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【Tags Hachi Miku R tL】 Original Music Title リンネ Lynne (Rinnne) Music Lyrics written, Voice edited by ハチ (Hachi) Music arranged by ハチ (Hachi) Singer 初音ミク (Hatsune Miku) Fanmade Promotional Video(s) Click here for the Japanese Lyrics English Lyrics (translated by vgboy / vgperson)： A black goat whispered, "It s lowlier than the white line; Catch the dark gray train!" A cat beside asked, "Where are you headed? You re soon to die around here!" Holding my red wrist, I m alone, wandering, a rootless weed I drink down stale water For the next station... Once again, love me, however you can There s no train back anywhere to be found Tell me, darlin , darlynne, darlin I felt I heard a voice... or so I thought A wilted flower whispered, "No feeling, no feeling, Heart speaking of gloomy evenings" When the cicadas cries went away, The line split, red and downward No entry, kicked away The wild shadows slowly come Spilling out... "I can t see," I cry, I cry I m just searching for my thoughts Tell me, darlin , darlynne, darlin Where does the life of an unringing phone go? The boiling, seething belt line There s nothing here, there s no last stop Sounding on the left, the left, the right The sound of a railway crossing, kan-kara-rindo The crows speak, the crows speak, "You know you can t ever go back to then!" "You ve already become an adult..." Once again, love me, however you can Take this neverending lifelynne, and cut it into pieces Goodbye, darlin , darlynne, darlin On that day, I became an adult I constantly think, together, alone, Never being able to take back the words I ve lost Goodbye, darlin , darlynne, darlin And round and round the belt line I go... "Have pity, and go on foot, girl..." Whispering in my ear, a black goat approached; "This one s lowly; not the white line! Make sure you re able to catch the gray train!" Afterward, from beside, a cat questioned me "Where on earth do you think you re headed, girl? Stick around too long, you re sure to die soon!" Clenching my red wrist, finding little support, I m alone, wandering, a weed that s been robbed of its roots I drink down tasteless water to quench my thirst Come next terminal... I beg your love, once more, any way, For the only train going back is forever delayed Can t you tell me, darlin , darlynne, darlin ? I could swear I heard you say... naught, to my dismay Wilted and colorless, a flower whispered, "Feelings are gone, feelings are gone, And the heart speaks sadly of gloomy evenings" When the cicadas cries time came to fade, Then the line split, was running down red Dead end, no entry, and I m just kicked away The raging shadows looming; slowly but sure, They come spilling out... "I can t see a thing," I sob, I cry Searching desperate for my own thoughts, to know what to live by Can t you tell me, darlin , darlynne, darlin ? When your phone will never ring, down what track does your life head? The boiling, the seething, the looping belt line Here there is nothing; most surely, there s no last stop in sight The left side, the left side, sounding on the right The sound when railways cross, kan-kara-rindo The crows caw out, the crows caw out, "You know, as much as you wish, you just can t go back to then!" "The time has passed, it s too late now; now, you re an adult..." I beg your love, once more, any way, This lifelynne may not have an end, but divide it, day by day Time for farewell, darlin , darlynne, darlin As that day s fateful result... you grew me to an adult And I constantly think, together or just me, Although words that I ve already lost, they will forever be Time for farewell, darlin , darlynne, darlin Round and round I ll have to ride; down the belt line I go... "Just have mercy on yourself, and go onward on foot, girl..." [1]"Belt line" is actually a pun in this case; it s "kanjyousen," but "kanjyou" is also "feeling." So you could potentially replace it with "feeline." ...Or "feelynne." (Also, [insert joke about the cat here].) [2]"Rinne" (literally "revolving ring") is the Japanese word for samsara, the endless cycle of rebirth in Buddhism. Hence, "lifelynne." [3]The chorus actually goes "darlin , darlin , nee, darlin ", but it seemed pretty obvious to me that "Lynne" cropping up there was at least intentional. English Lyrics (translated by animeyay)： A black goat hissed, "Please don t stand beyond the white line, as the dark gray train is passing by." A cat right next to me asked, "Where might you be going? This stop too will lead you straight to death." Holding my red wrist, I, alone, am like a swaying rootless weed. Drinking rusty water, I wait for the next station. Please, just once more, please give me love. There s no train that can take me home. Please tell me, darling, darling, darling, I thought I had heard your voice. A wilted flower hissed, "No more emotions, no more emotions, as my heart has spewed out a grievous evening." When the cicadas have cried and started dying, under the redness that the electric wires have ripped, kicking away the sign that says "No Entrance", a fierce shadow begins to drip and spill all over. Crying on and on that "I can t find them," I m still searching for my emotions. Please tell me, darling, darling, darling, if a telephone never rings, where is its life headed? On this seething seething loop line, there s none--there s no terminal stop. ringing on the left, left, and then right, at the railroad crossing is the sound "clickety-clack". A crow speaks, a crow speaks, "You ll never be able to go back to that time." "You have already become an adult." Please, just once more, please give me love. Please destroy this endless loop. Farewell, darling, darling, darling, on that day I became an adult. I m thinking nonstop, two people, one person, unable to retrieve the words that have sunk with the setting sun. Farewell, darling, darling, darling, On the endlessly looping loop, "Keep on walking alone miserably, young lady." Singable English Lyrics for singing (by vgboy / vgperson)： A black goat whispered, "It s lowlier than the white line; Catch the dark gray train!" A cat beside asked, "Where are you headed? You re soon to die around here!" Holding my red wrist, I m alone, wandering, a rootless weed I drink down stale water For the next station... Once again, love me, however you can There s no train back anywhere to be found Tell me, darlin , darlynne, darlin I felt I heard a voice... or so I thought A wilted flower whispered, "No feeling, no feeling, Heart speaking of gloomy evenings" When the cicadas cries went away, The line split, red and downward No entry, kicked away The wild shadows slowly come Spilling out... "I can t see," I cry, I cry I m just searching for my thoughts Tell me, darlin , darlynne, darlin Where does the life of an unringing phone go? The boiling, seething belt line There s nothing here, there s no last stop Sounding on the left, the left, the right The sound of a railway crossing, kan-kara-rindo The crows speak, the crows speak, "You know you can t ever go back to then!" "You ve already become an adult..." Once again, love me, however you can Take this neverending lifelynne, and cut it into pieces Goodbye, darlin , darlynne, darlin On that day, I became an adult I constantly think, together, alone, Never being able to take back the words I ve lost Goodbye, darlin , darlynne, darlin And round and round the belt line I go... "Have pity, and go on foot, girl..." Romaji lyrics (transliterated by vgboy / vgperson)： Kuroi yagi ga tsubuyaita "Hakusen yori osagari yo Nibiiro densha torisatte" Tonari de neko ga toikaketa "Anata wa doko ni mukandai Kokora mo jiki ni shinjimatte" Aka no tekubi tazusaete Atashi hitori fuwari nenashigusa Sabita mizu o nomikonde Tsugi no eki Mata douka douka ai o Kaeri no densha wa doko ni mo nai wa Oshiete daarin daarin nee daarin Koe ga kikoeta you na ki ga shita Kareta hana wa tsubuyaita "Kanjou ga nai, kanjou ga nai, Kokoko wa urei yuu o haite" Semi no naite ochiru koro Densen ga saita aka no shita Tachiirikinshi kettobashite Takeri kage ga dorodoro to Koboredasu "Mienai" to naite naite Atashi no omoi o sagashiteru wa Oshiete daarin daarin nee daarin Naranu denwa no inochi wa doko e Uraru uraru kanjousen Koko ni wa nai koko ni shuuten wa nai Hidari hidari migi de naru Fumikiri no oto kankararindou Karasu wa iu karasu wa iu "Ano koro ni wa kitto modorenai ze" "Kimi wa mou otona ni natte shimatta" Mata douka douka ai o Owaranai rinne o chigitte okure Sayonara daarin daarin nee daarin Ano hi atashi wa otona ni natta Taezu omou futari hitori Kureochita kotoba wa torikaesezu ni Sayonara daarin daarin nee daarin Kurukuru mawaru kanjousen o "Hitori o aware ni ayume ya shoujo"
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http //www.bigfishgames.com/blog/2010-customer-favorites-awards/ 2010 Game Of The Year Mystery Case Files ® 13th Skull ™ Best Hidden Object Game of 2010 Redemption Cemetery Curse of the Raven Echoes of the Past The Castle of Shadows (エコー・オブ・ザ・パスト：囚われし魂) Reincarnations Uncover the Past (リインカーネーション - 回帰) Best Adventure Game of 2010 Drawn Dark Flight (Drawn：暗黒の翼と希望の灯台) Nightmare Adventures The Witch s Prison Dream Chronicles The Book of Air (ドリームクロニクル：大気の書) Best Story of 2010 Sherlock Holmes The Hound of the Baskervilles (シャーロック・ホームズ：バスカヴィル家の魔犬) Mystery Trackers The Void Nightfall Mysteries Asylum Conspiracy (ナイトフォール・ミステリーズ：アッシュバーグの陰謀) Best Artwork of 2010 Dark Parables Curse of Briar Rose Mystery Legends The Phantom of the Opera PuppetShow Souls of the Innocent Best Sequel Game of 2010 Dark Tales ™ Edgar Allan Poe s The Black Cat Midnight Mysteries 2 - Salem Witch Trials Flux Family Secrets The Rabbit Hole (フラックス・ファミリー・シークレット： ラビット・ホール) Best Time Management Game of 2010 Cooking Dash 3 Thrills and Spills Diner Dash 5 BOOM (ダイナーダッシュ 5 BOOM) Ranch Rush 2 - Sara s Island Experiment Best Sim Game of 2010 Life Quest ™ Farm Tribe My Life Story Best Strategy Game of 2010 Royal Envoy Be a King 2 (王様になろう 2) Cradle of Rome 2 Best Match 3 Game of 2010 Hidden Wonders of the Depths 3 Atlantis Adventures Cursed House Season Match Curse of the Witch Crow コメント コメント すべてのコメントを見る
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Let s see... According to the instructions, I push a button with a stylized hand, wave my cashcard in front of the round thingy, and then stand still for a few seconds. Good. I can stand still. It s a small camera. I should get a week s pass. You never know. Besides, the single and day passes are hideously overpriced in comparison. Single, day, week. The weekly pass is definitely the way to go, in terms of cost versus...uh... No wonder I did so badly in economics. Damn. I don t have enough money on my card. I have to remember to get paid for last week s work at the caf・ I m outta cash. I ll get a weekly pass, just in case. I ve already paid for a week s passage. I already pushed the button. Fifteen dollars subtracted from cashcard. You are now free to travel on all Metro Line subways for exactly one week. And remember, genetic forgery is a federal crime. "Keep your genes clean!". Have a nice day. I m sorry, but the fare is fifteen dollars. You have...one...dollar...left on your cashcard. This message was brought to you by the Bokamba/Mercer Company. The future spells Bokamba/Mercer.
