I am really greatful for all the work the organisers (mainly Fulserish and xooty) have put over the two years I have mapped for this tourney. I may not be proud of every map I have made for this tourney such as Seiseimei Syndrome (however the absolute PEAK background art was 100% worth it), but I am happy that I have mapped every single one of these. Each BOTB map I have participated in (5!) has some of the best backgrounds (even MS paint Shinsekai) I have seen come out of this game and I love that unique aspect of this tournament. It was an amazing opportunity to map an original song by coul in the last iteration of this tournament as the first ever original I have mapped, too.

I have met new people from this tournament. For example, I would not have met celes if it weren't for this tournament and that eventually lead me to map her cover of Shoujo Rei which is absolutely amazing.

Thank you to everyone that has worked with me over these past two iterations, it was amazing. Thank you to Fulserish, xooty, coul, celes, kaetwo, Reikocchi, Kyairie, Tycani, careless, Wispy, sekiri, jellium, replayers, playtesters and feedbackers for working with me in some way over these two iterations of BOTB.

Thanks everyone else that has also participated in the making of other custom maps, I have always looked forward to them and also thank you poolers for being so flexibile so us mappers can just do whatever we want LOL.

Thank you Tycani for introducing me to Fulserish and this tournament. You don't know how much you have done for me in the osu!tournament world with BOTB and Wonderland Cup.

And of course, thank YOU for playing any of these BOTB maps, it means a lot.

Thank you Battle of the Box for being my comfort tourney <3

Dedicated to tiger yamato mapped by qudfo9.

This map is a masterfully crafted reflection of the accompanying track that comes with it.

To start off, the track is insanely offputting and most people would just consider this noise rather than real music. You don't really hear tracks like this on osu! too much. The mapper, qudfo9, recognises this, and thus does not present this map as one that is conventional. All of the auxillary properties of this map are quite unconventional, such as the song title itself, which is the same as the artist which creates for quite the strange metadata where "tiger yamato" has a set artist field as "tiger YAMATO". The difficulty settings are also quite unconventional for the type of difficulty it is. The AR9 (and since OD was not a separate stat yet, the OD9 as well) was rarely seen during this time, although not unheard of because of maps like "Koi no Maiahi" mapped by Lumino going up to AR10 and OD10 which came before. However, i think this choice to not go up to AR10 was intentional because I believe qudfo9 was subtle with how they executed the feeling of uneasiness during this map, so, choosing AR10 would go against this intention.

To start off this map, qudfo9 creates what seems like a simple and straighforward pattern. When you play 00:10:034 (1,2,3,4), you will immediately notice the zig-zag pattern that is taking shape. However, the mapper breaks expectations of where the fifth circle would be placed. You would expect the next circle to be placed beneath 00:12:434 (4), slightly to the left to continue this zig-zag motion. This is not the case, as qudfo9 cleverly places 00:13:234 (5) - above the rest of the pattern and the exact opposite of what we were expecting. This creates the first instance of uncertainty right off the bat because now you will not know how each pattern will continue for the rest of the map. The mapper continues the intital pattern at circles 6 and 7. Do you notice something off, though? if you select 00:10:034 (1,2,3,4,6,7) - in the editor, it is immediately obvious that circles 6 and 7 do continue the zig-zag pattern, but in an imperfect way. Due to the placement of 00:13:234 (5) and how it seems so disconnected from the rest of the zig-zag, the imperfection of the placements of circles 6 and 7 are likely not explicitly noticed when playing the map because of how directly offputting the placement of 5 was. When I initially played this map, I did sense something was off even if I did not know why; this adds to the extremely precise execution of subtle uneasiness. Sure, there are moments of blatant divergence from established patterns, however, this is just a clear signal to the stupidest of players that there is something off with this map. However, this does not really add too much to the feeling is uneasiness, which I believe should be inherently subtle which is done perfectly through other means that are not as obvious that elevate this map to another emotional level.

