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Weapon Sticky Bomb Sticky Bomb Damage 150—100 Fire Aim Time 0—0 Range Max 17 Min 0 L 17 Aim Multiplier L 1 AOE Distance L 4 M 7.5 M 1 M 4 S 3.75 S 1 S 3 Accuracy L 1 Ready Aim Time 0—0 AOE Accuracy L 1 M 1 Post Firing Aim Time 0 M 1 S 1 Post Firing Cooldown 0 S 1 Reload 0—0 AOE Damage L 0.5 1 Reload Multiplier L 1 Penetration L 1.5 M 1 1 M 1 M 1.5 S 1 1 S 1 S 1.5 AOE penetration L 1 Cooldown 0—0 Deflection Multiplier 1 M 2 Cooldown Multiplier L 1 Suppression L 0.001 S 2 M 1 M 0.001 AOE Suppression L 0.25 0.2 S 1 S 0.025 M 0.3 0.25 Wind Up 0.9 Nearby Supp. Multiplier 1.5 S 0.4 0.3 Wind Down 1.1 Nearby Supp. Radius 10 Setup Time 0 Vs. Supp. Targets A 1 Fire Cone Angle 15 Burst Duration 0—0 P 1 Tracking Vertical 40—-40 Rate of Fire 0—0 D 1 Tracking Horizontal -60—60 Reload Frequency 1—1 S 1.25 Speed Vertical 360 Moving Accuracy 1 Speed Horizontal 360 Moving Burst 1 Scatter Angle 3 Moving Cooldown 1 Scatter Max 5 AA Weapon false Acc. Incremental 1 Scatter Offset 0.25 Attack Ground false Search Radius L 0 Scatter Ratio 0 Projectile sticky_bomb_throw M 0 FoW Angle Mult. 1.5 S 0 FoW Distance Mult. 1.5 Cover Type Accuracy Damage Suppression Penetration Default 1 1 1 1 Garrison 0 0 0 0 Halftrack 1 0.1 1 1 Heavy 1 1 1 1 Light 1 1 1 1 Negative 1.5 2 1.25 1 Open 1.25 1 1 1 Smoke 1 1 1 1 Trench 1 1 0 1 Water 1 1 1 1 Bunker 0.15 0.5 0 1 Emplacement 0.5 1 0.75 1 Target Name Acc Mov Dmg Pen R-Pen Sup Pri Infantry 1 1 1 1 1 1 80 Infantry Airborne 1 1 1 1 1 1 80 Airborne Inflight 1 1 1 1 1 1 50 Infantry Heroic 1 1 1 1 1 0.5 80 Infantry Elite 1 1 1 1 1 1 80 Infantry Sniper 1 1 1 1 1 1 80 Infantry Soldier 1 1 1 1 1 1 80 Bren Carrier 1 1 1 1 3 1 50 Motorcycle 1 1 1 3 1 1 80 Jeep 1 1 1 1 3 1 60 M3 Halftrack 1 1 1 1 1 1 60 Greyhound 1 1 1 1 1.65 1 55 Stuart 1 1 1 1 1 1 50 Sdkfz 234 Puma 1 1 1 1 1.92 1 55 Sdkfz 251 Halftrack 1 1 1 1 1 1 60 Sdkfz 22x 1 1 0.8 1 1 1 50 M10 TD 1 1 1 1 1.62 1 50 Sherman 1 1 1 1 1.57 1 50 Flak Panzer 1 1 1 1 1.8 1 50 Panther 1 1 1 1 1 1 50 Panther w/Skirts 1 1 1 0.5 1 1 50 Panzer IV 1 1 1 1 1 1 50 Panzer IV w/Skirts 1 1 1 0.5 1 1 50 StuG 1 1 1 1 1 1 50 StuG w/Skirts 1 1 1 0.5 1 1 50 Tiger 1 1 1 1 1.14 1 50 Churchill 1 1 1 1 1 1 50 Cromwell 1 1 1 1 1 1 50 Priest 1 1 1 1 1 1 50 Pershing 1 1 1 1 1 1 50 Marder III 1 1 1 1 5 1 50 Hetzer 1 1 1 1 1 1 25 Hummel 1 1 1 1 3 1 50 Jagdpanther 1 1 1 1 1 1 50 Team Weapon 1 1 1 1 1 1 5 Howitzer 1.5 1 1 1.5 1 1 25 Towed Gun 1.5 1 1 1.5 1 1 25 Flak 88 1.5 1 0.5 1.5 1 1 25 P47 Thunderbolt 1 1 1 1 1 1 25 Building Construction 1 1 2.5 3 1 1 25 Building 3 1 0.85 3 1 1 20 Checkpoint 3 1 1.5 3 1 1 0 Bunker 1 1 1.5 10 1 1 3 CW Emplacement 5 1 1.5 1 1 1 25 CW Emplaced HQ 1 1 1 1 1 1 25 CW Mobile HQ 1 1 1.5 1 1 1 25 Defenses 2 1 5 3 1 1 25 Defenses Construction 5 1 5 1 1 1 25 Trench 1 1 1 2 1 1 25 Mine 1 1 1 2 1 1 25 Mine Airdrop 1 1 1.5 2 1 1 40 Detector Radio 1 1 1 1 1 1 10 Bridge 1 1 0.05 0 1 1 25
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バード/ダンサー(Bard/Dancer) アーチャー(Archer)より転職。 男性の場合バードに、女性の場合ダンサーに転職する事ができる。 バード/ダンサー(Bard/Dancer) Status Bonus(Bard) Status Bonus(Dancer) Skill(Bard) Skill(Dancer) Skill(合奏) Status Bonus(Bard) Lv STR AGI VIT INT DEX LUK Lv STR AGI VIT INT DEX LUK 1 0 0 0 0 0 0 26 0 0 0 0 0 0 2 0 0 0 0 0 0 27 0 0 0 0 0 0 3 0 0 0 0 0 0 28 0 0 0 0 0 0 4 0 0 0 0 0 0 29 0 0 0 0 0 0 5 0 0 0 0 0 0 30 0 0 0 0 0 0 6 0 0 0 0 0 0 31 0 0 0 0 0 0 7 0 0 0 0 0 0 32 0 0 0 0 0 0 8 0 0 0 0 0 0 33 0 0 0 0 0 0 9 0 0 0 0 0 0 34 0 0 0 0 0 0 10 0 0 0 0 0 0 35 0 0 0 0 0 0 11 0 0 0 0 0 0 36 0 0 0 0 0 0 12 0 0 0 0 0 0 37 0 0 0 0 0 0 13 0 0 0 0 0 0 38 0 0 0 0 0 0 14 0 0 0 0 0 0 39 0 0 0 0 0 0 15 0 0 0 0 0 0 40 0 0 0 0 0 0 16 0 0 0 0 0 0 41 0 0 0 0 0 0 17 0 0 0 0 0 0 42 0 0 0 0 0 0 18 0 0 0 0 0 0 43 0 0 0 0 0 0 19 0 0 0 0 0 0 44 0 0 0 0 0 0 20 0 0 0 0 0 0 45 0 0 0 0 0 0 21 0 0 0 0 0 0 46 0 0 0 0 0 0 22 0 0 0 0 0 0 47 0 0 0 0 0 0 23 0 0 0 0 0 0 48 0 0 0 0 0 0 24 0 0 0 0 0 0 49 0 0 0 0 0 0 25 0 0 0 0 0 0 50 0 0 0 0 0 0 Status Bonus(Dancer) Lv STR AGI VIT INT DEX LUK Lv STR AGI VIT INT DEX LUK 1 0 0 0 0 0 0 26 0 0 0 0 0 0 2 0 0 0 0 0 0 27 0 0 0 0 0 0 3 0 0 0 0 0 0 28 0 0 0 0 0 0 4 0 0 0 0 0 0 29 0 0 0 0 0 0 5 0 0 0 0 0 0 30 0 0 0 0 0 0 6 0 0 0 0 0 0 31 0 0 0 0 0 0 7 0 0 0 0 0 0 32 0 0 0 0 0 0 8 0 0 0 0 0 0 33 0 0 0 0 0 0 9 0 0 0 0 0 0 34 0 0 0 0 0 0 10 0 0 0 0 0 0 35 0 0 0 0 0 0 11 0 0 0 0 0 0 36 0 0 0 0 0 0 12 0 0 0 0 0 0 37 0 0 0 0 0 0 13 0 0 0 0 0 0 38 0 0 0 0 0 0 14 0 0 0 0 0 0 39 0 0 0 0 0 0 15 0 0 0 0 0 0 40 0 0 0 0 0 0 16 0 0 0 0 0 0 41 0 0 0 0 0 0 17 0 0 0 0 0 0 42 0 0 0 0 0 0 18 0 0 0 0 0 0 43 0 0 0 0 0 0 19 0 0 0 0 0 0 44 0 0 0 0 0 0 20 0 0 0 0 0 0 45 0 0 0 0 0 0 21 0 0 0 0 0 0 46 0 0 0 0 0 0 22 0 0 0 0 0 0 47 0 0 0 0 0 0 23 0 0 0 0 0 0 48 0 0 0 0 0 0 24 0 0 0 0 0 0 49 0 0 0 0 0 0 25 0 0 0 0 0 0 50 0 0 0 0 0 0 Skill(Bard) Skill(Dancer) Skill(合奏)
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+← クリックで目次を開く Primary StatsSTR AGI VIT INT DEX LUK SubstatsATK MATK DEF MDEF HIT CRIT FLEE ASPD HP SP Quasi-StatsAttack Range Cast Time Perfect Dodge Weight Limit Movement Speed Status Effects Resistance Leveling Up Raising Stats Stat Reset NotesBase Stats vs. Total Stats Primary Stats Stats are the six fundamental character statistics that make (or break) a character. Stats start out with a base value of 1 and can be raised as far as 99. Third job characters can increase stats up to 120. Base stats are increased by spending stat points, higher stats costing more to raise (particularly for base stats beyond 100). Stat points are gained with base level increases, the amount increasing with higher levels. STR Strength This stat affects the "melee" physical power of the character, allowing it to deal damage even if no weapons× are equipped if a sufficient amount of STR is invested. The STR value is also multiplied to the Weapon ATK× value for even more damage increase. When using "melee-type" weapons such as Axe×s, Book×s, Dagger×s, Katar×s, Knuckle×s, Mace×s, Spear×s or when Bare Handed×, every point of STR provides Status ATK× +1 Weapon ATK +0.5% (only on Base Weapon ATK, and this bonus is pseudo-elemental) When using "ranged-type" weapons such as Bow×s, Guns×, Instrument×s and Whip×s, every 5 points of STR provide Status ATK +1 Every point of STR provides Weight Limit× +30 Decreases Vacuum Extreme× duration by 0.04s. STR specific ATK× Weight Limit (base stat only) AGI Agility This stat affects the speed of the character in many aspects, allowing it to attack faster and dodge attacks more often. Every point of AGI provides Flee× rate +1 Increases Attack Speed× Every 5 points of AGI provide Soft DEF× +1 The actual ASPD× calculation depends on AGI, DEX, ASPD Potion×s and skills, the type of equipped weapon, and current job class. It can take between 1 and 20 AGI to increase ASPD by 1. More details can be found in the entry for ASPD discussion. AGI specific ASPD Flee rate Does not affect Cast Time or Cast Delay but does shorten "animation delay" between casts Does not affect Movement Speed× VIT Vitality This stat affects the endurance, HP×, and restorative power of the character, allowing it to last longer against monsters and to regain more life with healing items. Every point of VIT provides Max HP× +1% Healing Items× effectiveness +2% (HP) Resistance vs. the following Status Effects× Stun× -1% chance from being inflicted, decreases duration (exact value unknown) Poison× -1% chance from being inflicted, decreases duration (exact value unknown) Deadly Poison× -1% chance from being inflicted, decreases duration (exact value unknown) Burning× reduces chance from being inflicted, decreases duration by 0.1s. Freezing× reduces chance from being inflicted, decreases duration by 0.1s. Mode Cold × reduces chance from being inflicted, decreases duration by 0.1s. Every 2 points of VIT provide Soft DEF× +1 Every 5 points of VIT provide Soft MDEF +1 