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https://w.atwiki.jp/yamiden_us/pages/109.html
報酬：Dia Aite(２時間30分ホルラマ)をもらえるようになる 必要な物：eothaichdeum attachref、クエスト未達成の仲間1人 STEP1 attachref Beothaichdeumを持ってLoures Castleの武器屋の奥の牢屋のようなエリアにいるMarlinという老人をクリックして会話（但しもう１人同時にクエストをする仲間が必要です) From The Heart Who is Bella? Where is Bella? Next From The Heart Who is Bella? I will tell the message to Bella. Next Next Close From The Heart Why were you imprisoned? Next What about the new councilor, Jean? Where is Jean? Next Does not Jean care you are imprisoned? Next Does Jean know Bella? Next Thank You. From the Heart What dreadful dreams? Next thank you STEP2 次にLoures Castle内、入り口の所まで戻り右側から2Fへ行き通路をぬけて 更に上に昇り王の間のような所を左に抜けて薬屋のような部屋にいるJeanと会話 Cycle of Becoming TheologyoftheConjunction Next Next Next Where is Bella? Next What did she say? Please tell me more Next Next Where is Bella? Next What did she say? Where is Bella? Close STEP3 Eastern Woodlandsの左側からEnchanted Garden 内、X81Y8へ行くと窓が開くので会話開始 Wait Yes Have you seen Bella? Where is she now ? Close Step4 Loures CastleのMarlinの所まで戻り会話 From the Heart I found a faerie in the garden who said… How can I help you? I think I can do it. I ll tell her. Next Step5 attachref 武器屋の下のエリアから左に入り寝室のような部屋へ行きX6Y8に乗ると窓がでるので選択肢Feel it. を選択。成功なら迷路のような所に移動。失敗もなぜかあるので（毒、呪い）失敗ならF5を押して成功するまで。 Step6 attachref Chamber(?〜?)に着いたらMAP参照(※Blackweasel氏より拝借)しながらStoneを目指してください。(MAPはLV20~40用) クエストを進行する人のLVによって?〜?ここのエリアにダークベルトを ドロップするモンスターがいます。（Chamber IIまで？） Step7 Stoneに触れて部屋のような所に入ったら真ん中の丸い円周辺に１人が入りもう１人が選択肢 Conjunction of the Flame and the Moon Next Next (相手の名前入力) I will be the Moon *stands still, smiling* or *bows head in prayer* Moonlight watches over each of us. Or Darkness folds to light. The moon s soft touch heals. Or The moon will rejoin the Heart. Show your secret of love. Or Teach me your secret of love. …in soft moonlight. …kindles love. So may it be for all Aislings. Goal クエストが達成すれがキャラが光に包まれるはずです。 #attach ちなみに Fire 役か Moon 役かによって、もらえる EXP が違ったりする。嫌な仕様だ。 -- Boos 名前
https://w.atwiki.jp/rsbuygoldq/pages/60.html
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give resources give arties give armor give air attach ssdebug 戦士 Swordsmanship 剣術 set swords set swords 1200 Fencing 槍術 set fencing set fencing 1200 Mace Fighting 棍術 set macing set macing 1200 Archery 弓 set archery set archery 1200 Parrying 受け流し set parry set parry 1200 Tactics 戦術 set tactics set tactics 1200 Anatomy 解剖学 set anatomy set anatomy 1000 Healing 包帯 set healing set healing 900 Chivalry 騎士道 set chivalry set chivalry 750 Bushido 武士道 set bushido set bushido 1200 Ninjitsu 忍術 set ninjitsu set ninjitsu 1200 Arms Lore 武器学 set armslore set armslore 1000 Lumberjacking 伐採 set lumberjacking set lumberjacking 1000 Focus フォーカス set focus set focus 1000 魔法 Magery 魔法 set magery set magery 1200 Evaluating Intelligence 知性評価 set evalint set evalint 1200 Inscription 書写 set inscribe set inscribe 1000 Meditation 瞑想 set meditation set meditation 1000 Necromancy 霊媒 set necromancy set necromancy 1050 Spirit Speak 霊話 set spiritspeak set spiritspeak 1000 Spellweaving 織成呪文 set spellweaving set spellweaving 1200 Resisting Spells 魔法抵抗 set magicresist set magicresist 1200 生産 Blacksmithy 鍛冶 set blacksmith set blacksmith 1200 Tailoring 裁縫 set tailoring set tailoring 1200 Carpentry 大工 set carpentry set carpentry 1000 Tinkering 細工 set tinkering set tinkering 1000 Alchemy 錬金術 set alchemy set alchemy 1000 Inscription 書写 set inscribe set inscribe 1000 Poisoning 毒 set poisoning set poisoning 800 Cooking 料理 set cooking set cooking 1000 Mining 採掘 set mining set mining 1000 Lumberjacking 伐採 set lumberjacking set lumberjacking 1000 Fishing 釣り set fishing set fishing 1000 バード Musicianship 楽器 set musicianship set musicianship 1200 Discordance 不調和 set discordance set discordance 1200 Provocation 扇動 set provocation set provocation 1200 Peacemaking 沈静化 set peacemaking set peacemaking 1200 テイム Animal Taming 調教 set animaltaming set animaltaming1200 Animal Lore 動物学 set animallore set animallore 1200 Veterinary 獣医 set veterinary set veterinary 1200 Herding 牧羊 set herding set herding 1000 シーフ Hiding 潜伏 set hiding Stealth ステルス set stealth Stealing 窃盗 set stealing Snooping 覗き set snooping Detecting Hidden 探知 set detecthidden Tracking 追跡 set tracking Lockpicking 鍵開け set lockpicking Remove Trap 罠解除 set removetrap トレハン Cartography 地図作成 set cartography Lockpicking 鍵開け set lockpicking Mining 採掘 set mining Remove Trap 罠解除 set removetrap 他 Begging 物乞い set begging Forensic Evaluation 検死 set forensics Herding 牧羊 set herding Fishing 釣り set fishing Item Identification アイテム鑑定 set itemid Taste Identification 味見 set tasteid Tracking 追跡 set tracking
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Puberty Dysthymia(激) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FA(SA) その他 Puberty Dysthymia BEMANI Sound Team "person09" A 激 (67-)70-210 545 / 36 BEMANI SUMMER GREETINGS STREAM VOLTAGE AIR FREEZE CHAOS 98 114 117 36 74 楽譜面(8) / 踊譜面(13) / 激譜面(17) / 鬼譜面(-) 属性 左右振り、遠配置、ひねり、交互難、同時踏み、八分滝、ソフラン(加速、減速)、リズム難、縦連 譜面 https //livedoor.blogimg.jp/yanmar195/imgs/f/1/f15b1597.png 譜面動画 https //www.youtube.com/watch?v=DmqbWXvyPNA (x2.25, RAINBOW) https //www.youtube.com/watch?v=FeZcR_I6GGw (x2.0, NOTE, Clap) プレイ動画 https //www.youtube.com/watch?v=2oTIg-sOyio&t=114s (x?.?, NOTE ※1 54～) 解説 BPM推移 70-(69～67まで1ずつ減速)-(68～80まで1ずつ加速)-75-210-200-190-180-170-166-210 同時踏み主体なのはESPと同様だが、ESPは スノプリ地帯 が頻出する一方で、EDPは8分同時込みの渡りで難易度を上げている。どちらが難しいかは完全に個人差と言える。 しかし最後はESPと同様にEDPの方もスノプリ地帯で締めるため、結局は210BPMという高速の同時縦連耐性が必要となってくる。 名前 コメント コメント(私的なことや感想はこちら) 16分が極端に少ないかわりに、左右振りとAIRの組み合わせで難易度を上げてる譜面。AIRをいかに軽く、体力を使わないように踏めるかがクリアの鍵。最後のAIRはノンバーならぜひ体を大きく捻って後ろ向きで踏みたいところ -- 名無しさん (2018-09-20 20 51 16) これと六兆年は傾向が似ている感じがする。難易度はこちらが上だけど -- 名無しさん (2018-09-30 14 32 38) 名前 コメント
