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Ryota Matsumoto is the renowned philosopher and visual artist known for the hybrid art and postdigital theory. He is a principal and founder of an award-winning interdisciplinary design office, Ryota Matsumoto Studio based in New York and Tokyo. Education Born in Tokyo, he was raised in Hong Kong and Japan. He received a Master of Architecture degree from University of Pennsylvania in 2007 after his studies at Architectural Association in London, Mackintosh School of Architecture, Glasgow School of Art and University of Miami in early 90’s. Matsumoto has previously collaborated with a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Peter Christopherson, Cesar Pelli and MIT Media Lab before establishing his office. Architectural and Visual Work As a designer and consultant of Nihon Seikei Inc. and Japanese railway, he has worked on high-profile projects including Kyushu University Ito Campus masterplan(2003-2005), Shinjuku redevelopment project in Tokyo(2009-2012), Bach Mai hospital in Hanoi(2000) and Qingdao mixed-use development in China(2011). He has presented his work on posthumanism, digital design and bio art at the 5th symposium of the Imaginaries of the Future at Cornell University, the Espaciocenter workshop at TEA Tenerife Espacio de las Artes, Oslo National Academy of the Arts, UCI Claire Trevor School of the Arts and NTT InterCommunication Center as a visual artist. As a video producer, he has worked with Peter Christopherson for Japanese Nike commercial and contributed to the promotional projects for his first solo album as Threshold Houseboys Choir. His academic career started as a teaching assistant for architectural historian, Vincent Joseph Scully Jr. and his seminar, the Natural and Manmade in 1993. During his visiting fellowship at the Glasgow school of Art, he has been engaged in research on the process of integrated urban regeneration under the guidance of Giancarlo De Carlo and Isi Metzstein. He continued his pursuit in urban studies and participated in seminal research projects with MIT Media Lab and KieranTimberlake exploring high-rise modular housing, sustainability and design interventions for Dhaka, Bangladesh in 2005. He has served as an MFA advisor of Transart institute, University of Plymouth and teaches at Asagaya Institute of Art and Design as a professor of practice. He is a research associate at the New Centre of Research Practice found by Mohammad Salemy, Jason Adams and Reza Negarestani. Matsumoto is the recipient of Visual Art Open First Prize, FILE (Electronic Language International Festival) Prix Lux Prize, Florence Biennale Mixed Media 2nd Place Award, Premio Ora Prize Italy 5th Edition, Premio Ora Prize Spain 1st Edition, Donkey Art Prize III Edition Finalist, Best of Show IGOA Toronto, Art Kudos Best of Show Award, Lynx International Prize Be Art Builder Award, Lumen Prize Finalist and Western Bureau Art Prize Honorable Mention. He was awarded the Gold Artist Prize from ArtAscent Journal, the 1st Place Prize from Exhibeo Art Magazine and the Award of Excellence from the Creative Quarterly Journal of Art and Design in 2015 and 2016. His work is part of the permanent collection of University of Texas at Tyler. His work, writings, and interviews were published in Kalubrt Magazine, University of North Carolina Wilmington Journal Palaver, Furtherfield.org, The Journal of Wild Culture, Studio Visit Magazine, Fresh Paint Magazine, H+ Magazine, International Artist Magazine, Made In Mind Magazine, Arizona State University Journal Superstition Review, Creative Review, Next Nature Network, Rhizome.org, Carbon Culture Review, KooZA/rch, Supersonic Art, Component Design (Winka Dubbeldam ed.), Post Digital Aethetics (Berry and Dieter ed.), Drawing Discourse (University of North Carolina Asheville), Highlike(SEPI-SP editors) and Drawing Futures (The Bartlett UCL) among others. Matsumoto s multidisciplinary projects have been exhibited recently at Meadows Gallery University of Texas at Tyler, S. Tucker Cooke Gallery University of North Carolina Asheville, Sebastopol Center for the Arts, National Museum of Korea, Van Der Plas Gallery, ArtHelix Gallery, Caelum Gallery, Limner Gallery, the Cello Factory, University of the District of Columbia, Lux Art Gallery, Studio Montclair, Manifest Gallery, Tenerife Espacio de las Artes, Art Basel Miami, ISEA International, FILE Sao Paulo, Nook Gllery and Arts and Heritage Centre Altrincham. He also had solo exhibitions at Transylvania University (2015), Los Angeles Center of Digital Art (2016) and Alviani ArtSpace, Pescara (2017). Official Website http //ryotamatsumoto.com
