Happy Pi day!
While we can't regale you with either a long list of its decimals or a (literal) pie for the occasion, here's a song with an underlying inkling to number-related shenanigans. A nice tie-in to the latest rounds of Weekend Warrior additions on the arcade front, too!
Crazy Beauty
クレイジービューティー
| Game | Genre |  |  |  |  |  |
|---|---|---|---|---|---|---|
| 3DS3 NS1 (DLC) NS2 (MP) RC |  | ★5 230 | ★7 293 | ★8 578 | ★10 870 | - |
90-220
3d3b1x (Taiko 3DS 3 - 1st Final Boss song)Since the advent of the 25th Taiko no Tatsujin anniversary, the ongoing streak of Saturday song additions for up-to-date Nijiiro arcade takes a slight tangent from the usual norm; rather than going for either brand-new songs or Ura Oni debuts of arcade-first songs, a selection of last-boss Namco Original from former Taiko no Tatsujin games is making their current-gen debut this way. Last week we got Yami no Tamashii and today we're witnessing the return of Waruru-sama no Uta o Ki ke!, so who knows if this movement has legs long enough to reach the final 3DS game's villain original songs, considering all three have yet to reach the arcade shores! On that note, meet the highest-rated track of that peculiar trio.
The same ensemble that brought to light the infamous ≠MM on Ps Vita players' blood-stained hands is also behind Crazy Beauty, one of two final boss tracks for Dokodon! Mystery Adventure's Story mode. This peculiar enourage consists of 2000 series author Linda AI-CUE as composer/arranger/lyricist, track-down mastery from Masanobu Murakami (村上正信) and the nicknamed Shoko as the singer, She's been quoted really rarely across Taiko no Tatsujin official media, but from one post on the former Taiko development blog we know that her main task at the company pertains videogame localizations, although she's been asked from time to time by Linda AI-CUE to sing in a few Namco Originals, from proper 2000 series entries (Joubutsuu 2000; Suuhaa 2000's morse code portion) as well as "foreign-sounding" made up languages for songs like the aforementioned ≠MM and this one. The same Linda AI-CUE regards her as a 'big sister' figure of sorts, to the point of helping in a handful of undisclosed behind-the-scenes operations; one of those might be singing the demo ditty for 2019's April Fools song Nesin Amatias, considering this tweet of Linda AI-CUE thanking her for the creation of that same year's AF prank!
Yamauchi (ヤマグチ)'s Oni chart for the song works a big leverage on the song's fluctuating BPM ranges to offer a mostly-1/16 cluster blend to be another stamina-draining chart a-la ≠MM without inheriting its speed and note amount peaks. The greatest talk difficulty-wise has to be made for its implementation as a boss song track, facing the true aspect of Hexaglia leader Deborah as she's about to summon a fierce entity for her own ends. For this fight, Deborah's obstruction attack heavily blocks the scrolling bar and makes it so that notes travel towards the hit marker in arched formations coming from the same Deborah, making it as challenging for first-timers to read as it was for similar attack gimmicks in V Version's final story stretch. At the time, it was considered by the fanbase en large to be even harder than the obstruction gimmick of the game's actual final boss part, a sentiment that apparently was mirrored by the developing team's side as well, considering how the same fight in the Nintendo Switch version now has the same attack with flatter arch trajectories to make it easier to be read from the original.
Last but not least, ... I've promised you some obscure number-related trivia today, have I? Between note stanzas 63 and 67 (referring to the Oni chart, the ones following the couple of consecutive giant Kat notes), we've got a couple of messages in plain English to crack out via the Morse code signals from the song itself: "Ulam's Spiral" and "prime number", both referring to the eponymous graphical representation of prime numbers, discovered by Stanislaw Ulam in a visual array as linked constants of lines joining them together, if positive integers are drawn in a spiral arrangement from the center outwards. In one rare instance across morse-referencing Taiko songs, we've got a slight error in the morse message embeded in the song, as the portion referring for the apostrophe character (written in Morse as '.----.') was instead reporteded with an additional dash/pause, resulting in .-----. being heard instead.
