Kawada Mami - Akai Namida by ShiauKe

i dont think this review/analysis is going to do the map justice but im gonna speak my shit anyway because this map is awesome. There are likely many more things to say but here are the 2 main/most obvious things that i got from the map.

1. usage of sharp to shallow angle movement motif. its a very simple idea - a sequence of objects (usually circles i.e jumps) starting with sharp angles between objects "resolving" to wider angles for increased impact - which the map uses all throughout but mainly in key moments of the song. This is really the *sauce* which both elevates and holds the map together. Within this main motif theres many "sub motifs" as i like to call them, a specific instance of the idea which is repeated, perhaps giving a stronger identity to individual phrases.

a few of these are as follows,

01:19:816 (1,2,3,4,1,2,3,1,2,3,4), 02:32:200 (5,1,2,3,4,1,2,3,1,2,3,4), 03:39:351 (1,2,3,4,1,2,3,1,2,3,4) - used at the end of choruses, for the final resolution

01:16:415 (6,7,1,2,1,2,1,2,1), 02:28:886 (1,2,3,1,2,3,4), 03:35:863 (1,2,3,4,1,2,3) - used before the ends of choruses (abt 3/4 in)

01:08:654 (7,1,2,3,4,5,6,7,1), 02:21:212 (3,4,1,2,3,4,1,2,1), 03:28:188 (1,2,1,2,3,4,1,2,1) - used halfway through the choruses. here whilst there are the sharp angles it goes a lot less wide afterwards then the aforementioned. perhaps because its not the full resolution just the halfway point

01:05:688 (3,4,5,6,7) (this one is kind of a stretch), 02:17:723 (1,2,3,1,2,1,2,3,4), 03:24:700 (1,2,1,2,1,2,3,4) - used 1/4 into the choruses, similar to the ones used 3/4 in

There are also a few notable individual instances, like these ones 00:56:095 (1,2,3,4,5,1,2,3,4,5,6,7,8,9), 02:07:258 (1,2,3,1,2,3,4,5,6) which build up into the choruses, this one 01:43:886 (1,2,1,2,3,4,1,2,3,1,2,3,4,5,6) a *massive* sequence for the ending of the verse going into the pre-chorus and this one in the verse 01:33:770 (1,2,3,4,5,6,7,1,2,1) - which actually does the idea in inverse (wide -> sharp)

Lastly, I have to talk about the outro of the map 03:46:677, the climax for what everything is built up to. This is where the motif is turned up to 11. Pretty much every pattern here is some form of it. this one 03:49:816 (2,3,4,1,2,3,1,2,3,4,1,2,3,4) is probably the coolest one to me. I was totally stunlocked the first time i was going through this, and still now i smile ear to ear when i experience it. its truly magical

2. slowing down pacing to make resolutions more impactful. this compliments the powerful sharp to wide movements to create even greater impact. Whilst changing pacing is present in the entire map there is extra done for specific moments, particularly for the ends of choruses. Many of these examples im about to show are patterns which directly precede one of the earlier timestamps, showing how these 2 ideas are used in tandem.

01:18:421 (4), 02:30:979 (1) 03:37:258 (3,4) - for sure the greatest drop in pacing fitting for the resolution for the end of the choruses.

01:04:468 (5,6), 02:17:026 (3), 03:24:002 (6) - more notable pacing drops, 1/4 through choruses

03:49:119 (1) - oh this one is even more insane im realising because it also highlights the introduction of the electric guitar afterwards

03:56:793 (1,2), 04:00:282 (1,2) - these last two, they stand out to me because of the pretty funky rhythm and the first having THREE 1/1 gaps in a row straight afterwards contrasting the second which has the climax of the map straight after it. crazy work

That's all I have to say for this review. I do implore others to explore for themselves! thanks a lot of reading if you got here <3