Thursday, 29 February 2024

The Chunithm 16.00 dissertation

When you search for chunithm song lists on Youtube, a bunch of them fall into the category of "my recommended/rated list at rating XX" and the rating involved is most likely 16.00. Why? That's because the rating in-game is colour coded and 16.00 is coloured in rainbow, the highest possible one. Of course higher rating is possible and there are many vids about lists at 16.25, 16.5, 16.75 and 17.00, but 16.00 is still the most significant stage after all. If you look into those videos the creators comment heavily on each song on why they performed well on the song or where is it hard/easy and so on. It's almost like...a grad dissertation where you are allowed graduation by achieving 16.00 and are obligated to analyse your achievement.


With my recently achieved 16.00 I am here to follow the tradition and present mine. Admittedly I am not 16.00 over best 30 yet (it's 15.94), but I feel like boosting my rating to 16.00 with recent scores and I did it ^.<

Style

Map styles are extremely diversified in chunithm because of the complicated input system -- in math terms the dimension is very high. As a result it is normal to find players significantly overperforming on particular type of maps and underperforming on some others. 

When players make their "dissertation", they first talk about their previous exposure to MUGs and how that allowed them to play particular maps better. Some examples are WACCA or maimai when it comes to slides as well as iidx or arcaea when it comes to 4k or 5k charts. It can also be some very general stuff like exposure to reading confusing or gimmicky patterns, or quick tappers.

I am very special in the sense that my exposure is rather uncommon -- DDR and nostalgia. DDR helped nothing at all -- not even stamina when you only need to move your hands not the whole body. Nostalgia on the other hand defined my advantage over others as its keyboard is almost the same as the chunithm board. As a result I overperform on maps with narrow notes or any patterns that resemble charts from nostalgia. Slider is fine, but wriggly slider is really my nightmare possibly because I don't use gloves.

Rated list

Instead of listing them right away, I want to divide them into 3 categories:

1) Outperform in nature: maps that I outperformed due to my exposure to other MUGs particularly nostalgia. Replicating scores may not be easy depending on your style.
2) Outperform by coincidence: maps that are generally viable but I made a particularly good score vs my regular performance. Replicating should be okay if you have good accuracy in general.
3) Natural performance: maps and scores that I feel standard to most players.

For each categories I go from the lowest to highest rated with comments. At the end I also want to give a few extra nominations for maps I love but failed to make into the list.

↓↓↓↓The list below is quite long as it should be with comments on 30+ maps. Click "read more" for the rest↓↓↓↓

Monday, 12 February 2024

古早遊戲BGM巡遊(7): 狙いうち

大概又有人要來投訴說這首既不古早也不遊戲BGM了吧?

其實論古早這首原曲在1973年發表,比大多遊戲類音樂還要早。至於遊戲BGM方面呢?狙いうち被重製成為DS音遊霸主之一的應援團上面,於是就有了今日的推介:


無論是在現代還是七八十年代的日本樂壇,我們都很難想像會有這種狂野風的舞曲,也就同樣狂放的山本リンダ可以駕馭。更難得的是她在四五十年後的今天仍保持著演繹這首歌所需的青春活力,近年跟一堆團體合作演唱過,大家直接上Youtube搜歌名就有,這裡就不再詳述。

回到遊戲本身的部分,應援團本身一個主要特色就是中間加插一堆強制休息(break)時段。休息時段期間遊戲會播放過場畫面,是推進劇情(應援效果)的重要設計。用常理來看休息時段應該對應歌曲裡面一個完整的部份,或者至少是一個相對低潮的部分。而且為了有足夠時情播放劇情這個時段還不能太短,8個小節差不多,再短也要有4-6個小節,每首歌不算結尾有2-3個休息時段這樣。

但是問題來了,一般的流行樂哪來這麼多長時間的休息時段呢?開發者的選曲範圍必定受版權和歌曲內容適合與否所限制,不可能只挑到結構完全符合要求的歌曲。那些簡單如ABAC的音樂結構,我們又如何把休息時段插進去呢?遊戲開發估計也沒多想,答案簡單粗暴:任何過渡性小節都是進入/離開休息時段的時機,多數休息都放在一段結束/開始之時。雖然不是完美的解答但估計對絕大部份玩家來說都不是一個問題。這種放長休息時段的習慣一直延伸到Osu古早年間,比如這首Osu裡面極少數帶有模仿應援團那種成功vs失敗畫面SB(storyboard)的譜面,AlexanderPD的Je t'aime。後來Osu偏好轉向更高強度的電子音樂,休息時段的處理已經變得和其他音遊無異。

