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https://w.atwiki.jp/hellgate_london/pages/490.html
Lens of the Master [部分編集] Category Base Item Class Cabalist Type Focus Item Item Level 43 Require Level 35 Damage Power 95 All Elemental Strength 82 Rate of fire 80/min Critical Chance 8% Critical Damage 40% Interrupt Strength 0 Range 15m Equip Cost 29 Modification Relic(0-2) Inherent Attributes [部分編集] Lens of the MasterベースのUnique Item 関連ページ Focus Items Unique Cabalist Weapons
https://w.atwiki.jp/frontmission2089/pages/303.html
Mission01 Mission02 Mission03 Mission04AMission04B Mission05AMission05B Mission06 Mission07 Mission08 Mission09 Mission10AMission10B Mission11AMission11B Mission12 Mission13 Mission14 Mission15 Mission16 Mission17 Mission18 Mission19 Mission20 Mission21 Mission22 Mission23AMission23B Mission24AMission24B Mission25AMission25B Mission26 Mission27 Mission28 Mission29 Mission30 Mission31 Mission32 Mission33 Mission34 Mission35 Mission36 Mission37 Mission38 Mission39 Mission40 Mission41 Mission42 Mission43 Mission44 Mission45 Mission46 Mission47 Mission48 Mission49 Mission50 Mission51 Epilog インターミッション｜傭兵詰所｜司令部 Mission27｜マップ｜入手パーツ｜味方｜敵 インターミッション 移動可能施設 司令部 オッドアイ、フェイスレスのいずれかと会話後、移動可能 傭兵詰所 TEAM MEMBERS レイン / チャンプ / オッドアイ / グレイ OTHERS フェイスレス（※） / ユウジ / マット / ガブリエル / スレッシュ 格納庫 闘技場 対戦相手 Fork / Fork / Fork / Fox / Orden / Bringer / Joe the Apach / Volcano / Snow Bird / Fork / Fox / Orden / Bringer / Joe the Apach / Volcano / Blue Eye / Brian / Smorker / Snow Bird 賭け金 300 / 500 / 800 / 1000 / 2000 （※）オッドアイ、フェイスレスのいずれかと会話すると退室 傭兵詰所 オッドアイ、フェイスレスのいずれかと会話 司令部 会話イベントMission27 コードネーム Mission27 Mission27 コードネーム 勝利条件 全敵の撃墜 敗北条件 ストーム機の撃墜かオッドアイ機の撃墜 作戦の報酬 H$5000 出撃機体選択（2周目以降） 必ず出撃 ストーム / オッドアイ 選択出撃 レイン / チャンプ / グレイ マップ 地形 名称 地形効果 ノーマル ホバー タンク タイヤ 進入不可 0％ － － － － 地形 名称 地形効果 ノーマル ホバー タンク タイヤ 市街地「夕」 15％ 3 2 3 2 2ターン経過後、又は敵ユニットを残り1機にすると、敵増援3機（敵8～10）が現れる 3ターン経過後、又はナイトメア機1機にすると、味方増援1機（味方6）が現れる ナイトメア機がフェイスレス機を撃墜後、ナイトメア機は撤退し、敵増援3機（敵11～13）が現れる 上へ 入手パーツ なし 上へ 味方 No. PILOT MACHINE WEAPON ITEM 修理費用 Name Level Skill Name Attribute HP Body Body Attribute Bullet Range State Fight Exp. Fight L. Arm L. Grip Short Short R. Arm R. Grip Long Long Legs L. Shoulder Agility Agility Move R. Shoulder 1 Storm WOLF HEAD － 2 Rain BLUE IRIS 3 Champ CLAYMORE 4 Oddeye WILD CAT － 5 Gray CRUSADER 6 Faceless（NPC） 24 Speed Lv2－－－－－－－－－－－－ ARPEGGIO 炎熱 1 / 144 －－－ － 14 1500 1 / 96 ARM PUNCH 衝撃 － 1-1 20 3000 1 / 96 ARM PUNCH 衝撃 － 1-1 18 2500 1 / 120 －－－ 15 1600 19 －－－ 上へ 敵 No. PILOT MACHINE WEAPON 敵撃破ボ｜ナス Name Level Skill Name Attribute HP Body Body Attribute Bullet Range State Fight Exp. Fight L. Arm L. Grip Short Short R. Arm R. Grip Long Long Legs L. Shoulder Agility Agility Move R. Shoulder 1 Attacker 19 －－－－－－－－－－－－－－－ VASA 貫通 120 －－－ 605 12 975 84 ARM PUNCH 衝撃 － 1-1 13 1175 84 SLAB 貫通 － 2-3 18 2400 96 －－－ 14 1400 17 －－－ 2 Missileer 17 －－－－－－－－－－－－－－－ ZEARAID 貫通 84 －－－ 510 11 675 48 ARM PUNCH 衝撃 － 1-1 11 675 48 ARM PUNCH 衝撃 － 1-1 18 2450 60 PIZ-8 炎熱 2 3-6 13 1250 20 －－－ 3 Attacker 19 －－－－－－－－－－－－－－－ VASA 貫通 120 －－－ 605 12 975 84 ARM PUNCH 衝撃 － 1-1 13 1175 84 SLAB 貫通 － 2-3 18 2400 96 －－－ 14 1400 17 －－－ 4 Missileer 17 －－－－－－－－－－－－－－－ ZEARAID 貫通 84 －－－ 510 11 675 48 ARM PUNCH 衝撃 － 1-1 11 675 48 ARM PUNCH 衝撃 － 1-1 18 2450 60 PIZ-8 炎熱 2 3-6 13 1250 19 GOLDIAS 炎熱 2 3-6 5 Missileer 17 －－－－－－－－－－－－－－－ ZEARAID 貫通 84 －－－ 510 11 675 48 ARM PUNCH 衝撃 － 1-1 11 675 48 ARM PUNCH 衝撃 － 1-1 18 2450 60 PIZ-8 炎熱 2 3-6 13 1250 20 －－－ 6 Attacker 19 －－－－－－－－－－－－－－－ VASA 貫通 120 －－－ 605 12 975 84 ARM PUNCH 衝撃 － 1-1 13 1175 84 SLAB 貫通 － 2-3 18 2400 96 －－－ 14 1400 17 －－－ 7 Attacker 19 －－－－－－－－－－－－－－－ VASA 貫通 120 －－－ 605 12 975 84 ARM PUNCH 衝撃 － 1-1 18 2400 84 LEO STAN 貫通 － 1-1 13 1175 96 －－－ 14 1400 17 －－－ 8 Nightmare 22 Guide Lv1－－－－－－－－－－－－ X-14 炎熱 110 －－－ － 12 875 60 PAP-66 貫通 － 1-1 17 2050 60 PAP-66 貫通 － 1-1 22 3500 75 SX-30 － － － 14 1300 20 SX-30 － － － 9 Attacker 19 －－－－－－－－－－－－－－－ VASA 貫通 120 －－－ 605 12 975 84 ARM PUNCH 衝撃 － 1-1 18 2400 84 LEO STAN 貫通 － 1-1 13 1175 96 －－－ 14 1400 17 －－－ 10 Attacker 19 －－－－－－－－－－－－－－－ VASA 貫通 120 －－－ 605 12 975 84 ARM PUNCH 衝撃 － 1-1 18 2400 84 LEO STAN 貫通 － 1-1 13 1175 96 －－－ 14 1400 17 －－－ 11 Attacker 19 －－－－－－－－－－－－－－－ VASA 貫通 120 －－－ 605 12 975 84 ARM PUNCH 衝撃 － 1-1 18 2400 84 LEO STAN 貫通 － 1-1 13 1175 96 －－－ 14 1400 17 －－－ 12 Attacker 19 －－－－－－－－－－－－－－－ VASA 貫通 120 －－－ 605 12 975 84 ARM PUNCH 衝撃 － 1-1 18 2400 84 LEO STAN 貫通 － 1-1 13 1175 96 －－－ 14 1400 17 －－－ 13 Attacker 19 －－－－－－－－－－－－－－－ VASA 貫通 120 －－－ 605 12 975 84 ARM PUNCH 衝撃 － 1-1 18 2400 84 LEO STAN 貫通 － 1-1 13 1175 96 －－－ 14 1400 17 －－－ 上へ
https://w.atwiki.jp/gamemusicbest100/pages/7310.html
タワーフォール アセンション 機種：And,PS4,PC,Xbox1,NS 作曲者：Alec Holowka 開発・発売元：Matt Makes Games 発売年：2013 概要 海外のMatt Makes Games開発のレトロ感漂う8ビット風のドット絵が特徴的な2Dアクション。 対戦に特化したゲームシステムが特徴で最大4人による同時対戦も可能。 SteamやPS4版などが出ているが、残念ながら日本語対応したものはまだ無い。 音楽はカナダのゲームクリエイターであるAlec Holowka氏が作曲。 ダークな世界観の雰囲気を残しつつも、アクションゲームらしくどの曲もノリがとても良い。 収録曲(サウンドトラック順) 曲名 作・編曲者 補足 順位 Legends Alec Holowka Title Sacred Ground Backfire Dark Destiny Twilight Spire Den of Thieves Thornwood Dance of the Sun God Mirage Frostfang Footslip Frostfang Keep ダウンロード62位 Flight Bloodline King's Court True Form Boss Fallen, Fade Game Over TowerFall Omens Moonstone Serpent Hymn Sunken City Creation Myth Tower Forge Beastly Boogie Gauntlet Rapture Ascension The Archives Team Victory The Vigilante Thief Green Victory The Last of the Order Blue Victory The Assassin Prince Pink Victory The Turncloak Soldier Orange Victory The Ancient Exile White Victory The Vicious Vessel Purple Victory The Prancing Puppet Cyan Victory The Forgotten Master Yellow Victory Chillin' with Cyan サウンドトラック TowerFall Ascension Towerfall Ascension
https://w.atwiki.jp/versailles/pages/111.html
Versailles Official Web Site - TOUR Versailles-Philharmonic Quintet- MySpace BACKSTAGE PROJECT Versailles World Tour 2010 Venue Maps CD Japan - Official concert goods / CD, DVD, magazines All items JAPAN Discoveries - Official concert goods CD, DVD, magazines d-photo.tv - Official members' photos Versailles Fan CommunityThe site administrator gave us forums!! Let s share excited Versailles concerts!! Versailles World Tour 2010 28/02/2010 to 04/04/2010 "Method of Inheritance"-APOSTLES- (JAPAN) 18/04/2010 to 30/04/2010 "Method of Inheritance"-JUBILEE- (JAPAN) 04/06/2010 to 13/06/2010 -Method of Inheritance-Latin America 26/06/2010 to 13/07/2010 -Method of Inheritance-Europe 19/07/2010 to 27/08/2010 "Method of Inheritance"-Arousal- (JAPAN) 04/09/2010 "Method of Inheritance"-GRAND FINAL- CHATEAU DE VERSAILLES (JAPAN) Versailles World Tour 2010 -Method of Inheritance-Europe Gekido Tour Gekido Tour MySpace 26/06/2010 Oslo - Samfunnssalen (*Desucon 5 Guest) (NORWAY) 27/06/2010 Moscow - Tochka (RUSSIA) 29/06/2010 Helsinki - Tavastia Klubi (FINLAND) *Tickets sold out!! 30/06/2010 London - O2 Academy Islington (UK) 02/07/2010 Barcelona - Sala Apolo (SPAIN) *Venue has been changed!! Sala Apolo 2 Sala Apolo 03/07/2010 Montpellier - Rockstore (FRANCE) 06/07/2010 Amsterdam - Bitterzoet (NETHERLANDS) *Tickets sold out!! 07/07/2010 Cologne - Die Werkstatt (GERMANY) 09/07/2010 Hambourg - Knust (GERMANY) 11/07/2010 Budapest - Diesel Club (HUNGARY) +Meet Greet and Afterparty 12/07/2010 Paris - BABY,THE STARS SHINE BRIGHT PARIS STORE (FRANCE) *In-Store Meet Greet 13/07/2010 Paris - Le Trabendo (FRANCE) *Tickets sold out!! 26/06/2010 (Sat) Oslo (NORWAY) (*Desucon 5 Guest)Venue Samfunnssalen (Concert Start 21 00)Info Guren Promotions / Twitter / Japani - Konsert Versailles