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巴「ふぅ…昨日も保守を頑張ってて疲れたわ。隠れオタクも楽じゃないわね」 真「ではMaintenanceを柏葉さん訳して」 巴「え、あ…スイマセン分かりません」 真「まったく、これは”保守”よ」 巴（ビクッ！？） 真「試験に出る重要単語だからしっかり覚えるのだわ」 巴（ぐ、偶然よね） ＪＵＮ「柏葉、これ借りたがってたＣＤだぞ」 巴「㌧クス」 ＪＵＮ「へ？」 巴「あ…な、なんでもないわ。ありがとう桜田君」 ＪＵＮ「………」（まさかな…） 雛「トゥモエ～映画【人形達の鎮魂歌】観たのよね？面白かったなの？」 巴「テラオモシロスwww」 雛「うゅ…」 巴「ゴフンゲフン…え～、と、とっても面白かったですよ」 由奈「ね～巴」 巴「どうしたの？」 由奈「巴のメールって意味無くwがいっぱいあったりして読みにくいから次からはもっと分かりやすく書いてね」 巴「…」 隠れに良くあること その１ 巴「♪～」←お気に入りの曲を入れたＭＰ３を聞いてる。 由奈「あ、ねぇねぇ何の曲聴いてるの？」←パンピー 巴「え～…自分の好きな曲かな…」 1億年と2千年前からあっいっしってる～←流れてる曲はこんなのばっかり。 由奈「ちょっと聞かせて～」 巴「え、ちょ、ちょっと待って」 カチカチカチ←パンピーに聞かせても平気な曲を持ってくる。 その２ Ｓ「ハル○の最終回クオリティ高いよな～」 Ｍ「さすが京アニだよな」 巴（ウズウズ…確かにクオリティテラ高かったわ。2期はあるのかしら？） 巴（2期って大体クオリティ下がるのよね。でも、また京アニならなんとかなるかも しれないわ。ああ～～～誰かと思いっきり喋りたい～） オタクの話を側で聞いて話に加わりたくなる。 その３ みんなでテレビを観てて 由奈「あ、ねぇねぇ見てよ。秋葉原特集だってさ。」 巴「あ、本当だ…」 由奈「うわぁ～～よくあんな格好であるけるよね。あんなにいっぱい薄い本買って面白いのかしら？どう思う？」 巴「え～と、個人の自由だから別に良いんじゃないかな」 オタクの話になるとスルーしようとする。 巴「あの、白崎先生……この竹刀を持ってくれませんか？」 白崎「ん？ いいよ。こうかな？」 巴「で、このメモに書いてる言葉を思い切り叫んで下さい」 白崎「よしきた」 白崎「卍解！！」 巴「…………」 白崎「…………」 巴「やっぱり何も起こりませんよね……」 白崎「え？ なんで僕はガッカリされてるのかな？」 巴「先生の名前を聞いて某死神漫画を思い出して……。 いえ、やっぱり何でもないです……すみませんでした……っ！」 白崎「えーっと……ん？ いや、そんな涙ながらに去られても……おーい」 あーーっ、ともえっ、なんかおとしたのーーっ。 うわーーっ、これ、ジュンとこうちょうのマンガねっ、よくかけてるのーーっ。 えっ……このふたり、なにしてるの……？ えっ、ええっ！？ ジ「おーいっ、チビ先生、ちょっと聞きたいところがあるんだけど……って、おいっ、どこへ行く！？」 ロ「ああっ、雛苺先生。今日の調理実習のメニューは何かな……って、あれれっ、どうしたの？」 うわわわわーーんっ、はずかしくて、ふたりとかおをあわせられないのーーっ！！ 銀「全く、神聖なる学び舎に、こんないかがわしいコミックを持ち込むだなんてぇ……大体、あなたまだ高校生でしょう？」 巴「すみません……」 銀「あらぁ？ この本、値段が書かれてないわねぇ……一体いくらしたのぉ？」 巴「800円です」 銀「嘘でしょう……こんな薄っぺらい本が、一冊800円だなんてぇ。そんなの、一体誰が買うのよぉ？」 巴「いえ……300部、即日完売しましたが……」 銀「……ええっ！？」 ……ちょ、ちょっと待ってぇ……一冊800円ということは、300部で24万円！？ ちょっと待ってよぉ……有栖学園にはぁ、紙はある。印刷機もある。製本機も……確かどこかにあったはず。 ってことは、何ぃ……元手をほとんどかけずにぃ、それだけの大金が手に入れられるかもってことぉ……？ Ａ（♀）「ねぇねぇ聞いた？Ｂ君（♂）とＣ君（♂）がキスしてたんだって」 ＤＥＦ（♀♀♀）「いや～気持悪い～～～」 巴「・・・」 Ａ「それよりこっちの噂知ってる？」 ＤＥＦ（♀♀♀）「なになに？」 Ａ「Ｇ君（♂）とＨちゃん（♀）がこの前キスしてたんだって」 巴「えええええ！！！！！（゜д゜）」
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Overture ACT I (A palace. Enter Titania, leading the Indian boy, the fairies attending) FAIRIES Come, come, come, let us leave the town, and in some lonely place, where Crowds and noise were never known, resolve to spend our days. In pleasant shades upon the grass at night our selves we ll lay; our days in harmless sport shall pass, thus time shall slide away. (Enter fairies, leading a drunkard and blinded poet) Scene of the drunken poet DRUNKEN POET Fill up the bowl, then... 1st FAIRY, CHORUS Trip it, trip it in a ring; around this mortal dance, and sing. POET Enough, enough, we must play at blind man s buff. Turn me round, and stand away, I ll catch whom I may. 2nd FAIRY, CHORUS About him go, so, so, so, pinch the wretch from top to toe; pinch him forty, forty times, pinch till he confess his crimes. POET Hold you damn d tormenting punk, I do confess... FAIRIES What, what... POET I m drunk, as I live boys, drunk. FAIRIES What art thou, speak? POET If you will know it, I am a scurvy poet. FAIRIES Pinch him, pinch him for his crimes, his nonsense and his Dogrel rhymes. POET Hold! Oh! Oh! Oh! FAIRIES Confess more, more. POET I confess I m very poor. Nay prithee do not pinch me so, good dear devil let me go; and as I hope to wear the bays, I ll write a sonnet in thy praise. FAIRIES Drive em hence, away, away, let em sleep till break of day. First act tune Jig ACT II (A wood, by moon-light. Enter Titania and her train. While the fairies dance the scene changes to a prospect of grotto s, arbors, and delightful walks; the arbors are adorn d with all variety of flowers, the grotto s supported by terms, these lead to two arbors on either side of the scene, of a great length, whose prospect runs toward the two angles of the house. Between these two arbors in the great grotto, which is continued by several arches, to the farther end of the house) Prelude and song Come all ye songsters of the sky, wake, and assemble in this wood; but no ill-boding Bird be night, none but the harmless and the good. Prelude CHORUS May the god of wit inspire, the sacred nine to bear a part; and the blessed heavenly quire, shew the utmost of their art. While Eccho shall in sounds remote, repeat each note, each note, each note. (Then a composition of instrumental music, in imitation of an eccho.) Eccho CHORUS Now join your warbling voices all. (Then a fairy dance) A dance of fairies Song and Chorus Sing while we trip it on the green; but no ill vapours rise or fall, nothing offend our fairy queen. (Titania leaves down. Enter Night, Mystery, Secresie, Sleep, and their attendants.) NIGHT See, even night her self is here, to favour your design; and all her peaceful train in near, that men to sleep incline. Let noise and care, doubt and despair, envy and Spight, (the fiends delight) be ever Banish d hence, let soft repose, her eye-lids close; and murmuring streams, bring pleasing dreams; let nothing stay to give offence. MYSTERY I am come to lock all fast, love without me cannot last. Love, like counsels of the wise, must be hid from vulgar eyes. Tis holy, and we must conceal it, they profane it, who reveal it. SECRESIE One charming night gives more delight, than a hundred lucky days. Night and I improve the tast, make the pleasure longer last, a thousand, thousand several ways. SLEEP Hush, no more, be silent all, sweet repose has clos d her eyes. Soft as feather d snow does fall! Softly, softly, steal from hence. No noise disturb her sleeping sence. A dance for the followers of Night (Oberon squeezes the flowers on Titania; Lysander and Hermia fall asleep.) ACT III (Enter Titania, Bottom and fairies. The scene changes to a great wood, a long row of large trees on each side; a river in the middle, two rows of lesser trees of a different kind just on the side of the river, which meet in the middle, and make so marry arches, two great dragons make a bridge over the river, their bodies form two arches, through which two swans are seen in the river at a great distance. Enter a troop of fawns, dryads and naides) CHORUS If love s a sweet passion, why does it torment? If a bitter, oh tell me whence comes my content? Since I suffer with pleasure, why should I complain, or grieve at my fate, when I know tis in vain? Yet so pleasing the pain is, so soft is the dart, that at once it both wounds me, and tickles my heart. I press her hand gently, look languishing down, and by passionate silence I make my love