HP Recovery× rate +1 Every 200 of Max HP provides 1 more HP regenerated during natural HP Recovery. VIT specific Max HP HP Recovery DEF× MDEF× Healing Items Status Effects INT This article or section needs to beupdated. Intelligence This stat affects the mental power of the character, allowing to deal magic damage even if no weapons are equipped if a sufficient amount of INT is invested. Casttime.png iRO wiki の画像表示 Effects of INT and DEX on the Cast Time for a normal spell Every point of INT provides Status MATK× +1.5 Max SP× +1% Healing Items× effectiveness +1% (SP) Decreases Cast Time (at half the effectiveness of DEX) Alchemists Brewing× success rate +0.05% (half the benefits of DEX and LUK) Resistance vs. the following Status Effects× (verify for renewal) Blind× -2/3% chance from being inflicted, -1/15 second duration Sleep× -1% chance from being inflicted Chaos× -2/3% chance from being inflicted Every 2 points of INT provide Soft MDEF× +1 SP Recovery× rate +1 (only if INT past 120) Every 6 points of INT provide SP Recovery rate +1 When INT reaches 120 or higher SP Recovery rate +4 (going from 119 to 120 INT gives +5 regeneration) Every 100 of Max SP provides 1 more SP regenerated during natural SP Recovery. INT specific MATK× Max SP MDEF× SP Recovery Cast Time SP Recovery Items× Status Effects DEX This article or section needs to beupdated. Dexterity This stat affects the accuracy (HIT×) of the character in many aspects, allowing it to land hits easier, among other things. It is also the primary stat for "ranged" physical power, and the primary stat for decreasing cast time. When using "ranged-type" weapons such as Bow×s, Gun×s, Instrument×s and Whip×s, every point of DEX provides Status ATK× +1 Weapon ATK× +0.5% (only on Base Weapon ATK, and this bonus is pseudo-elemental) When using "melee-type" weapons such as Axe×s, Book×s, Dagger×s, Katar×s, Knuckle×s, Mace×s, Spear×s or when Bare Handed×, every 5 points of DEX provide Status ATK +1 Every point of DEX provides Hit rate +1 Decreases Cast Time Increases Attack Speed× Thieves Steal× success rate +0.1% Rogues Divest× success rate +0.2% Blacksmiths Forging× success rate +0.1% Alchemists Brewing× success rate +0.1% Cooking× success rate +0.2% Every 5 points of DEX provide MATK× +1 Soft MDEF× +1 DEX specific Hit rate ASPD× ATK× MATK Cast Time Forging Potion Creation× Cooking LUK This article or section needs to beupdated. Luck This stat affects the fortune of the character in some aspects, allowing it to deal Critical hits more often, luckily dodging enemy attacks more often, among several other small bonuses. Every point of LUK provides Critical Hit Rate +0.3% Blacksmiths Forging× success rate +0.1% Alchemists Brewing× success rate +0.1% Cooking× success rate +0.1% Resistance vs. the following Status Effects× Blind× slightly decreases chance from being inflicted Curse× -1% chance from being inflicted Frozen× slightly decreases from being inflicted Poison× slightly decreases chance from being inflicted (exact value unknown) Silence× slightly decreases from being inflicted Sleep× slightly decreases from being inflicted Stone Curse× slightly decreases chance from being inflicted Stun× slightly decreases chance from being inflicted, -0.01 seconds duration Every 3 points of LUK provide ATK× +1 MATK× +1 Hit× rate +1 Hunters Auto-Blitz Beat× rate +1% (requires a Falcon and the skill Blitz Beat) Rangers Auto-Warg Strike× rate +1% (requires a Warg and the skill Warg Strike) Every 5 points of LUK provide Flee× rate +1 Critical Hit Shield +1% Every 10 points of LUK provide Perfect Dodge× +1 LUK specific CRIT ATK MATK Hit rate Flee rate Perfect Dodge Status Effects Forging Potion Creation× Cooking Does not affect Drop Rates Substats There are also secondary stats which are determined by the primary stats, along with gears and skills. ATK Main article ATK× Attack The physical attack rating for both ranged and melee× weapons×. It is listed as A + B in the Status Window, where A represents the Status ATK× and B represents the sum of Weapon ATK× (equipped weapon and its refinement rate×) and Equip ATK× (equipment× and buffs). Only B is affected by Element, except when using Mild Wind×. The Status Window does not show the total ATK used for the damage calculation. MATK Main Article MATK× Magic Attack The magic attack rating. It is listed as A + B in the Status Window, where A represents the Status MATK× and B represents the Weapon MATK× (equipped weapon and its refinement rate×) and Equip MATK× (equipment× and buffs). The MATK as whole is affected by Element. The Status Window does not show the total MATK used for the damage calculation. DEF Main article DEF Defense The defense rating against physical damage. It is shown as A + B in the Status Window, where A represents the Soft DEF× and B represents the Hard DEF×. Hard DEF cuts damage relatively, whereas Soft DEF is an absolute reduction with that number. MDEF Main article MDEF Magic Defense The defense rating against magic damage. It is shown as A + B in the Status Window, where A represents the Soft MDEF× and B represents the Hard MDEF×. Hard MDEF cuts damage relatively, whereas Soft MDEF is an absolute reduction with that number. Note Each point of Hard MDEF also provides 1% resistance to Frozen× and Stone Curse× statuses. HIT Hit rate The accuracy rating, which is calculated as 175 + BaseLv + DEX + Floor(LUK ÷ 3) + Bonus. The chance to land a hit is calculated as [AttackerHit - DefenderFlee]%. When dealing with the monsters, the chance is calculated as [100 + PlayerHit - HitRequiredFor100%]%. HitRequiredFor100% is the value from the monster s table which shows the player s Hit rate required for making 100% chance of landing hits against monster. Note The chance cannot be below 5% (Except in WoE×). CRIT Critical Hit Rate The Critical Hit rating, which increases damage by 40%. Offensive skills× do not take CRIT into account except for a few exceptions like Focused Arrow Strike×. Critical Hit also ignores Flee× rate but not Perfect Dodge× nor DEF×. Critical Hit Rate is doubled when wielding a Katar× type weapon. Note The Crit rate being displayed in the Status Window isn t the true value which is applied against monsters. The "status crit" is calculated by dividing current LUK by 3 and adding the Crit rate bonuses from equips×/cards×. The real Crit rate is a little different, as LUK × 0.3 + Bonus. Critical hit can proc physical autocasts (such as CD in Mouth), so 100+ crit for autocast builds like SC/Sorc is a viable way to make up for a low DEX build. Critical damage always goes with the highest weapon level variance. Weapons under the safe refine level will always have the same exact damage. Refinement bonus variance, on the other hand, will vary. Critical damage modifiers like Aunoe card/Temporal LUK Boots goes right after the original crit damage, it goes like Final Critical Damage = Highest Weapon Level Variance Damage × 1.4 × Critical Damage Modifier % Ex your crit damage goes for 500 with a clean Faceworm Queen Leg [2], if you put 2 Aunoe Cards inside it, your crit damage will be 700. FLEE Main article FLEE× For the Monk skill, see Flee (Skill)× Flee rate The dodge rating. It is shown as A + B in the Status Window, where A is calculated as 100 + BaseLv + AGI + Floor(LUK ÷ 5) + Bonus and B represents the Perfect Dodge×, which is a direct percentage of dodging any regular hit, including Critical Hits. The chance to dodge a hit is calculated as [100 − (AttackerHit − DefenderFlee)]%. When dealing with monsters, the chance is calculated as [95 + PlayerFlee - FleeRequiredFor100%]%. FleeRequiredFor100% is the value from the monster s table which shows the player s Flee rate required for making 95% chance of dodging the monster s attacks. Note The chance cannot be above 95% (Except in WoE×). Also, there is a huge penalty to