til Desucon 5!Desucon 5 - Konsert Versailles / Facebook / TwitterTicket on sale Outland / Neo-Tokyo Webshop / Outland (Shop counter)Inquires Guren Promotions / Desucon 5 27/06/2010 (Sun) Moscow (RUSSIA)Venue Tochka (Точка) (Doors open 18 30 / Concert start 20 00)Info JRockStar / JRockStar MySpace / JaME Россия/ Russian Darkside / HeavyMusic.ruTickets on sale (Pre-order) Точка Афиша / JRockStar заказ билетовTickets on sale Delta Mekong Concerts / METALTICKETS.RUInquires JRockStar / Gekido Tour 29/06/2010 (Tue) Helsinki (FINLAND)Venue Tavastia Klubi (Doors open 20 00 / Concert start 21 00)Info Live Nation Finland Facebook / Tiketti INFO / JaME Suomi/ Tavastian uutiset / Tavastian tulevat tapahtumatTickets sold out!! Tiketti / Live Nation FinlandInquires Live Nation Finland / Gekido Tour 30/06/2010 (Wed) London (UK)Venue O2 Academy Islington (Doors open 19 00 / Concert start TBC)Info O2 Academy Islington Event Details / OngakuSHOCK / Last.fm Events/ OngakuSHOCK Forum - Versailles Announce UK SHOW! / Facebook / Twitter / MySpaceTickets on sale TicketWeb / Ticketmaster.uk / See Tickets / Live Nation UK / Stargreen Box OfficeInquires OngakuSHOCK / Gekido Tour 02/07/2010 (Fri) Barcelona (SPAIN) +Meet Greet?Venue Sala Apolo (Doors open 19 30 / Concert start 20 00)Venue has been changed!! Sala Apolo 2 Sala ApoloNew! - Ticketmaster.es / Detalles sobre el concierto - Versailles Spanish O.S.T. Blog (25/06/2010)Info Sala Apolo Concerts / J-Music Revolution / Official Street Team / Last.fm EventsTickets on sale Codetickets / Ticketmaster.es / Kiosco / Shop counterInquires Gekido Tour 03/07/2010 (Sat) Montpellier (FRANCE)Venue Rockstore (Doors open 20 00 / Concert start 20 30)Info Rockstore Informations sur le Concert / Tout a Fond / MySpace/ La Cour de Versailles Official French Street Team / ForumTickets on sale (Pre-sale) Gekido Tour Boutique / Enrage Productions BoutiqueTickets on sale Billetterie Fnac / Ticketnet.fr / Reseau France BilletInquires Tout a Fond / Gekido Tour 06/07/2010 (Tue) Amsterdam (NETHERLANDS)Venue BITTERZOET (Concert start 20 00)Info BITTERZOET CONCERT VERSAILLES / Last.fm EventsTickets sold out!! BITTERZOET BESTEL TICKETS (Powered by Paylogic)Inquires Gekido Tour 07/07/2010 (Wed) Cologne (GERMANY)Venue Die Werkstatt (Doors open 19 00 / Concert start 20 00)Info Die Werkstatt PROGRAMM / Weird World ROSTER / Official German Street Team / TwitterTickets on sale Ticketmaster.de / eventim.de / me-shop / DERTICKETSERVICE / EventbueroInquires Weird World / Gekido Tour 09/07/2010 (Fri) Hambourg (GERMANY)Venue KNUST (Doors open 20 00)Info KNUST PROGRAMM / Weird World ROSTER / Official German Street Team / TwitterTickets on sale Ticketmaster.de / eventim.de / me-shop / DERTICKETSERVICE / EventbueroInquires Weird World / Gekido Tour 11/07/2010 (Sun) Budapest (HUNGARY) +Meet Greet and AfterpartyVenue DIESEL CLUB (Doors open 19 00 / Concert start 20 30)A koncert utan Meet Greet es Afterparty (SoundOfJapan - 27/06/2010)Info Versailles koncert infooldal / SoundOfJapan/ DIESEL CLUB partycalender / Last.fm EventsTickets on sale Ticketportal.hu / partnerirodainban/ Ticketportal.sk (Slovakia) / Ticketportal.cz (Czech) / Ticketportal.pl (Poland)Inquires SoundOfJapan / Gekido Tour 12/07/2010(Mon) Paris (FRANCE) *In-Store Meet GreetDEDICACE VERSAILLES in BABY PARIS STORE (03/07/2010)Venue BABY, THE STARS SHINE BRIGHT PARIS STORE (72 avenue Ledru Rollin 75012 Paris)Event start 18 00Members' costumes sponsored by BABY,THE STARS SHINE BRIGHT 13/07/2010 (Tue) Paris (FRANCE)Venue LE TRABENDO (Doors open 19 00 / Concert start 20 00)Info La Cour de Versailles Official French Street Team / ForumTickets sold out!! Gekido Tour Boutique / Enrage Productions BoutiqueInquires Gekido Tour ▲to Page Top
https://w.atwiki.jp/eve_sarashi/pages/34.html
English Can Your? 会社では中尉クラス ※キャラ復活の情報があるので、スネーク隊求む 関連リンク Battleclinicのデータ lusi eye語録 XXXX у нас там весело) lusi eye hi losian ! lusi eye english can your? lusi eye ｒですかｗ lusi eye あれしずまった lusi eye えーっと・・・ lusi eye rosian ! hi! lusi eye =) lusi eye ロシアンもういいやｗ lusi eye =) lusi eye ) lusi eye your english can you??? lusi eye 侍どーたらこたら GM *** This channel is for Japanese ONLY. lusi eye ＧＭうごいたｗ GM *** Further communcation in other languages will result in warnings and gags. lusi eye thx game master lusi eye 許せないのは lusi eye 文を書けないのだろが lusi eye くどくてんを使わずに lusi eye いちいちエンタ＾で lusi eye ログ lusi eye 流すばか [16 47 55] ******** RMT業者の広告 [16 48 01] lusi eye ＲＴＭきたー [16 48 40] lusi eye waming rtm pc [16 48 55] lusi eye gm ... lusi eye 横にもう一台あるけどうごかすと部屋が暑くなる＾＾： A@@ うらでTroyがせっせとCPU食ってたりして... B@@ igbは殆どつかってない lusi eye ウィキスチェックはすでにあるので lusi eye ウィルス lusi eye 勝手に感染されたようないか足されると困ります A@@ もしやかな入力？ lusi eye なんで？ A@@ なんとなくｗ lusi eye かな入力 感染ＰＣＰＣ不良品 lusi eye 最悪ですなこれ lusi eye なんとくでいわれると気分害しますね A@@ すみません・・ lusi eye you canpany? lusi eye you from? Garety C@@ あやしい英語だなｗ lusi eye ｗ lusi eye 一応 ヨーロッパあたりのオンラインはこれで通じるｗ（実話 D@@ えと、canpanyとは？ lusi eye 国 じゃなかったっけ？ E@@ ｃｏｕｎｔｒｙ？ lusi eye ｿｯﾁﾃﾞﾂｶ？ lusi eye 明日 上司を拷問する lusi eye そろそろ あの新人 ペチってやる lusi eye ← これでも会社では中尉クラス 32 ：名無しさん＠ｺﾞｰｺﾞｰｺﾞｰｺﾞｰ！ ：2007/08/09(木) 23 20 13 ID GVyh6MSE 話題のL様がlowsecでGCされてDD沈めたらしいので、 JPCHATで「Lowなんかいくからー」と軽く一回言ったんだが、 今気づいたらこんなメールが！ 33 ：名無しさん＠ｺﾞｰｺﾞｰｺﾞｰｺﾞｰ！ ：2007/08/09(木) 23 24 04 ID GVyh6MSE lusi eye 2007.08.09 13 18 ＬＯＷいったからＬＯＷいったからうるさいんだよ おめーもそういうしっぱいしたことないのか？ なんかほかにことばがないのかよ？ そんあこというなら初心者がＬＯＷいかないように 工夫しろよ L様晒しスレ光臨 536 ：名無しさん＠ｺﾞｰｺﾞｰｺﾞｰｺﾞｰ！ ：2007/08/19(日) 00 50 42 ID zz8SWuSC すみませんlusi eyeです 気分を害したようですみませんでした 気をつけるので勘弁してください 846 ：名無しさん＠ｺﾞｰｺﾞｰｺﾞｰｺﾞｰ！ ：2007/08/25(土) 03 17 14 ID 0f7yi/yT L様大暴れってこれのことかｗｗｗｗ 別キャラ作成までして乙ですぅ＞＜ ######## 中略 ######## 852 ：名無しさん＠ｺﾞｰｺﾞｰｺﾞｰｺﾞｰ！ ：2007/08/25(土) 03 38 28 ID 0f7yi/yT lusi eye 846さん lusi eye みてんだろｗ lusi eye 作ってねぇよｗ lusi eye あほｗ創造で物言うなｗｗｗｗ きゃっ。L様に名指しされちゃった。私ｶﾝｹﾞｷｰ＞＜ ってかHさんが結構直球で「空気嫁」って書いてるのに拒否するL様素敵すぎるｗｗｗｗ 注1：晒しスレの過去ログと、チャットログから適当に拾ってきたので、事象と順がバラバラになっています。 注2：テキストは適当に整形してあるものもあり、完全なオリジナルではありません。
https://w.atwiki.jp/xboxonescore/pages/1234.html
Rayman Legends 項目数：50 総ポイント：1000 難易度：☆☆☆☆☆ 実績内容は360版と共通。 詳細情報は360版のまとめを参照。 https //w.atwiki.jp/xbox360score/pages/2065.html Barbara s Free! Free The Barbarian princess 10 Rock that castle! Complete the "Castle Rock" painting 10 Orchestrate this! Complete the "Orchestral Chaos" painting 10 Mad world! Complete the "Mariachi Madness" painting 10 Splash! Complete the "Gloo Gloo" painting 10 Dragon Rider! Complete the "Dragon Slayer" painting 10 Journey to the moon Get rid of the five Dark Teensies 40 World Tour! Complete the "Living Dead Party" world 60 Princess savior! Rescue the 10 princesses 20 Teensies friend Rescue 150 Teensies 10 Teensies hero Rescue 300 Teensies 30 The chosen one Rescue all the kidnapped Teensies 60 Lucky! Scratch 10 lucky tickets 10 Scratch me! Win and scratch all the lucky tickets 30 We could be heroes Collect enough lums to unlock 10 Heroes paintings in the Heroes Gallery 20 Sooo rich! Gather 1 million lums and unlock the final Hero 40 They re so cute! Win 30 creatures 10 I just love them! Win all the creatures 30 Master of the locks Break all the locks on the worlds and levels paintings 30 Invaders! Save enough Teensies and get rid of the Dark Teensies to make all the Invasion paintings appear 20 That was fast! Go fast enough to save 3 Teensies in an Invasion painting 10 Perfect! Get the 3 lums cups and the 3 Teensy cups of a painting 10 Swiped clean! Save all the Teensies in one world to win a Diamond Cup 30 Bronze Addict Win all the Bronze Cups from the paintings 20 Silver Addict Win all the Silver Cups from the paintings 