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■IM@S FANT@SY4 THE AFTER- 『ファイナルファンタジー4 THE AFTER YEARS 月の帰還』 ■原作紹介 ■登場人物◆今作から新たに登場する人物日高愛/セオドア 秋月涼/ルカ 我那覇響/アーシュラ 四条貴音/レオノーラ 水谷絵理/ハル ◆前作から継続して登場する人物天海春香＆陛下/セシル 水瀬伊織/ギルバート 高槻やよい/リディア 秋月律子/シド 萩原雪歩/ローザ 菊地真/ヤン 双海亜美/パロム 双海真美/ポロム 如月千早/エッジ（エドワード） 星井美希/カイン 星井美希（覚醒）/謎の男 P/ゴルベーザ 高木順一郎/フースーヤ 三浦あずさ/テラ ？？？ ◆その他の人物日高舞 ビッグスとウェッジ リヴァイアサンとアスラ バハムート ジオット王 モブキャラ達 ■ネタ次回予告 ちひゃーを探せ！＜タグ＞ ガリ＜コメント＞ ホバー船の行方＜タグ＞ 今後の出番が一番懸念される人＜タグ＞ ■IM@S FANT@SY4 THE AFTER- 『ファイナルファンタジー4 THE AFTER YEARS 月の帰還』 全55話で完結した「IM@S FANT@SY4」の直接の続編。ウソm@sの予告から連載が開始された作品。 今回は新たに『SP』の961プロの2名、『DS』の876プロの3名も加わり、総勢16人のアイドル達が「あの後」の世界を舞台に冒険を繰り広げる。 ■原作紹介 FF4から十数年後の世界を舞台に繰り広げられるもう一つの物語。正式名称は「ファイナルファンタジー4 THE AFTER 月の帰還」（Wii版は「ファイナルファンタジー4 THE AFTER YEARS 月の帰還」）。 2008年にiモード・EZweb・S!アプリ、2009年にWiiウェアとして配信されている。本作ではWii版を使用している。Wiiを持っている人はWiiで、それ以外の人は携帯電話でどうぞ。 全11章から成り、以下のストーリーが配信されている。 +各章紹介 序章：プロローグ。このシナリオは携帯版のみ、無料配信されている。また、この章とセオドア編、カイン編の3章はWii版では「本編」という扱いになっている。 セオドア編：セシルとローザの間に生まれた息子、セオドアが主人公のストーリー。レベル上限は35（Wiiではレベル上限はない）。 リディア編、ヤン編、パロム編、エッジ編、ポロム編、ギルバート編：FF4に登場した、各キャラクターを主人公にしたストーリー。レベル上限は40。 月の民編：前作で地球を去っていった、月の民フースーヤとゴルベーザを主役にしたストーリー。レベル上限は45。 カイン編：前作エピローグで修行の旅に出た、カインのストーリー。レベル上限は50。 集結編：全ての仲間が終結するストーリー。レベル上限は50。集結編と終章の2章はWii版では「真月編」という名称でまとめて扱われる。 終章：最後の決着をつけるストーリー。前後編から成り、前編のレベル上限は60（Wiiウェア版は月へ行くまでのレベル上限が60）。後編（Wiiでは月へ行ってから）のレベル制限は無い。 +FF4からの変更点 月の状態（月齢）によって物理攻撃や魔法・特殊コマンドの威力が変化したり、モンスターの出現パターンが変わるようになった。町でその情報は得られるが、注意しないと全滅する可能性も… 連携技（バンド）が追加された。イベント習得の他、プレイヤーが自力で見つけるものもある。発動には参加するキャラのATBゲージが満タンになるまでの時間と、技そのものの待機時間、MPが必要。 ゴルベーザの本名がDS版に準拠している（ただしDS版未プレイユーザーに対する配慮で名前はゴルベーザにされている）。 一部のアビリティが変更されており、基本的にDS版FF4仕様を踏襲する。 一部の地形が変化している。 チャレンジダンジョンという要素がある。 ■登場人物 前作の人物に関しては時間経過で変化した点のみを記述する。 ◆今作から新たに登場する人物 日高愛/セオドア 愛編の主人公であり、本編の主人公。 DSのプロローグでオーディションに不合格が続いて落ち込み、本来は春香が登場するところでクリスタルを拾ってFF4TAの世界に行ってしまう。 新米なので、どっきりと勘違いするのはお約束です。そして、目的地バロンがどこにあるかも知らないので、謎のサングラス女が案内役として途中から同行している。 自分のいる世界が別世界であるということは、謎のサングラス女から教えられるまで知らなかった。 閣下には「次の女王」「ただの騎士になりたい女の子」と目され、かつての自分のようだと思われていた。 +セオドアについて FF4から十数年後、バロン国王セシルと王妃ローザの間に生まれた息子。 月の民と地球人のクォーター。基本能力は両親のものを受け継ぐ（やや父親寄り）で、武器攻撃と白魔法を使える。 さらに「かくせい」というアビリティを持ち、月の民の力を一時的に目覚めさせて全能力をアップさせられるが、1回の戦闘につき1回しか使えない上、戦闘終了後に瀕死になるリスクを伴う諸刃の剣でもある。 秋月涼/ルカ オープニングシーンでやよいと一緒にいた876プロの新米アイドル。 +ルカについて 前作でドワーフのジオット王の娘として登場したルカその人。今回はシドの弟子として登場し、戦闘にも参加する。 アビリティはMP消費なしでライブラを使える「しらべる」と、後列からでも大きなダメージを与えることができる「とうてき」。 我那覇響/アーシュラ オープニングシーンで真と一緒にいたアイドル。 偶然手に入れたクリスタルの力で、真もろともFF4TAの世界にやってきた。 真が自分に稽古をつけてくれないことに不満を持っている。 かつて赤き翼の襲撃を受けたときと同じく、ファブールのクリスタルを守ろうとするが… +アーシュラについて FF4に登場した、ヤンの一人娘。同じくモンクである。 アビリティは「けり」の他、味方のHPを回復する「チャクラ」。イベントで敵の弱点を突くアビリティ「てんけつ」が追加される。 四条貴音/レオノーラ オープニングシーンで亜美と一緒にいて、月が2つに増えるのを目撃したアイドル。 +レオノーラについて パロムから黒魔法を習う事になったトロイアの神官見習い。 実はFF4のエンディングでパロムの自慢話を聞いているのが彼女なのだが、それは終盤まで伏せられている。 固有アビリティは無いが、白魔法・黒魔法を両方使うことができる。そのため、本作では最も多く魔法を習得することができる。 水谷絵理/ハル 876プロの新米アイドル。伊織と買い物に行った時に、FF4TAの世界に伊織もろとも飛ばされる。 この世界に来たことはないが、以前伊織がこの世界に来たことがあるということを薄々感づいている。 伊織の指示で隕石落下現場の調査に向かい… +ハルについて ダムシアン国王ギルバートの秘書官。かつては学者を志していた。 前作での戦いについて自分なりに調べた知識を有しており、ゴルベーザのことなども知っているらしい。 アビリティは「みやぶる」と所持金を投げつけて攻撃するFFおなじみのアビリティ「ぜになげ」。 ◆前作から継続して登場する人物 天海春香＆陛下/セシル 春香＆閣下。国王になったので、閣下ではなく陛下に名前が変わった。それ以外は特に前作と変わりない。 アビリティに関しても、全く変更点はみられない。 バロンを守るため律子と雪歩を逃がし、謎の人物が従えるバハムートと戦うが、まさかの敗北を喫する。 +以下、ネタバレ有 謎の女が玉座にたどり着いたとき、閣下が何事もなかったかのように登場したが、その後愛と謎の女を捕らえるため、追っ手を送り出す。 それが本当に彼女の意志なのかは、誰も知らない… 水瀬伊織/ギルバート 絵理と共にFF4TAの世界に帰ってきたアイドル。 絵理を秘書官に、ミスト復興などの活動を行っている。その一方で何か悩みの種を抱えており、考え事をする際は引きこもる。 一応前作でストーリー中にいなくなったうさちゃんが復活している。 +THE AFTERにおける変更点 今回は王族からダムシアン国王に昇格。ギルバート編の主人公。 アビリティがDS版FF4に準拠した仕様に変更されている。 使用価値がイマイチだった「くすり」は任意のアイテムを人数分一度に使えるというものに変更され、「うたう」は自分で効果を選択できるようになった。 また、「かくれる」が「うかがう」になり、HPが減っても勝手に隠れてしまうことが無くなった。 武器のバリエーションも増えており、追加効果も発生しやすくなっている。 高槻やよい/リディア 前作において、序盤から仲間として登場。 後に大人になる薬の力でパワーアップ。地底世界以降は成長後の姿になって戦い、エンディングでもとの姿に戻っていた。 本作では元の姿で幻獣界にいたが、リヴァイアサンとアスラが危機を察知し、脱出させられる。 +THE AFTERにおける変更点 リディア編の主人公。 序盤のイベントで「召喚」のアビリティが使えなくなる。魔法は継続して使用可能。 秋月律子/シド 第4話から登場。雪歩、春香と共にバロンの防衛に当たったが、春香の頼みで雪歩をつれて脱出する。 +THE AFTERにおける変更点 今回は新たにミスしやすいが当たれば大ダメージの「しかける」というアビリティが追加された。 魔法は覚えられないが、バンド技でMPを消費するという追加要素のため、MPも設定されている。 萩原雪歩/ローザ バロン王妃。 春香・律子と共にバロンの防衛に当たるが、春香の頼みを受けた律子によって脱出させられる。 +THE AFTERにおける変更点 今回、「いのる」が「しゅくふく」へ変更されている。効果はDS版FF4と同じで、HPに加えてMPも少量回復する。 他のアビリティは前作と同じで、弓矢の命中率を上げる「ねらう」と白魔法。 菊地真/ヤン オープニングシーンで響と共に登場している。 ファブールの国王としてかつてのヤンデレ女（シーラという名前だった）を王妃に迎えている。 突然襲撃してきた「赤き翼」に、かつてのゴルベーザに乗っ取られた頃と同じ既視感を感じている。 新たに仲間に加わった響と共に、真実を知るためバロンを目指す。 +THE AFTERにおける変更点 ヤン編の主人公。FF4のエンディングで描かれているとおり、ファブールの国王となっている。 アビリティに新たに「ぼうげき」が加わり、仲間の代わりに攻撃を受けて反撃することができる。他のアビリティは「ためる」と「けり」で、前作と同じ。 シド同様に魔法を使うことはできないが、バンド技のためMPは設定されている。 双海亜美/パロム 前作で一時期仲間として同行した双子のアイドル。黒魔法の扱いに長けている。 オープニングシーンで貴音と共に登場したが…？ +THE AFTERにおける変更点 パロム編の主人公。 今回、「つよがる」は「はったり」に名称が変わり、「ふたりがけ」はバンド技扱いになっている。ただし、成長後になると終盤まで使えなくなる。 双海真美/ポロム 前作で亜美と共に一時期仲間として同行した双子のアイドル。 主に白魔法を得意とする。 +THE AFTERにおける変更点 ポロム編の主人公。 今回は「うそなき」が無くなり、「いのる」に変更された。「ふたりがけ」はバンド技だが、成長後は終盤まで使えない。 +以下、ネタバレ有 ミシディアにたどり着いた愛と謎の女の前に登場。 アイマスDS本編で愛と面識を持たないので、本作でも愛とは初対面。 ただし愛は真美の存在を全く知らないので、亜美だと認識しており、真美も亜美として振る舞っている。 如月千早/エッジ（エドワード） 手段と目的が逆転し自重しない人。前作ではすべてのキャラが彼女の犠牲となってシバかれた。 次回予告のどこかに今回もいる。探してみよう！ …前作では出番が遅かったが、今回はエッジ単独主人公のシナリオがある。よかったね、千早。 ちなみに今回はエブラーナ王国の国王に昇格している。また、第4話で早々に出番をもらい、バブイルの塔の異変を目の当たりにする。 +THE AFTERにおける変更点 今回は「ぬすむ」が、ダメージを与えつつアイテムを奪い取る「ぶんどる」に強化されている。 星井美希/カイン 元、バロンの竜騎士。 前作では2度Pの洗脳を受けて敵対したことがある。 本作では再びバロン王国に来た律子達の前に、美希の姿はなかった。 +以下、美希についてのネタバレ有 謎の女が「自分のすべてを奪っていった」と語る存在。 第7話で姿を見せたが、その姿は前作の美希そのものである。 かつて暗黒騎士時代の春香と対決したときと同じように今度は響と対峙したが、隙を突いてまたしてもクリスタルを奪っていった。 星井美希（覚醒）/謎の男 自身については何も語らない謎の味方。 +以下、ネタバレ有 どこからとも無く現れて、愛に同行する。名前は名乗らず、「謎の女」と表記される。 基本的に態度は素っ気なく、時折先輩らしい姿を見せるものの、冷徹さが目立つ。 謎の女は自分のすべてを奪っていった「星井美希」を倒すために行動しているらしいが…？ +謎の男について ターバンを巻いた流浪の剣士。正体は不明。 アビリティは無く、攻撃手段は武器攻撃とセオドアとのバンド技だけ。 P/ゴルベーザ 前作でとある理由によりアイドル達と敵対し、美希を2度洗脳して操り人形にした張本人。 高木順一郎/フースーヤ 三浦あずさ/テラ 前作で死んでしまった唯一の人。原作では影も形もないが…？ +以下、ネタバレ有 次回予告に怨念のように姿を見せる。 12話の次回予告でやっと本人が登場したが、死んでる彼女はどこに行ったのか？ ？？？ 謎の人物。 リヴァイアサン曰く「年増」。 誰だろうねえ（棒読み） ◆その他の人物 日高舞 愛編に登場。スーパーナイト舞様。一人で城門を守り、魔物を蹴散らすとんでもない強さの持ち主。 この人がいると負ける気がしない…はずなのだが… ビッグスとウェッジ FF6の冒頭で登場してから、FFシリーズおなじみになっている人たち。FF以外ではクロノトリガーにもいる。 今回は赤き翼※の一員として登場するが、第4話で愛をかばって瀕死の重傷を負う。 ちなみに、前作で突然FF4の世界に来てしまった春香に対し、対応に困っていたバロン兵士こそがビッグス、突っ込みに窮していたのはウェッジだったのだが、それが発覚したのは彼の走馬燈だった（前作1話にそのシーンは描写されていない）。 愛が別の世界の人間だと気づいたらしく、愛にこのことをバロンの春香に伝えるよう言い残して命を落としたが、その時バロンの春香はバハムートに敗れていた… ※DS版以降の名称。SFC・PS・WSC・GBA版とバーチャルコンソールでは「赤い翼」。 リヴァイアサンとアスラ 変態ロリコン幻獣王リヴァイアサンと、まともな人アスラのコンビ。 幻獣界に迫る危機に気づき、やよいを脱出させた後に謎の人物によって石化させられてしまった。 バハムート 前作でとある形で登場していた変態幻獣神。 今作では謎の人物の配下として登場し、閣下をあっさりと退ける。 ジオット王 地底に住むドワーフの王。 バブイルの塔に異変が起きたとの報告を受ける。 モブキャラ達 愛編に登場する白黒の魔導師と、真編に登場するモンク僧達、伊織編の衛兵達。 いずれもその章以外に出番はない。 ■ネタ 次回予告 前作に引き続き、恒例のイベント。合言葉もやっぱり「いいですとも！」 AFTERになっても相変わらず、あの人は手段と目的が逆転し自重しないのであった。 みんな逃げてー！！ ちひゃーを探せ！＜タグ＞ 次回予告のどこかに千早がかくれているぞ！ 最近では既に心霊現象である。出番を求める千早の怨念が…？ ガリ＜コメント＞ 「適当に呼べばいい」と言ったｍ…もとい、謎のサングラス女に対する視聴者の反応。 作中の公式名称は「謎の女」である。 ホバー船の行方＜タグ＞ ゲーム中誰からも顧みられないホバー船。どこに行っていたのか？ →修理中でした 今後の出番が一番懸念される人＜タグ＞ あずささんのことです。 名前 コメント
