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Old 01-11-2020, 11:06 AM   #12
psychoangel691
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Default Re: 2019 September/October Set 6

Passed file notes by TC_Halogen

#be_fortunate (Extended) [gold stinger] {Hino Asuka}
Rating: 5/10
- offset is good
- 12.774: this is a pretty nasty transition because of the huge emphasis on the right hand (tight anchor on U, 5 notes in a very short duration on U/R)
- 13.090 to 19.248: the melodic representation is very inconsistent, opening with a one-handed trill, followed by a two-handed jumptrill, then some jacks into not-cohesive jumps -- while the melody changes, there’s not a lot of merit for these drastic switches in layering/construction
- 19.248 to 20.511: this is exceptionally abrasive as an accent because the stress on each hand is not distributed around; one hand is stabilizing a one-handed trill but the other is balancing alternating mini-jacks - in order to pull off a large jump-glut like this at 190 BPM, the mini-jack collisions need to be spread out more
- 22.406/28.090: having to do a 190 BPM 24th note jumptrill for that long is pretty tough as it is, you might want to clean up the exit point so that it can land on a [12][34] as opposed to players having to struggle to manipulate into a split-handed jump
- 26.037: while I don’t condone the earlier layering structure, one thing you did right was catch the repeating note and accent it as jacks (despite being layered), so that’s something that can remain intact
- 31.485/31.801: melody does not repeat four notes a piece; break these jacks away from the jumps - or, if you’re hard pressed on keeping opposing jumps, remove them in entirety
- 42.143: I don’t mind these jacks at all; these are fairly appropriate
- 42.985: missing note for melody
- 46.643: on the other hand, with the exception of 47.116, the jacks here feel generally unwarranted
- 48.774/etc: not quite following the layering/structure here; the background percussion snares don’t follow where your jumps land and arbitrarily adding extra jumps because of the secondary synth that comes in doesn’t quite feel right because it doesn’t make anything in particular stand out
- 1:00.616: melody/kicks stop here, so the jumps beyond this point are incorrect; patterning is quite abrasive but better than earlier examples
- 1:08.511: melody that kicks off your layering shift to jumps starts here; I feel like this is a good way to highlight the fact that taking this path to layering either really constrains your patterns (tons of jumptrills have you’ve done in many sections) or forces an unreasonable abrasion by doing tons of jumpgluts - some of which are not the most playable
- 1:13.564: while all of the notes are technically present in this 32nd note build-up, some of them are hard to hear, so reducing the pattern abrasion might be a bit nice -- you’ve also got an easily avoidable mini-jack at 1:14.195
- 1:17.353: can’t say I’m too fond of anything beyond 5 notes at 190 BPM, this might be a bit much
- 1:17.985: should be 16ths
- 1:20.748/etc: missing notes for percussion here
- 1:22.564: burst is a bit too long here
- 1:23.037: should be 16ths
- 1:28.090: see 1:17.985
- 1:35.037: 9 note jack at 190 BPM that collides into a triple is not something I’m willing to allow, personally
- 1:35.906/1:36.301: more of these mini-jack collisions that don’t really serve a purpose here
- 2:06.616 to 2:19.248: ok see, this is really aggressive, but actually neat and I absolutely love the approach… until 2:19.406. I understand trying to come up with something that interrupts the defined structure, but that breaks the structure of the section and the pattern choice is also exceptionally harsh because it creates two sets of four note jacks on the left hand without any interruption (similar to earlier: too much stress).
- 2:25.564: while I hear what you’re following, it plays weird because of the bass kick coming in prominently in a different way for the first time in this section -- that being said, if you leave this here, the melody gets lost at 2:26.195, so transitioning into 12th note singles to act as if the melody gets masked works nicely here; alternatively, carry the 16th to the jump itself.
- it seems like from this point on, a lot of the previous sections get repeated again, and the chart structure itself is just rotated counterparts from earlier sections; a lot of the things mentioned apply to these as well, so take a look at them and resolve accordingly.
- 2:45.458: the attack of the bass changes here, so there’s no need to make this a 7-note mini-jack; it’s better suited as something like xyyxyyyxx or xxyxxyyxx
- 3:03.064/etc: missing note for melody
- 3:06.301: missing opportunity for grace notes
- 3:26.827: five 16ths instead of 24ths here
- 3:31.879: 16ths, etc
- 4:18.932: when handling heavy layering like this, always avoid situations where you have a three note anchor like this (see L)
- ambitious attempt at an exceptionally difficult file; in my opinion, it doesn’t quite deliver and needs some structural tending to before getting in


Hand Throw (Light) [DarkZtar] {Venetian Snares}
Rating: 4/10
- slightly more playable than the other chart; however, the chart still forces large sections of vibro or forces players to utilize an overlay setup (arrow keys works well for the crazy alternations at 22.406)
- chart’s directly relevant to the song, but is not enjoyable at all and forces exceptionally long strings of long jacks at 200 BPM
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