30 Gold Addict Win all the Gold Cups from the paintings 40 Diamond Addict Win all the Diamond Cups from the World paintings 50 Nostalgia Finish your first "Back to Origins" painting 10 Old school Finish all the "Back to Origins" paintings 30 Turnip combo Pull a turnip out of the ground with a crush attack, then hit it with a jump kick 10 Strike! Kill 5 enemies using turnips 10 Gardener Pull 100 turnips out of the ground 10 This ain t a platform! Stand on top of an enemy with a shield until he tries to attack you 10 Axe skater With Barbara or Elysia, slide on your axe for 30 meters 10 Bad joke Destroy the parachutes of 5 enemies to make them fall 10 Shoot them up! Get rid of 100 enemies with the Flying Punch 10 Let him do the job In one run of "Lucha Libre Get Away", let the Luchador kill 10 enemies for you 10 Bouncing Island Collect all the lums flying above the bouncing island in "The Mysterious Inflatable Island" 10 Watch out! Kill 10 Toads using their electric projectiles 10 Splinter Ray Go through "Mansion of the Deep" without crossing any light from a Dark Sentry or touching any laser 10 Rubber Ducks Destroy 5 Rubber Ducks sent by Sharkmen 10 Just kick it! Win one Kung Foot game 10 Challenger! Unlock all the Challenge paintings 20 Everywhere! Take part at least once in the 4 different Challenges 10 First steps Win a Bronze cup at the end of a Challenge 10 On the way to the top! Win a Silver cup at the end of a Challenge 20 A true champion Win a Gold cup at the end of a Challenge 30 I m ahead! Beat one of your friends scores in a Challenge 10 The competitor Beat your friends scores in the Challenges 30 times 30 Truly awesome! Reach the final level of Awesomeness 40
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DESTRUCTION - INVENTOR OF EVIL ベテランジャーマンスラッシュバンド、通算9枚目のアルバム。再結成後第4弾だ。 彼らの持ち味を生かし、徹底したスラッシュメタルを創り上げている。 ここぞとばかりに世界遺産級金太郎飴状態スラッシュリフがぼん、ぼん、ぼん。 重層なリフからクランチーなスラッシュリフの応酬、荒波の如く押し寄せる凄まじいドラミング、シュミーアの爬虫類型吐き捨てヴォイス…再生すると早速「デストラ節」の猛攻である。緩急を付け、さらなる猛攻を仕掛けてくる①から本当に凄まじい。息つく暇も無い勢いだ。このように、近作もDESTRUCTIONは破壊的スラッシュメタルの金太郎飴状態なのだ。 そんなこんなの曲が続く中、不穏な静寂と狂気の狭間を奏でるかのような溜めに溜めて一気に爆発する⑤や中東風メロディで重々しい空気を発する⑨等、変わった持ち味を生かしてより危なげな空気を出すミディアムナンバーもある。 なによりも近作のハイライトが③だ。オールスターである。オールスター感謝祭である。RAGEからSOILWORK、SAXONからDIMMUBORGIRまで、なんと総勢9人のシンガーがゲスト参加しているのだ！なんともゴージャスな顔ぶれである！（ゲストシンガー一覧は下）ゲストシンガー達がメタラーのにやけが止まらないような名フレーズを次々と発してくれる壮大なナンバーに仕上がっているこの曲。皆、良い声をお持ちだ・・・！ そしてなんと近作では元メンバーのハリー・ウィルケンズもギターソロで参加している。（③⑥⑨）時の流れによって確執が消え、このようなことが実現したのも彼らが大人になったということだ。 マッドブッチャーがジャケットに復活したり、ゲスト参加があったりとゴージャスな感じが強い近作だが、ゴージャスなだけでなくヴェテランらしい徹底したスラッシュメタルを楽しめる超良質のアルバムだ。もちろん買って損はしない。若いスラッシャーも親父スラッシャーも皆揃って頭を振れ！ SOUL COLLECTOR THE DEFIANCE WILL REMAIN THE ALLIANCE OF HELLOUNDZ NO MANS LAND THE CALM BEFORE THE STORM THE CHOSEN ONES DEALER OF HOSTILITY UNDER SURVEILLANCE SEEDS OF HATE TWIST OF FATE KILLING MACHINE MEMORIES OF NOTHINGNESS ETERNAL BAN(2005){Bonus} THE ALLIANCE OF HELLHOUNDZ (KARAOKE VERSION){Bonus} ~THE ALLIANCE OF HELLOUNDZのゲストヴォーカリスト~ Biff Byford (SAXON) Doro Pesch Shagrath (DIMMU BORGIR) Björn Speed Strid (SOILWORK) Paul Di Anno (元IRON MAIDEN、KILLERS) Messiah Marcolin (CANDLEMASS) Mark Osegueda (DEATH ANGEL) Peter Peavy Wagner (RAGE) Peter Tägtgren (HYPOCRISY、PAIN)
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Cardlist-Heart of Doom HERO Card Name Number Class Cost LV STR Gold Light XP VP Text BLUEFIRE STUDENT（ブルーファイアの学生） 6 CLERIC･WIZARD 4 1 2 2 MAGIC ATTACK+1DUNGEON Gain 1 XP. BLUEFIRE MAGE（ブルーファイアの学者） 4 CLERIC･WIZARD 7 2 3 3 MAGIC ATTACK+2DUNGEON Gain 2 XP. BLUEFIRE MASTER（ブルーファイアの学士） 2 CLERIC･WIZARD 10 3 4 2 MAGIC ATTACK+3DUNGEON Lever up one Hero (paying all costs), adding the new Hero to your hand. CANON DEVOTEE 6 CLERIC 4 1 4 2 MAGIC ATTACK +1VILLAGE/DUNGEON Destroy 1 Disease. CANON MEDIUM 4 CLERIC 7 2 4 3 MAGIC ATTACK +2DUNGEON Put a Disease from your hand into another player’s discard to gain MAGIC ATTACK +1. CANON THEURGE 2 CLERIC 10 3 5 1 2 MAGIC ATTACK +3DUNGEON Place all Diseases from your hand under one Monster in the Hall. The next player to battle that Monster receives those Diseases. Gain MAGIC ATTACK +2 for each Disease placed. DARK ANIMATER 6 WIZARD 5 1 2 2 MAGIC ATTACK +1DUNGEON Destroy 1 Hero or Villager in your discard pile to gain MAGIC ATTACK +1. DARK PUPPETEER 4 WIZARD 8 2 3 3 MAGIC ATTACK +2DUNGEON Gain MAGIC ATTACK equal to the VP of one revealed Monster. DARK NECROMANCER 2 WIZARD 12 3 4 2 MAGIC ATTACK +3DUNGEON Gain MAGIC ATTACK equal to the total printed VP of your revealed Monsters. HIGHLAND SOLDIER 6 FIGHTER･THIEF 7 1 5 1 2 ATTACK +2VILLAGE Destroy this card to take a Treasure from another player. HIGHLAND SERGEANT 4 FIGHTER･THIEF 10 2 6 1 3 ATTACK +3DUNGEON Buy 1 Hero HIGHLAND CAPTAIN 2 FIGHTER･THIEF 13 3 6 2 2 ATTACK +3DUNGEON Buy 1 Hero and add it to your hand. ISRI THROWER 6 FIGHTER･ARCHER 7 1 5 2 ATTACK +2DUNGEON Destroy a revealed Item or Weapon to gain ATTACK +1. ISRI BLADESPINNER 4 FIGHTER･ARCHER 10 2 6 3 ATTACK +3DUNGEON Destroy a revealed Weapon to gain ATTACK equal to the weapon’s Weight.Spoils Buy a Weapon. ISRI HELMSPLITTER 2 FIGHTER･ARCHER 13 3 7 1 ATTACK +4DUNGEON Destroy a revealed Weapon or a Weapon from a village stack to gain ATTACK equal to the weapon’s Weight. JONDUL HUNTER 6 ARCHER･CLERIC 6 1 4 2 MAGIC ATTACK +2Ignore Light Penalties against Undead in Rank 2 or higher. JONDUL DIVINER 4 ARCHER･CLERIC 9 2 5 3 MAGIC ATTACK +3Additional MAGIC ATTACK +2 against Undead. Ignore Light Penalties against Undead in Rank 2 and higher. JONDUL SEER 2 ARCHER･CLERIC 12 3 6 2 MAGIC ATTACK + 5Ignore light penalties in Rank 2 or higher NYTH BOWMAN 6 ARCHER 7 1 4 * 2 ATTACK +1 per rank of the target. Light +1 if a bow is equipped. NYTH YEOMAN 4 ARCHER 10 2 5 * 3 ATTACK +2 per rank of the target. Light +1 if a bow is equipped. NYTH MARKSMAN 2 ARCHER 13 3 5 * 2 ATTACK +3 per rank of the target. Light +1 if a bow is equipped. VILLAGE Card Name Number Class Cost Gold Weight Light VP Text BAG OF HOLDING 8 ITEM･MAGIC 5 2 VILLAGE/DUNGEON Destroy 1 other revealed Weapon or Item to draw 2 cards. BELZUR’S BLESSING 8 SPELL 3 1 DUNGEON Draw 2 cards. Each other player draws 1 card. CHALICE MACE 8 WEAPON･BLUNT 5 2 6 * 1 ATTACK +3Clerics require 3 less Strength to equip. Light +1 if equipped to a Cleric. DREDGING NET 8 ITEM 5 2 VILLAGE Draw 3 cards from the bottom of your deck. Discard 1, destroy 1, and place 1 into your hand. GROGNARD 8 VILLAGER･MERCENARY 4 2 1 Gain 2 XP when purchased. If you are the active player and you trigger a trap, choose another player to suffer the trap’s effects. JONDUL BOW 8 WEAPON･BOW 7 2 5 ATTACK + 4 against Monsters in Rank 2 or higher.DUNGEON Swap the positions of two adjacent Monsters in the Hall MAGMA HAMMER 8 WEAPON･BLUNT･MAGIC 6 3 4 1 ATTACK +1 MAGIC ATTACK +1 RITUAL OF CLEANSING 8 SPELL 6 VILLAGE/DUNGEON Discard the top 5 cards of any player’s deck. That player destroys 2 of the discarded cards. If this targeted a player other than you, destroy this card. SHORT SPEAR 8 WEAPON･EDGED 3 2 2 ATTACK +1Additional ATTACK +2 if equipped to a MilitiaDUNGEON If this card is attached to a Militia, draw 1 card SOULFIRE 8 SPELL 3 1 MAGIC ATTACK +1DUNGEON Discard up to 5 XP. Gain MAGIC ATTACK +1 for each XP discarded. SWAMP PROVISIONS 8 ITEM･FOOD 4 1 DUNGEON One Hero gains Strength +3DUNGEON Destroy this card to give one Hero ATTACK+3. Each player gains 1 disease. WAR HERO 8 VILLAGER･MERCENARY 4 VILLAGE Draw 1 CardDUNGEON One Hero or Mercenary gains ATTACK +3 Destroy that Hero or Mercenary at the end of battle Card Name Number Class Cost LV STR Gold Light