Flee rate when attacked by over enemies at same time. ASPD Main article ASPD× Attack Speed The hit/second rating. It depends on the player s class, equipped Weapon Type×, Speed Modifiers, AGI and DEX. ASPD increases hits/second exponentially. It has a limit of 190 for non-3rd classes and 193 for 3rd classes. HP Main article Max HP× Hit Points or Health Points. It is how much life points the character has or the amount of damage the character can sustain before dying. Max HP is mainly derived from the class of the character, VIT× and any equipment× that may affect HP. SP Main article Max SP× Spell Points, Spell Power or even Mana. It is how much mental points the character has for performing skills. Max SP is mainly derived from the class of the character, INT× and any equipment× that may affect SP. Quasi-Stats The following are values which, while not directly visible in the Status Window, are directly measurable and can have just as big an impact on gameplay. Attack Range Attack Range is the maximum distance an attack or skill can be made from the player. For most weapons, the attack range is 3 cells. However, If the player attempts to attack while outside of Melee× range, the client will move to 1 cell away. Bow×s get a base range of 5 cells and some special weapons have longer range (Such as the Long Mace ). Additionally, all skills have an Attack Range too. A monster s attack is considered Melee if the attacker is below 4 cells away from the target when attacking. A monster s attack is considered Ranged if the attacker is above 4 cells away from the target. While, a player s attack depends on the weapon or the skill used. Cast Time Main article Skills#Cast Time Many skills, and not just magic skills× have a Cast Time. This is indicated by the green "progress bar" above the character s head. Cast Time is split into two parts, "Variable Cast Time" and "Fixed Cast Time". The variable portion is directly affected by DEX and INT (at half the amount of DEX). Perfect Dodge Main article Perfect Dodge× Perfect Dodge allows the player to dodge a physical attack by a chance in percentage corresponding to the second value from the Flee× rate. The LUK stat affects the Perfect Dodge value of a character directly. Weight Limit Main article Weight Limit× The weight limit is how much a character can carry. The STR stat affects the Weight Limit value of a character directly. Movement Speed Main article Movement Speed× Movement Speed is the speed the player walks at. It is NOT affected by AGI, only by certain skills and items. Status Effects Resistance Main article Status Effects× Many stats affect the resistance of certain Status Effects, and even immunity to the effect can be achieved. Leveling Up Before Level 100, going from Level X to X + 1 gives Floor(X ÷ 5) + 3 stat points. (ex. from Level 94 to 95, Floor(94 ÷ 5) + 3 = 21 stat points are gained) After Level 100, going from Level X to X + 1 gives Floor(X ÷ 10) + 13 stat points. (ex. from Level 141 to 142, Floor(141 ÷ 10) + 13 = 27 stat points are gained) Going from Level 1 to 99 gives a total of 1225 stat points. A freshly created character has 48 stat points to invest at Level 1, for a total of 1273 stat points. A newly or transcended Novice has 100 stat points to invest at Level 1, for a total of 1325 stat points. Going from Level 1 to 150 gives a total of 2497 stat points. A transcended Level 150 will get a grand total of 2597 stat points, while a non-transcended Level 150 will get a total of 2545 stat points. A transcended Level 175 will get a grand total of 3330 stat points, Level Range Points Gained Level Range Points Gained 1~4 3 75~79 18 5~9 4 80~84 19 10~14 5 85~89 20 15~19 6 90~94 21 20~24 7 95~99 22 25~29 8 100~109 23 30~34 9 110~119 24 35~39 10 120~129 25 40~44 11 130~139 26 45~49 12 140~150 27 50~54 13 151~157 28 55~59 14 158~164 29 60~64 15 165~171 30 65~69 16 172~175 31 70~74 17 Raising Stats Reference Total stat point requirement× Statpoint2.png iRO wiki の画像表示 Stat points required to reach base stat Raising a stat from X to X + 1 costs Floor[(X − 1) ÷ 10] + 2 points. (for X = 1, 2, 3, ..., 98, 99) Raising a stat from 1 to 99 costs a total of 628 stat points. Raising a stat from 100 to 120 is possible for 3rd class only and cost more stat points. Raising a stat from X to X + 1 costs 4 × Floor[(X − 100) ÷ 5] + 16 points. (for X = 100, 101, ..., 119) Raising a stat from 99 to 120 costs a total of 451 stat points. Raising a stat from 1 to 120 costs a total of 1079 stat points. Stat Range Raise Cost Stat Range Raise Cost 1~10 2 81~90 10 11~20 3 91~99 11 21~30 4 100~104 16 31~40 5 105~109 20 41~50 6 110~114 24 51~60 7 115~120 28 61~70 8 121~125 32 71~80 9 126~130 36 Stat Reset A character s stats can be reset in a few ways Rebirthing to prepare for transcendent classes (can only be done once, and does not apply to classes that cannot transcend). The Sam Status NPC× in Payon× (180,115) can reset a character by paying him Magical Stone. Note that the Sam Status NPC is covered by the tree and may only be visible if rotating the camera. The Magical Stone cost is different depending on the character s current level Level Range Req. Amount ofMagical Stone 1 ~ 40 1 41 ~ 70 2 71 ~ 90 3 91 ~ 110 4 111 ~ 125 5 126 ~ 140 6 141 ~ 150 7 151 ~ 160 8 161 ~ 170 9 171 ~ 175 10 An event NPC called Mesmerizer will reset both stats and skills (only put in the game in certain situations). Sometimes other NPCs are put in that offer the same reset methods. Notes Base Stats vs. Total Stats Base stats mean the stats alone without the bonus part (which is indicated by +X part in the Status Window). Total stats include both base and any bonus stats the character may have. Warning any investment in primary stats cannot be reversed except through a stat reset. -Game Mechanics× Game Mechanics× General Levels ・ Experience ・ Skills ・ Elements× ・ Drop System ・ Monsters× ・ Items× ・ Status Effects× Stats STR× ・ AGI× ・ VIT× ・ INT× ・ DEX× ・ LUK× Substats ATK× ・ MATK× ・ DEF× ・ MDEF× ・ HIT× ・ CRIT× ・ FLEE× ・ ASPD× HP× / SP× Max HP× ・ Max SP× ・ HP Recovery× ・ SP Recovery× ・ Healing Items× ・ Restoration Calculation× Quasi-Stats Attack Range ・ Cast Time× ・ Perfect Dodge× ・ Weight Limit× ・ Movement Speed× Categories Articles Needing To Be Updated | Mechanics
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Top Neo-Ericksonian Hypnotherapeutic Process Step 0 The Diagnostic Trance Process Step 0 The Diagnostic Trance Processステップ０：診断的トランス Example of Diagnostic Trance診断的トランスの例 Step 0 The Diagnostic Trance Process ステップ０：診断的トランス In our training to become phychotherapists, many of us learned to rely upon two rather limited ways of understanding our clients. Most of us learned to think of people in terms of traditional diagnostic categories and/or to focus on the presenting problem as the major source of information about a client. Both diagnostic categories and problem-foucused assessments provide a sort of shorthand way of sorting and using information about clients and, as such, perorm useful functions. However, we have found that this shorthand way of thinking about clients often prevents a perception of the unique aspects of each problem and may block a therapist s ability to select an individualized approach for each client. 心理療法家になる訓練を通じて、我々の多くは、クライエントを理解するために、思ったよりも限界のある２つの方法を使うようになる。つまり、ほとんどの者が、伝統的な診断分類を人々に当てはめるか、クライエントについての主要な情報源である現在の問題に焦点を合わすか、両方の方法もつかうか、のいずれかとなる。診断的分類も問題志向のアセスメントも、クライエントについての情報を整理し活用するための簡便な方法ではある。しかし、こうした簡便な方法を使うことで、しばしば、それぞれの問題がもつ独特な側面を見落とすこともあるし、セラピストが、それぞれのクライエントごとに合わせて個人化されたアプローチを選べなくしてしまう可能性もあることが、今では分かっている。 