2026:Rhythm Game Chart Generation Results

Submissions

Submission	Title	PDF	Authors
DOSU	DOSU: DIFFICULTY-CONDITIONED ON-GRID SEQUENCE UNMASKING FOR OSU!TAIKO CHART GENERATION		Junyoung Koh, Hao-Wen Dong
FumenLab	FUMENLAB: PLAN-CONDITIONED JOINT GENERATION AND REFINEMENT OF OSU!TAIKO CHARTS		Ryo Mitoma
HiTaiko	HiTaiko: Hierarchical osu!Taiko Chart Generation via Metrical Candidate Selection		Sungjung Park
MALer	RHYTHM GAME CHART GENERATION WITH PRE-TRAINED MUSIC TRANSCRIPTION MODEL		Sojeong An, Chris Donahue, Dasaem Jeong

Test Set

Song Selection

Title	Artist	Genre	Language	Tags	BPM
Silver Bullet	Ennnn	Electronic	Instrumental	breakcore, neurofunk, tech	89-379 (mostly 175)
A fight in Tunisia	Sobrem & NIWASHI	Jazz	Instrumental	piano	148
Something Fun	JOYLESS	Rock	English	male vocal	194
closer to you (than ever before)	xiiiac13	Electronic	Instrumental	lo-fi	110
YUBIKIRI-GENMAN	Mili	Pop	Japanese	j-pop, progressive, female vocal	59-146 (mostly 146)
Himitsu feat. KAFU	MIMI	Pop	Japanese	j-pop, vocaloid	168

Default Settings

Parameter	Kantan	Futsuu	Muzukashii	Oni	Inner Oni
Overall Difficulty	3	4	5	5	6
HP Drain Rate	8	7	6	5	5

Results

Algorithmic Evaluation Results

120 beatmaps were checked using AiMod across 4 models, 6 songs, and 5 difficulties.

Difficulty ordering warnings:

• DOSU - closer to you - Inner Oni < Oni
• MALer - YUBIKIRI-GENMAN - Inner Oni < Oni
• MALer - closer to you - Kantan < Oni < Futsuu < Inner Oni < Muzukashii

DOSU

Song	Kantan	Futsuu	Muzukashii	Oni	Inner Oni
Silver Bullet	OK	OK	OK	OK	OK
A fight in Tunisia	OK	OK	OK	OK	OK
Himitsu	OK	OK	OK	OK	OK
yubikiri-genman	OK	OK	OK	OK	OK
something fun	OK	OK	OK	OK	OK
closer to you	OK	OK	OK	OK	OK

FumenLab

Song	Kantan	Futsuu	Muzukashii	Oni	Inner Oni
Silver Bullet	Minor snapping issue on drumrolls and swells	Minor snapping issue on drumrolls and swells	Minor snapping issue on drumrolls and swells	Objects <10ms apart and concurrent objects	Objects <10ms apart and concurrent objects
A fight in Tunisia	Minor snapping issue on drumrolls and swells	Minor snapping issue on drumrolls and swells	OK	OK	OK
Himitsu	OK	OK	OK	OK	Minor snapping issue on drumrolls and swells
yubikiri-genman	OK	Minor snapping issue on drumrolls and swells	Minor snapping issue on drumrolls and swells	OK	OK
something fun	OK	OK	OK	OK	OK
closer to you	OK	OK	OK	OK	OK

HiTaiko

Song	Kantan	Futsuu	Muzukashii	Oni	Inner Oni
Silver Bullet	Minor snapping issue on drumrolls and swells	Minor snapping issue on drumrolls and swells	Minor snapping issue on drumrolls and swells	Minor snapping issue on drumrolls and swells	OK
A fight in Tunisia	OK	OK	OK	OK	OK
Himitsu	OK	OK	OK	OK	OK
yubikiri-genman	OK	OK	OK	Minor snapping issue on drumrolls and swells	Minor snapping issue on drumrolls and swells
something fun	OK	OK	OK	OK	OK
closer to you	Unused audio at the end	Unused audio at the end	Unused audio at the end	Unused audio at the end	OK

MALer

Song	Kantan	Futsuu	Muzukashii	Oni	Inner Oni
Silver Bullet	OK	OK	OK	OK	OK
A fight in Tunisia	OK	OK	OK	OK	OK
Himitsu	OK	OK	OK	OK	OK
yubikiri-genman	OK	OK	OK	OK	OK
something fun	OK	OK	OK	OK	OK
closer to you	Unused audio at the end	Unused audio at the end	Unused audio at the end	Unused audio at the end	Unused audio at the end

Expert Evaluation Results

5 osu!taiko mappers evaluated submissions across 5 songs: Silver Bullet, A fight in Tunisia, YUBIKIRI-GENMAN, Something Fun, and closer to you. Each judge was assigned 3 songs based on their familiarity and interest of the songs, and each song was evaluated by 3 judges. For every assigned song, judges assessed submissions from all 4 models on 4 categories (Musical Representation, Creativity, Gameplay, and Human-Likeness) using an integer scale from 1 to 10.