XP VP Text VILLAGE CUTPURSE 5 THIEF･HERO 6 1 4 1 4 ATTACK +1DUNGEON Buy 1 Village Card. VILLAGE ROBBER 3 THIEF･HERO 11 2 5 1 1 ATTACK +3VILLAGE/DUNGEON After buying a card this turn, take 1 village card of lower cost than the purchased card and place it in your discard pile. MONSTER CARD NAME NUMBER CLASS Health Gold EXP VP Text THRALL 3 ABYSSAL･DARKSPAWN 4 3 1 2 This Monster’s Light Penalty is 3 (instead of 1) while in the first rank. Will not leave the Hall until defeated. WHISPERER 4 5 2 2 4 This Monster’s Light Penalty is 4 while in the first rank and 3 while in the second rank (instead of the normal Light Penalties). Will not leave the Hall until defeated. DREAMTWISTER 2 6 1 3 6 This Monster’s Light Penalty is 5 while in the first rank and 4 while in the second rank (instead of the normal Light Penalties). Will not leave the Hall until defeated. PIT FIEND 1 7 1 3 7 This Monster’s Light Penalty is 6 while in the first rank, 5 while in the second rank and 4 while in the third rank (instead of the normal Light Penalties). Will not leave the Hall until defeated. SCOURGE BASILISK 2 BASILISK･ANIMAL 2 3 1 2 BATTLE This Monster gains 3 Health for each Item revealed.BATTLE Destroy 1 Item. RUST BASILISK 2 2 2 1 3 This Monster gains 4 Health for each Weapon revealed.BATTLE Destroy 1 Weapon. GOLDEN BASILISK 2 2 3 2 4 BATTLE This Monster gains Health equal to the total revealed Gold ValueBATTLE Destroy 1 card with a Gold Value STONEGAZE BASILISK 2 2 2 3 6 BATTLE This Monster gains 4 Health for each Hero revealed.BATTLE Destroy 1 Hero. DRACOLISK 2 2 2 3 8 BATTLE This Monster gains 2 health for each card revealed.BATTLE Destroy 2 cards,no more than one of which may be a Hero. FALSE BARKEEP 1 DOPPELGANGER･HUMANOID 7 4 2 2 GLOBAL Players may not purchase more than one card per turn, regardless of other card effects.BATTLE After drawing cards at the end of the turn, reveal your hand. Discard all Heroes, then draw until you have 6 cards in your hand. FALSE BLACKSMITH 1 7 2 4 2 BREACH All players destroy one Weapon or show a hand with none.BATTLE Each Weapon suffers Attack -1.Trophy DUNGEON Each Weapon gains Attack +1. FALSE CHAPLAIN 1 6 2 3 2 GLOBAL Diseases each give an additional Attack -1BATTLE Gain 2 DiseasesTrophy DUNGEON Destroy 1 Disease to draw 1 card. FALSE FORTUNE TELLER 1 5 3 2 2 GLOBAL Heroes have Strength -1 for each revealed Spell.Trophy DUNGEON Magic Attack +1 for each revealed Spell. FALSE GROGNARD 1 6 3 2 2 BREACH Take the top 10 cards of the Dungeon Deck, add all destroyed Traps, shuffle them together, and place them back on top of the Dungeon Deck. FALSE GUIDE 1 6 2 2 2 BREACH Destroy the top 3 cards from each Village stack with cards that produce Light.TOROPHY Light +1 FALSE SCOUT 1 7 3 4 2 GLOBAL Effects that target the Dungeon Deck cannot be used.BATTLE Discard 3 cards after drawing at the end of the turn.Trophy DUNGEON Draw 1 card. Put 1 card on top of your deck. FALSE SERGEANT 1 6 2 3 2 GLOBAL After going to the dungeon, place a Militia from the village in your discard pile.Trophy DUNGEON Your Militia have Strength +3. FALSE TAX COLLECTOR 1 7 * 3 2 BREACH All players destroy one card with a Gold Value or show a hand with none.Trophy VILLAGE Gain 1 gold for each player in the game. FALSE TRAINER 1 6 3 0 2 GLOBAL After a player levels up a Hero, he must destroy 1 XPBATTLE Destroy one Militia. All players destroy 1 XP.Trophy VILLAGE/DUNGEON Gain 1 XP. SWAMP WILLOW 3 DRYAD 4 3 1 1 When this Monster enters the Hall, draw another card from the Dungeon Deck and place it at the end as an additional rank. When this card leaves the Hall, do not replace it.Trophy Light+1 ROOTBINDER 2 7 2 1 2 When this Monster enters the Hall, draw another card from the Dungeon Deck and place it at the end as an additional rank. When this card leaves the Hall, do not replace it.Trophy Light+1 SNAG HAG 2 10 2 2 5 When this Monster enters the Hall, draw another card from the Dungeon Deck and place it at the end as an additional rank. When this card leaves the Hall, do not replace it.Trophy Light+1 TREE HERDER 2 13 1 2 6 When this Monster enters the Hall, draw another card from the Dungeon Deck and place it at the end as an additional rank. When this card leaves the Hall, do not replace it.Trophy Light+1 THE OLD ONE 1 16 1 3 8 When this Monster enters the Hall, draw another card from the Dungeon Deck and place it at the end as an additional rank. When this card leaves the Hall, do not replace it.Trophy Light+1 FELL WARRIOR 2 LIZARDFOLK･HUMANOID 4 3 1 2 BATTLE Destroy one non-Militia Hero. MURK SHAMAN 1 6 2 1 3 BATTLE Light Items gain Attack +1. ACID SPITTER 2 8 2 1 4 BATTLE Destroy as many Items as you wish. Gain Attack +3 for each Item destroyed. You may not destroy an Item if you have used a Dungeon effect on it. SKINLING 2 8 2 2 4 BATTLE Daggers gain Attack +4. LUMBERING TROG 3 9 3 2 4 BATTLE Militia gain Attack +2. FIREFANG 3 SPIDER･ANIMAL 4 3 1 2 BREACH Each player destroys 1 Hero or reveals a hand with none. GREEN SPINNER 2 5 3 1 3 BREACH Each player destroys 2 Heroes or reveals a hand with fewer. (If 1 Hero is revealed, it is destroyed.) WIDOWMAKER 2 6 2 2 4 BATTLE 1 Hero may not attack.BREACH Each player destroys 1 Hero or reveals a hand with none. DREAD 2 7 2 2 5 BATTLE 1 Hero may not attack. Destroy that Hero.BREACH The active player destroys all revealed Heroes. SPIDER QUEEN 1 8 2 3 8 BATTLE 2 Heroes may not attack. Destroy those Heroes.BREACH Destroy all cards in the Hero stack with the most cards. WILL-O-THE-WISP 2 UNDEAD･SPECTRAL 5 2 1 2 When you choose to battle this monster, it cannot be defeated unless you immediately destroy a Food. CRUEL APPARITION 3 5 2 1 3 When you choose to battle this monster, it cannot be defeated unless you immediately destroy a Hero. WIGHT 2 7 3 1 4 When you choose to battle this monster, it cannot be defeated unless you immediately destroy 2 XP. DEVOURER 2 9 2 3 6 When you choose to battle this monster, it cannot be defeated unless you immediately destroy a Monster. SOULEATER 1 10 2 3 8 When you choose to battle this monster, it cannot be defeated unless you immediately discard 3 cards. THE LAST DOOMKNIGHT 1 GUARDIAN･DOOMKNIGHT 15 3 3 6 GLOBAL Light -1 All Heroes suffer Strength -1 Other Monsters have +1 HealthBREACH Move to Rank 0 MOURNWATER WITCH 1 GUARDIAN 14 3 3 6 GLOBAL All Heroes cost 2 additional gold.BREACH Move to Rank 0. HEART OF DOOM 1 GUARDIAN･THUNDERSTONE 25 15 GLOBAL When a player enters the dungeon, immediately destroy all revealed Monsters.BREACH The game ends.BATTLE Thunderstones gain Magic Attack +6. If this card is not defeated, the player loses. TREASURE Card Name Number Class Text SORCERER S EMERALD 2 GEM TREASURE DUNGEON Discard this card to level up a revealed Hero(paying all costs),and place the new Hero in your hand. SORCERER S RUBY 2 DUNGEON Discard this card to purchase a Hero and place it in your hand. SORCERER S SAPPHIRE 2 DUNGEON Discard this card to purchase a Village card and place it in your hand. SETTING Card Name Number Class Text LAST REFUGE 1 SETTING The village holds 2 more Village stacks and 1 Fewer Hero stack than usual. MOURNWATER SWAMP 1 SETTING Traps and Treasures are triggered when they reach Rank 1,instead of when they are first revealed.The Hall has 4 Ranks instead of 3. RITE OF BANISHING 1 SETTING See the rule book for special setup.The game only ends when Heart of Doom is defeated.If you defeat the Monster in front of a Thunderstone,you claim it.If a Thunderstone breaches, place it at the bottom of the deck. THUNDERSTONE Card Name Number Class VP Text STONE OF FATE 1 THUNDERSTONE DUNGEON Discard this card, each other player discards 1 card.