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Death Note 04. Pursuit SHINIGAMI Has anyone seen Ryuk around lately? SHINIGAMI Maybe he was serious about losing his death note. SHINIGAMI It was probably picked up by some human before he could get to it. SHINIGAMI No way. Then he'd be stuck there till the end of that human's life or until the death note was destroyed. That could take a while. SHINIGAMI Yeah. I can't picture Ryuk doing something so boring. SHINIGAMI But do you know what? I actually heard he was carrying two death notes. SHINIGAMI Seriously why would he need two? SHINIGAMI Beats me. I'll never understand that guy. LIGHT So, the price for receiving the eyes of a shinigami is no more than half of my remaining life span? That's it, right? RYUK Yes. Well then. Do we have a deal or not? LIGHT Ryuk. This deal is out of the question. RYUK Huh? LIGHT Let's get this straight. My plan is to create an ideal new world free from evil and all criminals. And I intend to reign as a god in that world for a very long time. I might consider the deal if it lengthened my life, but not if I die sooner. I figured you of all people should know I wouldn't take this deal. RYUK Yeah. I still felt I should tell you that the deal existed just in case. Anyway I've done my part. I don't need you complaining I didn't tell you this earlier on. LIGHT This is what you call telling me early on? Don't you think you're a little late? I don't see why you couldn't have told me this when we met. Or better yet, you could have simply included it in the instructions for the death note. RYUK Ah. Good point. He's not the slightest bit daunted by the fact that I'm a Shinigami. He doesn't suck up to me. And he seems to have no problem giving me a hard time. LIGHT Well. You're sure there's nothing else you want to tell me ahead of time, Shinigami? RYUK No. Nothing else. Nah. Probably. LIGHT Really? That's too bad. RYUK What do you mean? LIGHT You know Ryuk, I might have seriously considered the deal if you'd offered me wings instead of eyes. Just the idea flying around freely in the sky sounds very godlike. After all it's been mankind's dream since antiquity to be able to fly. RYUK You'd stand out if you sprouted wings and flew around. Not to mention the police would have no trouble finding you. LIGHT I was only joking. Anyway if I keep bargaining for eyes and wings and whatever else, next thing you know I'm gonna end up becoming a real Shinigami. Though who knows. I bet that could be pretty interesting. RYUK I wouldn't worry. Even without the eyes and the wings, you are already a worthy Shinigami. The Shinigami realm is slowly rotting. We lead meaningless and empty lives. And the only reason we still take human lives is because we are afraid to die ourselves. The truth of the matter is that we no longer even know why we exist. In fact I doubt there's any reason for our existence at all. What I'm saying is, compared to that, you are becoming a much more impressive Shinigami. LIGHT I don't know about that, I mean, from what you are telling me, it sounds like I'm doing a lot more work than they are. But I don't want to be compared to a Shinigami. I'm a human using this death note to make the world a better place for other humans. But I wouldn't necessarily say that the Shinigami realm is meaningless to humans, either. RYUK Huh? Why do you say that? LIGHT Well, just think about it. Whenever a Shinigami like you comes to the human world once every hundred, no more like every thousand years, the human world changes dramatically. The existence of the Shinigami realm is extremely significant. RYUK Really? LIGHT You told me just now that the Shinigami realm is slowly rotting, right? Well, when you return from this world, why not use what you've learned here to try and change it for the better? RYUK Well, Light, I'm not sure why I never noticed this until now, but you are quite the positive thinker. LIGHT Haha. Yeah. Of course, I am. That's why I'm using the death note to create a better world. You have to be a positive thinker to even attempt something like this. That's it. I got it. RYUK Got what? What is this about? LIGHT I think I just figured out how to find the name of the guy who was following me today. RYUK How are you gonna do that? LIGHT I'm gonna use the rules of the death note to my advantage. I already know that if I write down a cause of death, I've got six minutes and forty seconds to record the conditions and exact time of death. First I need to know exactly how far I can go in terms of specifying the details of death. It should be interesting. (警察庁） SOUICHIRO Yeah. It's me. Another six inmates were found dead last night? All were heart attacks? It's him. What? Huh? Bizarre behavior before they died? Could you be more specific? What do you mean? So they didn't just die from heart attacks? MAN No. What I'm saying is they all died of heart attacks but it wasn't quite that simple. Before one of them died, he drew a pentagram on the wall of his cell using his own blood. Another left a letter but it doesn't seem to be a will or anything meaningful. And as for the third victim, he escaped from his cell and ran all the way to the staff bathrooms before he died. L What is it, Watari? WATARI Three more heart attack victims. But the circumstances of their deaths are different from what we've seen thus far. L What do you mean by different? WATARI I'm sending you a copy of a letter as well as pictures taken at the scene. L OK. It sounds like he was afraid that Kira would find him. It's believable that our victim might've been genuinely afraid and wrote this. But we know Kira can control the time of death. What if he can also determine the actions in the moments leading up to death. In which case.. L Chief. SOUICHIRO Hm? L We can't release details of these men's deaths to the media. As far as they are concerned, these are just heart attacks. I have reason to believe that Kira was performing some kind of test using these criminals. If that's the case, we'd only be giving him the results if this information is leaked to the public. SOUICHIRO Right. I understand. MAN So now he is experimenting on his victims? MAN Horrible. SOUICHIRO He is playing with people's lives, as if all this was just a game. It's unforgivable. L If Kira is really using criminals as test subjects, what is he trying to achieve? （月の部屋） LIGHT Look at this, Ryuk. I think we are in luck. The results of yesterday's little test have already been downloaded onto my Dad's computer. And these results are just as I expected. The Death note will work for what I have in mind. RYUK What do you mean by that? LIGHT One of them escaped and ran into the bathroom I had specified in the death note. Another one drew the same symbol I had drawn in the death note before he died. And finally, a third wrote the same letter I had written in the death note word for word. All three did exactly what I intended them to do. For the other three inmates, I purposely wrote conditions that were virtually impossible. RYUK Huh? LIGHT With the first one I wrote that he would die in front of the Eiffel tower in one hour. However, everyone knows that it is physically impossible to go from a prison in Japan to Paris, France in only one hour. Since this couldn't happen, he simply died of a heart attack in prison. The next was supposed to draw an exact picture of L's face on the prison wall. This also didn't happen. You can't draw someone you've never seen, right? RYUK Make sense. LIGHT With the last one I tried something slightly different. I specified that he would write a note that read "I know that L is suspicious of the Japanese police" To be honest, I actually expected this one to work. But it didn't end up happening. Which means, it's impossible to make someone write what they don't already know. Or at the very least it has to be the kind of thing they could come up with on their own. Basically even the death note can't do the impossible. But as long as it's within the realistic limits of what a person might do, I can control them as much as I want before they die. RYUK That's very clever. But what's all this leading to? What's the point? LIGHT These latest victims will no doubt keep L and the police guessing. Even as we speak, he's probably trying to decipher all the clues I left for him. Especially that little note. That absolutely meaningless dying message. L If Kira used those criminals to conduct an experiment of some sort, it means he's about to start something. If he moves now, there's a good chance that the FBI would notice someone acting suspiciously. But perhaps he has a different goal in mind altogether. Could the pentagram and this letter be some kind of message? Ha! Is this it? LIGHT All right. Time for the real thing. RYUK Real thing? LIGHT Yesterday on the news they said this drug addict tried to rob a bank but was unsuccessful. He attacked a few people and then ran away empty-handed. I'll use him. It's kind of last minute but I'm sure I can find someone. I've got a few people in mind. RYUK A few people? For what? LIGHT You'll see. Believe it or not, I'm actually a rather popular guy, Ryuk. Girl H-hello. Um, Light? Oh, morning. Death Note Chapter 4 Chasing 「追跡」 Ch4-2 Target--Bus jacking （バス停にて） LIGHT He's still following me. Perfect. This whole thing will just be a waste of time if he wasn't tailing me. YURI Light! RYUK A date? LIGHT Yeah. It's a date no matter how you look at it. I'm sure even my stalker will see it that way. RYUK But this isn't just a date, is it? You said that you'd figured out a way to find your stalker's name. So tell me, what do you plan on doing? LIGHT Huh? C'mon. Didn't you see what I wrote in the death note? I explained it in great detail. RYUK No. Doing that would take all the fun out of it. LIGHT In that case, just be patient and watch what happens. LIGHT Sorry. Did I keep you waiting? YURI No, not at all. Anyway, I haven't been to Spaceland since junior high. I'm so excited. And the best part is, I have you all to myself. LIGHT Uh, yeah. RAYE During the week he goes to school and cram school at night. Dates on his day off. A normal kid, just a hard working senior in high school. Chief Yagami's son, Light Yagami. No cause for suspicion. At any rate, I'll be done with my surveillance today. And that'll be it. (バス内） YURI I don't get it, Light. Didn't you say you weren't going out until entrance exams were over? LIGHT That was before I scored No. 1 on the national practice exams. YURI Ah, you're such a nerd. （バスジャッカーが乗り込む） LIGHT It's him. He's here. Seven passengers excluding him. No one's in the way. Everything should go smoothly. DRIVER Ah! HIJACKER Stay in your seats unless you want to die. YURI Ahh. RAYE A bus jacking? You gotta be kidding me. HIJACKER Everybody, shut up. If anybody moves, I'm putting a bullet in their head. All right driver, you listen to me. I know you've got the number for Spaceland's office on you. Call'em! DRIVER OK. This-this is Sasaki, calling from bus 174. HIJACKER Tell'em what's goin' on and no tricks, either. DRIVER My bus's been hijacked. And he's holding a gun to my head. HIJACKER Give me that. You heard what he said. Now you listen up. Have a female staff member bring all of Spaceland's cash from yesterday. I know it's there. Have her meet us two bus stops from the park and don't make me wait. If you mess with me at all, or try to get the police involved, I swear I'll kill every one of these passengers. LIGHT Yuri, don't be scared. As soon as he turns around, I'm gonna grab the gun out of his hand. RAYE Don't be stupid. That's risky. If it comes to that, I'll take care of it. It's OK. We don't have to pass notes back and forth. As long as we keep it down, he won't be able to hear our voices over the sound of the engine. LIGHT Do you have any proof that you are not his accomplice? Why should we trust you? YURI Accomplice? LIGHT Yes. I've read about this before. The first hijacker comes in like he is working alone. Meanwhile a second one pretends to be a hostage and stays in the very back just in case something goes wrong. What's the matter? YURI You-you really think he is one? RAYE I..I have no choice. I'm sure Light Yagami isn't Kira. If he was, he could just kill this guy with a heart attack. Here's my proof. Take a look. LIGHT FBI? I see. L needed an outsider, so he got the FBI to investigate anyone connected to the Japanese police. His name is Raye Penber. LIGHT I trust you. And I guess for the time being I won't bother asking what an FBI agent is doing on the bus in the first place. Do you have a gun? RAYE Yeah. I've got one. LIGHT So if it comes down to it, I can rely on you, right? RAYE Yes. HIJACKER Shut the hell up, you old hag. You want me to shoot you right now? RAYE That's right. This guy. His face was all over the local news just a few days ago. HIJACKER Look at me when I'm talking to you grandma! RAYE Some junkie. He tried to rob a bank, ended up killing three people before he got away. He's extremely dangerous. LIGHT We are safe. He won't shoot us. In fact, he's not gonna do anything. HIJACKER Don't move, you little punk. What the hell is that? Hey, a smart ass. You guys were planning something back here, weren't you]? RAYE Damn it. If he sees that note from before, he'll find out that Light was planning to jump him and take his gun away. HIJACKER Plans for a date, huh? Stupid kid. LIGHT Gotcha. HIJACKER W-who the hell are you? You in the very back. What do you think you're doing? Don't mess with me. How long have you been hiding back there? RYUK What's this? You are talking to me? So you mean you can actually see me right now? HIJACKER Stay there, you. You keep away from me, you freak. RAYE This isn't good! He's hallucinating. Everyone, get down! RYUK Oh, I get it. That little note that Light accidentally dropped was actually torn from the pages of the death note itself. Since he tricked this guy into touching the paper, he's the only other one on the bus who can see me. That's so smart. HIJACKER Get away! RYUK Sorry, pal. I'm a Shinigami, so I'm afraid your bullets aren't gonna kill me. HIJACKER Ahhhh! RYUK Anyone who touches the death note can see me. I have to stay till the death note is finished or I see you die, whichever comes first. And a Shinigami can't die from being shot. I've said all these things at one time or another. Well he is the top grade student in the country. Guess I shouldn't be surprised. He even used this hijacking as a way to get the guy following him to willingly give up his name. HIJACKER Stop the bus! Let me off! (バスジャッカーがはねられる） LIGHT 11 45 on the dot. Everything went just as I planned. Kiichiro Osoreda. Accidental death. Boards the 11 31 Spaceland bound bus near the eastern entrance to the park, holding a loaded gun and attempts to hijack the bus. He sees a horrific phantom and empties his gun trying to kill it. Terrified, he flees the bus. Immediately afterwards at 11 45, he dies when struck by a car. LIGHT The death note never fails. You will be next, Raye Penber.