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Vehicle Motorcycle Contents 1 Motorcycle Veterancy 2 Tactics 3 History 4 Built From 4.1 Wehrmacht Quarters 5 Doctrinal Abilities 5.1 Blitzkrieg 6 Vehicle Abilities 6.1 Vehicle Cover 7 Vehicle Weapons 7.1 MG42 Motorcycle Motorcycle Health 125 Max Speed 7.2 Sight 55 Cost 180 Acceleration 12 Detection 18/0 Time 30 Deceleration 9 Hotkey M Population 2 Rotation 105 Target Type vehicle_motorcycle Upkeep 2.688 Crush Human Critical Type light_vehicle Crush Mode Rear Damage Enabled false Motorcycle Veterancy [Expand][Hide] Received Damage Received Accuracy (While moving) x0.85 x0.85 Maximum Health Received Accuracy (While moving) x1.15 x0.85 Received Penetration Received Accuracy (While moving) x0.75 x0.8 Tactics The Motorcycle is a very good sniper hunting vehicle. Using it to chase down a retreating sniper is usually a good idea. Motorcycles can spot enemy positions before it can be seen, use this to your advantage. The Motorcycle is weaker than the American jeep and cannot reverse, retreat carefully. This vehicle has a better attack than the Jeep and can be used to support your Volksgrenadiers squads when they face enemy troops by killing retreating-low health squads. The Motorcycle is effective at harassing American engineer squads early in the game, and also in destroying British emplacements before they are finished. History The BMW R75 was World War II-era motorcycle and sidecar combination produced by the German company BMW. BMW were already producing a number of popular and highly effective motorcycles, and developed the R75 in response to a request from the German army for a machine more capable in off-road conditions. BMW developed a technically advanced machine in which the third side-car wheel was driven from an axle connected to the rear wheel of the motorcycle, effectively making it a three-wheeled vehicle. Fitted with a locking differential and selectable road and off-road gear ratios the R75 was highly manoeuvrable and capable of negotiating most surfaces. It was even fitted with a reverse gear. The BMW R75 and its rival the Zündapp KS 750 were both widely used by the Wehrmacht in Russia and North Africa, though after a period of evaluation it became clear that the Zündapp was the superior machine. In August 1942 Zündapp and BMW, on the urging of the Army, agreed upon standardization of parts for both machines, with a view of eventually creating a Zündapp-BMW hybrid (designated the BW 43), in which a BMW 286/1 side-car would be grafted onto a Zündapp KS 750 motorcycle. They also agreed that the manufacture of the R75 would cease once production reached 20,200 units, and after that point BMW and Zündapp would only produce the Zündapp-BMW machine, manufacturing 20,000 each year. Since the target of 20,200 BMW R75 s was not reached, it remained in production until the Eisenach factory was so badly damaged by Allied bombing that production ceased in 1944. A further 98 units were assembled by the Soviets in 1946 as reparations. Built From Wehrmacht Quarters [Expand][Hide] Health 500 Target Type building Cost 22015 Critical Type building Time 60 Hotkey W Effects Deploys Volksgrenadier Squads, Snipers, Heavy Machine Gun teams and Motorcycles. ESee Structure Wehrmacht Quarters for details. Doctrinal Abilities Blitzkrieg [Expand][Hide] Cost 150 Activation timed Duration 30 Target tp_any Recharge 60 Hotkey Effects All Tanks and Armored Vehicles move more quickly, crush everything in their path, and fire more frequently. Infantry sprint to keep pace. ESee Ability Blitzkrieg for details. Vehicle Abilities Vehicle Cover [Expand][Hide] Cost Activation always_on Duration _ Target tp_any Recharge 0 Hotkey Effects $0 no key ESee Ability Vehicle Cover for details. Vehicle Weapons MG42 Motorcycle [Expand][Hide] Weapon MG42 Motorcycle See Weapon MG42 Motorcycle for details. Retrieved from http //coh-stats.com/Vehicle Motorcycle
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CHAPTER XVII UP CHAPTER XIX CHAPTER XVIII Anne to the Rescue ALL things great are wound up with all things little. At first glance it might not seem that the decision of a certain Canadian Premier to include Prince Edward Island in a political tour could have much or anything to do with the fortunes of little Anne Shirley at Green Gables. But it had. It was a January the Premier came, to address his loyal supporters and such of his nonsupporters as chose to be present at the monster mass meeting held in Charlottetown. Most of the Avonlea people were on Premier s side of politics; hence on the night of the meeting nearly all the men and a goodly proportion of the women had gone to town thirty miles away. Mrs. Rachel Lynde had gone too. Mrs. Rachel Lynde was a red-hot politician and couldn t have believed that the political rally could be carried through without her, although she was on the opposite side of politics. So she went to town and took her husband--Thomas would be useful