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Mission01 Mission02 Mission03 Mission04AMission04B Mission05AMission05B Mission06 Mission07 Mission08 Mission09 Mission10AMission10B Mission11AMission11B Mission12 Mission13 Mission14 Mission15 Mission16 Mission17 Mission18 Mission19 Mission20 Mission21 Mission22 Mission23AMission23B Mission24AMission24B Mission25AMission25B Mission26 Mission27 Mission28 Mission29 Mission30 Mission31 Mission32 Mission33 Mission34 Mission35 Mission36 Mission37 Mission38 Mission39 Mission40 Mission41 Mission42 Mission43 Mission44 Mission45 Mission46 Mission47 Mission48 Mission49 Mission50 Mission51 Epilog インターミッション｜司令部 Mission15｜マップ｜入手パーツ｜味方｜敵｜所属不明 インターミッション 移動可能施設 司令部 傭兵詰所 TEAM MEMBERS ストーム / レイン / チャンプ / オッドアイ / グレイ OTHERS ユウジ / ピーター / マット 格納庫 闘技場 対戦相手 Were Wolf / Jimmy / Demon.V / Bleaker / Lich / Jango / Hansen / Were Wolf / Jimmy / Demon.V / Bleaker / Lich / Jango / Hansen 賭け金 50 / 100 / 300 / 500 / 800 司令部 会話イベントMission15 乱入 Mission15 Mission15 乱入 勝利条件 全敵の撃墜 敗北条件 ストーム機の撃墜 作戦の報酬 H$1300 出撃機体選択（2周目以降） 必ず出撃 ストーム 選択出撃 レイン / チャンプ / オッドアイ / グレイ マップ 地形 名称 地形効果 ノーマル ホバー タンク タイヤ 進入不可 0％ － － － － 森「夕」 20％ 4 2 3 3 地形 名称 地形効果 ノーマル ホバー タンク タイヤ 草地「夕」 8％ 3 2 3 2 敵ユニット全機（敵1～6）を撃墜すると、所属不明機3機（敵1～3）が現れる所属不明機はいずれか1機の総HPが約30％以下になると全機撤退するバーサーカー機：75以下 ウィザード機 ：75以下 キマイラ機 ：92以下 上へ 入手パーツ なし 上へ 味方 No. PILOT MACHINE WEAPON ITEM 修理費用 Name Level Skill Name Attribute HP Body Body Attribute Bullet Range State Fight Exp. Fight L. Arm L. Grip Short Short R. Arm R. Grip Long Long Legs L. Shoulder Agility Agility Move R. Shoulder 1 Storm WOLF HEAD － 2 Rain BLUE IRIS 3 Oddeye WILD CAT 4 Champ CLAYMORE 5 Gray CRUSADER 上へ 敵 No. PILOT MACHINE WEAPON 敵撃破ボ｜ナス Name Level Skill Name Attribute HP Body Body Attribute Bullet Range State Fight Exp. Fight L. Arm L. Grip Short Short R. Arm R. Grip Long Long Legs L. Shoulder Agility Agility Move R. Shoulder 1 Commander 8 －－－－－－－－－－－－－－－ Command Car － 50 －－－ 312 10 275 -Large Unit-（No Parts） GRAVE 貫通 － 1-1 13 1050 －－－ 10 275 －－－ 10 500 6 －－－ 2 Attacker 8 －－－－－－－－－－－－－－－ Armored Car － 50 －－－ 312 10 275 -Large Unit-（No Parts） GRAVE 貫通 － 1-1 13 1050 －－－ 10 275 －－－ 10 500 6 －－－ 3 Attacker 8 －－－－－－－－－－－－－－－ Armored Car － 50 －－－ 312 10 275 -Large Unit-（No Parts） GRAVE 貫通 － 1-1 13 1050 －－－ 10 275 －－－ 10 500 6 －－－ 4 Attacker 8 －－－－－－－－－－－－－－－ M.B.T. － 80 －－－ 475 10 275 -Large Unit-（No Parts） SMASHER 衝撃 / 炎熱 － 1-4 13 1050 －－－ 10 275 －－－ 10 500 14 －－－ 5 Attacker 8 －－－－－－－－－－－－－－－ M.B.T. － 80 －－－ 475 10 275 -Large Unit-（No Parts） SMASHER 衝撃 / 炎熱 － 1-4 13 1050 －－－ 10 275 －－－ 10 500 14 －－－ 6 Missileer 9 －－－－－－－－－－－－－－－ ZIGLE-6B 貫通 42 －－－ 320 10 475 30 ARM PUNCH 衝撃 － 1-1 10 475 30 ARM PUNCH 衝撃 － 1-1 11 750 30 EGRET 炎熱 3 3-6 11 700 17 EGRET 炎熱 3 3-6 上へ 所属不明 No. PILOT MACHINE WEAPON 敵撃破ボ｜ナス Name Level Skill Name Attribute HP Body Body Attribute Bullet Range State Fight Exp. Fight L. Arm L. Grip Short Short R. Arm R. Grip Long Long Legs L. Shoulder Agility Agility Move R. Shoulder 1 Berserker 10 Double Lv1－－－－－－－－－－－－ X-01 － 75 －－－ 625 13 1200 55 F-3 H-ROD 衝撃 － 1-1 10 500 55 F-3 H-ROD 衝撃 － 1-1 10 275 60 －－－ 11 600 21 －－－ 2 Wizard 10 Guide Lv1－－－－－－－－－－－－ X-07 － 75 －－－ 625 10 275 55 PSG-5 貫通 － 2-4 12 800 55 ARM PUNCH 衝撃 － 1-1 13 1200 60 －－－ 10 400 21 －－－ 3 Chimera 10 Guide Lv1－－－－－－－－－－－－ X-09 － 300 －－－ 437 9 0 -Large Unit-（No Parts） 301XN CN 貫通 / 炎熱 － 1-4 13 1050 －－－ 13 1050 301XN MS 炎熱 5 3-6 10 500 15 301XN MS 炎熱 5 3-6 上へ
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I INTRODUCTION I イントロダクション The best things in an artist s work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist. Intuitions are shy things and apt to disappear if looked into too closely. And there is undoubtedly a danger that too much knowledge and training may supplant the natural intuitive feeling of a student, leaving only a cold knowledge of the means of expression in its place. For the artist, if he has the right stuff in him, has a consciousness, in doing his best work, of something, as Ruskin has said, not in him but through him. He has been, as it were, but the agent through which it has found expression. 芸術家の作品の中でもっとも良いものは直観に満ちているので、芸術家の要素をなす芸術的才能なるものについての知的な探究を完全に思いとどまらせようとする立場にとってはかなり有利である。直観は引っ込み思案で、近づいて見ようとすれば消えてしまいやすいものである。そして過剰な知識とトレーニングには、学生の自然で直観的な感性を、表現の意味についての冷めた知識に置き換えてしまうおそれがたしかにある。芸術家としては、彼が正しい資質を備えており、傑作を描く中でラスキンの言う「彼の中にはないが彼の中を通る」何ものかについての自覚を持つならば、彼はいわばそれを通して表現を発見する代理人であるだろう。 Talent can be described as that which we have, and Genius as that which has us. Now, although we may have little control over this power that has us, and although it may be as well to abandon oneself unreservedly to its influence, there can be little doubt as to its being the business of the artist to see to it that his talent be so developed, that he may prove a fit instrument for the expression of whatever it may be given him to express; while it must be left to his individual temperament to decide how far it is advisable to pursue any intellectual analysis of the elusive things that are the true matter of art. 才能は「われわれが持っているもの」、天才は「われわれをとらえるもの」と言える。さて、われわれはこの「われわれをとらえる」力をほとんどコントロールできないし、そのうえわれわれはその影響力にいやおうなく溺れてしまうが、どんな表現であれそれに適切な道具を示せるほどに才能を伸ばすようにするのが、芸術家の仕事であるということには、ほとんど疑いがないだろう。他方、芸術の本質というつかみどころのないものを知的に分析することを続けるのがどれだけ賢明であるかどうかは、彼個人の気質によって判断されるはずである。 Provided the student realises this, and that art training can only deal with the perfecting of a means of expression and that the real matter of art lies above this and is beyond the scope of teaching, he cannot have too much of it. For although he must ever be a child before the influence that moves him, if it is not with the knowledge of the grown man that he takes off his coat and approaches the craft of painting or drawing, he will be poorly equipped to make them a means of conveying to others in adequate form the things he may wish to express. Great things are only done in art when the creative instinct of the artist has a well-organised executive faculty at its disposal. このことや、芸術のトレーニングはある表現手段の徹底を扱うにすぎないこと、また本当の芸術というものはその上に存在し、教育の範疇を超えているということを理解している生徒は、いすぎて困るということはない。なぜなら彼は彼を動かす影響力の前では子ども同然でさえあるが、もし彼にコートを脱ぎペインティングやドローイングの技術に近づくだけの成長した人間の知性がなければ、彼は自分が表現したいことを十分な形式で他人に伝える手段にすることができないだろう。偉大なものは、芸術家の創造的直観が、彼が自由に使えるよく組織されたな実践的な能力を持つときに、芸術においてのみなされる。 ＊ ＊ ＊ ＊ ＊ * * * * * Of the two divisions into which the technical study of painting can be divided, namely Form and Colour, we are concerned in this book with Form alone. But before proceeding to our immediate subject something should be said as to the nature of art generally, not with the ambition of arriving at any final result in a short chapter, but merely in order to give an idea of the point of view from which the following pages are written, so that misunderstandings may be avoided. 絵画の技術的な学習は、フォルムと色という、2つの領域に分けられるが、われわれは本書においてフォルムのみを扱う。しかし本論に進む前に、芸術一般の本質についていくらか言及しておくべきだろう。これはいきなり最終的な結論に達しようというのではなく、以降の論述が立脚する視点の考え方を示し、誤解を避けるためのものにすぎない。 The variety of definitions that exist justifies some inquiry. The following are a few that come to mind Art is nature expressed through a personality. But what of architecture? Or music? Then there is Morris s Art is the expression of pleasure in work. But this does not apply to music and poetry. Andrew Lang s Everything which we distinguish from nature seems too broad to catch hold of, while Tolstoy s An action by means of which one man, having experienced a feeling, intentionally transmits it to others is nearer the truth, and covers all the arts, but seems, from its omitting any mention ofrhythm, very inadequate. 