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How to Draw Butts 尻の描き方 https //www.youtube.com/watch?v=qiTUSDCbGPw http //www.proko.com/how-to-draw-butts/#.Wy32Baf7Q-U Hi,I m Stan Prokopenko, and It s time to draw butts. こんにちは、Stan Prokopenkoです。ついに尻を描くときが来ました！ I m sorry for all the fart jokes. I couldn t help myself. くだらないジョークは失礼しました。どうしてもやめられませんでした。 This lesson will explain the three major butt muscles, and how they re covered in fat and skin. このレッスンでは三つの主な尻の筋肉、そしてそれらがどのように脂肪と皮膚に包まれているかを説明します。 The first step in drawing magnificent butt muscles is to understand where they attach. Let s take a look. 巨大な尻の筋肉を描く最初のステップは、 それらが何処に付着しているかを理解することです。見ていきましょう。 Butt muscles originate on the pelvis, which if you remember we constructed using a bucket tipped forward. Check out the pelvis lesson if you need a refresher. 尻の筋肉は、骨盤から起始しています。骨盤を前方に傾いたバケツ型で構築したことを思い出してください。再教育が必要ならば骨盤のレッスンをチェックしましょう。 The iliac crest of the pelvis swoops from the front corner (ASIS), to the back triangle (the sacrum). 腸骨稜は、上前腸骨棘(ASIS)から背中の三角形(仙骨)まで急降下します。 This sloping side plane (ilium), is where the gluteal muscles anchor, right under the top ridge. この傾斜した側面の平面(腸骨)は、殿筋がしっかりと固定されている場所であり、 骨盤のてっぺんのちょうど下にあります。 They insert into the femur, mainly around the great bony landmark the greater trochanter. 殿筋は大腿骨に停止します。主に大変目立つ骨の目印 大転子の周りです。 So, here s what they look like, going from the origin at the pelvis to the insertion at the femur. さて、殿筋はこのように見えます。骨盤から起始し、大腿骨に停止しています。 But there s more to it than that. しかし、それ以外にもあります。 They also insert into a long stretch of tape-like tendon that runs down the outside of the leg, called the iliotibial band. 殿筋はまた、長く伸びたテープのような腱に停止し、 その腱は足の外側を走っています。その腱は腸脛靭帯と呼ばれています。 !--ここから有料-- !--ここまで-- The middle portion sits tightly along the side of the quads. 腸脛靭帯の中間部は、四頭筋にぴったりと沿って位置しています。 Sometimes its so tight that you ll see it clearly pinching the muscles. 時々、その状態が大変きつくなっているので、 腸脛靭帯が筋肉を明らかに締め上げているのが見えるかもしれません。 But we ll cover that in the quads lesson. そのことは四頭筋のレッスンで説明します。 The 3 butt muscles we ll study in this episode are the gluteus medius, gluteus maximus and tensor fascia latae. このビデオで勉強する三つの尻の筋肉は、中殿筋、大殿筋、大腿筋膜張筋です。 There s also the gluteus minimus and a few others, but they re hidden deep inside, so we ll ignore them. この辺りには小殿筋やその他いくつかの筋肉もありますが、 それらは奥深くに隠れていますので無視することにしましょう。 These 3 butt muscles can be simplified to a tire. Or a croissant! Whichever you prefer. これら三つの筋肉は、タイヤの形に単純化することができます。 もしくはクロワッサン！好きな方でどうぞ It s amazing how much butts and croissants have in common. 尻とクロワッサンがこんなにも似ているというのは驚きです。 Similar shape, filled with fat, they re delicious and some other similarities... 似たような形、脂肪で満たされ、美味しく、さらにいくつかの類似点... I might have gone too far. Let s stick to fart jokes. 幾分やり過ぎました。くだらないジョークに固執しましょう。 Basically, the butt muscles wrap around the greater trochanter, which is right in the center of the hips. 基本的に、尻の筋肉は大転子を囲んでいます。大転子はまさに腰部の中心です。 From the back, the forms can be constructed with two sets of diagonal ellipses. 後ろから見ると、その形は斜めになった二つの楕円形のセットで構成されていると みなすことができます。 They kinda look like a butterfly. それらは蝶のようにも見えます。 A broad layer of fat sits on top and droops down until it tucks into the gluteal fold. 厚いい脂肪の層が尻の頂点に存在し、臀溝にしまい込まれるまで垂れ下がっています。 More about that later... これについては後程やります。 On a female butt, there s a thicker layer of fat, (The butterfly design still applies, but becomes more about defining the larger fat pads than the muscles like on a male.) but that butterfly dosen t fly away. In fact it gets biger if the top part merges with obliques. 女性の尻では、より厚い脂肪の層が存在しますが、蝶はもはや飛べません。 実際、もし上部が腹斜筋と一体化した場合より大きなものとなります。 !--ここから音声にない-- Since it s more about the fat pads, the butterfly gets bigger, especially if the top part merges with the obliques. !--ここまで-- The love handles keep this rhythm going all the way through the narrow part of the waist and connect the two sides. ラブハンドル(脇腹の肉)は腰の細い部分を通りながらこのリズムを維持し、 両側をつなげています。 Use this rhythm when you re practicing your gesture quicksketch. It s very helpful. このリズムを、皆さんがジェスチャーを用いたクイックスケッチをするときに使いましょう。 これは大変助けになります。 It s a slightly more detailed version of the bean. 画像は、ビーンを用いた場合のより詳細に描いたバージョンです。 Of course that s not always the case, since butts come in all shapes and sizes. もちろんこれはいつも当てはまるというわけではありません。 尻は形もサイズも様々だからです。 A slightly less defined design would be to add a little more fat around the sides for a rounder bubble butt. 少々あいまいなデザインのバージョンは、 より丸い泡状の尻に、両側周囲に少々脂肪を加えたものです。 It really just depends on the fat distribution. デザインをどうするかは脂肪の配分によります。 You could have the softer rounder cheek, but a defined separation at the iliac crest between the glutes and obliques. より柔らかく丸い(片方の)尻肉もありえますが、 腸骨稜において殿筋と腹斜筋の間に明確な分離が存在します。 If you draw enough butts, you ll start learning the patterns. 皆さんが十分に尻を描いたのなら、尻のパターンを学習し始めるでしょう。 That s why in an upcoming episode, we ll learn how to draw butts from every angle. Don t miss that one. そういうわけで、次のビデオでは、あらゆる角度から尻を描く方法を学びます。 見逃さないでください。 Gluteus Medius 中殿筋 The gluteus medius is a lot like a muscle you already know the deltoid. 中殿筋は、皆さんがすでに習った筋肉と大変良く似ています。三角筋です。 Both pull the limb away from the body. Both have multi-directional fibers to pull the limb forward and backward. They re even similar in shape! 両方とも、手足を胴体から離し、 両方とも手足を前後に動かすために多方向の筋繊維を持ち、 形も似ています！ The gluteus medius is a simple, sort of flat trapezoid on the side of the pelvis, above the great trochanter. 中殿筋は、大転子の上方、骨盤の側面に位置し、単純な台形の類の形をしています。 I say sort of flat because it is actually a bloated thick muscle, but most of its thickness is buried in the pelvis. 平らだといいましたが、実際は中殿筋は膨らんだ厚い筋肉ですが、 その厚みの大部分は骨盤に埋まっています。 The ilium is a deep concavity. 腸骨には深い凹面があります。 The gluteus medius fills a lot of it, and then sometimes, overfills it, so it s slightly convex. 中殿筋はその凹面の大部分を埋め、時々埋めすぎますので、 ですので若干飛び出ます。 While it doesn t look like a huge bulging muscle, the gluteus medius is large and powerful enough to do its job. 中殿筋は大きく膨らんだ筋肉には見えませんが、 割り当てられた仕事をするのに十分に大きく力強いものです。 And if it s really developed, it does curve out a bit. そして中殿筋は十分に発達した場合、幾分外側にカーブして見えます。 And of course on an average person there will be some fat there which might also curve that form. そしてもちろん平均的な人物に於いては、そこにはいくらかの脂肪が存在し、 それによってもまた中殿筋がある辺りがカーブすることになります。 Or completely soften it into the leg. You already know that fat varies a lot on people. または足に至るまで完全に凹凸を滑らかなものになっている場合もあります。 皆さんはこのような状態を多くの人物に於いてみてきたことでしょう。 It originates from the front 3/4 under the lip of the iliac crest, though a part of its origin is covered up by the gluteus maximus. 中殿筋は、腸骨稜のへり(外唇)の下に於いて前方3/4から起始しますが、 起始の一部は大殿筋によって覆われています。 Its fibers converge like a fan into a thin flat tendon which inserts on the outside surface of the greater trochanter. 中殿筋の筋繊維は薄くて平らな腱に向かって扇のように収束します。 その腱は大転子の外側表面に停止します。 !--ここから有料-- !--ここまで-- It can be tricky to figure out which bump belongs to which of the 3 muscles. どのふくらみがどの三つの筋肉に属しているかは大変複雑です。 Especially since the anterior portion of the gluteus medius can bulge out and separate from the posterior portion. 特に、中殿筋の前部は後部と分離して膨らむことができるのことが混乱を深めます。 !--ここから有料-- !--ここまで-- In this pose, the leg is being abducted diagonally toward the front, activating the anterior portion. このいま表示されているポーズでは、 脚は前方斜めに外転しており、 中殿筋前部が活動しています。 The posterior edge often blends together with the gluteus maximus. 後部の境界線はしばしば大殿筋と混ざってしまいます。 !--ここから有料-- !--ここまで-- Gluteus Maximus 大殿筋 The gluteus maximus is the biggest muscle in the entire human body. 大殿筋は、人体全体の中で一番巨大な筋肉です。 The latissimus is wide, but it s thin. 広背筋は広いですが、薄いです。 The gluteus maximus is thick! 大殿筋は厚い！ It s the famous butt-muscle that allows us to stand strong. 大殿筋は名高い尻の筋肉であり、そのおかげで我々は力強く立つことができます。 We ll study the fat after we learn the glute. 我々は、殿筋を学んだあとに脂肪を学びます。 So, If you re on a fat-free and gluten-free diet, you should consult your dietitian before watching the rest of this video. ですので、もし皆さんが脂肪無し糖質無しダイエットの最中なら、 このビデオの残りを見る前に栄養士と相談するべきです。 !--ここから有料-- !--ここまで-- Most of the gluteus maximus fibers insert to the iliotibial band like this. 大殿筋の筋繊維の大部分は、このように腸脛靭帯に停止します。 It extends the femur. It also laterally rotates the femur. It also abducts the femur. And its lower fibers adduct the femur. 大殿筋は、大腿骨を伸展、外旋、外転、 そして下方の筋繊維は内転させます。 But we may be tempted to think of the gluteus maximus only as anchoring at the pelvis to grip and move the leg, when it often does the opposite. しかし、我々は、大殿筋について、大殿筋がしばしば正反対のことをするにもかかわらず、 足をつかみ動かすために単に骨盤に固定されているものとして考えがちかもしれません。 Once our knees are locked, we use the pillar of the leg as the anchor, and the gluteus maximus pulls on the pelvis and holds the rest of the body.... UP! 膝が固定されているとき、我々は脚の柱をイカリとして使い、 大殿筋は骨盤を引っ張り残りの体の部分を引き上げます。 That s why we re so special. It lets us do some amazing things. それ故我々は特別なのです。 大殿筋のその機能によりいくつかの驚くべき行為が可能になります。 It keeps us standing and lets us sit on it. 大殿筋によって立ち続けることができ、大殿筋の上に座ることができます。 It s our uniquely human,antigravity muscle. 人間に特有の、反重力用筋肉です。 Now for the final layer. Did you know we humans are the only animals uniquely and abundantly blessed with butt fat? さて、最後の層です。皆さんは、我々人間が、 比類なく多大に尻の脂肪に恩恵を受けている動物であることを ご存知ですか？ But what about... Ya, hard to believe, but that s all swelling. しかしアレについて...信じがたいことですが、 この猿の尻はすべて腫れです。 Most humans find it to be kinda gross, but trust me, the male monkeys go bananas over it. ほとんどの人間はそれをちょっと気持ち悪いと思うでしょう、 しかし私を信じてください、 オスのサルはこれを見て興奮します。 Anyway, fat makes up about half the width of our hineys, and it s not all equal. ともかく、脂肪は、我々の尻の半分の幅を占め、 そして均一ではありません。 It gathers toward the center, so it s heavier medially - between our legs. 脂肪は中心に向かって集まり、ですので中心部-脚の間-でより重くなります。 Also, gravity s a thing, so it s heavier at the bottom. また、重力のせいで、下方部でより重くなります。 Sometimes you might even see a transition between the muscular form and the squished fat when the model is sitting. 時々、皆さんは、モデルが座っているとき、 筋肉質の形状と潰された脂肪の間の移行を見ることがあるでしょう。 !--ここから有料-- !--ここまで-- This horizontal crease is called the Gluteal Fold. この水平の皺は臀溝と呼ばれています。 It s obvious when the weight is on one leg, but it disappears when the leg flexes forward. 臀溝は、一方の脚にに体重が載っているとき明瞭に見えますが、 脚が前方に屈曲した時には消えます。 !--ここから有料-- !--ここまで-- The gluteal fold is lower than the actual gluteal muscle fibers on the inside. 殿溝は、内側において、実際の殿筋の筋繊維より下に位置しています。 It extends outwards horizontally cutting across the muscle fiber. 殿溝は、筋繊維を横切りながら水平に伸びています。 So, on the surface on an average person, you won t actually see this diagonal swooping border of the gluteus maximus. ですので、平均的な人物の表面においては、 皆さんがこの大殿筋の斜めに急降下する境界線を見ることはないでしょう。 On a typical athletic type, you ll see the gluteal fold, and a subtle hint of the diagonal muscle fibers continuing to the side of the leg. 典型的なスポーツ選手の体形においては、 殿溝とともに、脚の側面へ向かう斜めの筋繊維の わずかな兆候を見ることができるでしょう。 On a body builder with impossibly low body fat, you ll just see the shape of the muscle. 極端に脂肪の少ないボディービルダーにおいて、 皆さんははっきりと筋肉の形を見ることができるでしょう。 That s why this looks so strange. There s no gluteal fold... つまり脂肪が少ないことが大変この画像が奇妙に見える理由です。 この画像には殿溝がありません... Artists love the gluteal fold because it s a natural cross-contour line around the form of the leg. 脚の周りにおいて自然の等高線となるので、画家は殿溝を愛しています。 We can use it to show whether the leg is coming toward us or going away from us. 殿溝を使って、脚がこちらに向かっているのか、又は向こうへ行っているのか 描き分けることができます。 It s a rhythm line for gesture drawing. 殿溝はジェスチャードローイングにおけるリズム線です。 As the leg goes forward or back, the gluteus maximus and fat pad will react to the movement. 脚が前か後ろへ行っているとき、大殿筋と脂肪の層は動きを反映します。 !--ここから有料-- !--ここまで-- But if you want the reliable landmarks, seek the bones. しかし信頼できる目印を求めるならば、骨を探しましょう That s why we studied pelvises before putting on muscles and fat. それが筋肉と脂肪を配置する前に骨盤を学ぶ理由です。 And there s one more muscle to study... the tensor fasciae latae. そしてもう一つ学ぶべき筋肉があります。 大腿筋膜張筋です。 Tensor Fasciae Latae No, it s not a coffee drink... 違います、コーヒーラテじゃありません。 The tensor fasciae latae is a muscle located around your pockets. Almost the shape of your pockets. 大腿筋膜張筋は皆さんのポケットの周りに位置しています。 ほとんどポケットと同じ形です。 The tensor fasciae latae anchors at the ASIS, aims to the side of the great trochanter, then just stops. 大腿筋膜張筋は、上前腸骨棘(ASIS)に固定され、 大転子の側を目指し、停止します。 It doesn t attach to any bone here. In fact, it attaches to the iliotibial band, which is hard to see in this area because it s very thin fascia. 大腿筋膜張筋はここではどの骨にも付着していません。 実際、大腿筋膜張筋は腸脛靭帯に付着しており、 腸脛靭帯はこの範囲では大変薄い筋膜ですので見ることは難しいでしょう。 Remember, fascia is like seran wrap. When the tensor fasciae latae flexes, it pulls or tenses the lateral fascia. 思い出してください、筋膜はサランラップのようなものです。 大腿筋膜張筋が屈曲するとき、腸脛靭帯を引っ張り又は緊張させます。 That s how it got its name. Tensor of the fasciae latae. Not because it s a latte. それが筋肉の名前の由来です。 大腿筋膜の張筋です。 コーヒーラテだからじゃありません。 Btw, I don t want to keep saying this long ass name. So let s use TFL. Which stands for Too F*cking Long. Just kidding it s tensor fasciae latae let s move on... ところで、私はこの長ったらしい名前を言いたくありません。 ですので「TFL」を使いましょう。 これは「〇ソみたいに長い(Too F*cking Long)」から由来しています 冗談です。「tensor fasciae latae」からです。 次に行きましょう。 The TFL and gluteus maximus are antagonists. 大腿筋膜張筋と大殿筋は拮抗筋です。 They both insert on the iliotibial band and pull it from opposite directions. 両方とも腸脛靭帯に停止し、反対の方向へ引っ張ります。 The gluteus maximus did a number of tasks. So does the TFL. 大殿筋には多くの役割があります。大腿筋膜張筋もです。 It flexes the leg forward. It abducts it out to the side. And it medially rotates the leg. 脚を前方へ屈曲させ、側面へ外転させ、 内旋させます。 The shape of the TFL is a bit tricky when the leg moves. 大腿筋膜張筋は、脚が動くとき、少々複雑な形になります。 In a straight leg, it s longer and flatter. 脚が伸びているとき、長く平坦です。 Kind of a long teardrop shape since it s much thinner at the top. 上方が薄くなっているので涙型です。 When the leg flexes, the TFL really shortens and bulges out. 脚が屈曲しているとき、大変短縮され膨らみ出ます。 You might see it bent in half with a pinch in the front. 前方が前方が締め上げられ半分に曲がっているのを見ることもあるでしょう。 Maybe even something crazy like this, with a bunch of skin folds down its length. さらにこんがらがることに、 このように、その長さ全体にわたって皺が寄っていることもあります。 Or just shaped like a short triangle. もしくは単に短い三角形の場合もあります。 And you might even see muscle fibers, like little fingers grabbing on to the iliotibial band. そして、筋繊維が見えることもあります。 小さな指が腸脛靭帯をつかんでいるようです。 This variety makes the TFL tricky. この多様性が大腿筋膜張筋を複雑なものにしています。 !--ここから有料-- !--ここまで-- On females there s a thicker layer of fat softening the hips. 女性において、尻には厚い脂肪の層がありそれが尻を柔らかなものにしています。 It s reserve to feed the baby. 乳児に栄養を与える準備をするためです。 Even on someone very skinny like Christy, there s a layer of fat hiding the muscle definition. Christyのように痩せた女性でさえも、 筋肉の区別を隠すように脂肪の層が存在しています。 !--ここから有料-- !--ここまで-- Assignment 課題 Your assignment is to give Skelly a butt! あなたの課題は、Skelly君に尻肉を与えることです！ I ve included 3 photos of Skelly posed in the description below, or you can use the Skelly app to make any pose you d like! Think about where each muscle originates and inserts. 三つのSkellyの写真を下に用意しました。 もしくは、Skellyアプリを使い、好きなポーズを用意してください！ それぞれの筋肉が何処から起始してどこに停止するのか考えましょう。 You can keep the lower leg as a simple cylinder. Or a bloated cylinder. 皆さんは、このばあい下肢を単純な円筒形もしくは膨らんだ円筒形で描いていいでしょう。 Think about how the forms of the butt muscles are distorted by the pose. 尻の筋肉がポーズによってどのように歪められるか考えましょう。 So get off your ass... and then sit back down and do the assignment さっさと課題に取り掛かりな！！
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Towards the TOWER / SHAMDEL I was riding Braid at midnight. Distancing myself from my painful vow. As he galloped I held on so tight for my heart was too heavy to carry on. A captive girl came into view. Bathed in lights born from laughter and a thousand tears. Braid said, "It must be you who saves her." So I opened the rusty door of "tower". One step, Each step, Going further, highter… Now fly, from this crumbling cage and hear my sigh. (You feel this shower of starlight?) And I ll travel on to the end of night. (Be free and cheerful!) Tiny teardrops break the shackles… I say to you, "Bye for good, Princess."
