Playstyle Considerations

In designing a step-chart, the step-artist cannot force a player into performing every sequence as intended. Some sequences can be executed several different ways. What we aim to do here in studying is determine the most efficient way to perform these patterns as a player and assume the preferred method in designing the chart.

The Spin

One of the most misused terms in describing a pattern is the spin. Take the following pattern:

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As we know the method of performance will depend on the foot that begins the pattern. Beginning with the left foot and alternating feet, the player would result in rotating a yaw of almost 360 degrees, putting them in a state where it is nearly impossible to read game screen effectively. In terms of distance, this sequence also includes only 3 lateral-transfers. Of course, instead of potentially turning the player's back to the game screen, the player may instead double-step in order to stay in the standard viewfield range. In this scenario, the right foot double-steps from the down arrow to the right arrow, and the left foot double-steps from the up arrow to the left arrow. The right foot completes only one diagonal-transfer, while the left foot completes two diagonal-transfers. We know that a diagonal-transfer is a shorter distance than a lateral-transfer and therefore more desired in terms of distance. There are several other options that combine both the lateral-transfers of the first playstyle with the double-steps of the second. For example, double-stepping from the down to the right arrows with the right foot and then lateral-transfer the right foot from the right arrow to the left; ending in a limited viewfield range.

There's one final method to complete this pattern, which is called the outside-step. Again, beginning with the left foot the player completes the first lateral-transfer ending with the left foot on the right arrow. Then the right foot hits the up arrow by swinging outside of the game stage, allowing the player to return to a standard viewfield range. Not only is this the longest distance the foot can ever travel in play because it travels off-stage, it also requires that the player pivot at least 90 degrees on the left foot. This must add another element of difficulty as before we are merely stepping on arrows; adding a pivot in this playstyle adds more movement and wastes energy where double-stepping would be more beneficial. Alas, we must account for this playstyle in design but not assume that this is what the player will choose to do. We simply acknowledge the playstyle exists.

If the player was to start on the right foot, hitting the left arrow, the player could complete this without turning completely away from the screen using 3 lateral-transfers. Because the player does not enter a minimal viewfield and continues to alternate feet, this would be the preferred method of performance instead of double-stepping (which is possible after starting with the right foot here as well) as alternating feet keeps a regular momentum.

The point here is that this sequence, while regularly identified as a spin is not always performed as a spin. The spin defines a playstyle not a pattern or sequence. For the purposes of study, we assume that the player does not want to enter a minimal viewfield and therefore consider the options that refrain from this while keeping the distance traveled as short as possible. This may or may not be the step-artist's intent but matters in gauging difficulty.

Foot-Switching

Another interesting playstyle to consider is foot-switching which occurs during jacks and jackhammers. A player will alternate feet on the same consecutive arrow as alternating feet keeps regular momentum. In the case of jackhammers, which include 3 or more of the same arrow in a row, this playstyle is less common due to the difficulty of balance for the player while attempting to target one arrow on the game stage with both feet. This also tends to increase the footApex to something undesirable and inefficient. However, this playstyle is more of an option for jacks. Take the following example:

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A first this looks like a crossover with a jack in the middle. Starting with the left foot a player could simply complete the sequence by performing the lateral-transfer with the left foot and the jack with the right foot. However, a player could also foot-switch which keeps the alternating foot momentum. After hitting the first down arrow with the right foot, the player can move the left foot and the right foot simultaneously first using the left foot to hit the down arrow while moving the right foot out of the way. Then the player will place their right foot down on the right arrow. Perhaps to explain this better, take the following pattern:

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Again there are two way to perform this if we start with the left foot. The player could complete a lateral-transfer using the left foot to complete the jump in a limited viewfield range or the player could continue to remain in the standard viewfield range by moving the right foot from the down arrow to the right arrow and the left foot from the left arrow to the down arrow; which mimics the the foot-switch maneuver. The foot-switch is 2 double-steps at its core but also allows for the possibility of a lateral-transfer. Take this pattern for example:

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Because there is no fear of entering the limited viewfield range with this pattern alone, we only assume that the player will perform this sequence by using a diagonal-transfer from the left arrow to the up arrow and using the right foot to perform the jack. However, the player could also foot-switch the jack which essentially is a double-step of the left foot from the left arrow to the down arrow and a double-step of the right foot from the down arrow to the up arrow. Moving from arrows that are directly across from each other is the definition of a lateral-transfer. However, in terms of distance this is simply not the most efficient method to perform the sequence. The former method is a diagonal-transfer and a zero-transfer while the latter is a diagonal-transfer and a lateral-transfer. Cancelling out the diagonal-transfers, we know that the zero-transfer is a significantly shorter distance than the lateral-transfer and in this case the more preferred method of performance.

The Arc

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The longest sequence we've seen so far, starting on the left foot and alternating feet will cause the player to enter the minimal viewfield for a moment before being turned out of it. This playstyle performance is called the arc. While instead beginning with the right foot in this sequence and alternating feet using lateral-transfers isn't called anything in particular other than having a pair of crossovers. This is similar to starting the spin in the limited viewfield range as it does not have the player pass through the minimal viewfield and is therefore not a spin.

We see that for the purposes of this study we must recognize that many different playstyles exist but we must select the most efficient methods to measure difficulty correctly depending on the stage rules and the sequences provided.