known. But oh! how I m blest when so kind she does prove, by some willing mistake to discover her love. When in striving to hide, she reveals all her flame, and our eyes tell each other, what neither dares name. Symphony while the swans come forward (While the symphony s playing, the two swans come swimming on through the arches to the bank of the river, as if they would land; these turn themselves into fairies and dance; at the same time the bridge vanishes, and the trees that were arch d, raise themselves upright) Dance for the fairies (Four savages enter, fright the fairies away, and dance an entry) Dance for the green men Song Ye gentle spirits of the air, appear; prepare, and joyn your tender voices here. Catch, and repeat the trembling sounds anew, soft as her sighs and sweet as pearly dew. Run new division, and such measures keep, as when you lull the god of love asleep. (Enter Coridon and Mopsa) Dialogue between Coridon and Mopsa CORIDON Now the maids and the men are making of hay, we h ve left the dull fools, and are stolen away. Then Mopsa no more be coy as before, but let us merrily play, and kiss the sweet time away. MOPSA Why, how now, Sir Clown, what makes you so bold? I d have ye to know I m not made of that mold. I tell you again, maids must never kiss no men. No, no, no kissing at all; I ll not kiss, till I kiss you for good and all. CORIDON Not kiss you at all? MOPSA No, no, no kissing at all! CORIDON Why no kissing at all? MOPSA I ll not kiss, till I kiss you for good and all. CORIDON Should you give me a score, twould not lessen your store, then bid me chearfully kiss, chearfully kiss and take, and take, my fill of your bliss. MOPSA I ll not trust you so far, I know you too well; should I give you an Inch, you d soon take an ell. Then lordlike you rule, and laugh at the fool. No, no... CORIDON So small a request, you must not, you cannot, you shall not deny, nor will I admit of another reply. MOPSA Nay, what do you mean? O fie, fie, fie! Song A NYMPH When I have often heard young maids complaining, that when men promise most they most deceive, then I thought none of them worthy my gaining; and what they swore, resolv d ne re to believe. But when so humbly he made his addresses, with looks so soft, and with language so kind, I thought it sin to refuse his caresses; nature o ercame, and I soon chang d my mind. Should he employ all his wit in deceiving, stretch his invention, and artfully feign; I find such charms, such true joy in believing, I ll have the pleasure, let him have pain. If he proves perjur d, I shall not be cheated, he may deceive himself, but never me; this what I look for, and shan t be defeated, for I ll be as false and inconstant as he. Dance of Haymakers Song and chorus A thousand, thousand ways we ll find to entertain the hours no two shall e re be known so kind, no life so blest as ours. Third act tune Hornpipe ACT IV Symphony (The scene changes to a garden of fountains. A sonata plays while the sun rises, it appears red through the mist, as it ascends it dissipates the vapours, and is seen in its full lustre; then the scene is perfectly discovered, the fountains enrich d gilding, and adorn d with statues; the view is terminated by a walk of cypress trees which lead to a delightful bower. Before the trees stand rows of marble columns, which support many walks which rise by stairs to the top of the house; the stairs are adorn d with figures on pedestals, and rails; and balasters on each side of em. Near the top, vast quantities of water break out of the hills, and fall in mighty cascade s to the bottom of the scene, to feed the fountains which are on each side. In the middle of the stage is a very large fountain, where the water rises about twelve foot. Then the Four Seasons enter, with their several attendants) Solo and Chorus ONE OF THE ATTENDANTS Now the night is chas d away, all salute the rising sun; this that happy, happy day, the birth-day of king Oberon. Duet TWO OTHERS Let the fifes, and the clarions, and shrill trumpets sound, and the arch of high heav n the clangor resound. Entry of Phoebus (A machine appears, the clouds break from before it, and Phoebus appears in a chariot drawn by four horses) PHOEBUS When a cruel long winter has frozen the earth, and nature imprison d seeks in vain to be free; I dart forth my beams, to give all things a birth, making spring for the plants, every flower, and each tree. Tis I who give life, warmth, an vigour to all, even love who rules all things in earth, air, and sea; would languish, and fade, and to nothing would fall, the world to its chaos would return, but for me. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. SPRING Thus the ever grateful spring, does her yearly tribute bring; all your sweets before him lay, then round his altar sing, and play. SUMMER Here s the summer, sprightly, gay, smiling, wanton, fresh, and fair; adorn d with all the flowers of may, whose various sweets perfume the air. AUTUMN See my many colour d fields, and loaded trees my will obey; all the fruit that autumn yields, I offer to the god of day. WINTER Now winter comes slowly, pale, meager, and old, first trembling with age, and then quiv ring with cold; benum d with hard frosts, and with snow cover d o re, prays the sun to restore him, and sings as before. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. (After a short time all go out except Robin-Good-Fellow, who applies the juice of the herb to Lysander s eyes) Fourth act tune Air ACT V Prelude (While a symphony plays, the machine moves forward, and the peacocks spread their tails, and fill the middle of the theatre.) Epithalamium JUNO Thrice happy lovers, may you be for ever, ever free, from that tormenting devil, jealousie. From all that anxious care and strife, that attends a married life be to one another true, kind to her as she to you, and since the errors of this night are past, may he be ever constant, she for ever chast. (The machine aspends. After Juno s song, Oberon asks to hear the plaint of Laura for her departed love.) The plaint O let me weep, for ever weep, my eyes no more the shall welcome sleep; I ll hide me from the sight of day, and sigh, and sigh my soul away. He s gone, he s gone, his loss deplore; and I shall never see him more. (While the scene is darken d, a single entry is danded.) Entry dance (Then a symphony is play d) Symphony (After that the scene is suddenly illuminated, and discovers a transparent prospect of a Chinese garden, the architecture, the trees, the plants, the fruits, the birds, the beasts quite different to what we have in this part of the word. It is terminated by an arch, through which is seen other arches with close arbors, and a row of trees to the end of the view. Over it is a hanging garden, which rises by several ascents to the top of the house; it is bounded on either side with pleasant bowers, various trees, and numbers of strange birds flying in the air, on the top of a platform is a fountain, throwing up water, which falls into a large basin. A Chinese man enters and sings) Song A CHINESE MAN Thus the gloomy world at first began to shine, and from the power divine a glory round about it hurl d; which made it bright, and gave it birth in light. Then were all minds as pure, as those ethereal streams; in innocence secure, not subject to extreams. There was no room then for empty fame, no cause for pride, ambition wanted aim. CHINESE WOMAN Thus happy and free, thus treated are we with nature s chiefest delights. We never cloy, but renew our joy, and one bliss another invites. CHORUS Thus wildly we live, thus freely we give, what heaven as freely bestows. We were not made for labour and trade, which fools on each other impose. CHINESE MAN Yes, Daphne, in your looks I find the charms by which my heart s betray d; then let not your disdain unbind the prisoner that your eyes have made. She that in love makes least defence, wounds ever with the surest dart; beauty may captivate the sence, but kindness only gains the heart. (Six monkeys come from between the trees and dance) Monkeys dance (Two women sing in parts) 1st WOMAN Hark how all things with one sound rejoice, and the world seems to have one voice. 2nd WOMAN Hark now the echoing air a triumph sings, and all around pleas d Cupids clap their wings. CHORUS Hark! Hark! 2nd WOMAN Sure the dull god of marriage does not hear BOTH We ll rouse him with a charm. Hymen, appear! CHORUS Hymen, appear! BOTH Our Queen of Night commands thee not to stay. Appear! CHORUS Our Queen... (Enter Hymen.) Prelude HYMEN See, see, I obey. My torch has long been out, I hate on loose dissembled vows to wait, where hardly love out-lives the wedding-night, false flames, love s meteors, yield my torch no light. (Six pedestals of china-work rise from under the stage; they support six large vases of porcelain, in which six china-orange-trees.) BOTH WOMEN Turn then the eyes upon those glories there, and catching flames will on thy torch appear. HYMEN My torch, indeed, will from such brightness shine, love ne er had yet such altars, so divine. (The pedestals move toward the front of the stage, and the grand dance begins of twenty-four persons; then Hymen and the two women sing together.) TRIO They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. CHORUS They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. (All the dancers join in it.) Chaconne Dance for Chinese man and woman. Overture ACT I (A palace. Enter Titania, leading the Indian boy, the fairies attending) FAIRIES Come, come, come, let us leave the town, and in some lonely place, where Crowds and noise were never known, resolve to spend our days. In pleasant shades upon the grass at night our selves we ll lay; our days in harmless sport shall pass, thus time shall slide away. (Enter fairies, leading a drunkard and blinded poet) Scene of the drunken poet DRUNKEN POET Fill up the bowl, then... 1st FAIRY, CHORUS Trip it, trip it in a ring; around this mortal dance, and sing. POET Enough, enough, we must play at blind man s buff. Turn me round, and stand away, I ll catch whom I may. 2nd FAIRY, CHORUS About him go, so, so, so, pinch the wretch from top to toe; pinch him forty, forty times, pinch till he confess his crimes. POET Hold you damn d tormenting punk, I do confess... FAIRIES What, what... POET I m drunk, as I live boys, drunk. FAIRIES What art thou, speak? POET If you will know it, I am a scurvy poet. FAIRIES Pinch him, pinch him for his crimes, his nonsense and his Dogrel rhymes. POET Hold! Oh! Oh! Oh! FAIRIES Confess more, more. POET I confess I m very poor. Nay prithee do not pinch me so, good dear devil let me go; and as I hope to wear the bays, I ll write a sonnet in thy praise. FAIRIES Drive em hence, away, away, let em sleep till break of day. First act tune Jig ACT II (A wood, by moon-light. Enter Titania and her train. While the fairies dance the scene changes to a prospect of grotto s, arbors, and delightful walks; the arbors are adorn d with all variety of flowers, the grotto s supported by terms, these lead to two arbors on either side of the scene, of a great length, whose prospect runs toward the two angles of the house. Between these two arbors in the great grotto, which is continued by several arches, to the farther end of the house) Prelude and song Come all ye songsters of the sky, wake, and assemble in this wood; but no ill-boding Bird be night, none but the harmless and the good. Prelude CHORUS May the god of wit inspire, the sacred nine to bear a part; and the blessed heavenly quire, shew the utmost of their art. While Eccho shall in sounds remote, repeat each note, each note, each note. (Then a composition of instrumental music, in imitation of an eccho.) Eccho CHORUS Now join your warbling voices all. (Then a fairy dance) A dance of fairies Song and Chorus Sing while we trip it on the green; but no ill vapours rise or fall, nothing offend our fairy queen. (Titania leaves down. Enter Night, Mystery, Secresie, Sleep, and their attendants.) NIGHT See, even night her self is here, to favour