https://w.atwiki.jp/towerunitejp/pages/121.html
ハロウィン2020 開催期間（2020 10/23 ～ 11/16） イベント概要 ミニゴルフなどのゲームや、PLAZAミニゲームを遊ぶことでグールコインが手に入る、グールコインを使ってハロウィン2020アイテムを交換しよう。 今年からハロウィン経験値が実装され、ハロウィンイベントをこなすと貯めた経験値に応じてマイルストーンアイテムが入手できます！ 他にもPLAZAがハロウィン仕様に飾り付けられる他、PLAZA中央の噴水の位置に魔法の壺が出現、ランダムで発生する（予告アリ）"墓"を荒らして手に入れた遺骨を捧げるとランダムでアイテムが手に入る。 また、期間中はPLAZA内のどこかに、ハロウィンキャラクターが出現して、話しかけると限定アイテムを獲得できる。 また、トリックオアトリートではハロウィンバケツを集めることで手持ちのお菓子を集めることが出来る。 NEW ハロウィンマイルストーン！ （画像） このページにあるイベントをこなすと経験値が入手でき10万20万30万40万50万で特別なアイテムが入手できます！ NEW トリック オア トリート！ （画像） イベント期間中の特定の時間にPLAZAのあちこちにキャンディーバケツが出現します！ 集めてハロウィン経験値と手持ちのお菓子を手に入れましょう！ イベントの開催は30秒前に全体チャットで告知されます。 また、残りのバケツの数はTABキーを押して出るプレイヤー一覧の最下部に表示されます。 獲得できるアイテム Candy Cane Ice Cream Flat Lollipop Pumpkin Pie Aesthetic Chips Mint Cake Pop Hot Chocolate Pink Rock Candy Green Rock Candy Gem Pop Blue Rock Candy Round Lollipop Blue Cake Pop Chocolate Milk Peppermint Lollipop Candy Corn Cinnamon Stick Candy Bar Pink Cake Pop Gummie Waffle Cone NEW 骨探しと宝探し（ハロウィン実績） 今回はPLAZAの探検イベントとして骨探しと宝探しがあります！ 非常に見つけにくいですが頑張って探してみましょう！ 大まかな位置に〇をつけたヒント地図 https //img.atwikiimg.com/www65.atwiki.jp/towerunitejp/attach/121/1329/honetotakara.jpg ペットが迷子になっちゃった！？ （画像） 中央噴水エリアにいる羽の生えたカボチャに話しかけるとイベントスタート。 迷子になっている彼のペットを探してあげよう！ ヒントはTABキーを押してマップを見ると出てくる？のエリア 無事ペットを見つけるとお礼としてハロウィンショップが使えるようになります。 購入できるアイテム数が多く、価格も高いのでコンプリートは修羅の道かも。 今年から新たに獲得できるアイテム（詳細はイベント限定アイテムへ） Witch Witch Hat Witch Plushy Ant Head Robot Box Bat Hat Corn Plushy Bat Plushy Orbiting Moon Fly Head Bat Crow Eyeball Stalk Haunted Catsack ※コインの出現条件は6分に一度ユニットなどを取得したとき。(アーケードも対象) トリック・オア・トリート！ （画像） イベント期間中に、ランダムでPLAZAのどこかに出現するイベントキャラクター（クモ・紳士な幽霊・奇妙なカボチャ・入浴中のガイコツ・死神？・羽の生えた目など）に話しかけてアイテムを獲得しよう！ キャラクターの訪問は、直前に全体チャットで予告される他、キャラクターが出現している間はTABキーを押して表示されるプレイヤー一覧の最下部に「HALLOWEEN CHARACTER VISIT」と表示されます。 出現するキャラクター クモ 紳士な幽霊 奇妙なカボチャ 入浴中のガイコツ 天使の羽の生えた目 悪魔の羽の生えた目 ジャマイカバナナ 浮かぶ脳みそ 牛の頭蓋骨 死神？ 獲得できるアイテム（詳細はイベント限定アイテムへ） グールコイン 浮遊するろうそく 浮遊する燭台 浮遊する本 ランタン 汚らしい肉切り包丁 悪夢のカニ ジャック・オ・ランタン 骸骨のろうそく キャンディ・バケツ（HALLOWEEN2016アイテム） 墓荒らし （画像） イベント期間中の特定の時間でPLAZAのビーチ周辺に墓が出現します！ 墓はEキーを使って掘り起こすことで、遺骨を手に入れることができ、これをマップ中央の噴水があった位置にある大釜に捧げるとランダムでアイテムが獲得できます。 貰えるアイテムは限定のハウジングアイテムの他、なんと限定の装備可能アイテムやペットもあります！ お墓は一度取ると1秒間次の墓を掘ることができません。 イベントの開催は30秒前に全体チャットで告知されます。 また、残りのお墓の数はTABキーを押して出るプレイヤー一覧の最下部に表示されます。 墓の出現位置 （ビーチエリア、さらにプールの奥のビーチエリアにも大量に出現します！） 獲得できるアイテム（詳細はイベント限定アイテムへ） ジャック・オ・ランタン 悪魔の大釜 眼球 投げられる肉切り包丁 投げナイフ 不気味な銃 小さなオバケのペット Crystal Ball Hell Portal Haunted TV Ethereal Pumpkin 落ち葉のエフェクト（家具） グールコイン ハロウィンミニゲーム 経験値は入手したユニット×2 ゴーストハンティング （画像） ミニゲームエリアから空に立ち上るゴーストを、レーザーガンで打ち抜くミニゲーム。 赤い●を撃つと高得点（30points + コンボボーナス）が得られる他、ゴーストを撃った距離によってもらえるポイントが変動する。 遠距離だと高得点が得られるのと、連続して撃つことでコンボボーナスが貰えるので出来るだけ上を向いて高所にいったゴーストを連続して撃つのがハイスコアのポイントか。 報酬はスコアに応じたUnits（1Score=1Units） パンプキンブラスト （画像） ミニゲームエリアに出現するパンプキンを、リボルバーで打ち抜くミニゲーム。 基本1shot10ポイントで、連続で当てた数によって、スコアの倍率が増えるので（最大×６）できるだけ外さないように落ち着いて当てていきたい。 報酬はスコアに応じたUnits（1Score=1Units） フードフレンジー （画像） ミニゲームエリアに出現する食べ物を食べ続けるミニゲーム。 基本25ポイントで連続で取るとスコア倍率が増えていくので（最大×６）連続して取ることを心がけよう 報酬はスコアに応じたUnits（1Score=1Units）
https://w.atwiki.jp/gohongilab2/pages/27.html
tags Kumaraswamy_A OSS Sun case competition_in_standardization standard strategy strategy_for_standardization Garud_R url auther Garud, R. and Kumaraswamy, A. bibtex @article{GarudKumaraswamy1993changing, title={{Changing competitive dynamics in network industries An exploration of Sun Microsystems open systems strategy}}, author={Garud, R. and Kumaraswamy, A.}, journal={Strategic Management Journal}, volume={14}, number={5}, pages={351--369}, issn={1097-0266}, year={1993} } format for references AIS Garud, R., Jain, S., and Kumaraswamy, A. 2002. “Institutional entrepreneurship in the sponsorship of common technological standards The case of Sun Microsystems and Java,” Academy of Management Journal (45 1), pp.196-214. abstract memo abstract Sun Microsystes provides rivals easy access to its technical knowledge and encourages them to enter its workstation market. This paper employs theoretical insights on technological systems and network externalities to understand Sun s open systems strategy. The paper also explores the changing nature of competition in network industries-industries characterized by network externalities and built around technological systems. P351 Left \cite{Porter1998competitive} suggests that firms erect entry an mobility barriers to limit competition among themselves. \cite{Reed1990causal} explore how firms can generate causal ambiguity to prevent rivals from duplicating distinctive competencies. \cite{Teece1986profiting} highlights the imprtance of appropriability regimes that provide firms with an opportunity to earn abovenormal profits through the introduction of new technologies. @book{Porter1998competitive, title={{Competitive strategy techniques for analyzing industries and competitors with a new introduction}}, author={Porter, M.E.}, isbn={0684841487}, year={1998}, publisher={Free Press} } @article{Reed1990causal, title={{Causal ambiguity, barriers to imitation, and sustainable competitive advantage}}, author={Reed, R. and DeFillippi, R.J.}, journal={Academy of management Review}, volume={15}, number={1}, pages={88--102}, issn={0363-7425}, year={1990} } @article{Teece1986profiting, title={{Profiting from technological innovation Implications for integration, collaboration, licensing and public policy}}, author={Teece, D.J.}, journal={Research policy}, volume={15}, number={6}, pages={285--305}, issn={0048-7333}, year={1986} } Why, then, would a firm provide rivals easy access to its technical knowledge and encourage entry into its market? What are the sources of competitive advantage for a firm that provides rivals easy access to its technical knowledge? P352 left All these industries consists of interrelated markets, each producing components of a larger technological system . These industries are also characterized by network externalities \cite{KatzShapiro1985network, FarrellSaloner1986installed, BesenSaloner1989economics, CrandallFlamm1989changing} @article{KatzShapiro1985network, title={{Network externalities, competition, and compatibility}}, author={Katz, M.L. and Shapiro, C.}, journal={The American economic review}, volume={75}, number={3}, pages={424--440}, issn={0002-8282}, year={1985} } @article{FarrellSaloner1986installed, title={{Installed base and compatibility Innovation, product preannouncements, and predation}}, author={Farrell, J. and Saloner, G.}, journal={The American Economic Review}, volume={76}, number={5}, pages={940--955}, issn={0002-8282}, year={1986} } @incollection{BesenSaloner1989economics, title={{The economics of telecommunications standards}}, author={Besen, S.M. and Saloner, G.}, booktitle={Changing the rules Technological change, international competition, and regulation in communications}, editor={Crandall, R.W. and Flamm, K.}, isbn={0815715951}, year={1989}, publisher={Brookings Institution Press} year={1989} } @book{CrandallFlamm1989changing, title={{Changing the rules technological change, international competition, and regulation in communications}}, editor={Crandall, R.W. and Flamm, K.}, isbn={0815715951}, year={1989}, publisher={Brookings Institution Press} } Right Standard-based technologies and network interconnections break several `isolating mechanisms \cite{Rumelt1984towards} that (1) prevent rivals from gaining acess to technical knowledge embodied in components and their interface standards, and (2) keep users locked into networks because of high switching and transient imcompativility costs \cite{FarrellSaloner1986installed}. @article{Rumelt1984towards, title={{Towards a strategic theory of the firm}}, author={Rumelt, R.P.}, journal={Resources, firms, and strategies A reader in the resource-based perspective}, pages={131--145}, year={1984} } @article{FarrellSaloner1986installed, title={{Installed base and compatibility Innovation, product preannouncements, and predation}}, author={Farrell, J. and Saloner, G.}, journal={The American Economic Review}, volume={76}, number={5}, pages={940--955}, issn={0002-8282}, year={1986}, publisher={JSTOR} } With the dissolution of isolating mechanisms, firms that wish to survive must introduce new products continually. Therefore, the workstation market is characterized by rapid technical change. In this rapidly changing environment, Sun exploits transient monopoly positions \cite{MacmillanEtAl1985competitors} that are created through its role as atechnology sponsor. A sponsor is a firm willing to invest in the development of a technology while sharing breakthroughs with others to promote its technology as the industry standard. @article{MacmillanEtAl1985competitors, title={{Competitors responses to easily imitated new products—exploring commercial banking product introductions}}, author={MacMillan, I. and McCaffery, M.L. and Van Wijk, G.}, journal={Strategic Management Journal}, volume={6}, number={1}, pages={75--86}, issn={1097-0266}, year={1985} } In this paper, we introduce the notion of economies of substitution to explain how Sun has been able to offer new products by economizing on the resource consumptive R\ D process. P353 Technological systems consist of a set of components that together provide utility to users. System performance is dependent not only upon constituent components, but also on the extent to which they are compatible with each other (\cite{Gabel1987open; 93, HendersonClark1990architectural, TushmanRosenkopf1986organizational}. @inarticle{Gabel1987open, title={{Open standards in the European computer industry The case of X/OPEN}}, author={Gabel, H.L.}, booktitle={Product standardization and competitive strategy}, editor={Gabel, H.L.}, pages={91--123}, publisher={Elsevier Science} year={1987} } @article{HendersonClark1990architectural, title={{Architectural innovation the reconfiguration of existing product technologies and the failure of established firms}}, author={Henderson, R.M. and Clark, K.B.