (1,2) - Same as the other parts.
15. 04:24:520 (1,2) - Your synth emphasis is better here than in the previous pre-kiai stream, but you're missing a hdash between these two to follow the music since (3,4) are comparably strong with hypers. 04:25:977 (9,1,2) - Could also support a hyper pattern if you wished for consistency
16. 04:29:320 - Same concerns as in the previous kiai 02:14:920 - This is different, which is good. Every strong sound does not need a hyper either, and i think she did pretty well here.
17. 04:39:262 (3,4,1,2,3,4) - There are no 1/4 beats in the music, nor vocal effects to support the inclusion of these extra beats - OMFG YES THERE ARE XD I can hear them. The synth has a electric effect that is 1/4..
18. 04:53:320 (3,4,5,6,7) - What are the 1/4 beats following here? Aside from 05:01:548 (1) - I don't hear any 1/4 sounds in this section at all until 05:07:034 (2) leaving this feeling very forced - This is overmapped yes, but it kinda fits imo. Up to mapper what to do here, but i dont see any problem.

As a whole I just feel like the map is really overdone. The song doesn't call for such strong hypers and harsh flow throughout, and some overmapping is extremely obvious. I'd like to see some more opinions on this before ranking.

Riari wrote:

This has nothing to do with style.

Ascendance wrote:

Riari wrote:

This has nothing to do with style.

Let me rephrase it: There's nothing wrong with the mapset. Someone points out things that they dislike, none of which is OBJECTIVELY wrong. The mapper declines everything because they feel it's fine the way it is. Map gets DQ'd anyways and now we're back to square 1, changing minor things on a mapset that was fine. We're basically DQ'ing things for little to no change in this sense, since the reply was made pre-DQ and everything the mapper said was justified.

Dewritos-0 wrote:

Who disqualified this

CLSW wrote:

Well actually the 1/4 rhythms exist in the part 04:51:262 (1) - from 05:07:634 - , but koli's current usage was too random, I found some many of the objects were placed on wrong spots.

Here is the ideal snap of this :
and repeat.

The objects on white tick which were placed between the streams don't represent the main electronic sounds, but there's bass kick instead so it's okay.

I'd like to recommend to use streams without hyperdashes because its 1/4 sounds were really low.