We do not believe that just because clients have similar presenting problems or can be placed into the same diagostic categories they neccessarily are experienceing the same thing for the same reason. Nor do we believe that they should be treated in the same manner. Your clients can experience similar patterns of symptoms for entirely different reasons. A simple phobia, for example, may be most accurately described as a self-induced panic reaction for one client and as a natural response to an unconsciously held misunderstanding for another. クライエントたちがよく似た主訴を述べたり、同じ診断分類に分類できるからといって、必ずしもみんなが同じ理由から同じ事を体験しているとは、信じられない。それに彼らがみな同じやり方で治療されるべきだとも思えない。クライエントは、まったく異なる理由から、よく似た症状をもつこともあり得るのだ。たとえば、ある一つのもの怖がるタイプの恐怖症でも、あるクライエントの場合は、自己誘導的なパニック発作として記述するのが正確であるだろうし、別のクライエントの場合は、無自覚に持っている間違った認識に対する自然な反応として記述するのが正しいだろう。 In order to develop a clear concept of the specific source of each client s problem, therefore, we recommend that you conduct a thorough Dignostic Trance before you begin therapy. The Dignostic Trance involves an exploration of the various unconscious images and associations connected to the problem. The procedures involved are very simple. それ故、それぞれのクライエントについて知る独特の源泉について、明確な理解を得るために、セラピーを始める前に、綿密な診断的トランスを実施することを薦める。診断的トランスは、問題と結びついた様々な無意識のイメージや連想について調べることを含んでいる。その実施手続きはとても単純なものである。 1. First of all, ask your clients to close their eyes, to relax for a while and then to concentrate upon the unpleasant sensations or feeling they associate with the presenting complaint. When clients follow these instructions, a very light trance is usually the result. In this light trance they begin to become accustomed to the rituals of hypnotherapy (e.g., eye closure and relaxation) and they begin to learn to pay attention to internal events. More importantly, with this procedure clients recognize that they are learning how to examine and take charge of themselves. Learning to recognize and utilize their potentials of one s own previously unconscous thoughts, feelings and images is a significant part of learning to become fully aware and fully functioning. １．まず最初に、クライエントに眼を閉じて、しばらくの間りラックスするよう頼み、それから現在の不満と結びついている不快な感覚や感情に集中してもらうようにする。 クライエントがこれらの指示に従えば、普通軽いトランスに入ることになる。この軽いトランスは、クライエントが催眠療法のやり方（例えば眼を閉じる事やリラックスする事）に慣れるための一歩となる。そしてクライエントが自分の内側の生じる出来事に注意を向ける事を学ぶ一歩ともなる。より重要な事は、この手順でもって、クライエントが自分自身を調べ、自分を管理することを引き受けるやり方を学んでいるのだと理解することである。以前には意識しなかった考えや感情やイメージが持っている可能性を認識し活用するのを学ぶことは、それらを完全に意識し完全に機能できるようにする学習の大切な部分である。 2. Ask your clients to wait patiently and quietly while observeing these unpleasant sensations and to just report whatever thoughts or images suddenly come to mind. The idea is to help clients observe their discomfort without thinking about it and to just allow associated memories or ideas to spring to mind. Tell your clients to report anything they experience and observe them very carefully as they do so. If you notice any changes in expression or indications of a change in their state of mind, ask them to report what is going to in inside. 不快な感覚を観察する間、辛抱強く静かに待っているようにクライエントに頼み、そして突然心に浮かんだどんな考えやイメージでもそのまま報告するように頼む。 この指示は、クライエントが彼らが不快に感じるものを、それについて考える事なしに、観察できるようにする。そして結びついた記憶や考えが自由に心に浮かぶままにさせる。クライエントには、そうしている間、体験した事を何でも報告するように、そして心に起こっていることをとても注意深く観察するように、指示せよ。表現に何かが変化が見られたり、クライエントの心の状態が変化した事を示すことに気付いたら、内側に起ころうとしている者を報告するようクライエントに頼みなさい。 This simple procedure often reveals a pattern of thinking, a series of images, or even a specific memory which is connected to and responsible for the client s pain and other symptoms. The clients may report a voice repeating a particular phrase, a "secret" decision to block an unwanted bit of information, a seemingly unrelated image, or a previously forgotten incident. このシンプルな手続きによって、クライエントの苦痛やその他の症状に結びついていたり原因となっている一連の考えや、一連のイメージ、または特定の記憶さえ、しばしば現われる。クライエントは、特定のフレーズを繰り返し言う声や、望んでいない情報を閉鎖しようという「秘密」の決断や、関連のなさそうなイメージや、かつての忘れていた出来事を報告することもある。 The relationship of these internal, automatic or unconscious associations to the pain or problems experienced by client may be obvious to everyone involved or their implications may be very obscure and uninterpretable at the time. When the relationshio to the problem is not obvious, the resulting images still offer a useful basis for deciding which metaphors to employ during hypnotherapy. This will be discussed in more detail later. これらの内的で自動的な、あるいはクライエントが体験した苦痛や問題に無意識の連想の間の関係は、誰の眼にも明白である場合もあれば、まったく不明確で解釈不可能な場合もあるだろう。問題との関係が明らかでない場合でも、もたらされたイメージは、催眠療法の最中に用いるメタファーを決める基礎として有用である。 When this procedure reveals the internal events or activities responsible for the discomfort, some clients immediately will be able to figure out how to prevent further pain. The next, and final step in this procedure is designed to facilitate this outcome. この手続きが、不快なものを引き起こす内的な出来事や内的な活動を明らかにする場合には、それ以上の苦痛を防止する方法をすぐさま表現できるクライエントもいる。この手続きの次の段階や最後の段階は、こうした結果を促進するように作られている。 3. Ask your clients to find a thought or image which removes or displaces their unpleasant feelings. Many clients know in precise detail at an unconscious level exactly what they can do to resolve the problem. From the moment they enter your office, these clients know what will help. Many other clients have all of the resources required to figure out what they need to do. All they lack is the opportunity to do so. クライエントに不愉快な感情を取り除いたり置き換えたりできる考えやイメージを見つけるように指示しよう。 多くのクライエントは、無意識のレベルでは、細かい部分まで正確にどんなものが問題を解決することができるかを、知っている。あなたのオフィスに入った瞬間から、これらのクライエントは何が助けになるのかを知っているのだ。他のタイプの多くのクライエントは、彼らが必要とするものを説明するために必要なリソースをすべて持っている。彼らに欠けているのは、ただ説明する機会だけなのである。 Accordingly, we have incorporated an optimistically permissive expectation of self-healing throughout this book, including this opportunity for it to occur spontaneously in the initial Diagnostic Trance process. As indicated previously, we maintain a minimalist philosophy of therapy which postulates that the therapist should never do more than is necessary and should always encourage or allow the client to do most of the work. If a client enters your office with some secret understanding of how to resolve the problem or already has access to the unconsious resources necessary to do so, you might as well as use them. This portion of the Diagnostic Trance, therefore, is devoted to discorvering whether or not those understandings and resources already exist. そのため、我々は、この本を全体を通して、自己治癒についての楽観的で許容的な期待を埋め込んでいる。最初に行われる診断的トランスのプロセスにおいても、自然に自己治癒が起こることを期待している。先に示したように、我々はセラピーにおける最小主義者の哲学を持っている。この哲学は、セラピストは必要以上のことをすべきではないし、常にクライエントが最善を尽くせるように励ますべきであり、そうすることを許可すべきであることを主張する。クライエントが問題の解決法について何か秘密の理解を伴ってやってきたのなら、あるいはすでに解決に必要な無意識のリソースに働きかけているのなら、あなたもまたそうした理解やリソースを用いる方がよい。それ故、治療的トランスのこの部分は、そうした理解やリソースがすでに存在するのか否かを発見することに、費やされる。 If your client discovers a particular thought or image which does eliminate the uncomfortable feeling (e.g. the fear, depression or grief), then therapeutic change can be accomplished merely by having the client practice this new skill until it becomes habitual. If your client is unable to find and use a thought or image that relieves the painful feelings, then the hypnotherapeutic procedures outlined in the following section should be emplyed. クライエントが、不快な感情（例えば恐怖や憂鬱や悲しみ）を取り除く何か特定の考えやイメージを見つけたのなら、治療的変化は〜クライエントのこの新しいスキルが習慣になるまで練習するよう働きがけるだけで達成され得る。クライエントが苦痛な感情を癒す考えやイメージを見つけられずまた使えていないなら、次の章で概説される催眠療法の手続きが用いられるべきである。 Specific scripts for Diagnostic Trance process are not provided because it is a highly individualized interaction or conversation between you and your clients about their internal experiences. The exact wording of your instructions and questions is not the critical issue. Just follow our general guidelines, be open-mindedly curious about your clients inner world, and accept whatever they offer as potentially useful information. 診断的トランスのための特定のスクリプトは掲載されていない（しかし例が示されている）。というのは、それは、あなた（セラピスト）とクライエントの間で行われる、クライエントの内的経験についての極めて個人化された相互作用や会話であるからだ。あなたの指示や質問が正確にどのような言葉で行われるかは、重要な問題ではない。ただ一般的なガイドラインを示すならば、クライエントの内的世界について、心を開いて関心を持つように、そして彼らが何を言っても、潜在的に有用な情報として受け入れること、である。 Example of Diagnostic Trance 診断的トランスの例 A brief example may help clarify the flow of events in a typical Diagnostic Trance. Here is a summary of the procedure used with a 20-years-old university student who was referred for treatment because of her long-standing inability to speak in the classroom. ある短い例をつかって、典型的な診断的トランスでの出来事の流れを示そう。