in looking after the horse--and Marilla Cuthbert with her. Marilla had a sneaking interest in politics herself, and as she thought it might be her only chance to see a real live Premier, she promptly took it, leaving Anne and Matthew to keep house until her return the following day. Hence, while Marilla and Mrs. Rachel were enjoying themselves hugely at the mass meeting, Anne and Matthew had the cheerful kitchen at Green Gables all to themselves. A bright fire was glowing in the old-fashioned Waterloo stove and blue-white frost crystals were shining on the windowpanes. Matthew nodded over a FARMERS ADVOCATE on the sofa and Anne at the table studied her lessons with grim determination, despite sundry wistful glances at the clock shelf, where lay a new book that Jane Andrews had lent her that day. Jane had assured her that it was warranted to produce any number of thrills, or words to that effect, and Anne s fingers tingled to reach out for it. But that would mean Gilbert Blythe s triumph on the morrow. Anne turned her back on the clock shelf and tried to imagine it wasn t there. "Matthew, did you ever study geometry when you went to school?" "Well now, no, I didn t," said Matthew, coming out of his doze with a start. "I wish you had," sighed Anne, "because then you d be able to sympathize with me. You can t sympathize properly if you ve never studied it. It is casting a cloud over my whole life. I m such a dunce at it, Matthew." "Well now, I dunno," said Matthew soothingly. "I guess you re all right at anything. Mr. Phillips told me last week in Blair s store at Carmody that you was the smartest scholar in school and was making rapid progress. `Rapid progress was his very words. There s them as runs down Teddy Phillips and says he ain t much of a teacher, but I guess he s all right." Matthew would have thought anyone who praised Anne was "all right." "I m sure I d get on better with geometry if only he wouldn t change the letters," complained Anne. "I learn the proposition off by heart and then he draws it on the blackboard and puts different letters from what are in the book and I get all mixed up. I don t think a teacher should take such a mean advantage, do you? We re studying agriculture now and I ve found out at last what makes the roads red. It s a great comfort. I wonder how Marilla and Mrs. Lynde are enjoying themselves. Mrs. Lynde says Canada is going to the dogs the way things are being run at Ottawa and that it s an awful warning to the electors. She says if women were allowed to vote we would soon see a blessed change. What way do you vote, Matthew?" "Conservative," said Matthew promptly. To vote Conservative was part of Matthew s religion. "Then I m Conservative too," said Anne decidedly. "I m glad because Gil--because some of the boys in school are Grits. I guess Mr. Phillips is a Grit too because Prissy Andrews s father is one, and Ruby Gillis says that when a man is courting he always has to agree with the girl s mother in religion and her father in politics. Is that true, Matthew?" "Well now, I dunno," said Matthew. "Did you ever go courting, Matthew?" "Well now, no, I dunno s I ever did," said Matthew, who had certainly never thought of such a thing in his whole existence. Anne reflected with her chin in her hands. "It must be rather interesting, don t you think, Matthew? Ruby Gillis says when she grows up she s going to have ever so many beaus on the string and have them all crazy about her; but I think that would be too exciting. I d rather have just one in his right mind. But Ruby Gillis knows a great deal about such matters because she has so many big sisters, and Mrs. Lynde says the Gillis girls have gone off like hot cakes. Mr. Phillips goes up to see Prissy Andrews nearly every evening. He says it is to help her with her lessons but Miranda Sloane is studying for Queen s too, and I should think she needed help a lot more than Prissy because she s ever so much stupider, but he never goes to help her in the evenings at all. There are a great many things in this world that I can t understand very well, Matthew." "Well now, I dunno as I comprehend them all myself," acknowledged Matthew. "Well, I suppose I must finish up my lessons. I won t allow myself to open that new book Jane lent me until I m through. But it s a terrible temptation, Matthew. Even when I turn my back on it I can see it there just as plain. Jane said she cried herself sick over it. I love a book that makes me cry. But I think I ll carry that book into the sitting room and lock it in the jam closet and give you the key. And you must NOT give it to me, Matthew, until my lessons are done, not even if I implore you on my bended knees. It s all very well to say resist temptation, but it s ever so much easier to resist it if you can t get the key. And then shall I run down the cellar and get some russets, Matthew? Wouldn t you like some russets?" "Well now, I dunno but what I would," said Matthew, who never ate russets but knew Anne s weakness for them. Just as Anne emerged triumphantly from the cellar with her plateful of russets came the sound of flying footsteps on the icy board walk outside and the next moment the kitchen door was flung open and in rushed Diana Barry, white faced and breathless, with a shawl wrapped hastily around her head. Anne promptly let go of her candle and plate in her surprise, and plate, candle, and apples crashed together down the cellar ladder and were found at