your design; and all her peaceful train in near, that men to sleep incline. Let noise and care, doubt and despair, envy and Spight, (the fiends delight) be ever Banish d hence, let soft repose, her eye-lids close; and murmuring streams, bring pleasing dreams; let nothing stay to give offence. MYSTERY I am come to lock all fast, love without me cannot last. Love, like counsels of the wise, must be hid from vulgar eyes. Tis holy, and we must conceal it, they profane it, who reveal it. SECRESIE One charming night gives more delight, than a hundred lucky days. Night and I improve the tast, make the pleasure longer last, a thousand, thousand several ways. SLEEP Hush, no more, be silent all, sweet repose has clos d her eyes. Soft as feather d snow does fall! Softly, softly, steal from hence. No noise disturb her sleeping sence. A dance for the followers of Night (Oberon squeezes the flowers on Titania; Lysander and Hermia fall asleep.) ACT III (Enter Titania, Bottom and fairies. The scene changes to a great wood, a long row of large trees on each side; a river in the middle, two rows of lesser trees of a different kind just on the side of the river, which meet in the middle, and make so marry arches, two great dragons make a bridge over the river, their bodies form two arches, through which two swans are seen in the river at a great distance. Enter a troop of fawns, dryads and naides) CHORUS If love s a sweet passion, why does it torment? If a bitter, oh tell me whence comes my content? Since I suffer with pleasure, why should I complain, or grieve at my fate, when I know tis in vain? Yet so pleasing the pain is, so soft is the dart, that at once it both wounds me, and tickles my heart. I press her hand gently, look languishing down, and by passionate silence I make my love known. But oh! how I m blest when so kind she does prove, by some willing mistake to discover her love. When in striving to hide, she reveals all her flame, and our eyes tell each other, what neither dares name. Symphony while the swans come forward (While the symphony s playing, the two swans come swimming on through the arches to the bank of the river, as if they would land; these turn themselves into fairies and dance; at the same time the bridge vanishes, and the trees that were arch d, raise themselves upright) Dance for the fairies (Four savages enter, fright the fairies away, and dance an entry) Dance for the green men Song Ye gentle spirits of the air, appear; prepare, and joyn your tender voices here. Catch, and repeat the trembling sounds anew, soft as her sighs and sweet as pearly dew. Run new division, and such measures keep, as when you lull the god of love asleep. (Enter Coridon and Mopsa) Dialogue between Coridon and Mopsa CORIDON Now the maids and the men are making of hay, we h ve left the dull fools, and are stolen away. Then Mopsa no more be coy as before, but let us merrily play, and kiss the sweet time away. MOPSA Why, how now, Sir Clown, what makes you so bold? I d have ye to know I m not made of that mold. I tell you again, maids must never kiss no men. No, no, no kissing at all; I ll not kiss, till I kiss you for good and all. CORIDON Not kiss you at all? MOPSA No, no, no kissing at all! CORIDON Why no kissing at all? MOPSA I ll not kiss, till I kiss you for good and all. CORIDON Should you give me a score, twould not lessen your store, then bid me chearfully kiss, chearfully kiss and take, and take, my fill of your bliss. MOPSA I ll not trust you so far, I know you too well; should I give you an Inch, you d soon take an ell. Then lordlike you rule, and laugh at the fool. No, no... CORIDON So small a request, you must not, you cannot, you shall not deny, nor will I admit of another reply. MOPSA Nay, what do you mean? O fie, fie, fie! Song A NYMPH When I have often heard young maids complaining, that when men promise most they most deceive, then I thought none of them worthy my gaining; and what they swore, resolv d ne re to believe. But when so humbly he made his addresses, with looks so soft, and with language so kind, I thought it sin to refuse his caresses; nature o ercame, and I soon chang d my mind. Should he employ all his wit in deceiving, stretch his invention, and artfully feign; I find such charms, such true joy in believing, I ll have the pleasure, let him have pain. If he proves perjur d, I shall not be cheated, he may deceive himself, but never me; this what I look for, and shan t be defeated, for I ll be as false and inconstant as he. Dance of Haymakers Song and chorus A thousand, thousand ways we ll find to entertain the hours no two shall e re be known so kind, no life so blest as ours. Third act tune Hornpipe ACT IV Symphony (The scene changes to a garden of fountains. A sonata plays while the sun rises, it appears red through the mist, as it ascends it dissipates the vapours, and is seen in its full lustre; then the scene is perfectly discovered, the fountains enrich d gilding, and adorn d with statues; the view is terminated by a walk of cypress trees which lead to a delightful bower. Before the trees stand rows of marble columns, which support many walks which rise by stairs to the top of the house; the stairs are adorn d with figures on pedestals, and rails; and balasters on each side of em. Near the top, vast quantities of water break out of the hills, and fall in mighty cascade s to the bottom of the scene, to feed the fountains which are on each side. In the middle of the stage is a very large fountain, where the water rises about twelve foot. Then the Four Seasons enter, with their several attendants) Solo and Chorus ONE OF THE ATTENDANTS Now the night is chas d away, all salute the rising sun; this that happy, happy day, the birth-day of king Oberon. Duet TWO OTHERS Let the fifes, and the clarions, and shrill trumpets sound, and the arch of high heav n the clangor resound. Entry of Phoebus (A machine appears, the clouds break from before it, and Phoebus appears in a chariot drawn by four horses) PHOEBUS When a cruel long winter has frozen the earth, and nature imprison d seeks in vain to be free; I dart forth my beams, to give all things a birth, making spring for the plants, every flower, and each tree. Tis I who give life, warmth, an vigour to all, even love who rules all things in earth, air, and sea; would languish, and fade, and to nothing would fall, the world to its chaos would return, but for me. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. SPRING Thus the ever grateful spring, does her yearly tribute bring; all your sweets before him lay, then round his altar sing, and play. SUMMER Here s the summer, sprightly, gay, smiling, wanton, fresh, and fair; adorn d with all the flowers of may, whose various sweets perfume the air. AUTUMN See my many colour d fields, and loaded trees my will obey; all the fruit that autumn yields, I offer to the god of day. WINTER Now winter comes slowly, pale, meager, and old, first trembling with age, and then quiv ring with cold; benum d with hard frosts, and with snow cover d o re, prays the sun to restore him, and sings as before. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. (After a short time all go out except Robin-Good-Fellow, who applies the juice of the herb to Lysander s eyes) Fourth act tune Air ACT V Prelude (While a symphony plays, the machine moves forward, and the peacocks spread their tails, and fill the middle of the theatre.) Epithalamium JUNO Thrice happy lovers, may you be for ever, ever free, from that tormenting devil, jealousie. From all that anxious care and strife, that attends a married life be to one another true, kind to her as she to you, and since the errors of this night are past, may he be ever constant, she for ever chast. (The machine aspends. After Juno s song, Oberon asks to hear the plaint of Laura for her departed love.) The plaint O let me weep, for ever weep, my eyes no more the shall welcome sleep; I ll hide me from the sight of day, and sigh, and sigh my soul away. He s gone, he s gone, his loss deplore; and I shall never see him more. (While the scene is darken d, a single entry is danded.) Entry dance (Then a symphony is play d) Symphony (After that the scene is suddenly illuminated, and discovers a transparent prospect of a Chinese garden, the architecture, the trees, the plants, the fruits, the birds, the beasts quite different to what we have in this part of the word. It is terminated by an arch, through which is seen other arches with close arbors, and a row of trees to the end of the view. Over it is a hanging garden, which rises by several ascents to the top of the house; it is bounded on either side with pleasant bowers, various trees, and numbers of strange birds flying in the air, on the top of a platform is a fountain, throwing up water, which falls into a large basin. A Chinese man enters and sings) Song A CHINESE MAN Thus the gloomy world at first began to shine, and from the power divine a glory round about it hurl d; which made it bright, and gave it birth in light. Then were all minds as pure, as those ethereal streams; in innocence secure, not subject to extreams. There was no room then for empty fame, no cause for pride, ambition wanted aim. CHINESE WOMAN Thus happy and free, thus treated are we with nature s chiefest delights. We never cloy, but renew our joy, and one bliss another invites. CHORUS Thus wildly we live, thus freely we give, what heaven as freely bestows. We were not made for labour and trade, which fools on each other impose. CHINESE MAN Yes, Daphne, in your looks I find the charms by which my heart s betray d; then let not your disdain unbind the prisoner that your eyes have made. She that in love makes least defence, wounds ever with the surest dart; beauty may captivate the sence, but kindness only gains the heart. (Six monkeys come from between the trees and dance) Monkeys dance (Two women sing in parts) 1st WOMAN Hark how all things with one sound rejoice, and the world seems to have one voice. 2nd WOMAN Hark now the echoing air a triumph sings, and all around pleas d Cupids clap their wings. CHORUS Hark! Hark! 2nd WOMAN Sure the dull god of marriage does not hear BOTH We ll rouse him with a charm. Hymen, appear! CHORUS Hymen, appear! BOTH Our Queen of Night commands thee not to stay. Appear! CHORUS Our Queen... (Enter Hymen.) Prelude HYMEN See, see, I obey. My torch has long been out, I hate on loose dissembled vows to wait, where hardly love out-lives the wedding-night, false flames, love s meteors, yield my torch no light. (Six pedestals of china-work rise from under the stage; they support six large vases of porcelain, in which six china-orange-trees.) BOTH WOMEN Turn then the eyes upon those glories there, and catching flames will on thy torch appear. HYMEN My torch, indeed, will from such brightness shine, love ne er had yet such altars, so divine. (The pedestals move toward the front of the stage, and the grand dance begins of twenty-four persons; then Hymen and the two women sing together.) TRIO They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. CHORUS They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. (All the dancers join in it.) Chaconne Dance for Chinese man and woman. Purcell,Henry/The Fairy Queen