}, journal={Administrative science quarterly}, volume={35}, number={1}, year={1990}, pages={9--30}, publisher={Cornell University, Johnson Graduate School} } @article{TushmanRosenkopf1986organizational, title={{Organizational Determinants of Technological Change Towards a Sociology of Technological Evolution}}, author={Tushman, M.L. and Rosenkopf, L.}, journal={Research in organizational behavior}, editor={Staw, B. and Cummings, L.} volume={14}, year={1986} } One way to ensure copatibility is to custom-design individual system components to facilitate their interactions. Another way to ensure compativility is to design components that confirm to a common set of standards. By standards, we mean codified specifications about components and their relatonal attributes \footnote{}. \footnote{ \cite{David1987SomeNewStandards} provies a comprehensive taxonomy of standards that include conformance to \item an ordinal scate \item a cardinal scale \item a dichotomous set. } @incollection{David1987SomeNewStandards, title={{Some new standards for the economics of standardization in the information age}}, author={David, P.}, booktitle={Economic policy and technological performance}, editor={P. Dasgupta and P. Stoneman}, pages={206--239.}, isbn={0521022215}, year={1987}, publisher={Cambridge Univ Press} } P354 Right Proprietery control over technical knowledge provides dominant firms the porwer to set the rules by which rivals must play \cite{AdamsBlock1982Integrated}. @article{AdamsBlock1982Integrated, title={{Integrated Monopoly and Market Power System Selling, Compatibility Standards, and Market Control}}, author={Adams, W. and Block, J. W.}, journal={The Quarterly Review of Economics and Business}, volume={22}, number={4}, pages={29--42}, year={1982} } Proprietary control over technical knowledge also protects dominant firms from newentrants because system-users incur transient imcompatibility costs \cite{FarrellSaloner1986installed}, P356 left Indeed, they may be determined by the possession (and exercise) of naked power to set the rules by which any and all comers shall be allowed to play the game \cite{AdamsBlock1982Integrated}. Table.2 specialized component manufactures コメント：機能拡張の歴史。social graphなど、どんどん上のレイヤに上がっていく。 縦軸competitive marketにconsortium standards が加わるとどう展開するか。 P356 Right There are two options for entrants and rivals to operate in a Quadrant 2 (Monopoly market/ Integrated system manufactures) \cite{Flamm1988creating}. \item to offer products for niche markets that do not attrace the attention of the dominant system manufacturer \item to operate in compatible component markets desigated by the dominant system-manufacturer. @book{Flamm1988creating, title={{Creating the computer government, industry, and high technology}}, author={Flamm, K.}, isbn={0815728506}, year={1988}, publisher={Brookings Institution Press} } P357 left integrated system-manufacuturing provides a source of competitive advantage through the manipulation of undisclosed interface specifications. Integrated system-manufacturers also have the opportunity to bundle their products and engage in tie-in sales thereby reaping above normanl profits (e.g \cite{Burstein1960economics} \cite{DansbyConrad1984commodity} \cite{MatutesRegibeau1988mix}). Therefore, integrated system-manufacturing might appear to be an appealing source of competitive advantage. @article{Burstein1960economics, title={{The economics of tie-in sales}}, author={Burstein, M.L.}, journal={The Review of Economics and Statistics}, volume={42}, number={1}, pages={68--73}, issn={0034-6535}, year={1960} } @article{DansbyConrad1984commodity, title={{Commodity bundling}}, author={Dansby, R.E. and Conrad, C.}, journal={The American Economic Review}, volume={74}, number={2}, pages={377--381}, issn={0002-8282}, year={1984} } @article{MatutesRegibeau1988mix, title={{" Mix and match" product compatibility without network externalities}}, author={Matutes, C. and Regibeau, P.}, journal={The RAND Journal of Economics}, volume={19}, number={2}, pages={221--234}, issn={0741-6261}, year={1988} } rather than remain an integrated system-manuracturer, a firm in a network industry might choose to increase system viability by licensing its technology to other firms in complementary markets and to rivals \cite{Conner1995obtaining}. @article{Conner1995obtaining, title={{Obtaining Strategic Advantage from Being Imitated When Can Encouraging" Clones" Pay?}}, author={Conner, K.R.}, journal={Management Science}, volume={41}, number={2}, pages={209--225}, issn={0025-1909}, year={1995} } @article{Conner1995obtaining, title={{Obtaining Strategic Advantage from Being Imitated When Can Encouraging" Clones" Pay?}}, author={Conner, K.R.}, journal={Management Science}, volume={41}, number={2}, pages={209--225}, issn={0025-1909}, year={1995} } cited as
https://w.atwiki.jp/vocaloidenglishlyric/pages/341.html
【Tags Signal-P T tT Rin】 Original Music title Transmit English music title Transmit Music Lyrics written, Voice edited by シグナルP (Signal-P) Music arranged by シグナルP (Signal-P) Singer 鏡音リン (Kagamine Rin) Click here for the original Japanese Lyrics English Lyrics (translated by moire25)： The moon floats faintly, the stars remain dimly I sent my wish from here by reaching my hand I put it in words and smile, not to lose It s so easy to go with the flow, but even so, Do not forget that it s important to go against the tide Hold it tight once again, pledge and carve it into your heart Every time I feel wistful, a gentle light shines Though I can t make the linked story dramatic At least I will even smile to the end the day I cry I couldn t do anything in the past I wonder if I could give warmth even just a little I wonder if I can change something in the future I m overwhelmed by anxieties and sorrows The flowing gentle sound is faintly turned blue Recall the overflowing strength from here Even if you chase and lost it, rely on a glimmer of a clue I m sure it s still nearby, so don t give up Be honest to the heart crying out. You can hear it if you close your eyes. Then, it certainly show the way to go Hold it tight once again, pledge and carve it into your heart Every time I feel wistful, a gentle light shines Though I can t make the linked story dramatic At least I will even smile to the end the day I cry And now I ll just believe my feelings will reach you... I ll be by your side, so I ll the tears and I won t get away any more. lalala… Romaji lyrics (transliterated by moire25)： kasukani ukabu tsuki ussura nokoru hoshi tachi te wo nobashi te koko kara todokeru negai dokomademo tooku te hate naku todoki sou mo nai kotoba ni nose hohoemu make nai you ni nagare ni mi wo makasu no wa kantanda keredo sore demo sakarau koto mo daiji da to wasure nai de dakishime te ima mou ichido sono mune ni chikatte kizami kon de setsunasa kanjiru tabi sosogu yasashii hikari tsunagatte iru monogatari doramachikku ni nado deki nai keredo nai ta hi mo saigo ni wa seme te egao de owatte ima made no jibun wa nani mo dekina katta kedo sukoshi demo nukumori wo tsutae re ta kana korekara no jibun wa nani ka kae rare ru no kana fuan ya kanashimi ni oshitsubu sare sou de nagareru odayakana oto honokani aoku irozui te afureru tsuyosa wo koko kara yobisamashi te oikake te miushi natte mo chiisana tegakari wo tayori ni shi te chikakuni mada iru hazu dakara akirame nai de me wo tojire ba kikoe te kuru kokoro no sakebi ni sunao ni natte sou sure ba hitsuzen to susumu michi ga otozureru dakishime te ima mou ichido sono mune ni chikatte kizami kon de setsunasa kanjiru tabi sosogu yasashii hikari tsunagatte iru monogatari doramachikku ni nado deki nai keredo nai ta hi mo saigo ni wa seme te egao de owatte soshite ima wa tada omoi ga todoku to shinji te... soba ni iru kara namida wo fuite mou ni ge nai lalala... [SignalP, Signal-P, Sigunaru-P, SigunaruP, Dios, Hiroaki Arai]
https://w.atwiki.jp/oper/pages/733.html
ATTO SECONDO （Ombrosa Valletta fra il Villaggio e il Castello.） SCENA PRIMA （Coro di Contadini e Contadine.） CORO Qui la selva è più folta ed ombrosa. Qui posiamo vicini al ruscello. Lunga ancora, scoscesa, sassosa È la via che conduce al castello. Sempre tempo per giungere avremo, Pria che sorga dal letto il signore. Riflettiam! Quando giunti saremo, Che direm per toccare il suo cor?… Eccellenza!… direm con coraggio… Signor Conte… la povera Amina Era dianzi l onor del villaggio, Il desìo d ogni villa vicina, D ogni villa era dianzi l onor. Ad un tratto è trovata dormente Nella stanza che voi ricettò… Difendetela, s ella è innocente, Aiutatela, s ella fallò. A tai detti, a siffatti argomenti… Ei si mostra commosso, convinto Noi preghiamo, insistiam riverenti… Ei ci affida, ei promette, abbiam vinto… Consolati al villaggio torniamo In due passi, in due salti siam qua. Alla prova!… da bravi! partiamo… La meschina protetta sarà. （Partono.） SCENA SECONDA （Amina e Teresa.） AMINA Reggimi, o buona madre; a mio sostegno Sola rimani tu. TERESA Fa core. Il Conte Dalle lagrime tue sarà commosso. Andiamo. AMINA Ah! no… non posso Il cor mi manca e il pie . Vedi? Siam noi Presso il poder d Elvino. Oh! quante volte Sedemmo insieme di questi faggi all ombra, Al mormorar del rio! L aura che spira Dei giuramenti nostri anco risuona… Gli obliò quel crudele! ei m abbandona! TERESA Esser non puote, il credi, Ch ei più non t ami. Afflitto è forse anch esso, Afflitto al par di te… Miralo ei viene Solitario e pensoso… AMINA A lui mi ascondi… rimaner non oso. SCENA TERZA （Elvino, e dette in disparte.） AMINA Vedi, o madre… è afflitto e mesto… Forse… ah! forse ei m ama ancor. ELVINO Tutto è sciolto Più per me non v ha conforto. Il mio cor per sempre è morto Alla gioia ed all amor. AMINA （si avvicina ad Elvino） M odi, Elvino… ELVINO （si scuote） Tu… e tant osi?… AMINA Deh!… ti calma… ELVINO Va ! spergiura! AMINA Credi… Colpa alcuna in me non è. ELVINO Tu m hai tolto ogni conforto. AMINA Sono innocente. Io tel giuro Colpa alcuna in me non è. ELVINO Va … ingrata! （amaramente） Pasci il guardo e appaga l alma Dell eccesso de miei mali Il più triste de mortali Sono, o cruda, e il son per te. VOCI Viva il Conte! ELVINO （per uscire） Il Conte! AMINA Ah! t arresta. ELVINO No si fugga. AMINA Per pietade! SCENA QUARTA （Coro e detti.） ELVINO Va ! mi lascia. CORO Buone nuove! Dice il Conte ch ella è onesta, Che è innocente, e a noi già move. ELVINO Egli! oh! rabbia! AMINA, TERESA e CORO Ah! placa l ira… ELVINO L ira mia più fren non ha. （Le toglie l anello.） AMINA Ah! il mio anello… oh! madre!