We follow Monthly Beatmapping Contest and adopt within-song normalization for per-song report. For each category, judge X's final score = (judge X's raw score - judge X's average raw score) / judge X's standard deviation within that song, and a submission's score is the sum of each judge's final score.

Silver Bullet

Model	Musical Representation	Creativity	Gameplay	Human-Likeness	Qualitative Feedback
DOSU	1.5872	−2.6304	2.0099	−0.4552	Musical representation drew mixed assessments. Oni and Muzukashii showed effective sound selection, but Inner Oni was conservative early and uneven near the ending. Inconsistent special-object use and variable-BPM handling weakened coherence across difficulties.
FumenLab	0.3005	0.9401	−3.5863	−1.9478	Oni and Inner Oni showed promising sound selection, but awkward bursts and near-overlapping notes compromised gameplay near the ending. Kantan was excessively sparse, while intermediate difficulties were comparatively plain. Repeated musical phrases received inconsistent treatment.
HiTaiko	1.2778	1.8629	2.0099	4.1634	Coherent musical representation and expressive color patterns were recurring strengths. Inner Oni made quieter passages disproportionately dense, while Oni was comparatively restrained. Futsuu and Muzukashii showed promising structure, although assessments of the lower-tier ending differed. Finisher placement remained inconsistent.
MALer	−3.1656	−0.1726	−0.4335	−1.7604	Imaginative Oni patterns and distinctive sectioning were offset by rhythms that often felt disconnected from the music. Inner Oni contained timing and overlap problems; unusual subdivisions in Muzukashii and questionable sound selection in Futsuu weakened the difficulty spread.

A fight in Tunisia

Model	Musical Representation	Creativity	Gameplay	Human-Likeness	Qualitative Feedback
DOSU	−4.7037	−3.6090	0.4677	−1.5881	The mapping frequently missed prominent musical events across all difficulties. Conservative patterns supported playability, but omitted piano passages and notes in musically empty sections weakened representation. Isolated Inner Oni patterns showed potential without fitting the song.
FumenLab	0.2720	−0.2284	−2.4438	−0.1690	Awkward bursts, excessive local density and neglected piano passages weakened musical clarity. Kantan–Muzukashii lacked coherent sound selection; Oni was sometimes too demanding for its tier. Inner Oni was relatively stronger but remained rhythmically awkward.
HiTaiko	2.0747	0.9776	2.2563	2.3546	Oni stood out for coherent sound selection and structure. Inner Oni was more conservative and relied on abrupt doublets, while Kantan–Muzukashii often omitted material or mixed musical layers inconsistently. Piano representation and repeated special-object placement remained weaknesses.
MALer	2.3570	2.8598	−0.2803	−0.5975	Expressive color patterns attracted praise, but overall assessments differed. Complex snapping and inconsistent musical-layer selection reduced readability, particularly in Kantan–Muzukashii. Inner Oni offered some musical representation, although its structure and rhythmic emphasis remained uneven.

YUBIKIRI-GENMAN

Model	Musical Representation	Creativity	Gameplay	Human-Likeness	Qualitative Feedback
DOSU	−1.6143	0.6706	−1.2916	−1.5202	Excessive rhythmic improvisation disrupted the song’s gentle character. Muzukashii, Oni and Inner Oni often emphasized verses over choruses, weakening emotional progression. Kantan’s simpler rhythms were more acceptable, but consistency, object placement and musical correspondence remained concerns.
FumenLab	1.3093	0.3325	2.5865	0.6172	Assessments of musical coherence differed. Muzukashii and Oni sometimes followed the vocals effectively, but repeated phrases received inconsistent treatment. Inner Oni’s complex climax disrupted the gentle atmosphere. Kantan was sparse, and hitsound volume and effect choices required refinement.
HiTaiko	1.3093	−0.2970	1.8815	4.0095	Oni and Inner Oni showed effective vocal following and a convincing build toward the final chorus, although some feedback found them too conservative. Muzukashii’s density allocation was inconsistent; Kantan and Futsuu offered little content. Special-object use and omissions remained concerns.
MALer	−1.0043	−0.7060	−3.1764	−3.1065	Irregular snapping and abrupt density changes were poorly suited to the gentle vocal/piano arrangement. Muzukashii, Oni and Inner Oni contained isolated difficulty spikes, with Oni reportedly harder than Inner Oni. Some color patterns and brief rhythm choices worked but were not sustained.