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Content Analytics Market Overview Content Analytics Market is defined as a group of technologies that can process digital content and use behavior while engaging and consuming the content. For instance, news sites, social media platforms, customers, documents etc., to answer specific questions. Content is one of the important tools for enhancing and exposing the market to engage consumers. It is a way to engage the consumers and keep them on their toes. It fulfills required business goals like brand awareness, increasing revenue, creating leads, etc.; in the pandemic, several market revenue decreased. However, the rising use of cloud-based technologies increased in the COVID 19 outbreak, due to which the market got positively impacted. The effect of the pandemic is decreasing, and it will accelerate the market. The tech giants are forming new developments, and regions rising digitalization will push the market towards potential growth. As cloud technologies are easing business operations, it will increase the demand for content analysis; these factors will fuel the market. The increasing popularity of online mediums such as Instagram, Facebook, Linkedin, and youtube upsurge the demand for content analytics and will help in the market s progression, creating many opportunities for the Content Analytics Market. Many companies adopt content analytic software for major growth; such advantages will foster the market. The inability and disruption in the industrial operation and supply chain function are huge restraints for the market. Still, people are there who lack awareness, and the growing concern and the data breach are challenges the market will have to cross to gain growth. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/3956 Major Key Players Due to the presence of multiple players who strive to capture a greater share, the global content analytics market appears to be moderately fragmented during the forecast period of 2017 and 2023. The report published by Market Research Future has profiled the significant players in the content analytics market to provide a comprehensive overview of their operations and strategies. Some of these prominent players present in the global Content Analytics Market include International Business Machine Corporation (U.S.), Adobe Systems, INC. (U.S.), Clarabridge, INC. (U.S.), Interactive Intelligence Group, INC. (U.S.), Opentext Corporation (Canada), Oracle Corporation (U.S.), Verint Systems (U.S.), Nice Systems LTD. (Israel), SAP SE (Germany), and SAS Institute, INC. (U.S.). Segmental Analysis The Content Analytics Market is segmented by application, deployment and vertical. The market is divided into the on-premise and cloud-based on the application segment. The cloud-based content analysis software will gain a high growth rate in the forecast period. The application segment is bifurcated into social media analytics, web analytics, text analytics, speech analytics, etc. Social media analytics will dominate the market in the forecast period as most people spend their time on social platforms. Not only people but different enterprises and industries also use this platform to improve market growth as this increases exposure. The variables of the vertical segment of the Content Analytics Market are IT and Telecommunication, media and entertainment, retail and consumer goods, healthcare, government, BFSI, travel and hospitality, and others. Regional Analysis The Content Analytics Market is studied in five major regions such as North America, Asia Pacific, Europe and other parts. North America will register a high CAGR in the market in the forecast period. The presence of major vendors and the rising use of content analytic software will improve the market condition in the forecast period. The Asia Pacific is growing in the second position due to the high adoption of digitalization. The region is also experiencing high development in IT structure and will propel the market. Industry Update LinkedIn has announced to the customers that it is bringing some new tools for creators, including improved content analytics, new profile video tools, newsletter showcase options, a subscriber bell for update notifications, etc. Access Report Details @ https //www.marketresearchfuture.com/reports/content-analytics-market-3956 Table of Contents 1 Market Introduction 1.1 Introduction 1.2 Scope of Study 1.2.1 Research objective 1.2.2 Assumptions 1.2.3 Limitations 1.3 Market Structure 2 Research Methodology 2.1 Research Type 2.2 Primary Research 2.3 Secondary Research 2.4 Forecast Model 2.4.1 Market Data Collection, Analysis Forecast 2.4.2 Market Size Estimation Continued…. View Similar Report** Mobile Security Software Market https //writeonwall.com/mobile-security-software-market-size-key-players-with-product-particulars-applications-future-trend-business-growth-market-size-key-players-update-business-statistics-and-forecast-till-20/ Casino Market https //tealfeed.com/antivirus-software-industrykey-players-product-particulars-breig Antivirus Software Market https //tealfeed.com/antivirus-software-industrykey-players-product-particulars-breig List of Tables Table 1 Content Analytics Market, By Application Table 2 Content Analytics Market, By Deployment Table 3 Content Analytics Market, By Vertical Table 4 Content Analytics Market, By Region Table 5 North America Content Analytics Market, By Application Continued…. List of Figures Figure 1 Research Type Figure 2 Content Analytics Market By Application (%) Figure 3 Content Analytics Market By Deployment (%) Figure 4 Content Analytics Market By Vertical (%) Figure 5 Content Analytics Market By Region (%) Continued… About Market Research Future At Market Research Future (MRFR), we enable our clients to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. MRFR team have supreme objective to provide the optimum quality market research and intelligence services to our clients. Our market research studies by Solutions, Application, Logistics and market players for global, regional, and country level market segments, enable our clients to see more, know more, and do more, which help to answer all their most important questions. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳（の疑い）を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 "How low can they go? Pseudo pedo-porn peddlers loll in lascivious limbo"「一体どこまで低年齢化が進むのか？疑似児童ポルノの売人はみだらな"リンボ"の世界にゆったり腰を据えている」 注 拡散状況 関連ページ "How low can they go? Pseudo pedo-porn peddlers loll in lascivious limbo" 「一体どこまで低年齢化が進むのか？疑似児童ポルノの売人はみだらな"リンボ"の世界にゆったり腰を据えている」 元記事（削除済み）：http //mdn.mainichi.jp/culture/waiwai/news/20070928p2g00m0dm014000c.html 転載：http //www.jdorama.com/viewtopic.php?p=682741#682741 （2007年9月28日配信） Japan s child cheesecake market is thriving, but Spa! (10/2) says the borderline kiddy porno business is on the verge of belatedly being busted. 