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https://w.atwiki.jp/touhoukashi/pages/3350.html
【登録タグ QUALIA S TAMUSIC 少女さとり ～ 3rd eye 曲 美里】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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https://w.atwiki.jp/hidebulol/pages/85.html
Treatment Uniform Health+100 Armor+10 Health Regen+2 Treatment gloves Heallth+100 Physical Damage+10 Life Steal+5% Treatment ring Health+100 Magic Power+18 Energy Regen+4 Ruby Health+200 Power strap Health+400 Protection bead health+300 Energy Regen+6 When you are level up,you will recover 10% if your Health Ruby+Lether Bracelet Ruby sword health+300 Physical Damage+20 You can make your enemy slow 30% during 1.5seconds when you hit them by 15% chance Ruby+Dagger Power marble HP+300 Energy Regen+8 Health Regen+8 if you do nothing at least 3 seconds,Regen of enerygy and HP increase treble Protection bead Yellow dragon uniform Health+300 Armor+60 Health Regen+4 Reflect 30% of Magic Damage of enemy s Magic Attack to enemy Ruby+Regen ring+Steel guard Magnetic chain belt Physical Damage+20 Health Regen+4 Health+300 Energy Regen+6 Bashing around enemies and impoving 30% of movement speed protection+Regen ring+Dagger Veteran s protect suit HP+300 Hreg+4 AD+30 increase movementspeed of team players nearby Ruby+Regen ring+Long sword Shadow assassin s cape HP+300 Hreg+4 AD+45 MR+30 Giving Magic damage 10 to around enemies and lifesteal as given damage Ruby+Combat vest+Lether guard MAgician s staff of health HP+500 AP+80 Giving Magic Physical Damage can make your enemy slower 30% during 3seconds Wood stick+Ring of magician+Power strap Flame cape HP+400 AD+40 Each of second 40 Magic Damage to around enemies Comvat vest+Power strap Warrior s cape HP+400 AD+15 AR+45 When normal attack hit the enemy,enemy s defence is 10% down during 5seconds Power strap+Combat vest+Dagger Legendary shaman s cloak HP+400 AP+80 Hreg+4 Ereg+8 if you recordkill or assist,recover 600 of energy Regen ring+Protection bead+Woodstick Assassin s cape HP+400 AD+15 MR+50 Normal attack redeces MR 50% by 30% chance during 3secs Power strap+Steel guard+Dagger Veteran s Combat vest AD+30 HP+300 Hreg+4 AR+45 Reduce movementspeed of around enemies Ruby sword+Regen ring+Combat vest Craftsman ice hammer HP+300 AD+30 AS+30 Enemy who has hit Physical damage get to reduce 30% of movementspeed by 60% chance during 1.5 secs Ruby sword+Katana Immortal cloak HP+700 Hreg+6 increasing 10% of health Power strap+Ruby+Regen ring The master s magic staff AP+50 AS+40 HP+300 Ereg+6 When you use magic, redece 30% of spent energy recover 1000HP wehen it is changing of day and night redusing cool down 15% Saladin shamshir+Protection bead+woodstick Bloodless sword AD+60 AS+40 HP+300 Ereg+6 when you use magic reduce 30% of energy recover 1000HP when it changing of day and night reduce cooldown 15% Saladin shamshir+Protection bead+Long sword Yata mirror HP+600 Each of second, recover 1% of HP of maximum Reflect 30% of magic damage of enemy s magic attack and physical attack to enemy Blood mark Hreg+4 Life steal+12% Blood knuckle+Regen ring Physical Armor shield Hreg+4 AR+80 Ereg+10 Avoiding normal atacc by 15% chance Combat vest+Lether vest+Pendant Nests protection suit Hreg+4 MR+50 AS+15 Ereg+10 invincible defense shield will be created by each of 