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2009-07-26 First Entry 2010-01-25 17 05 00 (Mon) Last update Trasnlated by damesukekun Title Time Limit Lyric Small expectation, much feeling 10 days is the given time to run me Come to you, magic of words Above the sky with all my heart in a left 7 days Wait! you and I have only 3 days This relationship and tie with you, It all is to disappear I m anxious about your forgetting me Time limit, I can t stop its coming Please keep me in your mind I m not important, though Time limit, thank you for this 10 days I feel I can meet you again Look at me "in full version" at that time Now I m alone I lost voice, I m just a puppet I m waiting! I believe a miracle and close my eyes I still have a little time I don t want to leave you Please let me sing a song at last Time limit, I don t believe its coming I know this is another beginning I, as a vocaloid, have a heart, feel a heart Time limit, don t leave me Please don t the wall of time part us I want to tell you pouring feelings Time limit, I can t stop its coming Please keep me in your mind I m not important, though Time limit, thank you for this 10 days The moment I see you again I ll say "I have believed..." With pouring tear and songs Only for you Time limit Comment If you have any advise or opinion for this post please write here.この投稿に対して助言、ご意見などありましたらこちらに書き込んで下さい。 Name Comment すべてのコメントを見る
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ARMA３における車両作成、改造におけるガイドラインを翻訳しましたので作成等にご利用下さい。 専門用語が有るので、日本語、英語共に不自由な人間が翻訳していると言う事をご理解ください。 文章そのままだと日本語的に理解し辛いので、意訳+注釈です。 ※実際にmoddingした訳ではなく、読んで意訳しただけなので、実際の意味と違う可能性が ありますのでご注意ください。 Arma 3 Cars Config Guidelines Arma 3 Cars Config Guidelines ARMA3の車両に関するコンフィグガイドライン Contents 内容 1 Intro 最初に 2 Additional functionality compared to A2/OA ARMA2、OAとの違い 3 Model requirements {p3d} p3d形式の model の条件 4 Model config changes {model.cfg} model.cfgの変更点 5 New config parameters {config.cpp} config.cppの新しいパラメータ 5.1 Basic parameters 基本パラメータ 5.1.1 Differential parameters パラメーターの違い 5.1.2 Engine parameters エンジン用パラメータ 5.2 Wheel parameters ホイール用パラメータ 5.2.1 General parameters 一般的なパラメータ 5.2.2 Wheel PX parameters ホイールPXパラメータ 5.2.3 Wheel simulation parameters ホイールシュミレーションパラメータ 5.2.4 Suspension parameters サスペンションパラメータ 5.2.5 Tire parameters タイヤパラメータ 5.3 Floating and sinking 浮く、沈む（水の上等） 5.4 PhysX 3 integration PhysX3 統合 5.4.1 Anti-roll bars アンチロールバー 5.4.2 Complex gearbox 複雑なギアボックス 5.4.3 Gearbox parameters ギアボックスパラメータ 5.4.4 Different amount of torque 個別のトルクの量 5.5 IK for hands and legs 乗車時、キャラクタの手足の位置 5.6 Picture in Picture for screens and mirrors スクリーンとミラーにピクチャーインピクチャー（画像の中に別の画像を表示する）する方法 ※要約すると、車両にバックミラーやモニター等に表示させる記述 5.7 Random visual variants ランダムにビジュアルを変化させる ※ハッチバック等、スポーンする度にテクスチャが違うアレ 5.7.1 Random variants script ランダムに表示させる為のスクリプト 5.8 Reflectors, markerlights and beacons 反射板、マーカーライト、ビーコン 5.8.1 Reflectors 反射板 5.8.2 Markerlights マーカーライト 5.8.3 Beacons ビーコン 6 Basic config hints 基本的なコンフィグのヒント 6.1 Diagnostics 診断（作成した車両のテスト） 6.2 Suspension サスペンション 6.3 Gearbox ギアボックス 7 Reference 参照場所 Intro 初めに 101 - How to set up a car for Arma 3 ARMA3用の車の作り方 Please be aware of our Arma 3 modding license http //community.bistudio.com/wiki/Arma_3_Modding_License ARAM3用MOD作成に関するライセンス規定を確認してください。 Additional functionality compared to A2/OA ARAM2、OAとの違い PhysX 3 integration ○PhysX３と統合 IK for hands/legs ○車両乗車時の手足の位置 Picture in Picture - Render to texture ○PiP テクスチャーのレンダー Random visual variants (textures, accessories, doors) ○ランダムでビジュアルの変化 ※テクスチャー、アクセサリー（バリエーション的なもの）、ドアをスポーン時にランダム表示 Floating and sinking ○水上での浮き沈み Reflectors, markerlights and beacons ○反射板、マーカーライト、ビーコン Model requirements {p3d} p3dモデルに関する必須項目 A new PhysX lod ○新しいPhysX LOD There needs to be a lod (4e13) consisting of convex components as simple as possible, some 60 faces shall be sufficient for most cars 作成には単純な構造のものが必要です。ただ、大半は60面程あれば車両を作成するには十分です。 ※私の知識不足で、LOD(4e13)がexで40trillionなのか、それ以外の「何か」なのか良く解りません。 Current public Oxygen version doesn t support showing correct name of this lod and displays only Geometry instead. Don t be afraid of having two geometries, it s going to be fixed with new tools. Oxygen(BIツール名)では、このLODの名前を表示できません。代わりにジオメトリだけを示します。（使用に問題なし）この問題は新しいツールで解消する予定です。 Just the main body of car should be in this lod, wheels are added by engine later 車両の基本部分は、上記のLODで構成される必要があります。 作成する順番はエンジン→ホイールの順に追加していきます。 Memory lod メモリーLOD There should be an axis for each wheel named wheel_X_Y_axis (X is position of wheel from front, Y is 1 for left and 2 for right), the name is defined in selected wheel as center ホイールの軸（中心）をwheel_X_Y_axisという名前で定義される必要があります。それぞれ（X,Y）でホイールの中心位置を定義します。 車両の正面から見た状態でホイールの位置をXの部分に記入します。Yは左右同じです（じゃないと傾くので）。 There should be a point at the edge of each wheel named wheel_X_Y_bound which is used to determine wheel radius (distance from wheel axis is used for this) - there is no other need than placing the point at the edge, even memory points for tracks could be used for this, the name is defined in selected wheel as boundary ホイール（タイヤ含めた）の大きさを測定するのに必要です。何かというと、ホイール外径の一カ所だけ指定すればwheel_X_Y_axisを中心として円を判定してくれます。 wheel_X_Y_boundのX、Yに何処でも良いので、外径部分の座標を指定します。 ※公式の解説画像ではホイールの中心から垂直方向の地面を座標定義してます。 ○注釈 ホイールの中心から外輪の距離を定義。 ・wheel_X_Y_axis ホイールの中心 ・wheel_X_Y_bound ホイールの半径（中心からの距離） ※多分、wheel_X_Y_boundの「X または Y」のどちらかをホイールの半径分入力すれば良いと思います。Yが無難ですが。 Mirrors and screens should have their camera position defined in pipX_pos and direction in pipX_dir - parameters pointPosition and pointDirection in class RenderTargets ミラーとスクリーン（車載モニター）はカメラの位置（pipX_pos）と向き（pipX_dir）で定義する必要があります。 ※ミラーは実際に反射しているのではなく、カメラ機能を使って擬似的に「反射してる様に」見えるだけ。なので、「ミラー」を使うと当然、左右反転するようです。 Reflectors should have their position defined in LightCarHeadYXX (Y is a side - R/L, XX is a number) and direction defined in LightCarHeadYXX_end 反射器は LightCarHeadYXXで定義する必要があります。LightCarHeadYXX_end でその方向を定義します。Yは左右それぞれの横軸、XXは定義した番号です。 Mirrors and screens should have RTT texture #(argb,256,512,1)r2t(rendertargetX,1.0) - where X in rendertarget should be a number ミラーとスクリーンはRTTテクスチャを #(argb,256,512,1)r2t(rendertargetX,1.0)で指定します。Xは定義した番号を記入します。 Randomly generated accessories should have their selections independent on all other selections (mainly the main body and all the glass selections), glass as a part of hide-able accessory should be handled as two separate selections ランダムに発生するアクセサリーパーツは全て独立した部品である必要があります。 アクセサリの一部分を隠すように扱うには、２つの部分に分割（離れて）する必要があります。 ※ここ良く解りません。すいません。多分ですが、車両にオブジェクトを貼り付ける場合、車体に埋めると内部から見える場合があるので、 はみ出てた部分を隠したいなら部分を別パーツとして定義する必要があるという意味かと思われます。 Beacons and markerlights should have their material set to emit light ビーコンとマーカーライトは、発光させるために設置しなければなりません。 Spare wheel should have defined selections for it, texture underneath and correct hitpoints like a normal wheel スペアホイール（予備タイヤ）に交換できるようにするには定義する必要があります。予備タイヤの耐久性（壊れやすさ）は標準タイヤと同じ数値です。 ※交換なので、エンジニアの修理とは別です。 Man-held turrets shouldn t be hidden when destroying them without destroying the whole vehicle - IK issues would crash the game ターレット（銃座）の乗員が乗っている状態（と定義して）でターレットを隠すように指定した場合、ゲームがクラッシュします（IK定義の関連） ただし、車両が「完全に破壊（ドカーンって燃えた）」された状態であれば、問題ありません。 ※車両がアライブの状態で「見えないターレット」を定義して使うとクラッシュするという事かと思われます。多分。 Model config changes {model.cfg} model.cfgの変更点 Only the dampers are affected by the changes, best way to set them is to place an axis with the length of moveable part alongside the damper and set offsets to +-0.5 ダンパー（サスペンション）は凹凸路面などの影響を受けて可動します。そのため、定義する際に「ダンパーの中心から±0.5ほどオフセットするといいと思います。 Example {model.cfg} class Wheel_1_1_Damper { type= translation ; source= damper ; selection= wheel_1_1_damper_land ; axis= posun wheel_1_1 ; animPeriod = 1; minValue= 0 ; maxValue= 1 ; offset0= 0.5 ; offset1= -0.5 ; memory=1; }; ●●●●●●●●●●●●訳 28/Oct/2013●●●●●●●●●●●●●●●●●●●● Sections for hiddenSelectios[] should be set in model.cfg hiddenSelectios[]の部分はmodel.cfgで定義する必要があります。 New config parameters {config.cpp} config.cppの新しい追加パラメータについて Basic parameters 基本パラメータ Following parameters are defined in vehicle class. vehicle classという定義内で以下のパラメーターを使います。 ※config.cppの車両に関する定義部分にviecle classという場所があるので、そのクラスを定義する際に使用するという事。 string (required) simulation = carx ; float 0.0 dampersBumpCoef = 0.3; Differential parameters 他と異なるパラメータ string; accepable values all_open , all_limited , front_open , front_limited , rear_open , rear_limited all_limited differentialType = all_limited ; float 0.5 frontRearSplit = 0.5 float 1.3 frontBias = 1.3; float 1.3 rearBias = 1.3 float 1.3 centreBias = 1.3 float 10.0 clutchStrength = 10.0; float 0.01 switchTime = 1.01; Engine parameters エンジンパラメータ float (required) enginePower = 600; float 600 which is cca 6000 rounds per minute. maxOmega = 600; float value calculated from enginePower according to http //en.wikipedia.org/wiki/Horsepower#Relationship_with_torque peakTorque = 600; float, float, float 0.08, 2.0, 0.35 dampingRateFullThrottle = 0.08; dampingRateZeroThrottleClutchEngaged = 2.0; dampingRateZeroThrottleClutchDisengaged = 0.35; Array[i][2] where i = number of samples, maximum 8; {{0.0, 0.8}, {0.33, 1.0}, {1.0, 0.8}} torqueCurve[] = {{0.0, 0.8}, {0.33, 1.0}, {1.0, 0.8}}; Wheel parameters ホイールパラメータ This parameters relates to each wheel. In the vehicle class, there has to be subclass called Wheels, which contains subclass for every wheel the vehicle has. These are the parameters that could be defined in that subclasses. このパラメータはそれぞれのホイールに関する項目です。vehicle classはwheelsというサブ（隷下）クラス（viecle classがメインクラス）が必要です。 要は、車両に付いている全てのホイール（タイヤ）をサブクラスという定義でそれぞれ設定できるパラメータです。 General parameters 一般的なパラメータ string boneName = wheel_1_1 ; bool (required) steering = true; string right side = left ; Wheel PX parameters ホイールPXパラメータ memory point (required) center = wheel_1_1_axis ; memory point (required) boundary = wheel_1_1_bound ; float 0.3*(raidus of the wheel) width = 0.2 ; float 10.0 mass = 150; float 0.5 * WheelMass * WheelRadius * WheelRadius MOI = 40; float 0.1 dampingRate = 0.1; float 2500 maxBrakeTorque = 7500; float 2*maxBrakeTorque maxHandBrakeTorque = 0 Wheel simulation parameters ホイールシミュレーションパラメータ Array[3] {0, -1, 0} suspTravelDirection[] = {0, -1, 0}; memory point center suspForceAppPointOffset = wheel_1_1_axis ; memory point suspForceAppPointOffset tireForceAppPointOffset = wheel_1_1_axis ; Suspension parameters サスペンションパラメータ float 0.15 maxCompression = 0.15; mMaxDroop = 0.15; float vehicleMass/numberOfWheels sprungMass = 2066; float sprungMass*5,0*5,0 springStrength = 51653; float 0,4*2*sqrt(springStrength*sprungMass) springDamperRate = 8264; Tire parameters タイヤパラメータ float 10000 longitudinalStiffnessPerUnitGravity = 10000; float, float 25, 180 latStiffX = 25; latStiffY = 180; Array[3][2] {{0, 1}, {0.5, 1}, {1,1}} frictionVsSlipGraph[] = {{0, 1}, {0.5, 1}, {1,1}}; Floating and sinking 浮き沈み（水で） WaterLeakiness should be amount of water in liters that goes into selected object per second. This is set to zero by engine for all vehicles with simulation of a ship or having canFloat = 1 (unless they are toppled of destroyed, then config value takes precedence). WaterLeakiness = 10; seems to be a good value to start with for all kinds of vehicles no matter the size (which is a bit spooky, but it works). 