ここに示すのは、２０歳の大学生に行われた診断的トランスの要約である。彼女は長い間、教室でしゃべれないという問題をかかえており、この問題を治療するために紹介されてきた。 Therapist Now I would like you to just close your eyes, sit back and relax for a while. That s right. Let your arms relax, your legs relax, your face relax. Just let your entire body relax as you continue to listen to me and pay attention to your own thoughts and feelings. セラピスト：では、眼を閉じて、背もたれにもたれて座り、しばらくの間リラックスしてほしいと思います。そうです。腕もリラックスさせてください、足もリラックスさせて。顔もリラックスさせてください。全身をリラックスさせてください。そして私の声を聞きながらずっと、自分の考えや感情に注意を向けてください。 You have said that you feel paralyzed and upset whenever you are asked a question during a class or are expected to speak out loud. You also have indicated that you become terrified whenever such things happen to you. 授業中質問されたり、大きな声で話すように求められると、身がすくみ、気が動転するように感じると、お聞きしました。またそうした事が起こる時はいつも、恐怖におそわれるとも、お聞きしました。 Now, I know this is not a nice thing to ask, but I think it would be very useful if you could let yourself remember now that terrified feeling and tell me what you notice as you do so. In other words, I would like you to remember that feeling so clearly that you actually begin to feel it right now. Can you do that? さて、これから私がお願いすることは楽しいことではないと分かっているのですが、しかし、あなたが怖がっている感情を思い出すことができて、そうした時に気付いたことを私に教えてもらえれば、それは治療上とても役に立つと思います。いいかえれば、あなたにその感情をはっきりと思い出してもらえば、あなたは正に今その感情を実際に感じることになりますが、こうしたことをあなたにやってもらいたいのです。できますか？ Client Yes, I think so. クライエント：はい。できると思います。 Therapist Good. And what do you notice when you do so? What do you experience? セラピスト：結構です。では、感情を思い出すと、あなたは何に気付くと思いますか？言い換えれば、どんな体験をするのでしょうか？ Client I feel scared, really upset. クライエント：私はおびえて、本当に取り乱してしまうでしょう。 Therapist O.K. But where do you feel that scared feeling? What part of your body feel scared? Where do you notice it most? セラピスト：わかりました。しかし、あなたはどこに、そのおびえた感情を感じるでしょう？ 体のどの部分で感じますか？その感情をもっともはっきり気付くのは体のどこでしょうか？ Client My stomach I guess. And my throat. クライエント：たぶん胃だと思います。それにのど。 Therapist And what is it you feel in your stomach and throat? セラピスト：それでは、胃やのどに、どんな感じがするのですか？ Client A tight feeling, kind of hot and tight. クライエント：締め付けるような感じです。熱い締め付けるような。 Therapist Good. Now, as you let that hot tightness in your stomach and throat get more and more intense, I would like you to just pay very close attention to those sensations. Pay very close attention to them without trying to think about anything else at all. Just let your mind focus on those sensations while we wait and see what your unconscous mind can tell us that might be useful. Just pay close attention to that terrible hot tightness and tell me whatever it is that you become aware of as you pay attention to that sensation, I want you to tell me about it. And I ll just wait until you notice something that just seems to pop into your mind out of nowhere. (long pause). セラピスト：わかりました。では、熱い締め付ける感じを、胃やのどに、だんだんと強く感じていきながら、それらの感覚にできるだけ注意を向けてください。他のことは一切何も考えずに、それらの感覚に注意を集中してください。あなたの心がただそうした感覚に焦点を合わせるようにしてください。その間、我々は、あなたの無意識の心が、何か役立つかもしれないことを話せるようになるのを待とうと思います。ただ、その恐ろしくって熱く締め付ける感じに集中してください。そして集中しながら気付いたことは何でも話してください。あなたが気付いたことを話してほしいのです。そしてどこかからあなたの心の中に何かが浮かんで来たことにあなたが気付くまで、私は待つつもりです（長い沈黙）。 Client That s funny. I just remenbered Mary. She sat in back of me in eighth grade. We were best friends. I really liked her. I was talking to her when Mr. Brown screamed at me that day. クライエント：変なんです。私ったらマリーのことしか思い出さなかったんです。彼女は８年生のとき、私の後ろの席に座っていた娘です。私たちは親友でした。私は本当に彼女が好きでした。あの日、私はマリーとおしゃべりしていて、ブラウン先生が私をどなったんです。 Therapist What day was that? セラピスト：それはどんな日でしたか？ The young woman went on to describe the traumatic incident which precipitated her anxiety and led to her inablility to speak aloud in class. Evidently, her teacher had yelled so loudly at her for talking that he had virtually stopped her in her tracks. She felt frozen with fear and was completly unable to answer any of his questions about why she was talking and what she was talking about. This inability to speak generated more anger from her teacher and further frightened her. Although this incident eventually led to a poor adjustment to school and probably was singulary responsible for her problem with speaking in a classroom setting, she indicated that she had not thought about it in years and had no idea beforehand that it was the source of her problem. クライエントは、彼女を不安にさせ、教室では大きな声で話す事が出来なくなった原因であるトラウマとなった出来事について話を続けた。明らかに、その教師がおしゃべりしていた彼女を大声で怒鳴りつけたので、彼女は実際にその場で立ちすくんだのだ。彼女は恐怖に凍りつき、以前なら理由も内容も話す事が出来たどんな質問にも全く答える事が出来なくなったのである。彼女が話す事ができないために、教師はますます怒り、そのせいで彼女はますます怖がった。この出来事が結局、学校への不適応を生み、おそらくはこのことだけで、彼女が教室では話す事が出来ないという問題の原因となったのだが、彼女は何年もの間この出来事について考えた事はなく、彼女の症状の原因についてこれまではまるで思い当たる事がなかったと言った。 This example of the Diagnostic Trance illustrates the simplicity and therapeutic benefit of gently directing attention toward the underlying discomfort. The client s own unconscious understandings are allowed to surface what otherwise would be avoided. A Diagnostic Trance always should be conducted prior to any decision to use the hypnotherapeutic process described below. この診断的トランスの例は、下にある不快なものに対して、徐々にだが直接的に注意を向ける事が、単純な方法ながら治療的には優れた点をもつことを示している。クライエント自身の無意識の理解によって、他の場合には避けられていたものが表面に浮かび上がらせる。診断的トランスはつねに、催眠療法を実施することを決定する前に、実施されるべきである。 ＃問題と結びついた不快な感覚へ意識を集中させるところから、トラウマ的出来事の喚起へと至る、このDiagnostic Tranceは、フォーカシングの技法とよく似ている。たとえば退行催眠の暗示を用いて、トラウマとなった事件を直接的に探り当て曝露（エクスポージャ）とカタルシスを得る方法と比べると、直接「出来事」に向かうのでなく、感覚を通して無意識の気付き（したがって無意識の検閲を機能させたままで行う）を待つ方法の方がgently（優しい、徐々に、そっと）であるとは言えるかもしれない。当人が耐えられないならば、無意識の検閲がクライエントを守るだろう。Diagnostic Tranceで何もはっきりしたものが見つからなくとも、それは、未だ意識に浮かび上がらせるべきではないことを意味している可能性がある。 しかしクライエントが思い出した出来事から、トラウマとなった出来事へと探索していくのは多くはセラピストの指示によることから、セラピストが原因究明を性急に進めるならば、この方法もまた、gentlyでなく荒っぽいトラウマ探しに過ぎなくなる。 原因究明は、今日では心理療法にとって（そして催眠療法にとっても）、必ずしも必要なものではない。危険を冒してまで追求することは何よりクライエントにとって（そして結局はセラピストにとっても）割が合わない行為である。クライエントが自身の中から、自分でも思っていなかった思考やイメージを発見するという体験ができれば、Diagnostic Tranceは第一の目的を達成したと言える。ここは勝負をつける段階ではない。 クライエントによっては、つよいトラウマのために、最初の眼を閉じることすら困難に感じる人もいる。手順どおり進めることよりも、クライエント（の反応）を尊重ことを第一にすべきであることは言うまでもない。 診断的トランスに入る前置きとして、セラピストはクライエントに「あなたは思い出したくないことは思い出さないでいられるし、話したくないことは話さなくてもよいのです。その判断には、無意識が力を貸してくれるかもしれません。そして我々が探しているのは、あなたのためになる何かであって、あなたを傷つける何かでないことを、ここで二人で確認しておきましょう。」などと話すこともできる。そして、こうして安全圏を設ける事が、かえってクライエントが出来事を思い出したり、セラピストにそれを話す気になったりすることを促進するかもしれない。
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YAN... Yanagi, Tomohiro. 2017. "Intermittence of Short-distance Cliticization in QPs A Case Study of Language Change from the North", in Language Contact and Variation in the History of English, ed. Mitsumi Uchida, Yoko Iyeiri Lawrence Schourup, pp. 109-140. Tokyo Kaitakusha. Yanagida, H. 1989. "A Key to Represented Speech Now as Phase-changing". Bulletin of the Kyoto University of Foreign Studies 33 92-99. Yáñez-Bouza, Nuria. 2008. "Preposition Stranding in the Eighteenth-Century Something to Talk About." In Grammars, Grammarians and Grammar-Writing in Eighteenth-Century England. Ed. Ingrid Tieken-Boon van Ostade. Berlin Mouton de Gruyter. pp. 251-278. Yáñez-Bouza, Nuria. 2015. Grammar, Rhetoric and Usage in English Preposition Placement 1500-1900. Cambridge Cambridge University Press. Yáñez-Bouza, Nuria. 2016. ""May Depend on Me Sending It You" Double Objects in Early Grammars". Journal of English Linguistics 44(2) 138-161. Yáñez-Bouza, Nuria. 2016. "Early and Late Modern English Grammars as Evidence in English Historical Linguistics", in The Cambridge Handbook of English Historical Linguistics, ed. Merja Kytö Päivi Pahta, pp. 164-180. Cambridge Cambridge University Press. Yáñez-Bouza, Nuria David Denison. 2015. "Which Comes First in the Double Object Construction?" English Language and Linguistics 19.2 247-268. Yáñez-Bouza, Nuria María E. Rodríguez-Gil. 2013. "ECEG Database." Transactions of the Philological Society 111.2 143-164. Yang, Yonglin. 1988. "The English Pronoun of Address A Matter of Self-Compensation". Sociolinguistics 17 157-180. Yang, Yonglin. 1991. "How to Talk to the Supernatural in Shakespeare". Language in Society 20 247-261.