Musical Representation scores for FumenLab and HiTaiko round to the same value; HiTaiko has the higher unrounded score.

Something Fun

Model	Musical Representation	Creativity	Gameplay	Human-Likeness	Qualitative Feedback
DOSU	−4.1362	−3.0094	−2.8967	−3.9851	Rhythmic choices and sound selection were poorly aligned with the music. Missing notes, excessive finishers and misplaced spinners weakened consistency. Both Muzukashii and Inner Oni contained passages whose musical intent was unclear.
FumenLab	1.7808	2.0497	2.0645	2.1521	The set was broadly serviceable, but repetitive color patterns and inconsistent finishers limited expressiveness. Kantan and Futsuu were weak, while some Inner Oni streams added unnecessary complexity. Isolated passages also raised timing concerns.
HiTaiko	−1.0707	−1.3013	−0.3393	0.6620	Some patterns followed the melody effectively, but prolonged simple rhythms, questionable drumrolls and uneven sectional difficulty made the experience repetitive. Finisher placement lacked consistency; no particular difficulty tier emerged as a clear strength.
MALer	3.4261	2.2610	1.1716	1.1710	Creative ideas produced sharply divided assessments. Futsuu omitted a conspicuous musical passage, while Inner Oni showed uneven density and timing problems. Kantan and Muzukashii had questionable rhythmic choices; Oni was comparatively more successful but appeared too easy for its label.

closer to you

Model	Musical Representation	Creativity	Gameplay	Human-Likeness	Qualitative Feedback
DOSU	−0.5579	0.7683	−0.7678	−0.5907	Rhythmic improvisation showed promise, and Futsuu conveyed a pleasing feel. However, inconsistent finishers and uneven density weakened progression: Oni omitted the opening, while Inner Oni used fewer streams than Muzukashii.
FumenLab	3.3983	4.2866	4.4877	3.5659	Strong structure and effective rhythmic improvisation were recurring positives, with Inner Oni receiving particular praise. Color-pattern variety, consistency and timing-point use still needed refinement, but the set conveyed a comparatively convincing mapping approach.
HiTaiko	1.6737	−2.5275	−0.1399	1.0151	Patterns were coherent but repetitive, with little distinction between difficulty tiers. Even Inner Oni remained sparse and closer to a much easier difficulty. Drumroll use and the ending finisher were questionable choices for the song’s calm character.
MALer	−4.5141	−2.5275	−3.5800	−3.9903	Missing sections, timing errors and inconsistent musical logic undermined the spread. Muzukashii was reportedly the hardest tier, while easier difficulties contained unexplained breaks. Inner Oni’s awkward fast bursts did not resolve the overall lack of musical coverage.

The tables below summarize performance across all 5 songs using 2 normalization methods: within-song normalization and across-song normalization. Overall scores are the equally weighted mean of the 5 per-song scores. Combined Quality includes Musical Representation, Creativity, and Gameplay; Human-Likeness is evaluated separately.

Within-song Normalization

Model	Musical Representation	Creativity	Gameplay	Combined Quality	Human-Likeness
DOSU	−1.8850	−1.5620	−0.4957	−1.9416	−1.6278
FumenLab	1.4122	1.4761	0.6217	1.2576	0.8437
HiTaiko	1.0530	−0.2570	1.1337	1.1165	2.4409
MALer	−0.5802	0.3429	−1.2597	−0.4325	−1.6567

Across-song Normalization

Model	Musical Representation	Creativity	Gameplay	Combined Quality	Human-Likeness
DOSU	−1.8592	−1.3766	−0.6081	−1.4305	−1.5213
FumenLab	1.4946	1.5760	0.8282	1.5429	0.8177
HiTaiko	0.7580	−0.4161	0.7907	0.3365	1.9699
MALer	−0.3934	0.2167	−1.0107	−0.4489	−1.2663

Community Evaluation Results

Mapper	Musical Representation	Creativity	Gameplay	Human-Likeness	Overall Mean
DOSU
FumenLab
MALer
HiTaiko
Amasugi (human mapper)