the bottom embedded in melted grease, the next day, by Marilla, who gathered them up and thanked mercy the house hadn t been set on fire. "Whatever is the matter, Diana?" cried Anne. "Has your mother relented at last?" "Oh, Anne, do come quick," implored Diana nervously. "Minnie May is awful sick--she s got croup. Young Mary Joe says--and Father and Mother are away to town and there s nobody to go for the doctor. Minnie May is awful bad and Young Mary Joe doesn t know what to do--and oh, Anne, I m so scared!" Matthew, without a word, reached out for cap and coat, slipped past Diana and away into the darkness of the yard. "He s gone to harness the sorrel mare to go to Carmody for the doctor," said Anne, who was hurrying on hood and jacket. "I know it as well as if he d said so. Matthew and I are such kindred spirits I can read his thoughts without words at all." "I don t believe he ll find the doctor at Carmody," sobbed Diana. "I know that Dr. Blair went to town and I guess Dr. Spencer would go too. Young Mary Joe never saw anybody with croup and Mrs. Lynde is away. Oh, Anne!" "Don t cry, Di," said Anne cheerily. "I know exactly what to do for croup. You forget that Mrs. Hammond had twins three times. When you look after three pairs of twins you naturally get a lot of experience. They all had croup regularly. Just wait till I get the ipecac bottle--you mayn t have any at your house. Come on now." The two little girls hastened out hand in hand and hurried through Lover s Lane and across the crusted field beyond, for the snow was too deep to go by the shorter wood way. Anne, although sincerely sorry for Minnie May, was far from being insensible to the romance of the situation and to the sweetness of once more sharing that romance with a kindred spirit. The night was clear and frosty, all ebony of shadow and silver of snowy slope; big stars were shining over the silent fields; here and there the dark pointed firs stood up with snow powdering their branches and the wind whistling through them. Anne thought it was truly delightful to go skimming through all this mystery and loveliness with your bosom friend who had been so long estranged. Minnie May, aged three, was really very sick. She lay on the kitchen sofa feverish and restless, while her hoarse breathing could be heard all over the house. Young Mary Joe, a buxom, broad-faced French girl from the creek, whom Mrs. Barry had engaged to stay with the children during her absence, was helpless and bewildered, quite incapable of thinking what to do, or doing it if she thought of it. Anne went to work with skill and promptness. "Minnie May has croup all right; she s pretty bad, but I ve seen them worse. First we must have lots of hot water. I declare, Diana, there isn t more than a cupful in the kettle! There, I ve filled it up, and, Mary Joe, you may put some wood in the stove. I don t want to hurt your feelings but it seems to me you might have thought of this before if you d any imagination. Now, I ll undress Minnie May and put her to bed and you try to find some soft flannel cloths, Diana. I m going to give her a dose of ipecac first of all." Minnie May did not take kindly to the ipecac but Anne had not brought up three pairs of twins for nothing. Down that ipecac went, not only once, but many times during the long, anxious night when the two little girls worked patiently over the suffering Minnie May, and Young Mary Joe, honestly anxious to do all she could, kept up a roaring fire and heated more water than would have been needed for a hospital of croupy babies. It was three o clock when Matthew came with a doctor, for he had been obliged to go all the way to Spencervale for one. But the pressing need for assistance was past. Minnie May was much better and was sleeping soundly. "I was awfully near giving up in despair," explained Anne. "She got worse and worse until she was sicker than ever the Hammond twins were, even the last pair. I actually thought she was going to choke to death. I gave her every drop of ipecac in that bottle and when the last dose went down I said to myself--not to Diana or Young Mary Joe, because I didn t want to worry them any more than they were worried, but I had to say it to myself just to relieve my feelings--`This is the last lingering hope and I fear, tis a vain one. But in about three minutes she coughed up the phlegm and began to get better right away. You must just imagine my relief, doctor, because I can t express it in words. You know there are some things that cannot be expressed in words." "Yes, I know," nodded the doctor. He looked at Anne as if he were thinking some things about her that couldn t be expressed in words. Later on, however, he expressed them to Mr. and Mrs. Barry. "That little redheaded girl they have over at Cuthbert s is as smart as they make em. I tell you she saved that baby s life, for it would have been too late by the time I got there. She seems to have a skill and presence of mind perfectly wonderful in a child of her age. I never saw anything like the eyes of her when she was explaining the case to me." Anne had gone home in the wonderful, white-frosted winter morning, heavy eyed from loss of sleep, but still talking unweariedly to Matthew as they crossed the long white field and walked under the glittering fairy arch of the Lover s Lane maples. "Oh, Matthew, isn t it a wonderful morning? The world looks like something God had just imagined for His own pleasure, doesn t