存在する数多くの定義がいくつかの探究を正当化している。以下に思いつくものを若干挙げてみよう。 「芸術とは個性を通して表現される本質である」 しかし建築はどうだろう？ あるいは音楽は？ それならウィリアム・モリスによるものがある。 「芸術とは仕事における喜びの表現である」 しかしこれは音楽と詩には当てはまらない。アンドリュー・ラングによる、 「われわれが自然から区別するすべてのもの」 という定義は広すぎて捉えられない。一方、トルストイの 「ある感情を経験した人間が、それを他者に伝えようとして用いられる行為」 という定義はより真実に近く、すべての芸術をカバーしているが、しかし“リズム”について言及していない点で、あまり適当ではないように思われる。 ＊ ＊ ＊ ＊ ＊ * * * * * Now the facts of life are conveyed by our senses to the consciousness within us, and stimulate the world of thought and feeling that constitutes our real life. Thought and feeling are very intimately connected, few of our mental perceptions, particularly when they first dawn upon us, being unaccompanied by some feeling. But there is this general division to be made, on one extreme of which is what we call pure intellect, and on the other pure feeling or emotion. The arts, I take it, are a means of giving expression to the emotional side of this mental activity, intimately related as it often is to the more purely intellectual side. The more sensual side of this feeling is perhaps its lowest, while the feelings associated with the intelligence, the little sensitivenesses of perception that escape pure intellect, are possibly its noblest experiences. さて、現実は知覚によってわれわれの意識に伝えられ、われわれの真の生活を構成する思考と感覚の世界を刺激する。思考と感覚はひじょうに密接に繋がっており、精神的認識は、とくにはじめてそれがもたらされる場合、ほとんど何らかの感覚を伴う。しかしここに一般的な区分を設けて、一方の極を純粋な知性、他方を純粋な感覚や感情と呼ぶことにしよう。私の言う芸術とは、この精神的活動の感覚的側面に表現を与える手段のことであり、それはじっさいはより純粋な知的側面としばしば密接に結びつく。この感覚の官能的な部分が多いものは、おそらく最低だろう。一方、知性に結びついた感覚、つまり純然たる知性を逃れるだけのごくわずかな感受性は、もっとも崇高な体験であるだろう。 Pure intellect seeks to construct from the facts brought to our consciousness by the senses, an accurately measured world of phenomena, uncoloured by the human equation in each of us. It seeks to create a point of view outside the human standpoint, one more stable and accurate, unaffected by the ever-changing current of human life. It therefore invents mechanical instruments to do the measuring of our sense perceptions, as their records are more accurate than human observation unaided. 純粋な知性は、知覚によってわれわれの意識にもたらされた事実から、正確に計測され、誰にとっても等しいありのままの現象界を組み立てようとする。それは人間の外に立ち、たとえ現在の人間の生活が変わったとしても影響をを受けないような、より確実かつ正確な視点を作ろうとする。それゆえ、知性はわれわれの知覚を計測するのに機械的な道具を発明する。それらの記録は、機械の補助のない人間が行う観察よりも正確なのだ。 But while in science observation is made much more effective by the use of mechanical instruments in registering facts, the facts with which art deals, being those of feeling, can only be recorded by the feeling instrument--man, and are entirely missed by any mechanically devised substitutes. しかし、科学的観測では事実の記載に機械的道具を使うことがより有効だとしても、芸術が扱う事実は、感覚的道具――人間によってしか記録できず、機械的に発明された物体によってはまったく理解できない。 The artistic intelligence is not interested in things from this standpoint of mechanical accuracy, but in the effect of observation on the living consciousness--the sentient individual in each of us. The same fact accurately portrayed by a number of artistic intelligences should be different in each case, whereas the same fact accurately expressed by a number of scientific intelligences should be the same. 芸術的な知性は、この機械的正確さの観点から見たものではなく、生きた認識――感覚を持ったわれわれ個人――についての観察結果に関心を持つ。科学者たちが同じ事実を正確に表現すればどれも同一になるが、芸術家たちが正確に描いた同じ事実は、それぞれ異なったものになるにちがいない。 But besides the feelings connected with a wide range of experience, each art has certain emotions belonging to the particular sense perceptions connected with it. That is to say, there are some that only music can convey those connected with sound; others that only painting, sculpture, or architecture can convey those connected with the form and colour that they severally deal with. しかし幅広い経験と結びついた感覚のほかに、それぞれの芸術には、それと関係する特別な知覚を伴った、ある感情が存在する。すなわち、音と関係するものは、音楽だけが伝えることができ、フォルムと色に関係するものは、それらを各々扱う絵画、彫刻、建築だけが伝えることができる。 In abstract form and colour--that is, form and colour unconnected with natural appearances--there is an emotional power, such as there is in music, the sounds of which have no direct connection with anything in nature, but only with that mysterious sense we have, the sense of Harmony, Beauty, or Rhythm (all three but different aspects of the same thing). 抽象的なフォルムと色、つまり自然にはないフォルムと色には、感情的なパワーがある。それはまるで音楽――そこでは音が自然とは直接には結びつかず、われわれが持つその不思議な感覚、すなわち、調和、美、リズム（これら3つは同じものの異なる側面を表す）だけに結びついている――にあるようなパワーである。 This inner sense is a very remarkable fact, and will be found to some extent in all, certainly all civilised, races. And when the art of a remote people like the Chinese and Japanese is understood, our senses of harmony are found to be wonderfully in agreement. Despite the fact that their art has developed on lines widely different from our own, none the less, when the surprise at its newness has worn off and we begin to understand it, we find it conforms to very much the same sense of harmony. この内的な感覚は非常に重要な事実であり、すべての（たしかにすべての文明的な）人種に広範に見出されるはずである。そして中国や日本のような遠く離れた人々の芸術が理解されるとき、われわれの調和の感覚が驚くほど同じであることがわかる。彼らの芸術がわれわれのものとは大きく異なる系譜の中で発展してきたという事実にもかかわらず、それでもなお、その目新しさへの驚きが薄れてそれを理解しはじめたときには、われわれはそれがわれわれの調和の感覚とひじょうによく一致していることを知るのである。 But apart from the feelings connected directly with the means of expression, there appears to be much in common between all the arts in their most profound expression; there seems to be a common centre in our inner life that they all appeal to. Possibly at this centre are the great primitive emotions common to all men. The religious group, the deep awe and reverence men feel when contemplating the great mystery of the Universe and their own littleness in the face of its vastness--the desire to correspond and develop relationship with the something outside themselves that is felt to be behind and through all things. Then there are those connected with the joy of life, the throbbing of the great life spirit, the gladness of being, the desire of the sexes; and also those connected with the sadness and mystery of death and decay, c. しかし表現方法と直接関係する感覚のほかにも、全ての芸術に共通するものは、彼らの最も深い表現の中に多く見られる。われわれの内的生活には、彼ら全てがそれに訴える共通の核心があるように思われる。おそらく、この核心にあるものは、全ての人間に共通する偉大で原始的な感情だろう。宗教家たちは、大いなる宇宙の神秘とその広大に対する己の卑小さについて人間が熟考したときに感じる深い畏怖と尊敬の念――彼らの外部にあり、あらゆるものを通してその存在を感じられるあの何ものかと通じて関係を深めたいという欲求――を集合させる。そしてこれらを、生の楽しみ、偉大な魂の鼓動、生きることの喜び、性への欲望、また死や衰えの悲しみと神秘といったことと結びつける。 The technical side of an art is, however, not concerned with these deeper motives but with the things of sense through which they find expression; in the case of painting, the visible universe. しかし、芸術の技術的な側面は、これら深遠なモチーフとではなく、彼らが表現を見つける感覚についてのことがらと関係がある。絵画の場合、それは視覚の宇宙である。 The artist is capable of being stimulated to artistic expression by all things seen, no matter what; to him nothing comes amiss. Great pictures have been made of beautiful people in beautiful clothes and of squalid people in ugly clothes, of beautiful architectural buildings and the ugly hovels of the poor. And the same painter who painted the Alps painted the Great Western Railway. 芸術家は見たものすべてから芸術表現への刺激を受けることができる。たとえどんなものでも、彼にとって不都合なものはない。偉大な絵画は、美しい服装の美しい人々と、醜い服を着た汚い人々、そして美しい建築と、貧民の掘っ立て小屋から作られる。そしてアルプスを描いたその同じ画家が、グレート・ウェスタン鉄道を描くのである。［訳者注：ターナーおじさんのこと］ The visible world is to the artist, as it were, a wonderful garment, at times revealing to him the Beyond, the Inner Truth there is in all things. He has a consciousness of some correspondence with something the other side of visible things and dimly felt through them, a still, small voice which he is impelled to interpret to man. It is the expression of this all-pervading inner significance that I think we recognise as beauty, and that prompted Keats to say Beauty is truth, truth beauty. 