浸水具合は指定パーツをℓ/secで定義します。浸水具合によってエンジンが止まります。ただ、船又はcanFloat=1と定義されたものは完全にブッ壊されない限り浮いてます。 最初はWaterLeakiness＝10と定義して、どのぐらい水に浸かったらエンジンがブッ壊れるかテストすると良いでしょう。 PhysX 3 integration PhysX3で統合 WheelMask ホイールマスク thrustDelay is time in second in which thrust goes from 0 to 1 when standing still (doesn t affect driving car during change of gears), 0.2 seems to be a reasonable value. You may want to tweak this to higher values if wheels slide during initial acceleration. キー入力をしてから実際に車輪が動作するまでの遅延をthrustDelayで定義します。スラストが0→1になるまでの数値です。0.2位が妥当と思われます。もし１にしたら一瞬で加速します。 brakeIdleSpeed is speed in m/s under which the brakes are automatically applied to the vehicle. This speed should be reasonably low, higher value would mean strange breaking of slow cars, too low value would cause inability to stop the car. 1秒当たりのブレーキの定義です。 brakeIdleSpeedはm/secで定義します。この数値は低めに設定した方が良いです。高めに設定すると不自然な急ブレーキになります。 逆に異常に低すぎると止まれません。 idleRpm sets the idle RPM of engine. Primary use is for sound engine アイドリング時の回転数をidleRpmで定義します。停車時のエンジン音に関係します。 redRpm sets the maximum for engine RPM, should be according to maxOmega (see later) エンジンの最高回転数（レブリミット）をredRpmで定義します。後記のmaxOmegaに関係しています。 Anti-roll bars アンチロールバー Anti-roll bars is the system in vehicle that should prevent it to do a barrel-roll during sharper turns. Using ARB enables us to make center of mass realistically high and cause cars to roll down the steep slopes if placed sideways to the slope. It works the same way as the real ones - system computes difference of applied weight to wheels in pair and tries to compensate difference by applying opposite forces. アンチロールバーは急激なターンとか無茶な運転等で横転するのを防ぎます。錘みたいな物です。なので、横転しやすい車両も作れます。以下がそのパラメータ。 antiRollbarForceCoef is a coefficient of applied force, could be taken as strength of the system. Setting this value to zero disables ARB (and all next values), which is good for civilian vehicles, higher values reduce not only the risk of rolling, but effects of suspension. この数字を0にすると動かなくなります。逆にantiRollbarForceCoefの数字を高くすると横転しやすいどころか止まれません。 antiRollbarForceLimit is the highest strength of ARB applied to vehicle. We may want to roll the car at certain situations (full van taking sharp hand-brake turn at high speed), tunning without diag mode is almost impossible because we are not able to imagine forces needed (values are rather low, 2 should be high enough for most of vehicles) 高速移動中に急ハンドルで横転させたいとか、そういう時に必要になります。 antiRollbarSpeedMin and antiRollbarSpeedMax are limits of applied force coefficient. Coefficient is 0 at speeds lower than antiRollbarSpeedMin, interpolates to antiRollbarForceCoef at antiRollbarSpeedMax and is set to antiRollbarForceCoef for any higher speeds. This allows cars to drive on steep slopes using their radial speed, falling of the hill once they stop and rolling over at too high speeds (where coefficient doesn t grow and force is limited by the limit). antiRollbarForceCoefの上下限をantiRollbarSpeedMinとantiRollbarSpeedMaxで定義します。 Complex gearbox 複雑なギアボックス All PhysX 3 vehicles use complex gearbox to give some data to PhysX gearbox PhysX3の車両は全部ギアボックスが搭載されてます。 Complex gearbox settings is inside class complexGearbox which is a subclass of vehicle class ギアボックスのセッティングはcomplexGearboxというサブクラスで、viecle classの隷下です。 GearboxRatios[] is an array of gear names and gear ratios starting with reverse gear (with negative ratios), neutral gear (which should have zero ratio) and forward ratio (eg { R1 ,-3.231, N ,0, D1 ,2.462, D2 ,1.870, D3 ,1.241, D4 ,0.970, D5 ,0.711};). Gear names are not used in retail version, they are just for epevehicle diagnostics R1がバックで、Nニュートラル（数字入れたら勝手に前進します）、D1、D2・・・となります。GearboxRatios[]で定義すれば何ギアでも可能ですがギア比が訳解らなくなるので程々に。 TransmissionRatios[] is an array of transmission ratios in the same format as gearboxRatios. Most of cars have only one transmission ratio, some heavy trucks may have two. The final ratio of engine is gearboxRatio * TransmissionRatio, that means transmissionRatios shouldn t be multiplicates of each other and gearbox ratios to prevent the same final ratio for two different gears. 普通は１つ定義すれば良いですが、大型トラックは２つ定義が必要でしょう。 ※良く解らん・・・・ gearBoxMode is set to full-auto by engine gearBoxModeはエンジンによってフルオートでセットされます（・・は？ イミフ） moveOffGear defines what gear an automatic or semi-automatic gearbox will move off from stationary in. 1 by default. この定義（moveOffGear）はオートマもしくはセミオートでギアボックスが静止状態から発車します。（動作にギア操作を入れるかどうか）標準（普段通りの操作）は１です。 driveString, neutralString and reverseString define displayed strings for driving forward, neutral and backward. この３つ（driveString, neutralString, reverseString）は前進、キー無操作、後進を表示させるために定義を紐づけします。 ※これを入れればギアがドライブ（D)、ニュートラル（N)、バック（R)のどの状態かHUDに表示されるようです。 －－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－ {config.cpp} class complexGearbox { GearboxRatios[] = { R1 ,-3.231, N ,0, D1 ,2.462, D2 ,1.870, D3 ,1.241, D4 ,0.970, D5 ,0.711}; TransmissionRatios[] = { High ,4.111}; // Optional defines transmission ratios (for example, High and Low range as commonly found in offroad vehicles) moveOffGear = 1; // defines what gear an automatic or semi-automatic gearbox will move off from stationary in. 1 by default. driveString = D ; // string to display in the HUD for forward gears. neutralString = N ; // string to display in the HUD for neutral gear. reverseString = R ; // string to display in the HUD for reverse gears. }; －－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－ Gearbox parameters ギアボックスパラメータ Some gearbox parameters are defined outside of class complexGearbox, they are mainly to setup automatic gearbox 幾つかのギアボックスパラメータはcomplexGearboxのクラス外で定義します。サブクラスでは有りません。 通常、オートマ用のギアボックスに使用します。 changeGearMinEffectivity[]Value of minimal gear effectivity to hold current gear. If there is better gear and effectivity is below this value then change gear. It is an array of effectivities ordered by gears in complex gearbox. Neutral should have rather low effectivity (0.15 seems to be a good value), drive gears should have rather high value (around 0.95) to prevent switching gears too often switchTimeThe switch time describes how long it takes (in seconds) for a gear change to be completed. RPM interpolate to optimal value for the new gear at current speed during the changing of gears. The time should be rather low, around 0.3 s, to keep the momentum of the car. latencyis the minimum time (in seconds) that must pass between each gear change that is initiated by the autobox. This should be set to value higher than switchTime. Setting this time too low makes some issues with changing gears - the car slows down a lot Different amount of torque coefficients for different speeds of Slow, Forward and Fast are now configurable slowSpeedForwardCoefis set to 0.3 by default normalSpeedForwardCoefis set to 0.85 by default default speed coefficient for fast movement is 1 meaning that full throttle is applied and maximal speed is maxSpeed of the vehicle (it is going to apply less throttle upon reaching the limit) IK for hands and legs It s not Inverse Kinematics in fact, but as close to it as possible. A soldier should have IK defined for hands and legs by default Each vehicle pose using IK should haveleftHandIKCurve[]andrightHandIKCurve[]set to 1 Driver should havedriverLeftHandAnimNameanddriverRightHandAnimNamedefined as drive wheel bone of the vehicle (drivewheelby default) Gunner should havegunnerLeftHandAnimNameandgunnerRightHandAnimNamedefined on handles of the gun, or shaking bone of the weapon shall be sufficient (usually something likeotocHlaven_shake) Double check names of bones if the game crashes upon loading this vehicle and call stack points to IK. Wrong definition causes CTD all the time and removing the bone causes the same (eg. by hiding it). Picture in Picture for screens and mirrors All sources for textures to be rendered on are defined inclass RenderTargetswhich is a subclass of vehicle class Each source is a separate subclass with unique name parameterrenderTargetdefines which texture shall the source be mapped at (only therendertargetXpart is used) class CameraView1is a subclass of this source and contains all the parameters for rendered scene pointPositionandpointDirectionshould be respective memory points in model renderQualityis in range from 0 to 2 and defines quality of rendering for said source renderVisionModedefines the vision mode - 0 = HDR, 1 = NightVision, 2 = ThermalVision, 3 = Color, 4 = Mirror fovdefines field of view of this source {config.cpp} class RenderTargets { class LeftMirror { renderTarget = rendertarget0 ; class CameraView1 { pointPosition = PIP0_pos ; pointDirection = PIP0_dir ; renderQuality = 2; renderVisionMode = 0; fov = 0.7; }; }; }; Random visual variants Randomization of variants is done by script ran upon start of mission via init event handler The car should inheritclass EventHandlers EventHandlers {config.cpp} init event handler should be changed to something like this init= (_this select 0) execVM \pathToCar\scripts\scriptName.sqf ; Don t forget to hide all the added accessories upon destruction of vehicle, they are usually in proxies, this is handled by killed event handler {config.cpp} killed = _this call (uinamespace getvariable BIS_fnc_effectKilled ); _this select 0 animate [ RandomAnimation ,0]; Random variants script All random settings should be done on server side to prevent different car looks for different users {script.sqf} if (isLocal) then {_rnd1 = floor random Y; _this setVariable [ BIS_randomSeed1 , _rnd1, TRUE]; _this animate [ RandomAnimation , X];}; Ystands for the number of random variants Even all the animations should be handled server-side to ease clients,RandomAnimationshall be replaced by any animation needed to be randomly chosen,Xstands for animation phase {script.sqf} waitUntil {!