it? Those trees look as if I could blow them away with a breath--pouf! I m so glad I live in a world where there are white frosts, aren t you? And I m so glad Mrs. Hammond had three pairs of twins after all. If she hadn t I mightn t have known what to do for Minnie May. I m real sorry I was ever cross with Mrs. Hammond for having twins. But, oh, Matthew, I m so sleepy. I can t go to school. I just know I couldn t keep my eyes open and I d be so stupid. But I hate to stay home, for Gil--some of the others will get head of the class, and it s so hard to get up again--although of course the harder it is the more satisfaction you have when you do get up, haven t you?" "Well now, I guess you ll manage all right," said Matthew, looking at Anne s white little face and the dark shadows under her eyes. "You just go right to bed and have a good sleep. I ll do all the chores." Anne accordingly went to bed and slept so long and soundly that it was well on in the white and rosy winter afternoon when she awoke and descended to the kitchen where Marilla, who had arrived home in the meantime, was sitting knitting. "Oh, did you see the Premier?" exclaimed Anne at once. "What did he look like Marilla?" "Well, he never got to be Premier on account of his looks," said Marilla. "Such a nose as that man had! But he can speak. I was proud of being a Conservative. Rachel Lynde, of course, being a Liberal, had no use for him. Your dinner is in the oven, Anne, and you can get yourself some blue plum preserve out of the pantry. I guess you re hungry. Matthew has been telling me about last night. I must say it was fortunate you knew what to do. I wouldn t have had any idea myself, for I never saw a case of croup. There now, never mind talking till you ve had your dinner. I can tell by the look of you that you re just full up with speeches, but they ll keep." Marilla had something to tell Anne, but she did not tell it just then for she knew if she did Anne s consequent excitement would lift her clear out of the region of such material matters as appetite or dinner. Not until Anne had finished her saucer of blue plums did Marilla say "Mrs. Barry was here this afternoon, Anne. She wanted to see you, but I wouldn t wake you up. She says you saved Minnie May s life, and she is very sorry she acted as she did in that affair of the currant wine. She says she knows now you didn t mean to set Diana drunk, and she hopes you ll forgive her and be good friends with Diana again. You re to go over this evening if you like for Diana can t stir outside the door on account of a bad cold she caught last night. Now, Anne Shirley, for pity s sake don t fly up into the air." The warning seemed not unnecessary, so uplifted and aerial was Anne s expression and attitude as she sprang to her feet, her face irradiated with the flame of her spirit. "Oh, Marilla, can I go right now--without washing my dishes? I ll wash them when I come back, but I cannot tie myself down to anything so unromantic as dishwashing at this thrilling moment." "Yes, yes, run along," said Marilla indulgently. "Anne Shirley--are you crazy? Come back this instant and put something on you. I might as well call to the wind. She s gone without a cap or wrap. Look at her tearing through the orchard with her hair streaming. It ll be a mercy if she doesn t catch her death of cold." Anne came dancing home in the purple winter twilight across the snowy places. Afar in the southwest was the great shimmering, pearl-like sparkle of an evening star in a sky that was pale golden and ethereal rose over gleaming white spaces and dark glens of spruce. The tinkles of sleigh bells among the snowy hills came like elfin chimes through the frosty air, but their music was not sweeter than the song in Anne s heart and on her lips. "You see before you a perfectly happy person, Marilla," she announced. "I m perfectly happy--yes, in spite of my red hair. Just at present I have a soul above red hair. Mrs. Barry kissed me and cried and said she was so sorry and she could never repay me. I felt fearfully embarrassed, Marilla, but I just said as politely as I could, `I have no hard feelings for you, Mrs. Barry. I assure you once for all that I did not mean to intoxicate Diana and henceforth I shall cover the past with the mantle of oblivion. That was a pretty dignified way of speaking wasn t it, Marilla?" "I felt that I was heaping coals of fire on Mrs. Barry s head. And Diana and I had a lovely afternoon. Diana showed me a new fancy crochet stitch her aunt over at Carmody taught her. Not a soul in Avonlea knows it but us, and we pledged a solemn vow never to reveal it to anyone else. Diana gave me a beautiful card with a wreath of roses on it and a verse of poetry "If you love me as I love you Nothing but death can part us two. And that is true, Marilla. We re going to ask Mr. Phillips to let us sit together in school again, and Gertie Pye can go with Minnie Andrews. We had an elegant tea. Mrs. Barry had the very best china set out, Marilla, just as if I was real company. I can t tell you what a thrill it gave me. Nobody ever used their very best china on my account before. And we had fruit cake and pound cake and doughnuts and two kinds of preserves, Marilla. And Mrs. Barry asked me if I took tea and said `Pa, why don t you pass the biscuits to Anne? It must be lovely to be grown up, Marilla, when just being treated as if you were is so nice." "I don t know about that," said Marilla, with