目に見える世界は芸術家のものであり、いわばすばらしい衣服である。それはときどき彼に、すべてに内在する内なる真実の向こうを見せてくれる。彼は視角の向こう側にあるものと通じているという意識を持ち、誰かに説明したくなるような「静かで、小さな声」を通してそれをかすかに感じる。このすべてに広がる内的な意味の表現こそが、われわれが美として認識し、ジョン・キーツにかのように言わしめたものである。 「美は真であり、真は美である」 And hence it is that the love of truth and the love of beauty can exist together in the work of the artist. The search for this inner truth is the search for beauty. People whose vision does not penetrate beyond the narrow limits of the commonplace, and to whom a cabbage is but a vulgar vegetable, are surprised if they see a beautiful picture painted of one, and say that the artist has idealised it, meaning that he has consciously altered its appearance on some idealistic formula; whereas he has probably only honestly given expression to a truer, deeper vision than they had been aware of. The commonplace is not the true, but only the shallow, view of things. それゆえ真と美への愛は芸術家の作品の中でともに存在できることになる。この内的な真理の探究が美の探究である。凡庸さの狭い限界を超えた認識をする視点を持たない人々（彼らにとってキャベツは庶民の野菜でしかないのだが）は、芸術家の描いた美しい絵を見て驚き、そしてこう言うのである。この芸術家はそれを理想化した、つまり彼はその外観をある理想的な様式に意識的に変化させたのだと。しかし彼はおそらく、彼らがすでに気づいていたある真なる深遠なビジョンに対して誠実に表現を与えただけだろう。平凡さは真実ではなく、単にものの見方の浅薄さにすぎない。 [Illustration Plate II. DRAWING BY LEONARDO DA VINCI FROM THE ROYAL COLLECTION AT WINDSOR _Copyright photo, Braun Co._] Fromentin s Art is the expression of the invisible by means of the visible expresses the same idea, and it is this that gives to art its high place among the works of man. Beautiful things seem to put us in correspondence with a world the harmonies of which are more perfect, and bring a deeper peace than this imperfect life seems capable of yielding of itself. Our moments of peace are, I think, always associated with some form of beauty, of this spark of harmony within corresponding with some infinite source without. Like a mariner s compass, we are restless until we find repose in this one direction. In moments of beauty (for beauty is, strictly speaking, a state of mind rather than an attribute of certain objects, although certain things have the power of inducing it more than others) we seem to get a glimpse of this deeper truth behind the things of sense. And who can say but that this sense, dull enough in most of us, is not an echo of a greater harmony existing somewhere the other side of things, that we dimly feel through them, evasive though it is. But we must tread lightly in these rarefied regions and get on to more practical concerns. By finding and emphasising in his work those elements in visual appearances that express these profounder things, the painter is enabled to stimulate the perception of them in others. In the representation of a fine mountain, for instance, there are, besides all its rhythmic beauty of form and colour, associations touching deeper chords in our natures--associations connected with its size, age, and permanence, c.; at any rate we have more feelings than form and colour of themselves are capable of arousing. And these things must be felt by the painter, and his picture painted under the influence of these feelings, if he is instinctively to select those elements of form and colour that convey them. Such deeper feelings are far too intimately associated even with the finer beauties of mere form and colour for the painter to be able to neglect them; no amount of technical knowledge will take the place of feeling, or direct the painter so surely in his selection of what is fine. There are those who would say, This is all very well, but the painter s concern is with form and colour and paint, and nothing else. If he paints the mountain faithfully from that point of view, it will suggest all these other associations to those who want them. And others who would say that the form and colour of appearances are only to be used as a language to give expression to the feelings common to all men. Art for art s sake and Art for subject s sake. There are these two extreme positions to consider, and it will depend on the individual on which side his work lies. His interest will be more on the aesthetic side, in the feelings directly concerned with form and colour; or on the side of the mental associations connected with appearances, according to his temperament. But neither position can neglect the other without fatal loss. The picture of form and colour will never be able to escape the associations connected with visual things, neither will the picture all for subject be able to get away from its form and colour. And it is wrong to say If he paints the mountain faithfully from the form and colour point of view it will suggest all those other associations to those who want them, unless, as is possible with a simple-minded painter, he be unconsciously moved by deeper feelings, and impelled to select the significant things while only conscious of his paint. But the chances are that his picture will convey the things he was thinking about, and, in consequence, instead of impressing us with the grandeur of the mountain, will say something very like See what a clever painter I am! Unless the artist has painted his picture under the influence of the deeper feelings the scene was capable of producing, it is not likely anybody will be so impressed when they look at his work. And the painter deeply moved with high ideals as to subject matter, who neglects the form and colour through which he is expressing them, will find that his work has failed to be convincing. The immaterial can only be expressed through the material in art, and the painted symbols of the picture must be very perfect if subtle and elusive meanings are to be conveyed. If he cannot paint the commonplace aspect of our mountain, how can he expect to paint any expression of the deeper things in it? The fact is, both positions are incomplete. In all good art the matter expressed and the manner of its expression are so intimate as to have become one. The deeper associations connected with the mountain are only matters for art in so far as they affect its appearance and take shape as form and colour in the mind of the artist, informing the whole process of the painting, even to the brush strokes. As in a good poem, it is impossible to consider the poetic idea apart from the words that express it they are fired together at its creation. Now an expression by means of one of our different sense perceptions does not constitute art, or the boy shouting at the top of his voice, giving expression to his delight in life but making a horrible noise, would be an artist. If his expression is to be adequate to convey his feeling to others, there must be some arrangement. The expression must be ordered, rhythmic, or whatever word most fitly conveys the idea of those powers, conscious or unconscious, that select and arrange the sensuous material of art, so as to make the most telling impression, by bringing it into relation with our innate sense of harmony. If we can find a rough definition that will include all the arts, it will help us to see in what direction lie those things in painting that make it an art. The not uncommon idea, that painting is the production by means of colours of more or less perfect representations of natural objects will not do. And it is devoutly to be hoped that science will perfect a method of colour photography finally to dispel this illusion. What, then, will serve as a working definition? There must be something about feeling, the expression of that individuality the secret of which everyone carries