4 times Magic power hit Pendant+Steel guard+Shamshir Tesla suit AR+100 Hreg+4 Ereg+6 when doing normal attack, make to reduce 50% of enemy s attack speed by 30% chance during 3secs Lether vest+Lether vest+suite of defend Orochi blood AS+30 Hreg+6 Life steal 15% Blood mark+Katana Warlord scale cape AP+80 AR+20 Hreg+4 Ereg+10 Avoiding normal attack by 15% chance stick of sage+Lether vest+Pendant Blue dragon broadsword AD+50 AR+20 Hreg+4 Ereg+10 Avoiding normal attack by 15% chance Ax+Lether vest+Pendant Bloody magic sword AD+30 AP+40 Hreg+4 Increasing attack speed 4% while you hit the normal attack and it duplicates up to 10 times.Life steal+15%.Magic Life steal+10% Bloody mark+long sword+soul ring Leather vest AR+20 Combat Vest AR40 Crow AD+15 AR+25 Normal attack can give Magic Physical damage as same as 10% of your enemy s Health to your enemy by 15% chance Leather vest+Dagger Suite of defend AR+45 Ereg+6 Leather bracelet+Combat vest Shaman s folding fan AR+20 Ereg+14 Leather bracelet+Pendant+Leather vest Sunlight cape AR+30 MR+35 Ereg+6 Seeing the invisible unit Leather vest+Leather guard+Evil eyes Claw of destroyer AD+20 AP+60 AR+30 MR+20 Magic power has bonus physical damage as 8% of enemy s current HP exept bounce Physical damage or DOT Ring of magician+Woodstick+Crow Dragon folding fan AP+100 AR+30 Ereg+16 Increasing attack speed as 0.15% of magic power Shaman s folding fan+Stick of sage MAsanari gauntlet AS+30 AD+50 AR+30 Normal attack can hurt 10% of your enemy s current HP by 40% chance crow+Long sowrd+Katana Leather guard MR+25 Steel guard MR+45 Guardian boots MR+25 movementspeed 2.Avoid stun or slow spell by 20% chance Leather shoes+Leather guard Dagger AD+10 Long sword AD+25 Strong Military boots Physical armor piecing +20% Movementspeed 2 Shoes Legendary Sword AD+15 AS+10 crit chance+5% Ax AD+50 Sunlight sword AD+20 AS+15 Ereg+6 Seeing the invisible unit Dagger+Shamsir+Evil eyes Scimitar AD+40 AS+15 Physical armor piercing +40%,increasing movementspeed 4% Dagger+Long sword+shamshir Blade staff AP+80 AD+30 By 30% chance, normal attack adds 50% of magic power physical damage Long sword+Stick of sage Assasin s bloody blade AD+80 During 10 seconds, increase 20% of physical damage and Life steal rate.Life steal +10% Ax+Long sword+Blood knuckle Ranger s crossbow AD+60 AS+30 When losing HP, Attack speed faster up to 50% Ax+shamshir+Katana Takumi s chain bracelet AD+60 Ereg+16 Reducing cooldown 10% Long sword+Long sword+stud leather bracelet Shadowless sword AD+60 AS+20 Ereg+6 During 10 seconds attack speed +10%,movement speed +4%.Crit chance +10% Ax+Volition sword+Leather bracelet Butcher s double ax AD+100 When you hit the enemy,Physical Damage will be increasing by 10.it duplicates up to 5 times during 5 secs Ax+AX Kusanagi s sword AD+80 AS+20 Increasing Physical Damage 30% Sharp sickle crit chance +5% Grim reaper s sickle crit chance +10% Volition sword AS+15 crit chance +5% Sharp sickle+shamshir Dancer s sword AS+40 crit chance +20% Grim reaper s sickle+Volition sword+Shamshir Shamshir AS +10 Katana AS+20 Killer s boots AS+15 Movement speed 2 Leather shoes+Shamshir Saladin shamshir AS+30 Reducing Cooldown +10% Shamshir+Shamshir Blood knuckle Life steal +10% Ring of magician AP+20 Woodstick AP+40 Magician boots MAgic armor piercing +20% Movement speed 2 Leather