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ATTO TERZO Scena Prima （Le fonti del Ladone） ▼CALISTO▲ Restino imbalsamate nelle memorie mie le delizie provate. Fonti limpide, e pure al vostro gorgoglio la mia divina, ed io, coppia diletta, e cara ci baceremo a gara, e formeremo melodie soavi, qui dove con più voci Eco risponde, unito il suon de baci, al suon dell onde. T aspetto, e tu non vieni pigro, e lento mio contento; m intorbidi i sereni; anima, ben, speranza, moro nella tardanza. T attendo, e tu non giungi. Luminosa neghittosa, con spine il cor me pungi. Deh vieni, e mi ristora, moro nella dimora. Scena Seconda ▼GIUNONE▲ Dalle sponde tartaree a questa luce gelosia vi conduce, non men furia di voi, triste sorelle. L acherentee facelle, gl aspidi preparate, il mio dolore vo medicar col tosco, e col rigore. ▼LE FURIE▲ Imponi, disponi, de nostri veleni, impera severa al foco, alla face, tormento non lento al tuo contumace porremo, daremo infino che s abbia spiantata, smorzata l accesa tua rabbia. ▼CALISTO▲ Mi si fa gelo il sangue. Qual orridezza miro? Non la possono gl occhi, ohimè, soffrire; tutta terrore altrove il piede io giro. ▼GIUNONE▲ Putta sfacciata, e rea, credi fuggire degl adulteri tuoi sozzi e nefandi i castighi sovrani, e memorandi? （Calisto in orsa） Ora nelle mie piume ti conduca il tuo Giove, e in libidini nove dalle tue sordidezze tragga le sue dolcezze. A fremiti indistinti, che formerà quella tua bocca oscena i sospiri accompagni, e rese impure le labbra sue, che generaro il mondo baci della sua fera il volto immondo. Errerai per le selve, e per i monti fatta d orsi compagna, e sempre teco per boschi, e per caverne sarà lo sdegno mio rapido, e cieco. Ecco germane inferne chi tormentar dovete; ve la consegno, andate, e per colli, e foreste ella agitate. ▼LE FURIE▲ A mille faville del nostro Acheronte, ardenti, ferventi la fera accendete, ogn angue nel sangue ammorzi la sete s offenda, l orrenda, ch offese Giunone, sdegnosa, gelosa, la dèa ciò n impone. Scena Terza ▼GIUNONE▲ Racconsolata, e paga torna all Etra Giunone alla punita vaga del tuo sleal tonante, hai sciolto il gelo, non ti sarà più tormentoso il cielo. In guisa tal si devono punire del letto marital l offese amare e così castigare, se potessero, ancora dovrebbero le donne i lor mariti, che sazi d elle, ognora ravvivano nel sen novi appetiti. Mogli mie sconsolate noi sempre siam l offese, e abbiamo il torto. Lasciate dal conforto morian spesso di sete in mezzo al fiume. La notte nelle piume, stanchi ne gusti loro i rei mariti, stan sempre sonnacchiosi, o risentiti. Perché noi non gridiamo ci dan de baci insulsi, e senza mele, e le nostre querele sprezzano, quasi di serventi, o schiave. Sarà il giogo soave, quando sapremo oprare audaci, e scaltre, ch il nostro dolce non trapassi ad altre. Scena Quarta ▼LINFEA▲ D aver un consorte io son risoluta voglio esser goduta. Non vo isterilire sul vago fiorire degl anni ridenti i dolci contenti, che l uomo sa dare anch io vo provare. D aver un consorte io son risoluta voglio esser goduta. ▼IL SATIRINO▲ Ad impazzir principia la sprezzatrice rigida. Vo castigar l ingiuria con vendetta di zucchero. ▼LINFEA▲ Amor ti prego, che vago, e gradito mi trovi un marito. ▼IL SATIRINO▲ Uscite amici satiri, questa fera prendetemi. ▼MERCURIO▲ Compagne soccorretemi. Scena Quinta ▼GIOVE▲ Bella mia sospirata, semplicetta ingannata dagl affetti amorosi di quel supremo dio, che regge il mondo, dall intimo, e profondo del latteo sen scaccia il terror, che fiero l anima ti sgomenta entro del core t infonde le sue glorie il tuo motore. ▼CALISTO▲ O re dell universo ricreata mi sento al tuo divino accento. Degl aspidi nocenti più le rabbie non provo, delle facelle ardenti mi s ha l incendio estinto; io mi rinnovo formo voci, e parole riumanata, e miro nella prima figura il cielo, il sole. ▼GIOVE▲ Te mineran poch anni di serpi loro in globi i presti corsi che su quei, che tu miri eterei scanni vestita di zaffiri, di stelle indiademata, con la prole comune, ad onta di Giunon divinizzata, accrescerai piropi al firmamento, ed al dolce concento di celebre armonia l ambrosia beverai; resa infinita, e del mio sempiterno eterna vita. ▼CALISTO▲ Eccomi ancella tua. Disponi a tuo piacere, monarca delle sfere, di colei, che creasti, che con frode felice, o mio gran fato accorla ti degnasti nel tuo seno beato. ▼GIOVE▲ Regolar del Destino anco Giove non puote i gran decreti sotto il manto ferino convien, che tu ritorni, per i patrii contorni in orsa errando, infin, che si consumi l influsso reo, che registrato vive negl eterni volumi. Sempre però invisibile custode t assisterà Mercurio, e sempre avrai teco, gelosi, i miei pensieri, e rai. Ma pria, ch il velo irsuto ti ricopra le membra, o mia dolcezza, l immortale bellezza dell Empireo, in cui devi fasta diva, albergar, mostrar ti voglio. ▼CALISTO▲ Tanto caduca, e frale creata umanitade non merta ottimo nume pure di tua bontade d innalzar l opre sue sempre è costume. ▼GIOVE▲ Al cielo s ascenda. ▼CALISTO▲ Al cielo si vada. ▼GIOVE, CALISTO▲ È questa la strada, che rende immortale. ▼GIOVE▲ Mio foco fatale, son Giove, e tormento. ▼CALISTO▲ Beata mi sento a questa salita. ▼GIOVE▲ Per te mia tradita. ▼CALISTO▲ Mercé del mio dio. ▼CALISTO, GIOVE▲ O dolce amor mio. ▼MERCURIO▲ A questi ardori scocchi, baleni, doppi splendori l arcier di Delo. ▼CALISTO, GIOVE, MERCURIO▲ Al cielo, al cielo. Scena Sesta ▼ENDIMIONE▲ Che non l ami volete? Non posso, no. Io morir vo. Uccidete, uccidete. ▼SILVANO▲ Più, che sciocco, esser puoi libero col negare amore, e l idolo. Che di te cura non prendono, e morir prima desideri, che formar questo ripudio? ▼PANE▲ Porta il vento, come polvere giuramenti, e non si possono scior così d amore i vincoli. Dunque a un sì, dovrossi credere, di quel reo che vive in carcere? ▼ENDIMIONE▲ Che non l ami bramate? Non posso, no. Pria morir vo . Svenatemi, svenate. ▼PANE, SILVANO▲ Legato agl aceri costui si maceri; e Delia misera qui venga poscia a far l esequie alla sua requie. Scena Settima ▼DIANA▲ Numi vili, e plebei nelle griotte apprendeste dalle fere compagne, ad esser rei. ▼ENDIMIONE▲ Me felice. Qui arriva la mia lucida diva. ▼DIANA▲ Lasciate gl innocenti, se i miei dardi pungenti irritar non volete. ▼PANE▲ O cruda trivia perché al mio gemere tuo core impietrasi? Perché al mio piangere tuo petto indurasi? Perché volubile sdegni quel nobile del mondo, simbolo, che lusinghevole baciasti un secolo? ▼SILVANO, PANE▲ Torna piacevole bella trigemina, e gioie semina nel sen d un languido, a cui ti fecero doni pieghevole torna piacevole. ▼DIANA▲ Mentite semibelve, e calunnie sfacciate tessete, fabbricate. Non amò Cinzia, e s ama ama indole acuta, e la virtude di nobile pastor, che stende i voli dell intelletto suo di là da poli. Ma partite vi dico o dèi villani, e sfogate de cori con pari forme i disonesti ardori. ▼SILVANO▲ Pane, l ore si gettono a trar il mel dagl aspidi. Partiamo, e col suo astronomo quest orgogliosa lascisi, e per vendetta gridasi della mordace ingiuria. Cinzia la casta dèa, tutta è lussuria. ▼SILVANO, PANE▲ Cinzia la casta dèa tutta è lussuria. Scena Ottava ▼DIANA▲ Ti segua questo dardo coppia sozza, e difforme; io calcherei quell orme saettatrice fiera, vendicatrice arciera, ma non vo lasciar solo tra questi orror selvaggi chi mi dà luce a raggi. ▼ENDIMIONE▲ Vivo per te pietosa, spiro per te clemente, gioia mia luminosa, pena mia risplendente. Pria, che te rinnegare morir, morir volea martirizzato, o dèa. ▼DIANA▲ Tanto dunque tu m ami? Chi me l attesterà? ▼ENDIMIONE▲ Il cor, che teco sta; con l alma congiurato nel tuo petto volò. Io vivo effeminato, e cor non ho. ▼DIANA▲ Lusinghiero amoroso contentezza maggiore la deitade mia provar non puole, quanto sentir le dolci tue parole chiamarmi anima, e core. Ma vo , che tu abbandoni questi boschi pelasgi, e questi monti per fuggire i rigori de numi delle selve, e de pastori. Gelosa del tuo bene condur ti voglio sulle ionie arene. Là del Latimio eccelso segretarie le cime de nostri ardor faremo tu modesto, ed io casta lassù ci baceremo. ▼ENDIMIONE▲ Il bacio, il bacio basta ad amatore onesto; il bacio sol desio, non chiedo il resto. Son del senso signore né il foco vil m incenerisce il core. ▼DIANA, ENDIMIONE▲ Dolcissimi baci un nettare siete, che sempre le faci d amor accrescete. Il bacio che muore al bacio dà vita, la gioia è infinita. Ch indugi, e dimore? Il labbro ch è fabbro di tanta dolcezza se n vada a baciare, mio ben, mia bellezza. Scena Nona （L empireo） ▼MENTI CELESTI▲ Le stelle più belle sfavillino, e brillino. L