glaive - huh by azphyx

Probably my favorite map from azphyx, and for sure the map for which I feel the most emotion for. The map manages to give me this unstable, anxious, jarring feeling through its use of harsh intensity changes and rhythm which subvert the players intuition. This matches well with the dreamy angsty feeling of the song (imo). The map does still have resemblance to the traditional flow of how a map represents the song, just with some different methods.

As with any good analysis of a map, I shall divide it into its parts. There are 3 main sections, 00:19:904 chorus, 00:44:136 verse and 01:05:517 chorus. Additionally for the chorus sections I will divide them into 4 equal "phrases" (e.g for chorus 1 the phrases are 00:19:904, 00:25:606, 00:31:307, 00:37:009). Within the chorus's these 4 phrases are the overarching structure, with each numbered phrase in chorus 1 matching its counterpart in chorus 2 (although this is not to a tea as there are differences).

Naturally, I'll start with phrase 1 where we have the more traditional representations with there being a steady flow and overall constant rhythmic density. Here we have the usual tag-style gameplay with big sliders for vocals on downbeats 00:22:755 01:08:368 and plenty of improvised rhythms to add more spice. Although there is an intensity drop here 00:24:180 (3,1,2,1,2,3,4,1,2) and here 01:10:150 (1,2,1,2,1,2,3) to match the song and create bigger impact for the next phrase, overall rhythmic density is still maintained - keeping the steady pacing of the section.

Where this steady pacing is subverted follows in phrase 2. Both phrase 2's have this major disruption in pacing with 00:26:675 (1,2) 00:28:456 (1) and 01:12:466 (1,2) 01:14:070 (1) slowing the map down majorly. It's nonsensical and feels intuitively wrong but it is that exact jarring-ness which gives it emphasis, and contributes to the angsty feel of the map. Where the phrase 2's differ is the beginning with the 1st phrase 2 keeping the pace 00:25:606 (1,2,1,2) - but the 2nd doubling down on the jarringness with a huge 2/1 slider 01:11:219 (1). The other smaller difference is the ending with the 2nd being a bit less intense to suit the song dropping many musical layers. (ALSO i want to note that these buildups with matching sharp angle movement are cool 00:30:595 (1,2,1,1) - 01:16:208 (1,1,2,1))

With phrase 1 being "normal" and phrase 2 being "jarring", phrases 3 and for 4 combine these elements.

The first half of phrase 3 follows the natural flow, being high intensity and acting as the resolutions for the build-ups beforehand (particularly in chorus 2 where its the peak of the song). This high intensity is then totally juxtaposition-ed with these intensity drops 00:34:158 (1) and 01:19:771 (1,1,2,3,4,5) and what's crazy to me is how both of these achieve the same goal of being uncomfortable, jarring, whilst having totally different rhtyhms.

Phrase 4 has a similar first half to phrase 3's first half. However in phrase 4 of the first chorus the smoother gameplay is kept towards the second half whilst the second chorus becomes jarring in the second half with 01:25:473 (1). this changeup i can see to make a more dramatic, conclusive finish to the map as well as matching with 01:11:219 (1)).

With the choruses covered, I shall now move on to talking about the verse. Here is what creates the real magic of the map. for the *most part (*ill come back to where it differs later) there is *very* constant but slightly increasing pacing. this pacing is so constant its practically void of emphasis, a stark contrast to the choruses which are flooded with emphasis (maybe even overboard with emphasis depending on your tastes). To accompany this we have this idea of sliders pointing in the same direction usually in groupings of 2 00:45:561 (1,2) 00:48:769 (1,2) 00:46:987 (1,2) 00:54:470 (1,1) etc etc. The movements of these are to match well with the vocals (i cant really describe exactly why but im sure it is apparant to others too).

Now there are 2 sliders which disrupt this flow. The first of which 00:49:481 is more minorly disruptive You can certainly feel it's presence but it doesn't steal the show rather it's purpose is to set precedent. The second 01:01:954 is so incredibly jarring, especially when straight after an overmapped triple and nearing the end of the section where it *should* be building in intensity, not dropping. This is what glues the whole map together, a reminder/callback that there's going to be this jarringness.

Now whats funny about this review is I haven't even talked about the visuals yet, an aspect of mapping which azphyx is famous (or rather infamous) for. This map is also a showcase of his mastery over visuals, being able to create his own spin-off of the tag style seen in unique sliders like 00:19:904 (1) 00:25:606 (1) 00:34:158 (1) 01:05:517 (1) 01:08:368 (1) etc. This visual beauty on it's own has it's merit but I also really enjoy how well it suits the other aspects of the map. To me tag as a style is built on imbalance, on being "messy" and unorthodox. This suits the rather counter-intuitive and out there aspects of the gameplay.

Anyway, that's most of what I have to say for this map. If you've read all of this thanks a lot you are cool in my books (even if you end up rating it a 1 anyway) :3.

wow this took too long to write oops