shoes Soul ring AP+40 Magic life steal +10% Ring of magician+Ring of magician Legendary Staff AP+30 Reducing cooldown 5% Ereg+6 Stick of sage Ap+80 Ninja suit AP+80 Ereg+6 Movement speed increase up to 30% when losing HP Stick of sage+Leather bracelet Sunlight stick AP+40 Ereg+6 Seeing invisible unit.Reducing cooldown 5% Ring of magician+Ring of magician+Evil eyes Secret skill book AP+60 Magic life steal +15%.Reducing Cooldown 5% Ring of magician+Soul ring MAgical staff AP+80 Ereg+8 Magic armor piercing +40%,Increasing movementspeed 4% Ring of magician+Woodstick+Pendant Masanari dagger AP+140 Giving Magic power physical damage as same as 30% of chosen enemy s HP to shosen enemy and make him slower Ring of magician+Woodstick+Stick of sage Abeno s bracelet AP+100 Ereg Reducing cooldown 10% Woodstick+Woodstick+Stud leather bracelet Book of evil AP+120 Ereg+8 During 10 seconds,increasing 30% of Magic power and 10% of Magic life steal rate.Magic life steal +10% Stick of sage+Soul ring+Pendant Devil staff AP+160 Normal attack makes magic power +20.It can be duplicates up to 5 times and it stays during 5secs Stick of sage+Stick of sage Yasakani s jade AP+160 Increasing Magic power 30%,Reducing cooldown 10% The master s boots movement speed 2.Reduce cooldown 10% Leather shoes Stud leather bracelet Ereg+14 Reducing cooldown 5% Leather bracelet+Pendant Leather bracelet Ereg+4 Pendant Ereg+8 Evil eyes Ereg+4 See the invisible unit Leahter shoes Movement speed 1 Fighter foot bandages movement speed 2.Increwasing movement speed 15% when you were not in battle during 5secs Leather shoes HP recovery recover 200HP during 10 secs Energy recovery Recover 300 energy during 10 secs Physical Power pill AD+10 Magic Power pill AP+16 Physical Dec\fence pill AR+10 Magic Defence pill MR+10 Max HP pill HP+100
https://w.atwiki.jp/iwannabethewiki/pages/4456.html
製作者 Wolfiexe DL先↓ http //www.mediafire.com/file/27ohddfbm404vz7/I+Wanna+Enjoy+the+Electrified+Butterscotch+Dandy+V1.03.zip
https://w.atwiki.jp/iwannabethewiki/pages/3120.html
製作者 トライチ DL先↓ http //ux.getuploader.com/toraichi/download/12/i+wanna+be+the+TR+ver3.0.zip
https://w.atwiki.jp/stalker_cop/pages/82.html
string id= zat_b7_bandit_boss_sultan_b30_refuse_af_dialog_0 text A little bird told me you delivered a Compass to Beard. Now you listen to me, jag-off. If you say you re down for something and you let me down, well, I ain t gonna like you much after that. And people I don t like tend not to enjoy life. You got that? /text あんたが Beard へ Compass を渡したとある筋から聞いた。聞け間抜け。あんたが不運に合い、俺をがっかりさせたなら、あんたを嫌いになるだろう。人々は人生をおう歌すべきだ。わかるか？ /string !--「謳」は使用できない漢字です-- string id= zat_b7_bandit_boss_sultan_b30_refuse_af_dialog_1 text I ll keep that in mind. /text 考えは変わらないな。 /string string id= zat_b7_bandit_boss_sultan_b30_ruin_actor_dialog_0 text Beard is now out of upgraded detectors. /text Beard は改造した探知機を今持っていない。 /string string id= zat_b7_bandit_boss_sultan_b30_ruin_actor_dialog_1 text Sweetness. While you were gone, I kept myself busy cutting off his other channels. Now the client s ours, lock stock and barrel. Go talk to Beard, tell him Sultan says Hi. /text 優しいねぇ。あんたがいない間、奴の他の流通を遮断することで忙しかった。今やすっかり客は俺たちのものだ。Sultan が やぁ と言っていたと Beard へ教えておいてくれ。 /string !--ちょっと修正-- string id= zat_b7_bandit_boss_sultan_b30_start_actor_dialog_0 text Beard owes me money. Owl said you could help me. /text Beard は俺から金を借りている。