a brief sigh. "Well, anyway, when I am grown up," said Anne decidedly, "I m always going to talk to little girls as if they were too, and I ll never laugh when they use big words. I know from sorrowful experience how that hurts one s feelings. After tea Diana and I made taffy. The taffy wasn t very good, I suppose because neither Diana nor I had ever made any before. Diana left me to stir it while she buttered the plates and I forgot and let it burn; and then when we set it out on the platform to cool the cat walked over one plate and that had to be thrown away. But the making of it was splendid fun. Then when I came home Mrs. Barry asked me to come over as often as I could and Diana stood at the window and threw kisses to me all the way down to Lover s Lane. I assure you, Marilla, that I feel like praying tonight and I m going to think out a special brand-new prayer in honor of the occasion." CHAPTER XVII UP CHAPTER XIX 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 23 23 (Tue)
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1 名前：名前が無い＠ただの名無しのようだ[] 投稿日：2009/07/02(木) 21 52 24 ID EKwVVcU/0 携帯で描かれるFF4のアフターストーリー 「ファイナルファンタジー４ ジ・アフター －月の帰還－」 セシルの血を引く少年セオドアが登場 ジャンル：RPG ◆公式サイト http //www.square-enix.co.jp/mobile/ff/ff4after/ ◆攻略本 7月21日 ファイナルファンタジーIV THE AFTER－月の帰還－ 公式コンプリートガイド（仮） 発売 ◆攻略に役立ちそうなサイト http //www13.ocn.ne.jp/~ff9net/data/ff4ta/ http //ff4ta.holy.jp/mobile.php ※掲載情報はメーカーから公式に発表されていないものも含まれています。 http //www3.atword.jp/ffdq/?p=1271
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このページはhttp //jbbs.livedoor.jp/netgame/9960/#1からの引用です [ 板情報 | 携帯 || ネットゲーム/オンラインゲーム ] livedoor | 掲示板を作る CLAN SPK スレッド作成： タイトル： 名前： E-mail(省略可)： 内容： 1 CLAN SPK(1) (全部で1のスレッドがあります)掲示板の使い方/新着をメールで受信/過去ログ倉庫/スレッド一覧/リロード ▲1▼CLAN SPK(Res 1) AllFirst100Last50SubjectListReLoad▲1▼ 1名前：shintaku703投稿日： 2011/12/18(日) 19 13 29 CLAN SPKのスレッドです。 入会したい方やメンバーの方でもだれでも気軽にやってください。 名前： E-mail（省略可）： 全部読む最新501-100メール受信掲示板トップリロード 掲示板管理者へ連絡 [00000002]
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CHAPTER XXIII UP CHAPTER XXV CHAPTER XXIV Miss Stacy and Her Pupils Get Up a Concert It was October again when Anne was ready to go back to school--a glorious October, all red and gold, with mellow mornings when the valleys were filled with delicate mists as if the spirit of autumn had poured them in for the sun to drain--amethyst, pearl, silver, rose, and smoke-blue. The dews were so heavy that the fields glistened like cloth of silver and there were such heaps of rustling leaves in the hollows of many-stemmed woods to run crisply through. The Birch Path was a canopy of yellow and the ferns were sear and brown all along it. There was a tang in the very air that inspired the hearts of small maidens tripping, unlike snails, swiftly and willingly to school; and it WAS jolly to be back again at the little brown desk beside Diana, with Ruby Gillis nodding across the aisle and Carrie Sloane sending up notes and Julia Bell passing a "chew" of gum down from the back seat. Anne drew a long breath of happiness as she sharpened her pencil and arranged her picture cards in her desk. Life was certainly very interesting. In the new teacher she found another true and helpful friend. Miss Stacy was a bright, sympathetic young woman with the happy gift of winning and holding the affections of her pupils and bringing out the best that was in them mentally and morally. Anne expanded like a flower under this wholesome influence and carried home to the admiring Matthew and the critical Marilla glowing accounts of schoolwork and aims. "I love Miss Stacy with my whole heart, Marilla. She is so ladylike and she has such a sweet voice. When she pronounces my name I feel INSTINCTIVELY that she s spelling it with an E. We had recitations this afternoon. I just wish you could have been there to hear me recite `Mary, Queen of Scots. I just put my whole soul into it. Ruby Gillis told me coming home that the way I said the line, `Now for my father s arm, she said, `my woman s heart farewell, just made her blood run cold." "Well now, you might recite it for me some of these days, out in the barn," suggested Matthew. "Of course I will," said Anne meditatively, "but I won t be able to do it so well, I know. It won t be so exciting as it is when you have a whole schoolful before you hanging breathlessly on your words. I know I won t be able to make your blood run cold." "Mrs. Lynde says it made HER blood run cold to see the boys climbing to the very tops of those big trees on Bell s hill after crows nests last Friday," said Marilla. "I wonder at Miss Stacy for encouraging it." "But we wanted a crow s nest for nature study," explained Anne. "That was on our field afternoon. Field afternoons are splendid, Marilla. And Miss Stacy explains everything so beautifully. We have to write compositions on our field afternoons and I write the best ones." "It s very vain of you to say so then. You d better let your teacher say it." "But she DID say it, Marilla. And indeed I m not vain about it. How can I be, when I m such a dunce at geometry? Although I m really beginning to see through it a little, too. Miss Stacy makes it so clear. Still, I ll never be good at it and I assure you it is a humbling reflection. But I love writing compositions. Mostly Miss Stacy lets us choose our own subjects; but next week we are to write a composition on some remarkable person. It s hard to choose among so many remarkable people who have lived. Mustn t it be splendid to be