說句題外話,這Je t'aime是我最愛的Osu譜面之一。除了精美的小畫家SB以外原因還有幾個,包括我當時有個在學法文的同學,或者是我經常跟某人在MP房打這首。最重要的原因是我當年跟Derekku和皮皮在MP房打過,打的就是這首。結果當然是皮皮落荒而逃。Derekku當時世界前百,我好歹也快三位數排名,真當我們吃素的?

咳咳,回到正題。

從音樂結構來看的話狙いうち就屬於沒一致(consistent)地擺放休息時段的樂曲之一,原因不是結構過於簡單,反倒是過於工整以致任何其他擺法都略顯奇怪。如果把開頭五連拍那段intro叫作I段,烏拉拉那段叫做A段,然後「弓をきりきり心臓めがけ 逃がさないパッと狙いうち」這四句叫作B段,那這首歌的結構是這樣的:

IAA(BA)*IAABAI'(BA)*
(BA)* - 重複
(收尾方式應援團版和原曲不同,但那不太重要)

兩次IAABA然後重複一次副歌段(BA)收尾,非常工整。如果放兩個休息時段的話那兩段I是必然選擇,但如果動畫部門跟你說要放三個休息時段呢?結果出來變成這個鬼樣子:

IAA(B)AI(A)ABA(I')BA

簡單來說就是平均地切三刀下去,結果ABI各中一段,毫無規律可言。同樣地這首歌也被稱作轉盤地獄兼觸屏破壞者,因為幾個惡名昭彰的轉盤都有夠長。實際上這堆轉盤都是拿去直接把一個或半個段落蓋掉所以才這麼長。具體的轉盤位置如下:

IA(A)BA(I)AA(B)(A)I'(B)A

第三、第五個轉盤都在B段出現,前兩句對應兩個滑條,後兩句則用轉盤,前後一致而且也算合理。第一第四個都是休息前的過渡,但休息時間亂擺使得這三個轉盤的出現時機變得奇怪,更像是「啊要休息了」的意思。最奇怪的當然是第二個在I段的轉盤,完全就是遷就接下來的A段休息而做出來的:轉盤所處位置不作休息也只能放轉盤了,但是這個轉盤已經夠長了總不能後面的五連拍也放轉盤吧?於是硬打五連拍打了兩句--然後就突然休息了。

你說如果工整一點休息時段放在兩段I上面,B段轉盤照舊,I前面的A段在最後兩句「世界一の男だけ この手にふれてもかまわない」比照B段擺法換成轉盤是不是合理很多呢?這些今時今日在Osu mapper之間已是常識,但當時的遊戲開發絕對沒有這方面的經驗,狙いうち只是例子中的冰山一角。不得不說這些東西也是要時間累積的,即使在Osu裡你翻翻2007-08的譜面也會有這種基礎錯誤。畢竟不是每個開發商都像任天堂一樣,弄個節奏天堂也能有淳君把樂理基礎全給開發人員教一遍。說到節奏天堂,switch上面最近發售的Rhythm Royale是不錯,但那個終究不是本家遊戲啊……只是再說下去又要提到岩田老大了……Q^Q

最後說一點,我在Osu做的譜面都有個用音符把一句句串成連續節奏的習慣。剛好在這首歌B段「弓をきりきり心臓めがけ」(194、271連)這兩個滑條中間用1/2連打串起來的做法就很像我的作風。考慮到當年的我已經對這首歌觀感不錯,那就現了雞和蛋的問題:到底是我愛這首歌所以做譜風格變成這樣子,還是我做譜風格是這樣才愛上這首歌呢?這問題深究起來有點難度,畢竟都快二十年前的問題了。2005年的應援團是我最早接觸的音遊但不是唯一--以後還會有機會講這邊的故事,比如有一天把Holy Moon拿出來講的時候。