(isNil {_this getVariable BIS_randomSeed1 })}; _randomSeed1 = _this getVariable BIS_randomSeed1 ; Random textures shall be taken with this statement {script.sqf} _this setObjectTexture [0, [ \pathToCar\Data\variant_1_co.paa , ..., \\pathToCar\Data\variant_Y_co.paa ] select _randomSeed1]; Reflectors, markerlights and beacons Reflectors Reflectors need to be defined inclass Reflectors Default cars should have two reflectors defined as separate subclasses inside class Reflectors. These two classes should differ only inposition,direction,hitpointandselection. Position and direction are self-descriptive, they use memory points in mode, hitpoint is the name of selection in hitpoint lod in model, selection is a visual selection in resolution lods. Most of reflectors should haveuseFlareset to 1, they are bright enough to have a flare. Size of this flare is defined byflareSize, value should be rather low, around 0.1 seems to be good for start. class Attenuationinside each reflector subclass defines behavior of light from distance. Attenuation is combination ofconstant,linearandquadraticcoefficient,startis a distance from position where attenuation starts to work (the light is at it s full strength if distance is lower than start). aggregateReflectors[]outside of Reflectors class is used to ease computing of too many light sources and combines light together. Both reflectors should be aggregated for a default car but feel free to experiment. Just run some FPS test after testing non-standard settings. Markerlights Markerlights are purely model side based on assigned emissive materials Beacons Beacons consist of two parts on model side - emissive one and unlit one. The emissive one is hidden by default by an user controller and periodically hidden by time controller in model.cfg Config contains only user actions to turn beacons off/on by hiding/unhiding them, this is insideclass UserActions UserActions There should be two actions per beacons set - one to turn them off and other to turn them on, each as a subclass of UserActions {config.cpp} class UserActions UserActions { class beacons_start { userActionID = 50; displayName = Beacons start ; displayNameDefault = ; position = mph_axis ; radius = 1.8; animPeriod = 2; onlyForplayer = false; condition = this animationPhase BeaconsStart 0.5 AND Alive(this) AND driver this == player ; statement = this animate [ BeaconsStart ,1]; ; }; class beacons_stop beacons_start { userActionID = 51; displayName = Beacons stop ; condition = this animationPhase BeaconsStart 0.5 AND Alive(this) AND driver this == player ; statement = this animate [ BeaconsStart ,0]; ; }; }; Basic config hints Diagnostics Drive around as much as possible, preferably using real islands. Use Stratis airstrip for acceleration, gear change and sinking of vehicle purposes Path from Jay Cowe to Airstation Mike-26 on Stratis is great to test uphill performance of the car and AI driving skills Whole Chernarus is excellent playground to test vehicles Suspension Easier way to set up suspension is to have center of mass centered according to wheels. Non-centered center of mass is more interesting for driving performance, just be sure to make center of mass centered at least in left-to-right axis. Each wheel could have different suspension parameters but try to keep them the same for wheel pairs. You may try to use ARB if the car sways a lot sideways during turns. This causes lesser side sway but doesn t reduce bumping of suspension when accelerating and breaking. Gearbox Real gearbox ratios have extremely good results for higher speeds and are realistic for lower speeds. But it is better to use some lower values for lower gears to improve acceleration Look out for too big steps between gear ratios, this may prove to be problematic with steeptorqueCurve- engine would change gear later than expected and sound would go fubar dampingRateZeroThrottleClutchEngagedanddampingRateZeroThrottleClutchDisengagedcould be the same, this works really well for FWD cars - engine would slow them down way too much and lock the wheels when only directional arrow is pressed Reference This page is discussedon the BI forums
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Jungle or Dou Shou Qi (Chinese 鬥獸棋; pinyin dòushòuqí; literally "fighting animal game") is a traditional Chinese board game played on a 7×9 board. The game is also known as The Jungle Game, Jungle Chess, or Animals Chess, and is sometimes called Oriental Chess or Children s Chess. Jungle is a two-player strategy game and has been cited as resembling the Western game Stratego,[1] but Stratego actually has more in common with another Chinese board game known as Jun Qi (Chinese 軍棋; pinyin jūnqí; literally "army game"). 1 Rules 1.1 Objective The goal of the game is either to move a piece onto a special square, the den, on the opponent s side of the board, or capture all of the opponent s pieces. 1.2 Board The Jungle gameboard consists of seven columns and nine rows of squares. Pieces move on the square spaces as in international chess, not on the lines as in xiangqi. Pictures of eight animals and their names appear on each side of the board to indicate initial placement of the game pieces. After initial setup, these animal spaces have no special meaning in gameplay. There are several special squares and areas of the Jungle board The den (Chinese 獸穴; pinyin shòuxuè; literally "lair") is located in the center of the first row or rank of the board, and is labeled as such in Chinese. Traps (Chinese 陷阱; pinyin xiànjǐng; literally "snare") are located to each side and in front of the den, and are also labeled in Chinese. Two water areas or rivers (Chinese 河川; literally "river") are located in the center of the Jungle board. Each comprises six squares in a 2×3 rectangle, and labeled with the Chinese characters for "river". There are single columns or files of ordinary land squares on the edges of the board, and down the middle between the rivers. 1.3 Pieces Each side has eight pieces representing different animals, each with a different rank. Higher ranking pieces can capture all pieces of identical or weaker ranking. However, there is one exception The rat may capture the elephant, while the elephant may or may not capture the rat (depending on the variant). The animal ranking, from strongest to weakest, is Rank Piece Name 8 Elephant 象 xiàng 7 Lion 獅 shī 6 Tiger 虎 hǔ 5 Leopard 豹 bào 4 Wolf 狼 láng 3 Dog 狗 gǒu 2 Cat 貓 māo 1 Rat 鼠 shǔ Pieces are placed onto the corresponding pictures of the animals which are invariably shown on the Jungle board. All pieces move one space orthogonally. 1.4 Movement Players alternate moves with White moving first. During their turn, a player must move. Each piece moves one square horizontally or vertically (not diagonally). A piece may not move to its own den. There are special rules related to the water squares The rat is the only animal that is allowed to go onto a water square. However, some players prefer that the dog is also allowed to go onto a water square, which makes it easier to capture the opponent s rat in the water. The rat may not capture the elephant or another rat on land directly from a water square. If the dog is also allowed to go onto a water square, the dog may not capture the rat on land directly from a water square. Similarly, a rat on land may not attack a rat in the water. The rat may attack the opponent rat in the water if both pieces are in the water. If the dog is also allowed to go onto a water square, the dog may also attack the opponent s rat when both pieces are in the water. The lion and tiger pieces may jump over a river by moving horizontally or vertically. They move from a square on one edge of the river to the next non-water square on the other side. Such a move is not allowed if there is a rat (whether friendly or enemy) on any of the intervening water squares. If the dog is allowed on water, a dog (friendly or enemy) on any intervening water square also prevents the lion and the tiger from jumping over the river. The lion and tiger are allowed to capture enemy pieces by such jumping moves. 1.5 Capturing Animals capture the opponent pieces by "eating" them. A piece can capture any enemy piece which has the same or lower rank, with the following exceptions The rat may kill (capture) the elephant. Many published versions of the game say this is done by the rat crawling in the elephant s ear and eating its brain. As stated above, the rat may not capture the elephant from a water square. The powers of the rat resemble those of the spy in Stratego. The player may capture any enemy piece in one of the player s trap squares regardless of rank. 1.6 Variations There are some commonly played variations to the rules official published by the board/pieces maker as follows The elephant may not kill the rat under any circumstances. This is because a rat is able to dodge the attack of an elephant because of its size. Some play the game with the lion and tiger being equally strong, and they can kill each other. This is the more modern version. Some versions have the tiger outranking the lion. The leopard may jump over the river horizontally but not vertically (due to its lesser strength than the tiger or lion). It cannot jump over a rat in the river though. All traps are universal. If an animal goes into a trap in its own region, an opponent animal is able to capture it regardless of rank difference if it is beside the trapped animal. The rules for being on one s own trap do vary. A variant has the wolf replaced by the fox, in which case the dog is stronger than the fox. There are variations in which the lion is not able to jump across the river horizontally. The rules for the rat to capture either the elephant or rat from or into the water do vary. There is a simplified version called Animal Checkers, which has no traps or rivers, and only the rat, dog, tiger and elephant.[2] Amongst the many examples shown on boardgamegeek there is at least one where the pieces are designed so that they are no longer visible by the opponent (mounted as a card on a stand like Stratego pieces). This apparently minor change alters the game from one of stochastic full-knowledge to one of partial-knowledge. There is a version of the game that limits which animals (levels 1–4) can move on to the trap squares. Some players prefer allowing the dog to move onto a water square. This is because dogs are good swimmers. Jungle (board game) https //en.wikipedia.org/wiki/Jungle_(board_game)
https://w.atwiki.jp/asterisk99/pages/546.html
original (2019/05/14 付) Google 翻訳 (2019/05/17 付) # Overview of the new neural network system in Tesseract 4.00 #Tesseract 4.00の新しいニューラルネットワークシステムの概要 * Introduction * はじめに * Integration with Tesseract * Tesseractとの統合 * Hardware and CPU requirements * ハードウェアとCPUの要件 * For Open Source Contributors * オープンソース貢献者のために * Basics of the Implementation * 実装の基本 * Adding a new Layer Type * 新しいレイヤータイプを追加する # Introduction # 前書き Tesseract 4.00 includes a new neural network subsystem configured as a textline Tesseract 4.00には、テキスト行として構成された新しいニューラルネットワークサブシステムが含まれています recognizer. It has its origins in OCRopus Python-based LSTM implementation, but レコグナイザその起源はOCRopusのPythonベースのLSTM実装にありますが、 has been totally redesigned for Tesseract in C++. The neural network system in C ++でTesseract用に完全に再設計されました。ニューラルネットワークシステム Tesseract pre-dates Tensor Flow, but is compatible with it, as there is a TesseractはTensor Flowよりも前の日付ですが、互換性があります。 network description language called [Variable Graph Specification [Variable Graph Specification]というネットワーク記述言語 Language](VGSLSpecs) (VGSL), that is also available for Tensor Flow. See これはTensor Flowでも利用可能です。見る https //github.com/tensorflow/models/tree/master/research/street https //github.com/tensorflow/models/tree/master/research/street The idea of VGSL is that it is possible to build a neural network and train it VGSLのアイデアは、ニューラルネットワークを構築してそれを訓練することが可能であるということです without having to learn a lot of anything. There is no need to learn Python, 何も学ぶ必要はありません。 Pythonを学ぶ必要はありません。 Tensor Flow, or even write any C++ code. It is merely required to understand the Tensor Flow、あるいはどんなC ++コードでも書くことができます。理解することだけが必要です。 