remarkable and have compositions written about you after you re dead? Oh, I would dearly love to be remarkable. I think when I grow up I ll be a trained nurse and go with the Red Crosses to the field of battle as a messenger of mercy. That is, if I don t go out as a foreign missionary. That would be very romantic, but one would have to be very good to be a missionary, and that would be a stumbling block. We have physical culture exercises every day, too. They make you graceful and promote digestion." "Promote fiddlesticks!" said Marilla, who honestly thought it was all nonsense. But all the field afternoons and recitation Fridays and physical culture contortions paled before a project which Miss Stacy brought forward in November. This was that the scholars of Avonlea school should get up a concert and hold it in the hall on Christmas Night, for the laudable purpose of helping to pay for a schoolhouse flag. The pupils one and all taking graciously to this plan, the preparations for a program were begun at once. And of all the excited performers-elect none was so excited as Anne Shirley, who threw herself into the undertaking heart and soul, hampered as she was by Marilla s disapproval. Marilla thought it all rank foolishness. "It s just filling your heads up with nonsense and taking time that ought to be put on your lessons," she grumbled. "I don t approve of children s getting up concerts and racing about to practices. It makes them vain and forward and fond of gadding." "But think of the worthy object," pleaded Anne. "A flag will cultivate a spirit of patriotism, Marilla." "Fudge! There s precious little patriotism in the thoughts of any of you. All you want is a good time." "Well, when you can combine patriotism and fun, isn t it all right? Of course it s real nice to be getting up a concert. We re going to have six choruses and Diana is to sing a solo. I m in two dialogues--`The Society for the Suppression of Gossip and `The Fairy Queen. The boys are going to have a dialogue too. And I m to have two recitations, Marilla. I just tremble when I think of it, but it s a nice thrilly kind of tremble. And we re to have a tableau at the last--`Faith, Hope and Charity. Diana and Ruby and I are to be in it, all draped in white with flowing hair. I m to be Hope, with my hands clasped--so--and my eyes uplifted. I m going to practice my recitations in the garret. Don t be alarmed if you hear me groaning. I have to groan heartrendingly in one of them, and it s really hard to get up a good artistic groan, Marilla. Josie Pye is sulky because she didn t get the part she wanted in the dialogue. She wanted to be the fairy queen. That would have been ridiculous, for who ever heard of a fairy queen as fat as Josie? Fairy queens must be slender. Jane Andrews is to be the queen and I am to be one of her maids of honor. Josie says she thinks a red-haired fairy is just as ridiculous as a fat one, but I do not let myself mind what Josie says. I m to have a wreath of white roses on my hair and Ruby Gillis is going to lend me her slippers because I haven t any of my own. It s necessary for fairies to have slippers, you know. You couldn t imagine a fairy wearing boots, could you? Especially with copper toes? We are going to decorate the hall with creeping spruce and fir mottoes with pink tissue-paper roses in them. And we are all to march in two by two after the audience is seated, while Emma White plays a march on the organ. Oh, Marilla, I know you are not so enthusiastic about it as I am, but don t you hope your little Anne will distinguish herself?" "All I hope is that you ll behave yourself. I ll be heartily glad when all this fuss is over and you ll be able to settle down. You are simply good for nothing just now with your head stuffed full of dialogues and groans and tableaus. As for your tongue, it s a marvel it s not clean worn out." Anne sighed and betook herself to the back yard, over which a young new moon was shining through the leafless poplar boughs from an apple-green western sky, and where Matthew was splitting wood. Anne perched herself on a block and talked the concert over with him, sure of an appreciative and sympathetic listener in this instance at least. "Well now, I reckon it s going to be a pretty good concert. And I expect you ll do your part fine," he said, smiling down into her eager, vivacious little face. Anne smiled back at him. Those two were the best of friends and Matthew thanked his stars many a time and oft that he had nothing to do with bringing her up. That was Marilla s exclusive duty; if it had been his he would have been worried over frequent conflicts between inclination and said duty. As it was, he was free to, "spoil Anne"--Marilla s phrasing--as much as he liked. But it was not such a bad arrangement after all; a little "appreciation" sometimes does quite as much good as all the conscientious "bringing up" in the world. CHAPTER XXIII UP CHAPTER XXV 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 20 55 (Tue)
https://w.atwiki.jp/touhoukashi/pages/4440.html
【登録タグ Innocent Key Shihori W 少女綺想曲 ～ Dream Battle 曲 東方聖水祭】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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} /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; 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【登録タグ A-One AXEL.K S TOHO EUROBEAT VOL.21 星蓮船 キャプテン・ムラサ 幽霊客船の時空を越えた旅 曲 風雅なおと】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*