alto motore novo splendore a ciel prepara. A Giove cara quassù goderai vestita di rai. Le stelle più belle sfavillino, e brillino. ▼CALISTO▲ È l anima incapace di tante glorie, e nelle glorie immersa, terrena pellegrina, della patria divina la notizia già persa chiusa nella materia, in parte acquista. Oh splendore, oh bellezza, oh pompa, oh vista. ▼GIOVE▲ Questi alberghi stellati siano tuoi nidi, e morta anco la morte, disciolta la compagine del mondo, estinto il sol, che biondo la terra indora, e che gl arreca il giorno; in quest alto soggiorno fatto di pure, e incorruttibil tempre, meco bella vivrai gl anni di sempre. ▼CALISTO▲ Anima senti qual stanza rara a te prepara premio d amor, il tuo motor? Allegrezza, ho pieno il petto di diletto, né puoi tu nel cor mio capire or più. ▼CORO▲ Il ciel rida a contenti della fida al gran dio degl elementi. Dive menti ancor noi la melodia raddoppiamo, e l armonia. ▼GIOVE▲ Arciera mia, discendi, e nella doppia carcere terrena raddolcita la pena d esser quassù rapita in breve attendi. Vanne Mercurio seco, e difensore, ignoto al lume umano, per l erta, e per il piano seguirai l orsa bella destinata già stella. ▼MERCURIO▲ D obbedirti mai stanco, gl assisterò, dio tutelare, al fianco. ▼CALISTO▲ Mio tonante. ▼GIOVE▲ Vaga amante. ▼CALISTO▲ Lieta. ▼GIOVE▲ Mesto. ▼CALISTO▲ Parto. ▼GIOVE▲ Resto. ▼MERCURIO▲ Presto il fato v unirà. ▼CALISTO▲ Vado o Giove. ▼GIOVE▲ O bella va . ATTO TERZO Scena Prima (Le fonti del Ladone) CALISTO Restino imbalsamate nelle memorie mie le delizie provate. Fonti limpide, e pure al vostro gorgoglio la mia divina, ed io, coppia diletta, e cara ci baceremo a gara, e formeremo melodie soavi, qui dove con più voci Eco risponde, unito il suon de baci, al suon dell onde. T aspetto, e tu non vieni pigro, e lento mio contento; m intorbidi i sereni; anima, ben, speranza, moro nella tardanza. T attendo, e tu non giungi. Luminosa neghittosa, con spine il cor me pungi. Deh vieni, e mi ristora, moro nella dimora. Scena Seconda GIUNONE Dalle sponde tartaree a questa luce gelosia vi conduce, non men furia di voi, triste sorelle. L acherentee facelle, gl aspidi preparate, il mio dolore vo medicar col tosco, e col rigore. LE FURIE Imponi, disponi, de nostri veleni, impera severa al foco, alla face, tormento non lento al tuo contumace porremo, daremo infino che s abbia spiantata, smorzata l accesa tua rabbia. CALISTO Mi si fa gelo il sangue. Qual orridezza miro? Non la possono gl occhi, ohimè, soffrire; tutta terrore altrove il piede io giro. GIUNONE Putta sfacciata, e rea, credi fuggire degl adulteri tuoi sozzi e nefandi i castighi sovrani, e memorandi? (Calisto in orsa) Ora nelle mie piume ti conduca il tuo Giove, e in libidini nove dalle tue sordidezze tragga le sue dolcezze. A fremiti indistinti, che formerà quella tua bocca oscena i sospiri accompagni, e rese impure le labbra sue, che generaro il mondo baci della sua fera il volto immondo. Errerai per le selve, e per i monti fatta d orsi compagna, e sempre teco per boschi, e per caverne sarà lo sdegno mio rapido, e cieco. Ecco germane inferne chi tormentar dovete; ve la consegno, andate, e per colli, e foreste ella agitate. LE FURIE A mille faville del nostro Acheronte, ardenti, ferventi la fera accendete, ogn angue nel sangue ammorzi la sete s offenda, l orrenda, ch offese Giunone, sdegnosa, gelosa, la dèa ciò n impone. Scena Terza GIUNONE Racconsolata, e paga torna all Etra Giunone alla punita vaga del tuo sleal tonante, hai sciolto il gelo, non ti sarà più tormentoso il cielo. In guisa tal si devono punire del letto marital l offese amare e così castigare, se potessero, ancora dovrebbero le donne i lor mariti, che sazi d elle, ognora ravvivano nel sen novi appetiti. Mogli mie sconsolate noi sempre siam l offese, e abbiamo il torto. Lasciate dal conforto morian spesso di sete in mezzo al fiume. La notte nelle piume, stanchi ne gusti loro i rei mariti, stan sempre sonnacchiosi, o risentiti. Perché noi non gridiamo ci dan de baci insulsi, e senza mele, e le nostre querele sprezzano, quasi di serventi, o schiave. Sarà il giogo soave, quando sapremo oprare audaci, e scaltre, ch il nostro dolce non trapassi ad altre. Scena Quarta LINFEA D aver un consorte io son risoluta voglio esser goduta. Non vo isterilire sul vago fiorire degl anni ridenti i dolci contenti, che l uomo sa dare anch io vo provare. D aver un consorte io son risoluta voglio esser goduta. IL SATIRINO Ad impazzir principia la sprezzatrice rigida. Vo castigar l ingiuria con vendetta di zucchero. LINFEA Amor ti prego, che vago, e gradito mi trovi un marito. IL SATIRINO Uscite amici satiri, questa fera prendetemi. MERCURIO Compagne soccorretemi. Scena Quinta GIOVE Bella mia sospirata, semplicetta ingannata dagl affetti amorosi di quel supremo dio, che regge il mondo, dall intimo, e profondo del latteo sen scaccia il terror, che fiero l anima ti sgomenta entro del core t infonde le sue glorie il tuo motore. CALISTO O re dell universo ricreata mi sento al tuo divino accento. Degl aspidi nocenti più le rabbie non provo, delle facelle ardenti mi s ha l incendio estinto; io mi rinnovo formo voci, e parole riumanata, e miro nella prima figura il cielo, il sole. GIOVE Te mineran poch anni di serpi loro in globi i presti corsi che su quei, che tu miri eterei scanni vestita di zaffiri, di stelle indiademata, con la prole comune, ad onta di Giunon divinizzata, accrescerai piropi al firmamento, ed al dolce concento di celebre armonia l ambrosia beverai; resa infinita, e del mio sempiterno eterna vita. CALISTO Eccomi ancella tua. Disponi a tuo piacere, monarca delle sfere, di colei, che creasti, che con frode felice, o mio gran fato accorla ti degnasti nel tuo seno beato. GIOVE Regolar del Destino anco Giove non puote i gran decreti sotto il manto ferino convien, che tu ritorni, per i patrii contorni in orsa errando, infin, che si consumi l influsso reo, che registrato vive negl eterni volumi. Sempre però invisibile custode t assisterà Mercurio, e sempre avrai teco, gelosi, i miei pensieri, e rai. Ma pria, ch il velo irsuto ti ricopra le membra, o mia dolcezza, l immortale bellezza dell Empireo, in cui devi fasta diva, albergar, mostrar ti voglio. CALISTO Tanto caduca, e frale creata umanitade non merta ottimo nume pure di tua bontade d innalzar l opre sue sempre è costume. GIOVE Al cielo s ascenda. CALISTO Al cielo si vada. GIOVE, CALISTO È questa la strada, che rende immortale. GIOVE Mio foco fatale, son Giove, e tormento. CALISTO Beata mi sento a questa salita. GIOVE Per te mia tradita. CALISTO Mercé del mio dio. CALISTO, GIOVE O dolce amor mio. MERCURIO A questi ardori scocchi, baleni, doppi splendori l arcier di Delo. CALISTO, GIOVE, MERCURIO Al cielo, al cielo. Scena Sesta ENDIMIONE Che non l ami volete? Non posso, no. Io morir vo. Uccidete, uccidete. SILVANO Più, che sciocco, esser puoi libero col negare amore, e l idolo. Che di te cura non prendono, e morir prima desideri, che formar questo ripudio? PANE Porta il vento, come polvere giuramenti, e non si possono scior così d amore i vincoli. Dunque a un sì, dovrossi credere, di quel reo che vive in carcere? ENDIMIONE Che non l ami bramate? Non posso, no. Pria morir vo . Svenatemi, svenate. PANE, SILVANO Legato agl aceri costui si maceri; e Delia misera qui venga poscia a far l esequie alla sua requie. Scena Settima DIANA Numi vili, e plebei nelle griotte apprendeste dalle fere compagne, ad esser rei. ENDIMIONE Me felice. Qui arriva la mia lucida diva. DIANA Lasciate gl innocenti, se i miei dardi pungenti irritar non volete. PANE O cruda trivia perché al mio gemere tuo core impietrasi? Perché al mio piangere tuo petto indurasi? Perché volubile sdegni quel nobile del mondo, simbolo, che lusinghevole baciasti un secolo? SILVANO, PANE Torna piacevole bella trigemina, e gioie semina nel sen d un languido, a cui ti fecero doni pieghevole torna piacevole. DIANA Mentite semibelve, e calunnie sfacciate tessete, fabbricate. Non amò Cinzia, e s ama ama indole acuta, e la virtude di nobile pastor, che stende i voli dell intelletto suo di là da poli. Ma partite vi dico o dèi villani, e sfogate de cori con pari forme i disonesti ardori. SILVANO Pane, l ore si gettono a trar il mel dagl aspidi. Partiamo, e col suo astronomo quest orgogliosa lascisi, e per vendetta gridasi della mordace ingiuria. Cinzia la casta dèa, tutta è lussuria. SILVANO, PANE Cinzia la casta dèa tutta è lussuria. Scena Ottava DIANA Ti segua questo dardo coppia sozza, e difforme; io calcherei quell orme saettatrice fiera, vendicatrice arciera, ma non vo lasciar solo