in himself; the expression of that ego that perceives and is moved by the phenomena of life around us. And, on the other hand, something about the ordering of its expression. But who knows of words that can convey a just idea of such subtle matter? If one says Art is the rhythmic expression of Life, or emotional consciousness, or feeling, all are inadequate. Perhaps the rhythmic expression of life would be the more perfect definition. But the word life is so much more associated with eating and drinking in the popular mind, than with the spirit or force or whatever you care to call it, that exists behind consciousness and is the animating factor of our whole being, that it will hardly serve a useful purpose. So that, perhaps, for a rough, practical definition that will at least point away from the mechanical performances that so often pass for art, #the Rhythmic expression of Feeling# will do for by Rhythm is meant that ordering of the materials of art (form and colour, in the case of painting) so as to bring them into relationship with our innate sense of harmony which gives them their expressive power. Without this relationship we have no direct means of making the sensuous material of art awaken an answering echo in others. The boy shouting at the top of his voice, making a horrible noise, was not an artist because his expression was inadequate--was not related to the underlying sense of harmony that would have given it expressive power. [Illustration Plate III. STUDY FOR APRIL In red chalk on toned paper.] Let us test this definition with some simple cases. Here is a savage, shouting and flinging his arms and legs about in wild delight; he is not an artist, although he may be moved by life and feeling. But let this shouting be done on some ordered plan, to a rhythm expressive of joy and delight, and his leg and arm movements governed by it also, and he has become an artist, and singing and dancing (possibly the oldest of the arts) will result. Or take the case of one who has been deeply moved by something he has seen, say a man killed by a wild beast, which he wishes to tell his friends. If he just explains the facts as he saw them, making no effort to order his words so as to make the most telling impression upon his hearers and convey to them something of the feelings that are stirring in him, if he merely does this, he is not an artist, although the recital of such a terrible incident may be moving. But the moment he arranges his words so as to convey in a telling manner not only the plain facts, but the horrible feelings he experienced at the sight, he has become an artist. And if he further orders his words to a rhythmic beat, a beat in sympathy with his subject, he has become still more artistic, and a primitive form of poetry will result. Or in building a hut, so long as a man is interested solely in the utilitarian side of the matter, as are so many builders to-day, and just puts up walls as he needs protection from wild beasts, and a roof to keep out the rain, he is not yet an artist. But the moment he begins to consider his work with some feeling, and arranges the relative sizes of his walls and roof so that they answer to some sense he has for beautiful proportion, he has become an artist, and his hut has some architectural pretensions. Now if his hut is of wood, and he paints it to protect it from the elements, nothing necessarily artistic has been done. But if he selects colours that give him pleasure in their arrangement, and if the forms his colour masses assume are designed with some personal feeling, he has invented a primitive form of decoration. And likewise the savage who, wishing to illustrate his description of a strange animal he has seen, takes a piece of burnt wood and draws on the wall his idea of what it looked like, a sort of catalogue of its appearance in its details, he is not necessarily an artist. It is only when he draws under the influence of some feeling, of some pleasure he felt in the appearance of the animal, that he becomes an artist. Of course in each case it is assumed that the men have the power to be moved by these things, and whether they are good or poor artists will depend on the quality of their feeling and the fitness of its expression. [Illustration Plate IV. STUDY ON TISSUE-PAPER IN RED CHALK FOR FIGURE OF BOREAS] The purest form of this rhythmic expression of feeling is music. And as Walter Pater shows us in his essay on The School of Giorgione, music is the type of art. The others are more artistic as they approach its conditions. Poetry, the most musical form of literature, is its most artistic form. And in the greatest pictures form, colour, and idea are united to thrill us with harmonies analogous to music. The painter expresses his feelings through the representation of the visible world of Nature, and through the representation of those combinations of form and colour inspired in his imagination, that were all originally derived from visible nature. If he fails from lack of skill to make his representation convincing to reasonable people, no matter how sublime has been his artistic intention, he will probably have landed in the ridiculous. And yet, #so great is the power of direction exercised by the emotions on the artist that it is seldom his work fails to convey something, when genuine feeling has been the motive#. On the other hand, the painter with no artistic impulse who makes a laboriously commonplace picture of some ordinary or pretentious subject, has equally failed as an artist, however much the skilfulness of his representations may gain him reputation with the unthinking. The study, therefore, of the #representation of visible nature# and of #the powers of expression possessed by form and colour# is the object of the painter s training. And a command over this power of representation and expression is absolutely necessary if he is to be capable of doing anything worthy of his art. This is all in art that one can attempt to teach. The emotional side is beyond the scope of teaching. You cannot teach people how to feel. All you can do is to surround them with the conditions calculated to stimulate any natural feeling they may possess. And this is done by familiarising students with the best works of art and nature. * * * * * It is surprising how few art students have any idea of what it is that constitutes art. They are impelled, it is to be assumed, by a natural desire to express themselves by painting, and, if their intuitive ability is strong enough, it perhaps matters little whether they know or not. But to the larger number who are not so violently impelled, it is highly essential that they have some better idea of art than that it consists in setting down your canvas before nature and copying it. 芸術を構成するものについて理解している美術学生の少なさは、おどろくべきことである。彼らはおそらく、絵画によって彼ら自身を表現したいという自然な欲求によって駆り立てられている。もし彼らの直観的な能力が十分に強いのであれば、彼らが知っているどうかはたいした問題ではないだろう。しかしそこまで暴力的に駆り立てられない多くの学生にとって、芸術についてよりよく理解することは、自然の前にキャンバスを据えてそれを模写することよりも、ひじょうに重要で不可欠なことである。 Inadequate as this imperfect treatment of a profoundly interesting subject is, it may serve to give some idea of the point of view from which the following pages are written, and if it also serves to disturb the copying theory in the minds of any students and encourages them to make further inquiry, it will have served a useful purpose. 大いに興味深い主題についてこのような不完全な論じ方をするのは不適当であるが、以降の論述がもとづく視点の考え方を示すことにはなるだろう。そしてまた、学生の心に浮かぶ「模写説」を防ぎ、彼らをさらなる探究へ促すことにもなったのならば、役立つ目的は果たしたことになる。