… （Teresa sostiene Amina quasi spirante.） CORO （ad Elvino） Mira!… A tal colpo morirà. Crudel! ELVINO （si presenta ad Amina vivamente commosso） Ah! perché non posso odiarti, Infedel, com io vorrei! Ah! del tutto ancor non sei Cancellata dal mio cor. Possa un altro, ah! possa amarti Qual t amò quest infelice! Altro voto, o traditrice, Non temer dal mio dolor. CORO Ah! crudel, pria di lasciarla, Vedi il Conte, al Conte parla. Ei di rendere è capace A te pace, a lei l onor. （Elvino parte disperato. - Teresa tragge seco Amina da un altra parte.） SCENA QUINTA （Villaggio come nell Atto primo. In fondo al Teatro si scorge il mulino di Teresa un torrente ne fa girare la ruota. Lisa seguitata da Alessio.） LISA Lasciami aver compreso Assai dovresti che mi sei noioso. ALESSIO Non isperar che sposo Elvin ti sia. Dell onestà d Amina Sarà convinto in breve, e allora… LISA E allora Tu mi sarai più rincrescioso ancora. ALESSIO Deh! Lisa, per pietà… cambia consiglio, Non mi trattar così. Che far d un uomo Che ti sposa soltanto per dispetto? LISA Mi è più caro d un sciocco, io te l ho detto. ALESSIO No, non lo sposerai. Porrò sossopra Tutto il villaggio invocherò del Conte L autorità, pria ch io sopporti in pace D esser da te schernito in questa guisa. CORO （di dentro） Lisa è la sposa. LISA e ALESSIO Che?… CORO （di dentro） La sposa è Lisa. （sortendo） Lisa? SCENA SESTA （Contadini, Contadine e detti.） CORO A rallegrarci con te veniamo, Di tua fortuna ci consoliamo. A te fra poco, d Amina in loco, La man di sposo Elvin darà. LISA De lieti auguri a voi son grata, Con gioia io veggo che son amata; E la memoria del vostro amore Giammai dal cor non m uscirà. CORO La bella scelta a tutti è cara, Ciascun ti loda, t esalta a gara, Ognun ti prega prosperità. ALESSIO (Qual uom da tuono colpito io sono Parole il labbro trovar non sa.) SCENA SETTIMA （Elvino e detti.） LISA E fia pur vero, Elvino, Che alfin dell amor tuo degna mi credi? ELVINO Sì, Lisa. Si rinnovi Il bel nodo di pria l averlo sciolto Perdona a un cor sedotto Da mentita virtù. LISA Perdono tutto. Ora che a me ritorni Più non penso al passato altro non veggo Che il ridente avvenir che alfin mi aspetta. ELVINO Vieni tu, mia diletta, Mia compagna sarai. La sacra pompa Già nel tempio si appresta. Non si ritardi. CORO Andiam. SCENA OTTAVA （Rodolfo e detti.） RODOLFO Elvino, t arresta. LISA (Il Conte!) ALESSIO (A tempo ei giunge.) RODOLFO Ove t affretti? ELVINO Al tempio. RODOLFO Odimi prima. Degna d amor, di stima È Amina ancor io della sua virtude, Come de pregi suoi, Mallevador esser ti voglio. ELVINO Voi!! Signor!… Signor Conte, agli occhi miei Negar fede non poss io. RODOLFO Ingannato, illuso sei Io ne impegno l onor mio. ELVINO Nella stanza a voi serbata Non la vidi addormentata? RODOLFO La vedesti, Amina ell era… Ma svegliata non v entrò. LISA, ELVINO e CORO Come dunque? In qual maniera? RODOLFO Tutti udite. CORO, LISA ed ELVINO Udiamo un po . RODOLFO V han certuni che dormendo Vanno intorno come dèsti, Favellando, rispondendo Come vengono richiesti, E chiamati son sonnambuli Dall andar e dal dormir. LISA e CORO E fia vero? e fia possibile? RODOLFO Un par mio non può mentir. ELVINO No, non fia di tai pretesti La cagione appien si vede. RODOLFO Sciagurato! e tu potresti Dubitar della mia fede? ELVINO （senza badare a Rodolfo） Vieni, o Lisa. LISA Andiam. ELVINO e CORO Andiam. CORO A tai fole non crediamo. Un che dorme e che cammina! No, non è, non si può dar. SCENA NONA （Teresa e detti.） TERESA Piano, amici; non gridate; Dorme alfin la stanca Amina Ne ha bisogno, poverina, Dopo tanto lagrimar. LISA, ELVINO e CORO Sì, tacciamo, ah! sì, tacciam, Tacciamo… TERESA Lisa! Elvino!… che vegg io? Dove andate in questa guisa? LISA A sposarci. TERESA Voi! gran Dio! E la sposa… è Lisa?… ELVINO È Lisa. LISA Sì, e lo merto io non fui colta Sola mai, di notte in volta; Né trovata io fui rinchiusa Nella stanza di un signor. TERESA Menzognera! a questa accusa Più non freno il mio furor. Questo vel fu rinvenuto Nella stanza del signore. ELVINO e CORO Di chi è mai?… chi l ha perduto? TERESA （accennando Lisa） Ve lo dica il suo rossore. （Elvino lascia la mano di Lisa mortificato.） ELVINO e CORO Lisa! TERESA Lisa. Il signor Conte Mi smentisca se lo può. LISA (Io non oso alzar la fronte!) RODOLFO, ALESSIO e CORO (Che pensar, che dir non so/sa.) ELVINO （da sé） Lisa mendace anch essa! Rea dell istesso errore! Spento è nel mondo amore, Più fe , più onor non v ha. TERESA （da sé） In quella fronte impressa Chiara è la colpa e certa. Soffra pietà non merta Chi altrui negò pietà. LISA （da sé） Cielo! a tal colpo oppressa, Voce non trovo e tremo. Quanto al mio scorno estremo La mia rival godrà! RODOLFO （da sé） In quella fronte （ecc.） ALESSIO e CORO Ah che pensar non so… ELVINO Signor?… che creder deggio? Ella pur mi tradì! RODOLFO Quel ch io ne pensi Manifestar non vo . Sol ti ripeto, Sol ti sostengo, che innocente è Amina, Che la stessa virtù offendi in essa. ELVINO Chi fia che il provi? RODOLFO Chi? Mira ella stessa. SCENA ULTIMA （Amina sorte dalla finestra del mulino è sonnambula. - Rodolfo nel voltarsi scorge Amina che sorte dalla finestra. - Tutti sbigottiti con grido soffocato ） LISA, TERESA, ELVINO, ALESSIO e CORO Ah! RODOLFO Silenzio un sol passo, Un sol grido l uccide. TERESA Oh figlia! ELVINO Oh Amina! （Tutti con voce repressa finché non si svegli Amina.） CORO Scende… LISA, TERESA, ELVINO, RODOLFO, ALESSIO e CORO Bontà divina, Guida l errante pie ! （Amina giunge presso alla ruota camminando sopra una trave mezzo fracida che piega sotto di lei.） Trema… vacilla… （Si spezza la trave sotto il piede di Amina.） Ahimè!… （Grido soffocato di terrore. - Amina si rimette.） RODOLFO Coraggio… è salva! LISA, TERESA, ELVINO, ALESSIO e CORO È salva!… （Amina si avanza in mezzo al palco. - Silenzio universale.） AMINA Oh!… se una volta sola Rivederlo io potessi, anzi che all ara Altra sposa ei guidasse!… RODOLFO （ad Elvino） Odi? TERESA A te pensa, Parla di te. AMINA Vana speranza!… Io sento Suonar la sacra squilla… Al tempio ei move… Ah! l ho perduto… e pur… rea non son io. ELVINO, RODOLFO, ALESSIO e CORO Tenero cor! AMINA （inginocchiandosi） Gran Dio, Non mirar il mio pianto io gliel perdono. Quanto infelice io sono Felice ei sia… Questa d un cor che more È l ultima preghiera… Ah sì… Questa ecc. CORO Oh detti! oh amore! AMINA （si guarda la mano come cercando l anello di Elvino） L anello mio… l anello… Ei me l ha tolto… Ma non può rapirmi L immagin sua… Sculta… ella è qui, qui… nel petto. （Si toglie dal seno i fiori ricevuti da Elvino.） Né te d eterno affetto Tenero pegno, o fior… né te perdei… Ancor ti bacio… ma… inaridito sei. Ah! non credea mirarti Sì presto estinto, o fiore; Passasti al par d amore, Che un giorno sol durò. （Piange sui fiori.） ELVINO Io più non reggo. AMINA Passasti al par d amore… ELVINO Più non reggo a tanto duolo. AMINA Che un giorno sol durò. Potria novel vigore Il pianto mio recarti… Ma ravvivar l amore Il pianto mio non può. Ah non credea, （ecc.） ELVINO No, più non reggo. AMINA E s egli A me tornasse!… Oh! torna, Elvino. RODOLFO （ad Elvino） Seconda Il suo pensier. AMINA A me t appressi? Oh gioia! L anello mio mi rechi? RODOLFO （ad Elvino） A lei lo rendi. （Elvino rimette l anello ad Amina.） AMINA Ancor son tua tu sempre mio… M abbraccia, （Rodolfo fa avvicinare Teresa ad Amina.） Tenera madre… io son felice appieno! （Elvino è prostrato ai piedi di Amina, e Teresa l abbraccia.） RODOLFO De suoi diletti in seno Ella si dèsti. CORO Viva Amina! Viva ancor! AMINA （svegliandosi） Oh! ciel! … Ove son io?… che veggo?… （Si copre gli occhi.） Ah! per pietà, Non mi svegliate voi! ELVINO （con gran passione incalzante） No tu non dormi… Il tuo sposo, il tuo amante è a te vicino. AMINA （con pianto di contento） Oh! gioia!… oh! gioia!… io ti ritrovo, Elvino! TERESA, ELVINO, RODOLFO, ALESSIO e CORO Vanne al tempio, Innocente e a noi più cara, Bella più del tuo soffrire, Vieni al tempio e a pie dell ara Incominci il tuo gioir. AMINA Ah! non giunge uman pensiero Al contento ond io son piena A miei sensi io credo appena; Tu m affida, o mio tesor. Ah mi abbraccia, e sempre insieme Sempre uniti in una speme, Della terra in cui viviamo Ci formiamo un ciel d amor. TUTTI Innocente, e a noi più cara （ecc.） ATTO SECONDO Ombrosa Valletta fra il Villaggio e il Castello. SCENA PRIMA Coro di Contadini e Contadine. CORO Qui la selva è più folta ed ombrosa. Qui posiamo vicini al ruscello. Lunga ancora, scoscesa, sassosa È la via che conduce al castello. Sempre tempo per giungere avremo, Pria che sorga dal letto il signore. Riflettiam! Quando giunti saremo, Che direm per toccare il suo cor?… Eccellenza!… direm con coraggio… Signor Conte… la povera Amina Era dianzi l onor del villaggio, Il desìo d ogni villa vicina, D ogni villa era dianzi l onor. Ad un tratto è trovata dormente Nella stanza che voi ricettò… Difendetela, s ella è innocente, Aiutatela, s ella fallò. A tai detti, a siffatti argomenti… Ei si mostra commosso, convinto Noi preghiamo, insistiam riverenti… Ei ci affida, ei promette, abbiam vinto… Consolati al villaggio torniamo In due passi, in due salti siam qua. Alla prova!… da bravi! partiamo… La meschina protetta sarà. Partono. SCENA SECONDA Amina e Teresa. AMINA Reggimi, o buona madre; a mio sostegno Sola rimani tu. TERESA Fa core. Il Conte Dalle lagrime tue sarà commosso. Andiamo. AMINA Ah! no… non posso Il cor mi manca e il pie . Vedi? Siam noi Presso il poder d Elvino. Oh! quante volte Sedemmo insieme di questi faggi all ombra, Al mormorar del rio! L aura che spira Dei giuramenti nostri anco risuona… Gli obliò quel crudele! ei m abbandona! TERESA Esser non puote, il credi, Ch ei più non t ami. Afflitto è forse anch esso, Afflitto al par di te… Miralo ei viene Solitario e pensoso… AMINA A lui mi ascondi… rimaner non oso. SCENA TERZA Elvino, e dette in disparte. AMINA Vedi, o madre… è afflitto e mesto… Forse… ah! forse ei m ama ancor. ELVINO Tutto è sciolto Più per me non v ha conforto. Il mio cor per sempre è morto Alla gioia ed all amor. AMINA si avvicina ad Elvino M odi, Elvino… ELVINO si scuote Tu… e tant osi?