VGSL specification language well enough to build syntactically correct network 構文的に正しいネットワークを構築するのに十分なVGSL仕様言語 descriptions. Some basic knowledge of what the various neural network layer 説明さまざまなニューラルネットワーク層の基本知識 types are and how they are combined will go a very long way. 型がありそしてそれらがどのように組み合わされるかは非常に長い道のりを行くでしょう。 # Integration with Tesseract #Tesseractとの統合 The Tesseract 4.00 neural network subsystem is integrated into Tesseract as a Tesseract 4.00ニューラルネットワークサブシステムは、Tesseractに次のように統合されています。 line recognizer. It can be used with the existing layout analysis to recognize ラインレコグナイザそれを認識するために既存のレイアウト分析と共に使用することができます。 text within a large document, or it can be used in conjunction with an external 大きな文書内のテキスト、または外部文書と組み合わせて使用できます。 text detector to recognize text from an image of a single textline. 単一のテキスト行の画像からテキストを認識するテキスト検出器。 The neural network engine is the default for 4.00. To recognize text from an ニューラルネットワークエンジンは4.00のデフォルトです。のテキストを認識する image of a single text line, use SetPageSegMode(PSM_RAW_LINE). This can be 単一のテキスト行の画像は、 SetPageSegMode(PSM_RAW_LINE)を使います。これは used from the command-line with -psm 13 コマンドラインから -psm 13を付けて使用 The neural network engine has been integrated to enable the multi- language mode ニューラルネットワークエンジンは、多言語モードを有効にするために統合されました that worked with Tesseract 3.04, but this will be improved in a future release. これはTesseract 3.04で動作しましたが、これは将来のリリースで改善されるでしょう。 Vertical text is now supported for Chinese, Japanese and Korean, and should be 垂直テキストは現在、中国語、日本語、韓国語でサポートされています。 detected automatically. 自動的に検出されます。 # Hardware and CPU Requirements #ハードウェアとCPUの要件 The Tesseract 4.00 neural network subsystem is heavily compute-intensive, using Tesseract 4.00ニューラルネットワークサブシステムは、次のものを使用して、非常に計算集約的です。 the order of ten times the CPU resources of the base Tesseract, but the impact 基本TesseractのCPUリソースの10倍のオーダー is mitigated, if your platform supports it, as follows プラットフォームがサポートしている場合は、次のように緩和されます。 * OpenMP allows use of four cores in parallel if your machine has them. * OpenMPでは、あなたのマシンに4つのコアがあれば、それらを同時に使用することができます。 * Intel/AMD processors that support SSE and/or AVX benefit from SIMD SSEやAVXをサポートするIntel / AMDプロセッサはSIMDの恩恵を受けます parallelization of the core matrix multiplications. コア行列の乗算の並列化 On a machine with multiple cores, and AVX, an easy English image may take twice 複数のコアとAVXを搭載したマシンでは、簡単な英語のイメージは2倍かかることがあります。 as much real time, and use 7 times the CPU as base Tesseract, whereas Hindi ヒンディー語に対して、リアルタイムと同じくらい、そして基本Tesseractとして7倍のCPUを使う takes more CPU than base Tesseract, but actually runs faster in terms of real 基本的なTesseractよりも多くのCPUを使用しますが、実際には実際の面で高速に実行されます time. 時間。 If the above components are missing, there is a slower plain C++ implementation 上記のコンポーネントが欠けている場合は、遅いプレーンなC ++実装があります。 that enables the code to still work. それはコードがまだ機能することを可能にします。 Little-endian and big-endian systems are both supported. リトルエンディアンとビッグエンディアンの両方のシステムがサポートされています。 # For Open Source Contributors #オープンソース貢献者のために The initial implementation lacks the following 初期の実装には以下が欠けています。 * There is a C++ implementation if the hardware does not have SSE and/or AVX, *ハードウェアにSSEやAVXがない場合はC ++の実装があります。 but the code could benefit from SIMD implementations for other hardware, しかし、コードは他のハードウェア用のSIMD実装から恩恵を受けることができます。 such as ARM. See the new arch directory for where to insert the code. ARMなど。コードを挿入する場所については新しい archディレクトリを見てください。 # Basics of the Implementation #実装の基本 All network layer types are derived from the Network base-class. The すべてのネットワーク層のタイプは Network基本クラスから派生しています。の Plumbing sub-class is a base-class for layers that manipulate other layers in Plumbingサブクラスは他のレイヤーを操作するレイヤーの基本クラスです。 some way, e.g. by reshaping their input/output or organising a group of layers. 何らかの方法で、それらの入力/出力を作り直すか、層のグループを組織することによって。 The input/output data "Tensor" is NetworkIO and the weights are stored in a 入出力データ "Tensor"は NetworkIOであり、重みは WeightMatrix, both of which contain a Tesseract GENERIC_2D_ARRAY to hold the WeightMatrixは両方ともTesseractを保持するためのTesseract GENERIC_2D_ARRAYを含みます data. LSTMRecognizer provides the higher-level abstraction of converting an データ。 LSTMRecognizerは、より高度な抽象化を提供します。 image of a textline to a sequence of tesseract WERD_RES classes. LSTMTrainer 一連のtesseractの WERD_RESクラスへのテキスト行の画像。 LSTMTrainer likewise handles the abstraction of training a network on an image of a textline テキストラインの画像上でネットワークをトレーニングすることの抽象化も同様に処理します。 that has a UTF-8 string truth . NetworkBuilder takes responsibility for それはUTF-8文字列 真実 を持ちます。 NetworkBuilderが責任を負います converting the VGSL specification language to a graph of network elements. VGSL仕様言語をネットワーク要素のグラフに変換する。 # Adding a new Layer Type #新しいレイヤータイプを追加する A new layer class must derive from Network or Plumbing and implement at 新しいレイヤクラスは NetworkまたはPlumbingから派生して、で実装しなければなりません least the following virtual methods 少なくとも次の仮想メソッド * spec, which returns a string corresponding to the string that generated * spec、生成した文字列に対応する文字列を返します the layer. レイヤー * Serialize/DeSerialize to save/restore the layer to/from a TFile. TFileとの間でレイヤーを保存/復元するための Serialize / DeSerialize。 * Forward to run the layer in the forwards direction. * Forwardはレイヤーを順方向に動かします。 * Backward to run the layer in the backwards direction during training. トレーニング中に逆方向にレイヤーを動かす* Backward。 Layers that have weights must also implement Update to update the weights with 重みを持つレイヤーは、重みを更新するための Updateも実装しなければなりません。 a set of gradients. There are quite a few other methods that may need to be グラデーションのセット他にもいくつかの方法があります。 implemented, depending on the specific requirements of the new layer. See 新しい層の特定の要件に応じて実装されています。見る network.h for more information on the methods that may require implementing. 実装が必要なメソッドの詳細については、 network.h。 * NetworkBuilder must be modified to parse the specification of the new * NetworkBuilderは新しい仕様をパースするように修正されなければなりません type. タイプ。 * The NetworkType enum must be extended to include the new type. * NetworkType列挙は新しい型を含むように拡張されなければなりません。 * A corresponding entry in Network kTypeNames must be added for the new * Network kTypeNames内の対応するエントリを新しいものに追加する必要があります type. タイプ。 * Network CreateFromFile must be modified to construct the appropriate type * Network CreateFromFileは適切な型を構築するために修正する必要があります on deserialization. 逆シリアル化 * As with any new code, lstm/Makefile.am needs to be updated with the new *他の新しいコードと同様に、 lstm / Makefile.amも新しいコードで更新する必要があります。 filenames. ファイル名
https://w.atwiki.jp/vocaloidenglishlyric/pages/217.html
【Tags H Luka tH KEI】 Original Music Title Hello, Worker Music Lyrics written, Voice edited by KEI Music arranged by KEI Singer 巡音ルカ (Megurine Luka) Click here for the Japanese Lyrics English Lyrics (translated by animeyay)： I lavish out my smiles, wanting others to recognize my life tightly fit onto a B4-sized scrap of paper. Until I can work out this twisted difficult problem, I must stay behind and work overtime. I can t leave. As the head of the line distances away, I m left behind alone. I keep on yearning to be on the other side of the rail. However, I don t know what I want to do. I don t know what I m capable of. Saying so on my hands and knees, I got this far. I don t understand about tomorrow. I don t care about yesterday. If so, then please at least let me have today. Receiving no expectations, and holding no expectations, I wonder how our shaved and scraped selves look like. I have walked this far cutting and pasting my life that s swaying to the numerous rows of good luck charms. What did I obtain? What did I lose? Looking for an answer, I bit my lips and came this far. Even if the world would end tomorrow, even if I try to forget yesterday, just please at least let me have today. As the head of the line distances away, I m left behind alone. "Where did I trip?" "Ah, what have I been doing?" Receiving no expectations, and holding no expectations, although we are shaved and scraped, there s still breath left in us. But I don t know what I want to do. I don t know what I m capable of. Saying so on my hands and knees, I got this far. I don t understand about tomorrow. I don t care about yesterday. If so, then only today, only this very moment, belongs to us. Singable English Lyrics (by Nori)： Before being me to achieve all of my goals, I want to be recognized, By someone who would give me a smile everyday and share their joy all the time. Would you comprehend that the answer to this end cannot be solved on your own? I m trying to escape from my distorted fate, I’m running all alone... The way of living seems defined, but I’m just getting left behind. I wish I could rewind the trail of my life. What is there to find? However... I don’t really understand what I want to do, But I cannot pretend that I have got no clue, Yet the burden of my words pushes me down every single day. I don’t really know if my time on earth will last, And I cannot change what has happened in the past, But one thing I can change - is my life today... How many times did I question myself what is right and what is wrong? I ve gained and I have lost, I laughed and I cried and I pushed to walk on. Without expecting anything, and much less expecting from me, I breathe here on my own, my heart turns to stone. What is there to see? So, therefore… Am I not society’s foolish victim? And what is the price to return my freedom? I’d pay anything even if it could be just a gentle smile. Even if the end of the world would be near, I’d forget about all the things I hold dear, So, please let me at least - just have it today... The way of living seems defined, but I’m just getting left behind. “Hey, what have I been doing wrong? I have not the strength to go on.” Without expecting anything, and much less expecting from me, My path began to shift once more, a chance that I’ve been waiting for. However... I don’t really understand what I want to do, But I cannot pretend that I have got no clue, Yet the burden of my words pushes me down every single day. I don’t really know if my time on earth will last, And I cannot change what has happened in the past, But one thing I can change - and one thing I will change which is my life today... Singable English Lyrics (by くろはね(Kurohane))： Summarizing my entire life on a piece of paper Trying to get some attention with it with a smile on my face all the time Can t come up with a convincing answer for this crooked question I can t get out of here until I do Oh, I feel trapped inside The leaders are far ahead I m the only one left behind I long for what s beyond the rail that lies in front of me However I have no idea about what I wanna do I have no clue about what I can do I kept saying that to myself while I dragged myself this far I don t know about the future I m not sure about the past So I am begging "Please, let me live today..." Sayin our prayers in few sentences to get through this messed-up life Handing it out to people all around us in order to survive Noone lays their hopes on you You don t lay your hopes on them I wonder how we look from the outside now that they ve took away a part of us What did we gain up until now? What did we lose up until now? Still searching for an answer while we are clenching our teeth Tomorrow could be the last