The next pattern at 00:16:434 - explores the sense of being on edge through rhythm. This rhythm is more sporadic than the song suggests. The very audible sounds at 00:17:034 - 00:18:634 - 00:20:234 - and 00:21:834 - are being ignored by qudfo9. Because this map is in AR9, this sparse rhythm in combination with the followpoints creates for a sense of anxiety when playing the map because it is difficult to keep a metronome and thus, keep high accuracy on rhythms like this. You may notice on this pattern that on 00:17:834 (3,4,5,6,7,8,9,10), qudfo9 almost creates a linear pattern of circles through these stacks. However, they offset the last stack by a few grid spaces to further create this sense of unease.

On 00:22:834, further demonstration of unrest is shown through 00:22:834 (1,2,3). However, this case of imperfectly placed circles is quite obvious because 2 out of 3 circles are offset by multiple grid spaces. The first circle is offset by 4 grid spaces to the right (on the small grid space size) and the second circle is offset by 4 grid spaces to the left away from the y-intercept of the playfield which would otherwise create for a symmetrical arrangement along the y-intercept. This is a very blatant case of offsetting notes in a pattern. 00:27:634 (7) - is the first instance of a slider in this map. It may seem strange to introduce an entirely new type of object this late into the map at a seemingly random place. Don't worry, though, I will come back to this slider later.

The piano is introduced in the track at 00:29:234 - and it is perfectly represented in the map with the use of these 3/1 sliders in combination with the long rhythm gaps. This may seem strange for a map that is trying to achieve the sense of unease but occasional clarity in a map like this is needed as a form of balance between creating unrest and a sense of logic. "How is this section good in anyway?", you may ask. Firstly, the extremely long rhythm gaps such as one like 00:29:234 (1,2) - represent the held piano notes as well as the long sliders themselves. qudfo9 chose to represent these piano notes with two different methods because of difference in pitch where the rhythm gaps are reflecting the lower notes and the sliders are representing the higher notes. Tracking back to 00:27:634 (7) - the 3/1 sliders that come afterward had the purpose of creating a sense of coherence in a map full of presented "incoherence", especially after this seemingly random slider. This creates a clash between chaos and logic which further puts you at an uncomfortable disposition when playing this map.

The spinner at 00:38:834 (1) - is intentionally misleading. The track can be heard building up for the duration of this spinner and since everyone agrees that the spinner is the most intense object, the spinner pairs perfectly with the buildup to a supposed climax. However, this is a false buildup because the end of the spinner is greeted with a drop of every instrument except for the synths at the break on 00:42:034. This further adds to the uncertainty of this map, really building consistency on this theme.

At 00:48:434 - part of this pattern seems familiar. This is because 00:48:434 (1,2,3) - has a striking resembelance to an earlier pattern at 00:22:834 (1,2,3). However, the offset placements are more subtle this time. Only the second circle is offset from the otherwise symmetrical pattern as it is offset by 4 grid spaces to the left once again. However, the first circle is perfectly placed. This pattern is a more subtle iteration of the offset placements of 00:22:834 (1,2,3) - since it does not need to be so blunt to send the message that the map is in turmoil anymore. More subtle offsets of the placement of circles is shown at 00:51:034 (4,5,6,7) - where 00:52:634 (6) - is offset by a few gridspaces in a pattern that would otherise be symmetrical. This is merely another example of creating the sense of instability in the map.

At 00:54:434 - the rhythm is masterfully executed. After the somewhat subtle offset of placements in the previous combo, this combo focuses on throwing the player off with one circle that is missnapped. 00:56:934 (8) - is missnapped by 1/4 of a beat too early which is a very undisguised method of creating unease because this is the first time qudfo9 creates a noticable mis/unsnap in the map, so it must be obvious to send this message. However, almost immediately after, at 00:59:277 (3,4,5) - these three notes are slightly unsnapped but not missnapped to the same degree as 00:56:934 (8). This less obvious instance of "incorrect" snapping follows a very rigid structure of the map where a blatant deviation from established rules transitions into very minute and subtle strays from the rest of the map which creates coherency in a very strange and foreign way since I cannot think of any other maps that follow this logic. So, in a way, this form of cohesion somehow creates more alienation when you play the map.

The map continues to use the previously mentioned techniques to create uncanniness in the map between 00:57:634 - 01:04:434 with great execution.