… AMINA Deh!… ti calma… ELVINO Va ! spergiura! AMINA Credi… Colpa alcuna in me non è. ELVINO Tu m hai tolto ogni conforto. AMINA Sono innocente. Io tel giuro Colpa alcuna in me non è. ELVINO Va … ingrata! amaramente Pasci il guardo e appaga l alma Dell eccesso de miei mali Il più triste de mortali Sono, o cruda, e il son per te. VOCI Viva il Conte! ELVINO per uscire Il Conte! AMINA Ah! t arresta. ELVINO No si fugga. AMINA Per pietade! SCENA QUARTA Coro e detti. ELVINO Va ! mi lascia. CORO Buone nuove! Dice il Conte ch ella è onesta, Che è innocente, e a noi già move. ELVINO Egli! oh! rabbia! AMINA, TERESA e CORO Ah! placa l ira… ELVINO L ira mia più fren non ha. Le toglie l anello. AMINA Ah! il mio anello… oh! madre!… Teresa sostiene Amina quasi spirante. CORO ad Elvino Mira!… A tal colpo morirà. Crudel! ELVINO si presenta ad Amina vivamente commosso Ah! perché non posso odiarti, Infedel, com io vorrei! Ah! del tutto ancor non sei Cancellata dal mio cor. Possa un altro, ah! possa amarti Qual t amò quest infelice! Altro voto, o traditrice, Non temer dal mio dolor. CORO Ah! crudel, pria di lasciarla, Vedi il Conte, al Conte parla. Ei di rendere è capace A te pace, a lei l onor. Elvino parte disperato. - Teresa tragge seco Amina da un altra parte. SCENA QUINTA Villaggio come nell Atto primo. In fondo al Teatro si scorge il mulino di Teresa un torrente ne fa girare la ruota. Lisa seguitata da Alessio. LISA Lasciami aver compreso Assai dovresti che mi sei noioso. ALESSIO Non isperar che sposo Elvin ti sia. Dell onestà d Amina Sarà convinto in breve, e allora… LISA E allora Tu mi sarai più rincrescioso ancora. ALESSIO Deh! Lisa, per pietà… cambia consiglio, Non mi trattar così. Che far d un uomo Che ti sposa soltanto per dispetto? LISA Mi è più caro d un sciocco, io te l ho detto. ALESSIO No, non lo sposerai. Porrò sossopra Tutto il villaggio invocherò del Conte L autorità, pria ch io sopporti in pace D esser da te schernito in questa guisa. CORO di dentro Lisa è la sposa. LISA e ALESSIO Che?… CORO di dentro La sposa è Lisa. sortendo Lisa? SCENA SESTA Contadini, Contadine e detti. CORO A rallegrarci con te veniamo, Di tua fortuna ci consoliamo. A te fra poco, d Amina in loco, La man di sposo Elvin darà. LISA De lieti auguri a voi son grata, Con gioia io veggo che son amata; E la memoria del vostro amore Giammai dal cor non m uscirà. CORO La bella scelta a tutti è cara, Ciascun ti loda, t esalta a gara, Ognun ti prega prosperità. ALESSIO (Qual uom da tuono colpito io sono Parole il labbro trovar non sa.) SCENA SETTIMA Elvino e detti. LISA E fia pur vero, Elvino, Che alfin dell amor tuo degna mi credi? ELVINO Sì, Lisa. Si rinnovi Il bel nodo di pria l averlo sciolto Perdona a un cor sedotto Da mentita virtù. LISA Perdono tutto. Ora che a me ritorni Più non penso al passato altro non veggo Che il ridente avvenir che alfin mi aspetta. ELVINO Vieni tu, mia diletta, Mia compagna sarai. La sacra pompa Già nel tempio si appresta. Non si ritardi. CORO Andiam. SCENA OTTAVA Rodolfo e detti. RODOLFO Elvino, t arresta. LISA (Il Conte!) ALESSIO (A tempo ei giunge.) RODOLFO Ove t affretti? ELVINO Al tempio. RODOLFO Odimi prima. Degna d amor, di stima È Amina ancor io della sua virtude, Come de pregi suoi, Mallevador esser ti voglio. ELVINO Voi!! Signor!… Signor Conte, agli occhi miei Negar fede non poss io. RODOLFO Ingannato, illuso sei Io ne impegno l onor mio. ELVINO Nella stanza a voi serbata Non la vidi addormentata? RODOLFO La vedesti, Amina ell era… Ma svegliata non v entrò. LISA, ELVINO e CORO Come dunque? In qual maniera? RODOLFO Tutti udite. CORO, LISA ed ELVINO Udiamo un po . RODOLFO V han certuni che dormendo Vanno intorno come dèsti, Favellando, rispondendo Come vengono richiesti, E chiamati son sonnambuli Dall andar e dal dormir. LISA e CORO E fia vero? e fia possibile? RODOLFO Un par mio non può mentir. ELVINO No, non fia di tai pretesti La cagione appien si vede. RODOLFO Sciagurato! e tu potresti Dubitar della mia fede? ELVINO senza badare a Rodolfo Vieni, o Lisa. LISA Andiam. ELVINO e CORO Andiam. CORO A tai fole non crediamo. Un che dorme e che cammina! No, non è, non si può dar. SCENA NONA Teresa e detti. TERESA Piano, amici; non gridate; Dorme alfin la stanca Amina Ne ha bisogno, poverina, Dopo tanto lagrimar. LISA, ELVINO e CORO Sì, tacciamo, ah! sì, tacciam, Tacciamo… TERESA Lisa! Elvino!… che vegg io? Dove andate in questa guisa? LISA A sposarci. TERESA Voi! gran Dio! E la sposa… è Lisa?… ELVINO È Lisa. LISA Sì, e lo merto io non fui colta Sola mai, di notte in volta; Né trovata io fui rinchiusa Nella stanza di un signor. TERESA Menzognera! a questa accusa Più non freno il mio furor. Questo vel fu rinvenuto Nella stanza del signore. ELVINO e CORO Di chi è mai?… chi l ha perduto? TERESA accennando Lisa Ve lo dica il suo rossore. Elvino lascia la mano di Lisa mortificato. ELVINO e CORO Lisa! TERESA Lisa. Il signor Conte Mi smentisca se lo può. LISA (Io non oso alzar la fronte!) RODOLFO, ALESSIO e CORO (Che pensar, che dir non so/sa.) ELVINO da sé Lisa mendace anch essa! Rea dell istesso errore! Spento è nel mondo amore, Più fe , più onor non v ha. TERESA da sé In quella fronte impressa Chiara è la colpa e certa. Soffra pietà non merta Chi altrui negò pietà. LISA da sé Cielo! a tal colpo oppressa, Voce non trovo e tremo. Quanto al mio scorno estremo La mia rival godrà! RODOLFO da sé In quella fronte ecc. ALESSIO e CORO Ah che pensar non so… ELVINO Signor?… che creder deggio? Ella pur mi tradì! RODOLFO Quel ch io ne pensi Manifestar non vo . Sol ti ripeto, Sol ti sostengo, che innocente è Amina, Che la stessa virtù offendi in essa. ELVINO Chi fia che il provi? RODOLFO Chi? Mira ella stessa. SCENA ULTIMA Amina sorte dalla finestra del mulino è sonnambula. - Rodolfo nel voltarsi scorge Amina che sorte dalla finestra. - Tutti sbigottiti con grido soffocato LISA, TERESA, ELVINO, ALESSIO e CORO Ah! RODOLFO Silenzio un sol passo, Un sol grido l uccide. TERESA Oh figlia! ELVINO Oh Amina! Tutti con voce repressa finché non si svegli Amina. CORO Scende… LISA, TERESA, ELVINO, RODOLFO, ALESSIO e CORO Bontà divina, Guida l errante pie ! Amina giunge presso alla ruota camminando sopra una trave mezzo fracida che piega sotto di lei. Trema… vacilla… Si spezza la trave sotto il piede di Amina. Ahimè!… Grido soffocato di terrore. - Amina si rimette. RODOLFO Coraggio… è salva! LISA, TERESA, ELVINO, ALESSIO e CORO È salva!… Amina si avanza in mezzo al palco. - Silenzio universale. AMINA Oh!… se una volta sola Rivederlo io potessi, anzi che all ara Altra sposa ei guidasse!… RODOLFO ad Elvino Odi? TERESA A te pensa, Parla di te. AMINA Vana speranza!… Io sento Suonar la sacra squilla… Al tempio ei move… Ah! l ho perduto… e pur… rea non son io. ELVINO, RODOLFO, ALESSIO e CORO Tenero cor! AMINA inginocchiandosi Gran Dio, Non mirar il mio pianto io gliel perdono. Quanto infelice io sono Felice ei sia… Questa d un cor che more È l ultima preghiera… Ah sì… Questa ecc. CORO Oh detti! oh amore! AMINA si guarda la mano come cercando l anello di Elvino L anello mio… l anello… Ei me l ha tolto… Ma non può rapirmi L immagin sua… Sculta… ella è qui, qui… nel petto. Si toglie dal seno i fiori ricevuti da Elvino. Né te d eterno affetto Tenero pegno, o fior… né te perdei… Ancor ti bacio… ma… inaridito sei. Ah! non credea mirarti Sì presto estinto, o fiore; Passasti al par d amore, Che un giorno sol durò. Piange sui fiori. ELVINO Io più non reggo. AMINA Passasti al par d amore… ELVINO Più non reggo a tanto duolo. AMINA Che un giorno sol durò. Potria novel vigore Il pianto mio recarti… Ma ravvivar l amore Il pianto mio non può. Ah non credea, ecc. ELVINO No, più non reggo. AMINA E s egli A me tornasse!… Oh! torna, Elvino. RODOLFO ad Elvino Seconda Il suo pensier. AMINA A me t appressi? Oh gioia! L anello mio mi rechi? RODOLFO ad Elvino A lei lo rendi. Elvino rimette l anello ad Amina. AMINA Ancor son tua tu sempre mio… M abbraccia, Rodolfo fa avvicinare Teresa ad Amina. Tenera madre… io son felice appieno! Elvino è prostrato ai piedi di Amina, e Teresa l abbraccia. RODOLFO De suoi diletti in seno Ella si dèsti. CORO Viva Amina! Viva ancor! AMINA svegliandosi Oh! ciel! … Ove son io?… che veggo?… Si copre gli occhi. Ah! per pietà, Non mi svegliate voi! ELVINO con gran passione incalzante No tu non dormi… Il tuo sposo, il tuo amante è a te vicino. AMINA con pianto di contento Oh! gioia!… oh! gioia!… io ti ritrovo, Elvino! TERESA, ELVINO, RODOLFO, ALESSIO e CORO Vanne al tempio, Innocente e a noi più cara, Bella più del tuo soffrire, Vieni al tempio e a pie dell ara Incominci il tuo gioir. AMINA Ah! non giunge uman pensiero Al contento ond io son piena A miei sensi io credo appena; Tu m affida, o mio tesor. Ah mi abbraccia, e sempre insieme Sempre uniti in una speme, Della terra in cui viviamo Ci formiamo un ciel d amor. TUTTI Innocente, e a noi più cara ecc. Bellini,Vincenzo/La Sonnambula
https://w.atwiki.jp/vocaloidenglishlyric/pages/108.html