tra questi orror selvaggi chi mi dà luce a raggi. ENDIMIONE Vivo per te pietosa, spiro per te clemente, gioia mia luminosa, pena mia risplendente. Pria, che te rinnegare morir, morir volea martirizzato, o dèa. DIANA Tanto dunque tu m ami? Chi me l attesterà? ENDIMIONE Il cor, che teco sta; con l alma congiurato nel tuo petto volò. Io vivo effeminato, e cor non ho. DIANA Lusinghiero amoroso contentezza maggiore la deitade mia provar non puole, quanto sentir le dolci tue parole chiamarmi anima, e core. Ma vo , che tu abbandoni questi boschi pelasgi, e questi monti per fuggire i rigori de numi delle selve, e de pastori. Gelosa del tuo bene condur ti voglio sulle ionie arene. Là del Latimio eccelso segretarie le cime de nostri ardor faremo tu modesto, ed io casta lassù ci baceremo. ENDIMIONE Il bacio, il bacio basta ad amatore onesto; il bacio sol desio, non chiedo il resto. Son del senso signore né il foco vil m incenerisce il core. DIANA, ENDIMIONE Dolcissimi baci un nettare siete, che sempre le faci d amor accrescete. Il bacio che muore al bacio dà vita, la gioia è infinita. Ch indugi, e dimore? Il labbro ch è fabbro di tanta dolcezza se n vada a baciare, mio ben, mia bellezza. Scena Nona (L empireo) MENTI CELESTI Le stelle più belle sfavillino, e brillino. L alto motore novo splendore a ciel prepara. A Giove cara quassù goderai vestita di rai. Le stelle più belle sfavillino, e brillino. CALISTO È l anima incapace di tante glorie, e nelle glorie immersa, terrena pellegrina, della patria divina la notizia già persa chiusa nella materia, in parte acquista. Oh splendore, oh bellezza, oh pompa, oh vista. GIOVE Questi alberghi stellati siano tuoi nidi, e morta anco la morte, disciolta la compagine del mondo, estinto il sol, che biondo la terra indora, e che gl arreca il giorno; in quest alto soggiorno fatto di pure, e incorruttibil tempre, meco bella vivrai gl anni di sempre. CALISTO Anima senti qual stanza rara a te prepara premio d amor, il tuo motor? Allegrezza, ho pieno il petto di diletto, né puoi tu nel cor mio capire or più. CORO Il ciel rida a contenti della fida al gran dio degl elementi. Dive menti ancor noi la melodia raddoppiamo, e l armonia. GIOVE Arciera mia, discendi, e nella doppia carcere terrena raddolcita la pena d esser quassù rapita in breve attendi. Vanne Mercurio seco, e difensore, ignoto al lume umano, per l erta, e per il piano seguirai l orsa bella destinata già stella. MERCURIO D obbedirti mai stanco, gl assisterò, dio tutelare, al fianco. CALISTO Mio tonante. GIOVE Vaga amante. CALISTO Lieta. GIOVE Mesto. CALISTO Parto. GIOVE Resto. MERCURIO Presto il fato v unirà. CALISTO Vado o Giove. GIOVE O bella va . Cavalli,Francesco/La Calisto
https://w.atwiki.jp/ddrdp/pages/375.html
Polovtsian Dances And Chorus(激) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FA(SA) その他 Polovtsian Dances And Chorus Naoto Suzuki feat. Martha SN 激11 146 340 / 0 STREAM VOLTAGE AIR FREEZE CHAOS 67 48 1 0 27 楽譜面(5) / 踊譜面(9) /激譜面(11) / 鬼譜面(-) 属性 渡り、ひねり、八分滝 プレイ動画 http //www.youtube.com/watch?v=XB-Co64tuaM 解説 クラシックの名曲だったん人の踊りから、冒頭の娘たちの踊り部分をメインにアレンジした曲。元はオペラの一節で、娘たちが艶やかに踊る。 -- 名無しさん (2010-01-23 23 20 26) 最初から最後まで交互に踏めます。途中足がややこしくなってもそれを念頭に置くと足運びの練習にもなるかと -- 名無しさん (2010-07-06 01 27 26) 初出はSTRIKE。付点は序盤のみで、以降は全て８分メインの譜面。渡りとビジにやや傾注しており、ビジが苦手な場合は非常に良い練習になる良譜面。 -- 名無しさん (2014-03-19 16 40 21) 名前 コメント コメント(私的なことや感想はこちら) 元々だったん人の踊りは現代のダンスから見ると変わっているが、結構DDRのパフォーマーの動きと似ていて興味深い。(原曲動画2：20前後や6 00前後) -- 名無しさん (2010-01-23 23 25 32) 延々と続く多彩なカニ歩き＋体力譜面。 曲開始直後にのみある付点音符地帯はメロディをなぞってはいるのだが、聞こえにくいので要注意。 挑戦レベルの人は各所で棒立ちしてしまうかも…。 -- 名無しさん (2012-03-06 15 21 27) 八分交互の良譜面。ミラーも安定すれば、足11の八分交互踏みは卒業認定クラス。 -- 名無しさん (2012-03-14 10 17 12) めっちゃ良譜面。でも挑戦Lvはスライド多様でかなり難しく感じるかも。キレイに踏めれば足11でもかなり弱い -- 名無しさん (2013-11-10 13 52 52) 名前 コメント 曲動画 DDR Ver. 原曲
https://w.atwiki.jp/wotracer/pages/94.html
imageプラグインエラー ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (Rd.5 LOGO.png) 開催日 2014年9月13日(土) ※開催中止 imageプラグインエラー ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (ARTwork rd5.jpg) 公式アートワーク Windstorm Endurance Grand Pix 決勝レース動画 大会概要 選手権名 World of Tanks Endurance Championship ラウンド 第5戦 大会名 Windstorm Endurance Grand Pix 開催マップ 暴風 レース時間 20分 タイムスケジュール Windstorm Endurance Grand Pix タイムスケジュール 第1シーズン エントリーリスト Windstorm Endurance Grand Pix エントリーリスト 第1シーズン レースリザルト Windstorm Endurance Grand Pix リザルト 第1シーズン
https://w.atwiki.jp/bemanimusicwiki/pages/1670.html
2002/12/25 稼動開始 2006/07/26 コンバージョン：DanceDanceRevolution SuperNOVA移行 新規収録：70曲(復活再収録：46曲) 収録総数：全240曲(11曲削除) 稼働日数：1309日 タイトル アーティスト 備考 DanceDanceRevolution Party Collection 1998 NAOKI 321STARS DJ SIMON A D.J.Amuro Across the nightmare Jimmy Weckl air DJ SIMON AM-3P -303 BASS MIX- KTz (remixed by U1) bag RevenG BE LOVIN D-Crew BURNIN THE FLOOR (MOMO MIX) NAOKI CARTOON HEROES (Speedy Mix) BARBIE YOUNG Colors ～for EXTREME～ dj TAKA CRASH! mr.BRIAN THE FINAL BAND CUTIE CHASER (Morning Mix) CLUB SPICE Dance Dance Revolution DDR ALL STARS ONE MORE EXTRA STAGE Destiny lovers くにたけ みゆき Do It Right (Harmonized 2Step Mix) SOTA feat. Ebony Fay DROP THE BOMB -System S.F. Mix- Scotty D. DYNAMITE RAVE (Down Bird SOTA Mix) NAOKI feeling of love youhei shimizu Frozen Ray ～for EXTREME～ dj TAKA Gamelan de Couple TOMOSUKE GRADUATION ～それぞれの明日～ Be For U Happy Wedding ASKA Heaven is a 57 metallic gray (gimmix) Hiro feat. Sweet little 30 s HOLD ON ME tiger YAMATO HYPER EUROBEAT NAOKI feat. DDR ALL STARS I DO I DO I DO CREAMY I m gonna get you! Kelly Cosmo IRRESISTIBILEMENT WILDSIDE JANEJANA T.E.M.P.O. feat.Mohammed Emi JET WORLD Mutsuhiko Izumi Kind Lady OKUYATOS KISS KISS KISS NAOKI feat. SHANTI KISS ME ALL NIGHT LONG NAOKI J-STYLE feat.MIU L amour et la liberté (DDR ver.) NAOKI underground LA BAMBA メキシコ民謡 LA COPA DE LA VIDA PATRICK VICTORIO Last Message good-cool feat. Meg Look To The Sky (True Color Mix) System SF feat. Anna ♥LOVE² シュガ→♥ dj TAKA feat.のりあ LOVE♡SHINE 小坂りゆ MEMORIES NAOKI feat.PAULA TERRY Miracle Moon ～L.E.D.LIGHT STYLE MIX～ Togo Project feat. Sana MOBO★MOGA Orange Lounge PARANOIA survivor 270 PARANOIA survivor MAX 290 Pink Rose Kiyommy+Seiya SENORITA (Speedy Mix) JENNY ROM SO IN LOVE Caramel.S SPEED OVER BEETHOVEN ROSE STAY (Organic house Version) emi stoic (EXTREME version) TaQ sync (EXTREME version) OutPhase TEARS NAOKI underground feat.EK The Least 100sec Hirofumi Sasaki The legend of MAX ZZ EXTRA STAGE TRIP MACHINE survivor DE-SIRE Twin bee ～Generation X～ FinalOffset V ～for EXTREME～ TAKA VANITY ANGEL FIXX WE ARE THE CHAMPIONS (Factory Team Remix) LIVE 2 LOVE WE WILL ROCK YOU HOUSEBOYZ White Lovers 新谷さなえ xenon Mr.T 蒼い衝動 ～for EXTREME～ NAOKI feat.YUKI 桜 RevenG 大見解 Des-ROW feat. TSUBOI for ALPHA 魔法の扉 (スペース★マコのテーマ) a.s.a. 三毛猫ロック 亜熱帯マジ-SKA爆弾 復活再収録 20,november dj nagureo 5.1.1. dj nagureo AFRONOVA PRIMEVAL 8 bit AFTER THE GAME OF LOVE NPD3 BABY BABY GIMME YOUR LOVE DIVAS Be in my paradise JJ COMPANY butterfly SMiLE.dk Dancemania CAPTAIN JACK (GRANDALE REMIX) CAPTAIN JACK Dancemania celebrate JJ COMPANY CUTIE CHASER CLUB SPICE DAM DARIRAM JOGA Dancemania Don t Stop! ~AMD 2nd MIX~ Dr.VIBE feat. JP Miles Dr.LOVE baby weapon feat.Asuka.M e-motion e.o.s EL RITMO TROPICAL DIXIES GANG Dancemania Electro Tuned (the SubS mix) TaQ GENOM SCREAMS L.E.D.LIGHT gentle stress (AMD SEXUAL MIX) MR.DOG feat. DJ SWAN GET UP N MOVE S K Dancemania GRADIUSIC CYBER (AMD G5 MIX) BIG-O feat. TAKA I believe in miracles HI-RISE I Was The One good-cool IF YOU WERE HERE JENNIFER Dancemania jam jam reggae jam master 73 jam jam reggae (AMD SWING MIX) RICE.C feat. jam master 73 KEEP ON MOVIN N.M.R. La Señorita Virtual 2MB LEADING CYBER dj TAKA LET S GET DOWN JT PLAYAZ Dancemania LITTLE BITCH THE SPECIALS Dancemania LOVE THIS FEELIN Chang Ma LUV TO ME (disco mix) tiger YAMATO MAKE IT BETTER mitsu-O! Mr.T. (take me higher) Risky Men feat. Asuka.M PARANOiA ETERNAL STM 200 PUT YOUR FAITH IN ME UZI-LAY R3 tiger YAMATO Remember You NM feat. Julie RHYTHM AND POLICE (K.O.G G3 Mix) C.J.CREW feat. CHRISTIAN D Dancemania SAINT GOES MARCHING (REMIX) THE SAINT ska a go go THE BALD HEADS SKY HIGH DJ MIKO Dancemania SP-TRIP MACHINE ~JUNGLE MIX~ DE-SIRE SYNCHRONIZED LOVE (Red Monster Hyper Mix) JOE RINOIE Dancemania TELEPHONE OPERATOR (Club MIX) SHELLEY PETER Dancemania think ya better D sAmi TRIP MACHINE DE-SIRE
https://w.atwiki.jp/starbreak/pages/142.html
Dancer 攻撃力 射程 持続時間 サイクル時間 3-6 300 1000 150 Deepfire Dancer 攻撃力 射程 持続時間 サイクル時間 6-12 320 1000 150 Everdawn Dancer 攻撃力 射程 持続時間 サイクル時間 10-13 320 1000 150 Fellwhip Dancer 攻撃力 射程 持続時間 サイクル時間 12-16 320 1000 150 Darkstar Dancer 攻撃力 射程 持続時間 サイクル時間 14-19 320 1000 150 Direfall Dancer 攻撃力 射程 持続時間 サイクル時間 19-23 320 1000 150 コメントは最新10件を表示しています 全コメント 名前