day on earth We might forget all about yesterday That s why I m begging "Please, let us live today..." The leaders are far ahead I m the only one left behind Just where did I go wrong? What the hell was on my mind? Noone lays their hopes on you You don t lay your hopes on them We may look out of shape But we are still breathing...! However I have no idea about what I wanna do I have no clue about what I can do I kept saying that to myself while I dragged myself this far I don t know about the future I m not sure about the past So l ll keep begging "Please..." "Let us live this precious moment today...!" Romaji lyrics (transliterated by animeyay)： BIIyon no kamikire ni osamaru boku no jinsei o dareka ni mitomete hoshikutte furimaku egao keisan ja warikirenai kono ibitsu na nanmon ga tokeru made inokori na n da derarenai n da sentou wa toozakaru hitori torinokosareru me no mae no REERU no mukou ni akogareru dake dakedo nani ga shitai ka wakaranai nani ga dekiru ka wakaranai sou iinagara haitsukubatte koko made kita n da yo ashita no koto wa wakaranai kinou no koto wa kawaranai nara kyou gurai wa boku ni kudasai suugyou no "o-inori" ni yureugoku boku no jinsei o kiritotte oshitsukeru you ni kubari aruita kitai sarenai mama kitai mo shinai mama kezurareta bokura no katachi wa donna fuu ni mieru no darou nani o te ni ireta n darou ka nani o ushinatta n darou ka kotae sagashi ha o kuishibatte koko made kita n da yo ashita sekai ga owarou to kinou no koto wasureyou to tada kyou dake wa boku ni kudasai sentou wa toozakaru hitori torinokosareru "doko de tsumazuita no?" "are, nani shite n darou?" kitai sarenai mama kitai mo shinai mama kezurareta bokura mo mada iki wa aru kara dakedo nani ga shitai ka wakaranai nani ga dekiru ka wakaranai sou iinagara haitsukubatte koko made kita n da yo ashita no koto wa wakaranai kinou no koto wa kawaranai nara kyou dake wa kono ima dake wa bokura no mono
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That s my good friend Charlie. He was the first person I met when I came to Venice, and I love him dearly. As a friend. 彼は私の親友Charlie。Veniceに来た時最初に出会った人で、彼のことは心から慕ってる、友達としてね。 That s Charlie. Charlieよ。 Mmmm... Draft... Actually, I m not a beer person. I prefer a glass of white wine or a cup of steaming mocha. Draft beer. Import, of course. Complimentary candy. For paying customers only. Stan has a habit of taking it out of your salary if you, uhm, get the munchies. Complimentary candy. I m sure Stan won t notice if I dig gently into his supply. He s got crates of these in the back. I have more than enough. I hate to say it...but I don t have time to talk to Charlie right now. Hi, Charlie. April! Nice to see you, girl. April！ 会えて嬉しいよ。 No. Early bird finishes the damn painting on time. (laughs) I came to wake you this morning, but you d already left. Early bird catches the worm? Hi, Charlie. What s up, April? Why was the caf・closed earlier? Ah, you know, some problem with the pipes. Stan, he gets real worked up--he was seriously pissed, girl. Ugh, gross. There were problems with the plumbing back at the house, too. No hot water. I noticed! Girl, that was one cold shower. There are always problems with the pipes here in Venice. They re too old. How s work going today? Aside from the trouble with the plumbing, everything s been peaceful. Emma s here with Marcus and Isabelle, but other than that, it s been a quiet morning. Or on holiday. Perfect time for it too. The city s just boiling in July, and it gets even hotter in August. You doing anything special tonight? Working. I should really be at rehearsal, but I need the money. I m going home for a week before school starts in September. Right, you told me. Well, that s great. It s been years since your last trip home, right? Right, yes, you remember well. Four years. My father and I, we haven t been on good terms since I left. I have to get going, Charlie. Charlie、私もう行かなきゃ。 Take care, all right? じゃあね。 Keeps yelling at the plumber to fix it or Stan will fix him, and the poor man is trying to work, but Stan don t quit. You should ve stayed out in the country until the autumn, girl. It s cooler out there, yeah? Isn t it such a clich・ though? I don t look forward to seeing him again, but it will be nice to be back with the rest of my family. Especially my sisters, and my Mum. I know how that feels. Have you seen Cortez around? Cortezを見なかった？ As a matter of fact, I have. And he was asking for you. 実のところ見かけたよ。君について尋ねてた。 Do you have any idea where I can find the Roma Gallery? Roma Galleryがどこにあるのか知ってる？ Roma Gallery? I seem to remember the name from somewhere...but no, sorry. Roma Gallery？ どこかで聞いたことがあるような…ごめん、思い出せない。 They have a poster next to the jukebox, advertising an exhibit. Jukeboxの隣にポスターを出してるじゃない、展覧会の広告で。 Oh yeah, that s right. I remember they put up that poster. The address must be written down somewhere, yeah? Did you check? ああ、そうだ。そのポスターが貼られてたのを思い出したよ。住所がどこかに書いてなかった？ 確認したかい？ I ll see you later, Charlie. またね、Charlie。 Later! また！ You said Cortez stopped by... Yeah? Any idea where Roma Gallery is? Roma Galleryってどこかしら？ I d check the poster if I were you. The address has got to be written somewhere. 俺が君だったらポスターを確認するね。住所がどこかに書いてあるよ。 The plumber finds the problem eventually, but not until he s waist high in canal water down in the basement. Everybody must be at home, out of the sun, yeah? Mind if I ask you a few questions, Charlie? 少し聞きたいことがあるんだけど、いい？ Why would I mind, girl? ああ、もちろん。 Can I ask you a few more questions, Charlie? 他にも質問があるんだけど、大丈夫？ Sure. Yeah, the summers were cooler back home. I remember, back in St. Vincent, it got so hot sometimes...my father worked as a volunteer fireman, and sometimes he d "borrow" the old truck from the garage... On those days, I loved him so much. They were good days. He d fill it with spring water from the river up in the hills, and then he would hose me and my sisters down with ice cold water. We d laugh and scream and run around, and the funny thing is, his eyes d light up, and he d be so proud of himself... He could be so good, and he could be so bad. I think I prefer this heat to the heat I got at home. You re safe now, yeah? We take care of you, April. You do. I m lucky. It s not luck. You re a good person, and you deserve good friends. You help me out when I m in a state, yeah? You re always in a good mood, Charlie. Yeah, but you never know. You re there if I ever need you, I know that. He asked about me? 彼が私のことを？ Yeah, where you were. He had a message for you. I told him to give it to Emma, that she was more likely to bump into you. うん、どこにいるかって。君に伝言があったらしい。Emmaに伝えるように言ったよ、彼女のほうが君と出くわす確率が高いからね。 Do you know where he was going? それからどこに行ったかわかる？ No, but he seemed interested in that poster next to the jukebox. They put it up earlier today. さあ。でもJukeboxの横のポスターに興味があったみたいだよ。今朝貼られたやつだ。 Thanks. I got it. But I have no idea what it means. 聞いたわ。でも意味がわからないの。 Cortez can be a little strange. 彼ちょっと変わってるね。 Do you have any ideas where kids would be able to, uh, "visualize their dreams"? 子供たちが…ええと、「夢を思い描ける」場所って、どこのことか分かる？ Maybe in therapy? それってセラピー？ I don t think that s it, Charlie. 違うと思う、Charlie。 What poster did you say he was interested in? 彼が見てたポスターってどれ？ The one right next to the jukebox. Jukeboxの横のやつだよ。 Anytime, April. お安いご用さ。 Then, I don t know. Remember you re supposed to get paid today. Stan s not gonna remember unless you bug him about it. What s your take on Cortez? Cortezってどう思う？ Why do you want to talk about Cortez? I don t know him that well, girl. Yeah, he s been around for as long as I can remember, but I never really talked to the man. どうしてCortezについて聞くの？ 俺は彼のことあまり知らないよ。そうだな、彼は俺が覚えてる限りずっとこの辺りにいるけど、実際に話したことはなかったな。 Do you think he s as crazy as some people say? 一部の人が言うように狂人だと思う？ No, he s not crazy. Just a little eccentric. He doesn t give a donkey s ass what people think or say about him, and that s cool. I don t know, I have a feeling there s a lot more to Cortez than what he wants us to believe. That man has had an eventful life, I m sure. Anything else that comes to mind about Cortez? What else? I don t know what to tell you, girl. When he s not talking about books, he talks about old movies. He loves the classics. Calls them "real art". What was it about me that made you want to be my friend, Charlie? Everything, girl! You re a sweet peach (laughs). No, it s true -- I liked you from the very beginning, when you first came into the caf・with a suitcase in each hand, lost and bewildered. God, thanks for reminding me. I was such a country bumpkin. No, everyone who comes to Venice looks like that, girl. This is the village of the damned, don t you know? (laughs) How long have you known Emma? I met Emma about one year ago, when she started studying at VAVA. She moved into the room just opposite mine, and we became friends almost immediately. I like her a lot, and the two of you are the best friends I ve ever had. Thanks, Charlie. The same goes for me. Did you ever tell Emma that? Yeah, I ve told her, and she jokes about it...that s just Emma. I know she appreciates me telling her, though. Does Emma s behavior ever worry you? She can seem a little out of control from time to time, but she s smarter than people give her credit for. I think she s able to take good care of herself. She s a brilliant artist. Her sculptures are inventive and beautiful. I know. Sometimes I m in awe -- they just don t seem to match her personality. She s a deep person, but she hides it well. She s more comfortable being a ditzy teenager than a professional artist, but around the two of us -- sometimes she lets the disguise drop. I love her when she does that. Thanks, Charlie. What about you Charlie? What about me? Yeah, when was the last time you talked about yourself? I don t talk much about myself, girl. You know that. Still...I d like to talk about you for a bit. If you want... Just in general, or is there anything in particular you want to know? Could I ask you a few more questions about yourself? Yeah, sure. If you re interested. Do you like living in Venice? I love Venice. I ve been here three years now, and I haven t grown tired with it yet... I don t know if I ever will. Venice s like a college campus -- there are so many young people here, from all over the world, and the mix of nationalities and ideologies and ethnicities is refreshing and inspiring. The fact that we re also right in the middle of one of the great cities on Earth is just a bonus. Call Newport whatever you want, at least it s alive, and there s always something going on. Yeah, Venice is my kinda place, and I m not planning on leaving anytime soon. At least not as long as all my friends are living here. Thanks, Charlie. What s your biggest dream? A dark stage, a packed auditorium, and a single spotlight. Dancing, girl, don t you know? I m a good dancer, but I need to be among the best to make it out in the real world. So I ll keep studying and I ll keep working as a waiter to support my studies. Just like you. How did you end up in Venice? At