【Tags 1 H Nata-P NataP t1 tA tO Luka】 Original Music Title 1000001colors Music Lyrics written, Voice edited by ナタP (Nata-P) Music arranged by ナタP (Nata-P) Singer 巡音ルカ (Megurine Luka) Click here for the original Japanese Lyrics English Lyrics (translated by lygerzero0zero)： The path I take there, the path I take home On this bridge that seems like it goes on forever If I cross over it, if I forget about it If I go off towards some distant unknown place It s somebody s fault, it s somebody s sake Over and over, you shrug it off and say, Throwing yesterday away, as if you ve given up on tomorrow I close my eyelids again, and see insidethem Those pieces of you, shattered into a million colors Just like the stars above, sparkled over and over again They faded into a million-colored monochrome That dream I once saw Even now, I line it up on my palette as I paint The everything of this blank and brilliant world The passing rain, the sudden rain When did it start falling upon this bridge? If I could go back, if I can bring myself to recall How you held out that umbrella, and something else important I tried to gaze up at the sky, tried to think of somebody Over and over, and then I cast my eyes down Something a bit like pain seems to have been left faintly behind In the palm of my clenched hand Those pieces of you, broken into a million colors Just like fine sand, slips between my fingers They were colored with a million-colored monochrome The meaning of your living Even now, I continue to paint on my canvas The everything of this blank and brilliant world Those pieces of you, shattered into a million colors Just like the stars above, sparkled over and over again And were colored with a million-colored monochrome Those pieces of you, broken into a million colors Just like the stars above, glow without a sound And the million-colored monochrome becomes its color That color I once saw Even now, I line it up on my palette as I paint The everything of this imperfect And perfect world English Lyrics (translated by onsenjikan)： A path towards the beyond, a path towards home On this bridge that seems to go on forever If I can cross it, if I can forget about it If I can go away to an unknown distant place Blaming someone else, acting for someone else You shamelessly make up excuses over and over And you throw away yesterday, as if you gave up on tomorrow Outside the eyelids I have closed once more Pieces of you, shattered into a million colors Like stars, they continuously twinkled Until they faded into million-colored monochromes That dream I saw one day Even now it shows in my palette as I paint The entirety of this hollow and vivid world A passing shower, a strong rain shower Before I knew it, fell on this bridge If I can turn back, if I can bring my memory back Of how you held out your umbrella and another valuable thing Trying to look up into the sky, trying to recall someone Over and over, and then I looked down Something like a sting of pain faintly remained Inside my clenched hand Pieces of you, broken into a million colors Like sand, they escaped through the gaps between my fingers Until they were dyed into million-colored monochromes The significance of your existence Even now, I continue to paint on my canvas The entirety of this hollow and vivid world Pieces of you shattered into a million colors Like stars, they continuously twinkled And were dyed into million-colored monochromes Pieces of you broken into a million pieces Like stars, the silently sparkled And they became one million monochromes That color I saw one day Even now it shows in my palette as I paint The imperfectness and perfection Of the entirety of this world Singable English Lyrics (translated by onsenjikan)： A road back home, a road beyond On a bridge that seems to have no end, I make a choice This is a test, if I can forget And if I can continue walking to an unknown fate Living for the sake of someone else, pushing all the blame to someone else Everything is all an excuse, stabbing me over and over Throwing away our yesterday, giving up our future you were swayed And I can only close my eyes and give up forever Pieces of you shattered in a million colors In my mind they still glitter, like stars they twinkle in the dark Pieces of you fading in a million monochromes That dream I saw once in my mind It is still reflecting in all the colors that I chose As I try to paint a picture of this vividly hollow world. A drizzling rain, a pouring rain Before I knew it they are falling like tears on where I tread If I can turn back, I ll recall the time When you gave me your umbrella and your pledge of love Trying to search into the sky, reminded of a long lost love Reminiscing is all I can do, as I cast all my sadness down In my closed hands I can still feel, running through them a fleeting sting Of something that I can remember as my heart aching Pieces of you broken in a million colors And through the gaps of my fingers, they fall continuously like sand Pieces of you fading in a million monochromes Within my heart, your presence stays I move on, with my canvas in the colors that I chose As I try to paint the entire of this vividly hollow world. Pieces of you shattered in a million colors In my mind they still glitter, like stars they twinkle in the dark Pieces of you fading in a million monochromes Pieces of you broken in a million colors In my mind they still glitter, like stars they silently twinkle Pieces of you fading in a million monochromes A color that s once in my mind It is still reflecting in the palette that I use As I paint all the faults and perfection of this vividly hollow world Romaji lyrics (transliterated by onsenjikan)： Toori michi kaeri michi Doko made mo tsuzuku you na hashi no ue Wataretara wasuretara Shiranai tooi doko ka he iketara Dare ka no sei da toka dare ka no tame da toka Kurikaeshi kurikaeshi kimi wa usobuite Kinou wo nagesutete ashita wo akirameta you ni Mata tojita mabuta no uragawa Hyakuman shoku ni kudaketa kimi no kakera Marude hoshi no you ni matataki wo kurikaeshita Hyakuman shoku no MONOCHROME ni iro aseta Itsuka mita yume wo Ima demo PALETTE ni narabete egaku Kono utsuru de azayaka na sekai no subete Toori ame niwaka ame Itsu no ma ni furi hajimeta hashi no ue Modoretara omoidasetara Kasa no sashi kata to nani ka daiji na mono Sora wo aoide mita dare ka omottemita Kurikaeshi kurikaeshi soshite utsumuite Kasuka ni nokoru you na sukoshi itami ni nita nani ka Nigiritsubushita te no naka Hyakuman shoku kowareta kimi no kakera Marude suna no you ni yubi no sukima suri nuketa Hyakuman shoku no MONOCHROME ni irodorareta Kimi ga ikiru imi Ima demo CANVAS ni egaki tsuzukeru Kono utsuru de azayaka na sekai no subete Hyakuman shoku ni kudaketa kimi no kakera Marude hoshi no you ni matataki wo kurikashite Hyakuman shoku no MONOCHROME ni irodorareta Hyakuman shoku ni kowareta kimi no kakera Marude hoshi no you ni oto mo naku kagayaite Hyakuman shoku no MONOCHROME ga iro ni naru Itsuka mita iro ni Ima demo PALETTE ni narabete egaku Kono fukanzen de kanzen na Sekai no subete [Nata-P, NataP]
https://w.atwiki.jp/vocaloidenglishlyric/pages/603.html
【Tags Choucho-P Miku tG G】 Original Music title グロリアス・ワールド English music title Glorious World Romaji music title Guroriasu Waarudo Music Lyrics written, Voice edited by 蝶々P (Choucho-P) Music arranged by 蝶々P (Choucho-P) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by vgboy / vgperson)： Kieteiku shiroku touru zankyou Sasaru oto, hagareochiru kanshoku Tada tooku usureiku kioku no naka tsubuyaita I will be right here If you wish I was here so everyday so everyday Katamuita ashiba demo ii kara Hitotsu dake ibasho o kurenai ka? Betsu ni ii darou? Ii da yo Afuren bakari no kareta shisou o Hieta gurasu ni sosogikomeba Kiyasume teido no hyoumen chouryoku Aa, ima sugu ni kuzuresou da Souzou ijou no hayasa de mawaru kono kanjou Dareka tomete to, mukidashi ni shita sono shinzou Yagate kidzukeba tashika ni koko ni aru shoudou Itsuka ori kara dete mitai no Koe nante kikoenai to joudan o hakidashita Demo sore wa yowasa o kakusu iiwake darou? Akireru hodo no bakageta risou o Imi mo shirazu ni nozokikomeba Suikomareru you na kagayaku hikari Aa, ima sugu ni kuzuresou da Afuren bakari no kareta shisou mo Akireru hodo no bakageta risou mo Subete no uso o sarashite misena yo Kowagaru you na koto mo nai sa Tabun raku ni nareru to omou yo Sorosoro akirametara dou da? Minikui dake no osanai sekai ja Iki o suru no mo gomen dakedo Mada soko made kurushiku wa nai kara Ato sukoshi dake Ikite mite mo Warukunai ka Romaji lyrics (transliterated by vgboy / vgperson)： A disappearing echo, whitening out, A piercing sound, a falling-off sensation... I whispered among memories gone far away I will be right here if you wish for me, So, every day, every day... Even an uneven foothold will do, So can t you give me a single place to be? Wouldn t that be fine? Sure it would... When I spill out my withered thoughts, Pour them into a chilled glass, The surface tension gives me consolation, But ah, it s all soon to crumble... My feelings spin faster than I ever expected; I bare my heart to say, "somebody stop it" Then soon, I noticed an urge I appeared to have That someday, I wanted to escape this cage... I let out a joke about how I can t hear anyone, But is that an excuse to conceal my weakness? When I saw astoundingly foolish ideals And gazed into them without knowing why, Glittering light seemed to engulf me; Ah, it s all soon to crumble... My spilling, withered thoughts... And those astoundingly foolish ideals... Now expose all your lies; There s nothing to be afraid of I feel it might make things easier, So how about just giving it up already? It s an childish world full of ugliness, And I m sorry for just breathing, But the world s not yet so harsh as that, So go just a little more, Because could just living Really be so bad? [Choucho-P, ChouchoP, Chouchou-P, ChouchouP]
https://w.atwiki.jp/toram_international/pages/81.html