Starting from 01:04:434 - the rhythm simplifies quite significantly into constant 1/1 circle spam occasionally broken up by 1/2 triples such as 01:07:234 (8,9,1) - to not leave the map too stale. At 01:14:034 - qudfo9 evolves this rhythm into 1/2 triples which forshadows the progression that occurs later on. In terms of placements of these circles on the playfield, the mapper rides a fine line between non-sensical arrangements and easily recognisable patterning. 01:04:434 (1,2,3,4,5,6,7,8) - seems like a random arrangement of circles but then that is followed up by 01:07:636 (1,2,3,4,5,6,7,8) - which is a recognisable pattern in the form of two groups of lines with 4 circles going up in the same diagonal direction. However, this pattern still is not completely normal since 01:10:434 (8) - is placed away from the linear created by 01:09:234 (5,6,7). This clash between chaotic and (mostly) clean patterns creates a clash that creates disposition upon your playthrough. This disposition is further deepened to another level by creating more of it within the supposedly normal pattern with the use of one circle, 01:10:434 (8). So simple, yet effective. The map keeps alternating between chaotic patterning and clear, recognisable patterning at 01:10:834 - being chaotic, 01:14:034 - being an organised and easy interpret arrangement and 01:17:234 - being chaotic once again.

At 01:22:434 (5) - more of the usual uncertainty is demonstrated through techniques done before such as placing 01:22:434 (5) - away from the expected zig-zag pattern at 01:21:234 (2,3,4). Though, it is nothing special at this point in the map. However, qudfo9 hits you like a semitruck after quite a long time of doing nothing too new in the context of this map in the form of the only multi-repeat slider that is started on a 1/2 tick where the song clearly has a more impactful sound on the white tick immediately proceeding it. This is quite the shocker to witness in comparison to the subtlety of the previous 20 seconds. This slider creates for the most extreme uncomfortability in the entire map. Uncomfort in this case does not mean the map was awkward to play, this slider is quite easy to play. It means it goes against your intuition and your expectations of what should have been there.

Straight after that extremely strange slider which is also the last slider of the map, the map returns to the usual offsettling placements and slight missnaps during the period between 01:26:834 - 01:39:234 to further embed this core idea into the map.

Surprisingly, qudfo9 has quite the simple progression starting from 01:39:634 - in terms of rhythm. At first, the rhythm is broken up into groups of 7 1/2 circles but then switches to constant 1/2 circle rhythms at 01:46:034 - as a form of simple rhythm progression. However, what stands out in the sea of 1/2 circles is the placements once again. At first, the placements follow a satisfying progression where 01:39:634 (1,2,3,4,5,6,7) - and 01:41:234 (1,2,3,4,5,6,7) - are the exact same but 01:42:834 (1,2,3,4,5,6,7) - is a variation of the linear pattern of stacks. You would expect the next iteration of this pattern to follow along the lines of the previous three linear arrangement of stacks. However, this is not the case at all. 01:44:434 (1,2,3,4,5,6,7) - is completely different placement wise to the previous three patterns. This creates for an AAAB patterning structure. The first "A" is the first iteration of this strucutre, the second "A" is an exact replica of the first iteration, the third "A" is a slight variation of the first two iterations but still has the same core shape. However, "B" completely flips this on its head by opting for a different arrangement entirely. This adds onto the disquietude that this map brings to the playing experience because the first three iterations generally set an expectation on the fourth iteration to follow some sort of similarity. But qudfo9 carefully chose this AAAB structure to throw you off. However, this sense of turmoil is consistent throughout this section with the same AAAB structure at 01:46:034 - being repeated with even a similar type of variance on the third iteration and then completely switching it up on the fourth. This consistency is neccessary so the map is not completely lopsided into creating chaos since this unsettledness should be subtle so elements of sanity still remain.

The end of the map ends with a wonderful but messy arrangement at 01:52:434 (1,2,3,4,5,6,7,8,9) - with an appropriate normal-hitfinish at on the final note. This final pattern basically sums up the rest of the map, so it is a fitting conclusion.

Overall, this map is a mystifying one. It looks non-sensical at first but the deeper you look into it, the more intent and complexities start showing behind this seemingly simple map. This map is a perfect encapsulation of what this track feels like to listen to with chaotic but precise execution. Anxiety inducing.

10/10 map. Well done qudfo9.