home, there wasn t much professional training available for dancers. And my father, he was not happy about my choice of career. He wanted me to work in the factories like him and his father. Out here, in Venice, everyone s got their own dreams and people are supportive of each other no matter how crazy those dreams might be. Your dream isn t crazy at all, Charlie. You re already half-way there. But I still have a long way to go. You re right, girl. I can make it if I work hard enough. So can you, cause we re both just so damn talented! (laughs) Are you happy working here at the caf・ We make decent money, if that s what you mean. I don t want to be a bartender for the rest of my life, obviously, but yeah, I m happy I have a job. And you work here too, so I get to hang out with my friend, right? If it wasn t for that, I don t know if I d be able to do it. Hard work and lousy pay. But the hours are flexible, and like you said, I get to hang out with you and my other friends. That s all I wanted to know, Charlie. Okay. Unfortunately, yeah. Are you staying for the show tonight? What show? You don t know who s playing? I ve had a--few other things on my mind these past few days, Charlie...sorry. Anybody good? Anybody good? Are you kidding? Royn Dale s playing! It s the first gig on their new tour...sort of returning to their roots before they do the big venues. Tonight? Great! That s perfect, especially tonight. I need some serious unwinding. Yeah? What s up? You still staying for the show? Yup. Just wanted to chat a little first. Sure. What s on your mind, girl? Pulling long hours today, Charlie? Nothing, I m just tired. I just had the weirdest experience of my life. You wouldn t believe me anyway. You don t look too hot either. I mean, uh, you always look hot, but you look a little beat...a little tired. Do you mean that? About me always looking hot? Yeah, you know I think you re the most beautiful girl in the world. I ve told you before. I just have a hard time accepting it, is all. Thanks, Charlie. You so sweet. Weirder than what happened here last night? I just had the weirdest experience of my life. Weirder than last night? Much weirder, trust me. I mean, what happened here...it could be explained. A hologram, Rapture gas, mass suggestion... That s stretching it a little, don t you think? What, rather than the alternatives? That we re all either going crazy or that something is breaking through from another world? You don t think that s stretching it? I don t know what I think, April. I just know that, sometimes, there are things lurking in the shadows that can t be explained by science...that the world holds more mysteries than we think. Maybe. Try me. No, really, you would not believe it. I m not sure if I believe it. Actually, I m pretty sure I don t, but...it s too close right now, I gotta think it through first. All right, when you re ready you tell me, okay? Maybe. If I tell anybody, you ll be the first, Charlie. Who told you about last night? Fiona. And I told her about what happened here. Much weirder. I mean, it sounded like what happened here could ve...it might just have been mass suggestion, or a hologram, or even Rapture gas. April-- It s happened! I know, I know, it was probably very real to you, and I m not saying it wasn t, but the alternatives... Are the alternatives so much worse? That there are things going on that we can t explain? That there s more to life than what science teaches us? I don t know, Charlie. I wish I did, but I don t. What do you mean? What happened here? You don t know? It was another one of those "weirdest things ever" incidents, but it sounds so much like what happened to you guys. It happened around eleven last night. I was behind the bar, and I couldn t see how it started, but when the music changed... Something--it wasn t human, or not like any human I ve seen--appeared...materialized...from the jukebox. It was playing an instrument, and at first it didn t seem to notice anyone... Then, when it did, it suddenly disappeared again. I mean, everyone saw it. Everyone. And everyone was just staring at the jukebox, and then at each other. And then things sort of...returned to normal again. It was as if they all chose to block it out. It was really scary. That does sound like what happened back at the house last night. But Charlie, it could just have been--I dunno--mass suggestion, or perhaps gas Rapture...even a hologram. Why is that easier to accept than the alternatives? You mean, that we re all going crazy? Or that something really is happening, like an opening between dimensions, and stuff s leaking through? You d rather believe that? I believe there s more things under the sky than science can explain. To me, that s a better explanation. I can accept a mystery. Charlie, I don t know...I don t know what I m supposed to believe anymore. So what s this thing you were gonna tell me about, the "weirdest experience of your life"? You wouldn t believe me anyway, Charlie. Try me. No, really. I can t. It s too much, too close. I don t know if I believe it myself. Okay. You tell me about it later then, all right? Maybe. I have to tell you what happened to me last night. If it s about what happened in the common room, I heard. Fiona told me. Really? Freaky, isn t it? It freaked me out, that s for sure. Yeah, but I can relate. Did anyone tell you what happened here? No, what? Around eleven last night, I was working the bar, and I couldn t see how it started, but the music suddenly...changed. Something--it don t think it was human, not from any anatomy book I ve ever seen, at least--appeared...some said materialized...from the jukebox. It was playing an instrument, and at first it didn t seem to notice anyone... Then, the second it did notice, it disappeared. In the blink of an eye. Everyone saw it. And, afterwards, everyone was just staring at the jukebox in complete silence...and then things just...went back to normal. It was as if they all chose to block it out. It freaked me out too. And, even though we--you and me--didn t see the same thing, I believe they are...they must be...related. What the hell s going on? I don t know. My Grandma would call it voodoo, but then she calls everything she can t explain voodoo. How about hallucinations? Or mass hypnosis? In two different places, at the same time? Do you really believe that, April? Don t ask me what I believe. The alternatives... ...are scary, yeah, but is the fact that there are unexplained mysteries in the world any worse than the possibility someone s feeding us nightmares? If you could only... Yeah, Charlie, I think I d actually prefer that. Is Emma around? Haven t seen her. But she knows about the show, so she ll be here. When does the concert start? In less than an hour. I expect the place to be crowded soon, so you should find yourself a spot to sit down. Thanks, Charlie. No problem. Later. I m glad you re here. I need somebody to talk to. Yeah? Me too. What s going on? Charlie? Weird stuff has been happening to me. You go first. Oh, nothing. Doesn t it always? Not like this. I was convinced they were hallucinations, after-effects of my dreams...but yesterday, and last night... Last night? That s incredible. Me too! You haven t heard anything about what happened here last night? Not a word. Now you definitely got my attention. What happened? No problem. Around eleven last night, I was working the bar, and--well, I couldn t see how it started, but the music suddenly changed, and the place went dead quiet. I walked over to the far end of the bar... Something--it wasn t human, definitely not like any human I ve ever seen--just appeared out of thin air where the jukebox is, playing an instrument. At first it didn t seem to notice anyone... ...everyone stood there, watching it, dead silent. Then it looked up, and then it just disappeared. Everyone was staring at the jukebox, and then at each other. And then things just...went back to normal. It was as if they all chose to block it out. It was scary, girl. I couldn t get the image of that creature out of my mind...and the look on its face... It was real, that s for sure. As real as you and me. But different. Don t interrupt. What happened? You haven t heard anything about what happened here last night? No. Tell me. Sorry, girl. Go on. This is gonna be hard to believe...but it s true, I swear to you. Of course I ll believe you, girl. Last night, I came home, and Mickey and Fiona were watching the screen. So I joined them. We watched a documentary about the rainforest, and...and... What happened? The room turned into a jungle. Are you serious? No. I m lying to you. Of course I m sure! I was there, Fiona was there, Mickey...we all saw the same thing. A jungle. But only for a split second. Then it was gone. Just like that. And it wasn t like a hologram--it was more real than that. It smelled right. The air was thick and humid, and...and it didn t feel synthetic, like those shows they have. It felt real. The worst part was, it looked familiar. Like something from a...a dream. I recognized the place. And I recognized the emotions I had being there. From where? Like I said, from dreams. And from...experiences I ve had...these past few days. Strange stuff. Scary stuff. But I d rather not talk about those experiences now. I understand. Wow. Heavy. It s amazing how similar our stories are. And it scares me. Because...have you considered the possibility you ve been drugged, Charlie? Or subjected to some holographic experiment? You prefer that to the alternatives? That we re going crazy, or that there s actually something...something going on, something we can t understand? You think those alternatives are better? I can t tell you, April. All I know is the experience was real to me, as yours was to you, and to a lot of other people. Now I want to hear your story, April. What happened? So what about you, Charlie? What s your story? Any nightmares tonight, April? After last night? Are you kidding? It s a wonder I haven t gone crazy yet. So you re in the "true believer" crowd, then? What do you mean? What I mean is, a lot of the people who were here last night refuse to admit they saw what they saw. Or they blame it on hidden holographic projectors, or drugs in the coffee. That s as good an explanation as any, don t you think? Is it? Amongst all the alternatives, you d prefer to believe in a conspiracy? What, and face that fact that we all might be going mad, or that something really bad is happening? Who knows, April. Perhaps sometimes it s better to embrace the mystery rather than trying to explain it? I believe what I see, Charlie. And sometimes I don t even believe that. Anyway. Let s not talk about that right now, okay? Okay. Charlie? Gotta go find Cortez again. Is this going to be a daily ritual with you guys? I certainly hope not. Bye, Charlie. Later. Mind if I ask you a few questions, Charlie? Can I ask you a few more questions, Charlie? Sure. Why would I mind, girl?