Home→Map→プラスティダ／Plastida 急げ！新ドメインは早いもの勝ち！ プラスティダ／Plastida エリア１／Area 1 Name Element Drop Items 不気味な触手／Strange Tentacle Lv96 闇／Dark ・不気味な生物片／Weird Creature Cell ・うごめく皮膚／Wriggling Skin ・怪しいエキス／Strange Essence ●デスペランサ／Desperanza 彷徨する不定形／Wandering Life Form Lv80 火／Fire ・ゼリー質の皮膚／Jelly like Skin ・プルプルのヒレ／Slimy Fin ・ゼリービーンズ／Jelly Beans ・ミスリル鉱石／Mithril Ore 吸命クラゲ／ Blood Draining Jelly Lv79 火／Fire ・脈動する皮膚／Pulsing Skin ・吸血する触腕／Blood-Draining Tenracle ・しびれる粉／Paralyzing Powder ●マーメイドイヤー／Marmaid Ears 飛翔する結晶体／Flying Crystal Lv78 闇／Dark ・欠けた結晶片／Cracked Crystal Bit ・鈍く輝く石／Dully Growing Stone ・欠けた結晶コア／Cracked Crystal Core ●マスクドハルプ／One Eye Mask エリア２／Area 2 Name Element Drop Items 不気味な触手／Strange Tentacle Lv96 闇／Dark ・不気味な生物片／Weird Creature Cell ・うごめく皮膚／Wriggling Skin ・怪しいエキス／Strange Essence ●デスペランサ／Desperanza 彷徨する不定形／Wandering Life Form Lv82 火／Fire ・ゼリー質の皮膚／Jelly like Skin ・プルプルのヒレ／Slimy Fin ・ゼリービーンズ／Jelly Beans ・ミスリル鉱石／Mithril Ore 吸命クラゲ／ Blood Draining Jelly Lv81 火／Fire ・脈動する皮膚／Pulsing Skin ・吸血する触腕／Blood-Draining Tenracle ・しびれる粉／Paralyzing Powder ●マーメイドイヤー／Marmaid Ears 飛翔する結晶体／Flying Crystal Lv80 闇／Dark ・欠けた結晶片／Cracked Crystal Bit ・鈍く輝く石／Dully Growing Stone ・欠けた結晶コア／Cracked Crystal Core ●マスクドハルプ／One Eye Mask イミタベート／Imitator Boss 部位破壊３箇所／ 3 Breakable Parts [Easy] 推奨／Recommended Lv93 HP：78,000 EXP：870 ドロップ 全６種／ 6 types of items [Normal] 推奨／Recommended Lv103 HP：780,000 EXP：8,700 ドロップ 全７種／ 7 types of items [Hard] 推奨／Recommended Lv113 HP：1,560,000 EXP：13,050 ドロップ 全７種／ 7 types of items [Lunatic/Nightmare] 推奨／Recommended Lv123 HP：3,900,000、EXP 26,100 ドロップ 全７種＋染色武器／ 7 types of items +Colored Weapon [Ultimate] 推奨／Recommended Lv143 HP：7,800,000 EXP：39,150 ドロップ 全７種＋染色武器／ 7 types of items +Colored Weapon 火／Fire ・模造闇将の鎧片／Fake General s Armor Bit ・砕けた魔大剣／Broken Dark Great sword ・高純度魔結晶／High-Purity Magic Crystal ・模造闇将の兜／Fake General s Helm ●闇将の剣／Dark General s Sword ●闇将の盾／Dark General s Shield ◇イミタベート／Imitator Drop Equipments Crysta Name Category Base ATK/DEF Status デスペランサ／Desperanza 両手剣／ Two-Handed Sword Base ATK：164 (70%) トレード不能／Untradable 闇属性／Dark Element クリティカルダメージ／Critical Damage +4 攻撃MP回復／Attack MP Recovery +3 迷宮／Accuracy -4% DEF -25% マスクドハルプ／One Eye Mask 追加装備／ Additional Gear Base DEF：35 最大HP／MaxHP +20% ATK UP (VIT) マーメイドイヤー／Marmaid Ears 追加装備／ Additional Gear Base DEF：30 水耐性／Water Resistance +20% 最大MP／MaxMP +100 闇将の剣／Dark General s Sword 片手剣／ One-Handed Sword Base ATK：130 (80%) トレード不能／Untradable 闇属性／Dark Element ATK +4% VIT +3% ヘイト／Aggro +20% Guard率／Guard Rate +6% 魔法バリア／Magic Barrier+1000 闇将の盾／Dark General s Shield 盾／Shield Base DEF：20 トレード不能／Untradable Guard率／Guard Rate +14% Guard力／Guard Power +30% 闇耐性／Dark Resistance +10% VIT +2% ヘイト／Aggro +30% ◇イミタベート／Imitator ウェポンクリスタ ／Weapon Crysta ATK +5% 攻撃MP回復／Attack MP Recovery +2 先読み／Anticipate 10%
https://w.atwiki.jp/pipopipo555jp/pages/1917.html
http //www.telegraph.co.uk/news/worldnews/middleeast/israel/4325805/Gaza-phosphorus-casualties-relive-Israels-three-week-war.html Gaza phosphorus casualties relive Israel s three-week war ガザのリン死傷者はイスラエルの3週間の戦争を追体験します Special Report Tim Butcher in Gaza City argues why the true story about Israel s use of phosphorus shells may never emerge. 特別なレポート ガザ市のティムButcherは、イスラエルが白リン弾をなぜ使ったのかについての真実が決して現れないと主張しています。 Last Updated 10 01PM GMT 23 Jan 2009 Sabbah Abu Halima, 45, suffered burns in the shelling of the village of Atatra on the northern edge of Gaza. She saw her husband and baby daughter killed. Photo REUTERS SabbahアブHalima(45)はガザの北縁のAtatraの村の砲弾を浴びせることにおけるやけどを受けました。 彼女は、彼女の夫と赤ん坊の娘が殺されるのを見ました。 写真 ロイター John Stuart Mill described war as an ugly thing and it does not come much uglier than the digital photograph Mahmoud Abu Halima has on his mobile phone. It was taken this week and shows the body of his 15-month-old sister, Shahed, burned by white phosphorus, bloated through decomposition and without any feet or legs. Mr Halima explained what happened to the lower limbs. "There were about 12 bodies from the village that had to be left out in the open when the Israeli soldiers came. By the time we got back she had been partially eaten by wild dogs," he said. After Israel ended its ban on foreign journalists in Gaza it was a week of piecing together such stories, trying to clarify exactly what happened during the three-week military assault by Israel s armed forces. The Israeli government has accused people like the Halima family of being coached by Hamas to spout fiction. Investigation of the Halima family began in the burns unit at Shifa, the largest hospital in Gaza. During its military operations Israel had denied using white phosphorus shells improperly, meaning it was not used against civilians or in civilian areas. But the case of Sabbah Abu Halima, 45, suggested otherwise. She had been brought into the hospital with what appeared to be mild burns to her right forearm, left lower leg and feet. Without experience of white phosphorus, the staff, led by the unit s director, Nafiz Abu Shabaan, wiped the wounds, bound them and sent her on her way. "But two days later she came back, complaining of pain and when we opened the bandages we found her wounds still smoking and much, much bigger. Her arm was down to the bone and tendons, that is all that is left," he said. Sitting on her hospital bed and wincing with pain when her bandages pinched, Mrs Halima gave an initial account of what happened. She described how her family had gathered to eat in a first-storey room at the family home in the village of Atatra. It lies on the northern edge of Gaza and while it was never likely to be a target during the air assault phase of Israel s operation Cast Lead, its proximity to the fence with Israel meant it was in the front line for the ground offensive. "The first shells landed outside and we all stood up and went into the hall and a bedroom because we thought it was safe. That was when a shell came through the roof and exploded. My husband, Saadallah, was holding some of the children but his head was cut off. There was fire and smoke everywhere and the baby Shahed fell to the ground. I heard her cry mama, mama, mama , and then she stopped," Mrs Halima said. The house should be a 20-minute drive from Shifa but the conflict has turned roads into slow obstacle courses with cars having to slalom round craters, heaps of rubble and bloated carcasses of livestock. The Halima house lies just off a main road in Atatra up a muddy alley leading to fields of hothouses. Outside the house lay evidence of the shelling Mrs Halima described. Two white phosphorus shell cases, originally painted light green but burnt by detonations with the metal bent back like tulip petals, were on the ground. One still had the four tell-tale angle-irons inside to indicate a 155mm white phosphorus shell and was packed with unburned chemical. A poke with a stick to expose the chemical to oxygen was enough to set it burning again, sending out white smoke. Mr Halima, 20, was next door in the house of his uncle, Hikmat, 42, when the barrage struck and he remembered the smell of the smoke as he rushed up the open stairwell at his home. "It was a bad smell, a smell that made you choke," he said. "I came upstairs but there was smoke everywhere. I ran to get water from the bathroom but when I put the water on them the water did not stop the fire." White phosphorus fires are resistant to water. As well as his infant sister and father, Mr Halima lost two brothers - Zaid, 10, and Hamza, eight - in the blast and subsequent fire. Mr Halima explained how the killing did not end there. As the wounded, including his mother, were dragged down the stairwell, his cousin, Mohammed, 16, the son of Hikmat, ran to the fields to fetch a tractor and trailer to take the injured to safety. According to witnesses, Mohammed was shot dead by Israeli soldiers. The Atatra case is one of many in Gaza for which human rights activists have demanded an investigation. Navi Pillay, the United Nations high commissioner for human rights, has suggested that there is at least one case with "the appearance of war crimes". But Israel does not have a good record of co-operating with those investigating atrocities in Gaza. In 2006 after Israeli artillery killed 18 members of the Athamneh family in Gaza, Israel cleared itself of wrongdoing in an internal inquiry and blocked Desmond Tutu, the Archbishop Emeritus of Cape Town and Nobel peace prize laureate, from reaching Gaza to investigate the incident for the UN. This time round, after denying any improper use of white phosphorus, Israel has launched an internal inquiry. In some ways full-scale investigations of alleged atrocities by the Israeli army are academic. With the two sides in the conflict so far apart, Israeli hard-liners will not shift from their faith in the probity of its armed forces, nor will Palestinians budge from the view that their people were innocent victims. But unless they are dealt with, the cycle of enmity that has fuelled this conflict for decades will continue and the loss of life - 13 Israelis and over 1,300 Palestinians - will have been for nothing. When Israel launched its attack its stated aim was to reduce Hamas rocket fire from Gaza into Israel. At one level the mission has been successful the militants rockets have all but stopped. But before the Israeli government unfurls a Mission Accomplished banner there remains one important point of business the smuggling tunnels are open again. Much of the tunnelling under the Egyptian border is surprisingly visible, taking place out in the open in the south Gazan town of Rafah clearly within sight of nearby Egyptian watchtowers. The area was pitted with craters from Israeli air strikes but during a visit I saw several of the tunnels open or being repaired. Further north in the town of Beit Hanoun was the house of Angham al Masri, a 10-year-old girl who was killed in an Israeli air strike after it began its ceasefire in the early hours last Sunday. Her father, Rafat, 44, explained how his daughter thought the ceasefire made it safe to venture out of the house for the first time in days to check on the family farm that had been evacuated during the fighting. "She had only gone a few hundred metres when the missile struck," he said. "I ran to her and picked her up but she died in an hour." Israel said it attacked a rocket firing position. Amid claim and counter-claim about Israel s war aims and achievements, Mr Masri then indicated how operation Cast Lead has done nothing but harden Palestinian resolve against Israel. "Israel said this was a war on Hamas but when they kill people like my daughter it becomes clear it is a war on the Palestinian people," he said. "Until they change this war will never end."