子供をモデルとしたグラビア市場が、日本では盛況だ。しかし、児童ポルノすれすれのこの業界は、遅ればせながら逮捕の危機に直面している。（Spa! 10/2より） Scores, sometimes hundreds, flock daily to a store in Tokyo s Akihabara district that deals exclusively in products featuring models all aged under 15. 東京は秋葉原のショップ －15歳以下のモデルを扱った商品の専門店だ－ には、毎日何十人、時には何百人もの人間が、詰め掛ける。 Pinky Net, a talent agency that handles mostly underage models, is being swamped by young girls and their mothers looking to get into the business -- despite only taking on new recruits provided they accept working for nothing until the market determines their worth 未成年モデルをメインに手がけるタレント事務所のピンキー･ネットには、その業界に参加したい少女とその両親たちが殺到している。市場で価値が認められるまではタダ働き、そのことを了承したモデルしか雇われないにも関わらずである。 A fetish for young girls is not an old phenomenon in Japan, with famous photographer Kishin Shinoyama producing top-selling "Lolita" pictures in the 1970s and bubblegum idols booming two decades later, but what s happening with exposure of those in their early teens now is close to, if not already, obscene. 日本では、少女フェチは過去のものではない。1970年代には、有名な写真家である篠山紀信が、ベストセラー“ロリータ”写真集発売。その20年後にも子供アイドルブームがあった。しかし、今では、10代前半の少女たちの“露出”は、わいせつ物に近いのだ（まだそうなっていないならの話だが）。 "There s racier exposure, and everything is being marketed on raunchiness. You ve got young girls decked out in G-strings and sucking on bananas as though they were something else," a fan of teen pin-up idols tells Spa! "Real fans like me are looking for the purity girls this age should have. But it s the raunchy stuff that sells." 「とてもきわどい露出のものがあるし、どれも性的なものとして売られてますよ。 Tバックをつけた少女が、バナナに吸い付いてるようなやつもあります、バナナが別の“何か”であるかのようにね。 自分みたいなホントのファンは、年齢にふさわしい、清純な子がいいんですけど、売れるのはいやらしいものばかりです。」 ティーンのグラビアアイドルのファンはそう語る。 As the under-15 pin-up model market grows and places more emphasis on sex, the models have rapidly been getting younger. 15歳以下のグラビアアイドル市場の成長、性的側面の強調と平行して、モデルの低年齢化は急速に進んでいるのだ。 "We absolutely won t use anybody who hasn t reached junior high school yet. When we scout somebody, we show them a video of the kind of work we want them to do, and don t let them perform without the consent of both them and their parents," another talent agency s spokesman says. 「私たちは、まだ中学にも上がってない子は、絶対に使いません。 スカウトの時にはですね、彼女らにやって欲しいことと似た内容のビデオを見せるんです。あと、モデル本人と両親、双方の同意がなければ出演はさせません。」別のタレント事務所の広報はそう話す。 "But there are plenty of DVDs out there featuring elementary school children, and loads of products where they ve used pre-schoolersonly 4 or 5 years old. More important to the market is the age of the model, rather than her name. Check out the packages. All the models ages are in much bigger print than their names." 「でも、小学生が出てるDVDもたくさん売られてます。小学生にもならない、4-5歳の子が登場する商品も相当あります。 市場で重要なのはモデルの名前じゃなくて年齢です。 パッケージを見てください。 年齢のほうが、名前より大きく書かれてますよ。」 Despite the roaring trade in child cheesecake, the business unsurprisingly has its critics. 子供をモデルとしたグラビア市場の盛況ではあるものの、当然これに対する批判もある。 "I m always hearing about how the cops have got their eyes on a place, or they ve questioned such-and-such a cameraman or such-and-such a model. All this talk is just mere rumor, but it s impossible to deny that people have gone too far. Most people are actually wondering why the cops haven t cracked down yet," an industry source tells Spa! "It s only a matter of time before the cops get on to someone." 「警察がいかに注意してるか、とか、あちらのカメラマンやこちらのモデルが事情聴取を受けたとか、そういう話はいつも聞いてます。 この手の話は、みんな単なる噂ですが、そこまでやっても不思議じゃないはずです。 世間の大半は、何でこれまで取り締まられなかったのか不思議に思ってます。 警察が誰か捕まえるのも、もう時間の問題です。」業界筋はSpaにそう語る。 There are some who already fear the under-15 model market is no longer fit for mass consumption. Amazon Japan stopped sales of almost 700 items because it feared they could be constituted as child pornography. Most locals in the business say Amazon Japan only took the steps because it s owned by a U.S. company and Westerners are avid opponents of child pornography. 15歳以下のモデル業界はもはや一般向けではないと、すでに懸念しているものもある。 アマゾン・ジャパンは、児童ポルノに該当する恐れがあるとして、700近いアイテムの販売を中止した。 しかし、アマゾン・ジャパンがアメリカ企業の所有であること、また西洋人が児童ポルノに厳しいことから、対策に踏み切っただけとする見方が多い。 Nonetheless, there are cracks beginning to appear in the surface, with the managing editor of one magazine charged with breaking the ban on child pornography for printing under-15 material. He sounds an ominous warning about the continuation of the child cheesecake market and the long arm of the law s response to it. とはいえ、15歳未満を取り扱った雑誌の編集長が、児童ポルノの禁止を破ったとして起訴されたように、亀裂は表面化し始めている。 この編集長の件は、子供をモデルとしたグラビア市場を継続することへの警告、法の力はそこまで届くという警告に聞こえる。 At the time, there were loads of magazines printing the same kind of stuff as we were. But the situation is like a game of chicken, where everybody sees how much risk they can take before they go too far," Spa! quotes the managing editor saying upon his arrest. "Until the law clearly states what can and can t be done, publications are going to keep on trying to see how much they can get away with." (By Ryann Connell) Spa!は、前述の逮捕された編集長の発言を次のように引用している。 「あの時にも、我々のと同じような内容の雑誌はたくさんあったんですよ。 今はチキンレースみたいな状況です。みんなが、やりすぎになる前に、どこまでなら危険を冒せるかを見てるって感じです。 法律で、許可・不許可が明示されるまでに、どれだけ“持ち逃げ”できるか試してるんです」(ライアン・コネル) （Mainichi Japan） September 28, 2007 注 下記ブログへポストされたテキストの翻訳です。オリジナルとは未比較(20080718) http //www.jdorama.com/viewtopic.php?p=682741#682741 拡散状況 Adult-DVD-Movie ｈｔｔｐ //www.adult-dvd-movie.co.uk/en/adult_news/39178/japan-how-low-can-the-pseudo-pedo-porn-go.html Asian Sex Gazzete http //www.asiansexgazette.com/asg/japan/japan06news97.htm Barely 18 Movies http //www.barely18movies.com/blog/?p=745 CRNジャパン(日本の子供の人権ネットワーク) http //www.crnjapan.com/articles/2007/en/20070928-pedo_porn_peddlers.html Japanese Style Noodles http //www.japanesestylenoodles.com/waiwai/archive20070928 JDorama.com http //www.jdorama.com/viewtopic.php?p=682741#682741 WaiWai Archive http //www.mainichiwaiwai.com/waiwai/2007/09/20070928.php 英語サイト 部分転載：http //inezha.com/p/4263702/item33?hl=en 海外ブログ 部分転載：http //ronin.animeblogger.net/2007/10/01/is-this-the-death-of-loli/ 関連ページ Adult-DVD-Movie Barely 18 Movies CRNジャパン(日本の子供の人権ネットワーク) JDorama.com Japanese Style Noodles WaiWai Archive WaiWaiの記事を転載した英語サイト：I シーファーが日本を児童ポルノ大国呼ばわりした原因 毎日新聞英語版から配信された記事2007年(7月 - 12月) 海外ブログに記事が及ぼした影響