Owl はあんたが俺を手助けできると言った。 /string string id= zat_b7_bandit_boss_sultan_b30_start_actor_dialog_1 text I guess I can... Here s my thinking we drive Beard broke and take over his setup, you get your money and a cut of the business. Deal? /text 俺はできると思っている・・・俺の考えはこうだ：俺たちは Beard を無一文にし組織を乗っ取る。あんたは金と仕事を得る。やるか？ /string string id= zat_b7_bandit_boss_sultan_b30_start_actor_dialog_11 text Deal. /text やってみよう。 /string string id= zat_b7_bandit_boss_sultan_b30_start_actor_dialog_111 text Now your job s to find out what s keeping Beard busy right now. Cutting off his supply channels will do the trick. /text テメエの仕事はどうして Beard の商売が繁盛してるのか探ることだ。やつの周りの流通を遮断してやろうって寸法よ。 /string string id= zat_b7_bandit_boss_sultan_b30_start_actor_dialog_12 !--訳修正-- text I ll think about it. /text 考えさせてくれ。 /string string id= zat_b7_bandit_boss_sultan_b30_start_actor_dialog_121 text Just remember, thinking s bad for your health. /text 覚えておけ、頭こねくり回しても体に悪いだけだぜ。 /string string id= zat_b7_bandit_boss_sultan_b52_about_nimble_0 text Think Nimble might be dealing in stolen goods? /text Nimble は盗品を扱っていると思うか？ /string string id= zat_b7_bandit_boss_sultan_b52_about_nimble_1 text Nimble? Nah, he ain t got the guts. Owl s our local dealer for the hot stuff. Whatever you re selling, he ll buy it, no questions asked. /text Nimble ？ 奴にそこまでの度胸ありゃしねえよ。Owl って肝の据わった商売人がいるだろ。そういうもんなら奴に持って行け、何も言わずに買い取るだろうぜ。 /string string id= zat_b7_bandit_boss_sultan_b52_about_snag_0 text I m looking for Snag. Do you know where I can find him? /text Snag を探している。奴がどこにいるか知らないか？ /string string id= zat_b7_bandit_boss_sultan_b52_about_snag_1 text I do. My boys saw him at the dock cranes a couple days ago. I ought to shake that punk down for some money he owes me, but I keep forgetting. /text ああ知ってるとも。港湾クレーンでうちのもんが何日か前に見掛けてるぜ。奴には俺が貸した金を、きっちり耳を揃えて返してもらわなけりゃならねえんだが、どこにも見当たらなくてよ。 /string !-- 口調を変更-- string id= zat_b7_bandit_boss_sultan_b5_give_task_dialog_11 text I ve got a job for you. My boys need to see a trader... you know, business related. It s been hot in the Zone lately, so I thought an extra shooter wouldn t hurt. Make sure the shit goes down nice and smooth. /text テメエにおあつらえ向きの仕事が出来た。うちの手下が売人と会いに行く・・・もちろん商売をしにな。最近 Zone じゃそういうのもややこしくてな、用心棒ってのが必須なわけよ。コトが円滑に公正に行われるよう取り計らってこい。 /string !--口調を変更-- string id= zat_b7_bandit_boss_sultan_b5_give_task_dialog_111 text OK. /text 分かった。 /string string id= zat_b7_bandit_boss_sultan_b5_give_task_dialog_1111 text Good. My people will meet you near the ranger station. The coordinates are in your PDA. /text よし。じゃあうちのもんが森林管理事務所の方で待ってる。 PDA に位置を表示させておいてやる。 /string string id= zat_b7_bandit_boss_sultan_b5_give_task_dialog_11111 text I see. /text なるほど・・・ /string string id= zat_b7_bandit_boss_sultan_b5_give_task_dialog_112 text I m not interested. /text 下らない。 /string string id= zat_b7_bandit_boss_sultan_b5_give_task_dialog_31 text The hell you still doin here? Get your ass to the ranger station. /text ここで何してる。とっとと森林管理事務所に行け。 /string string id= zat_b7_bandit_boss_sultan_b5_give_task_dialog_311 text Uh-huh. /text ほう・・・ /string string id= zat_b7_bandit_boss_sultan_b5_give_task_dialog_41 text So, you make up your mind yet? Are you with us or what? /text で、決心はついたか？俺達に付くのか、どうなのか、はっきりしろ。 /string string id= zat_b7_bandit_boss_sultan_b5_give_task_dialog_411 text I am with you. /text あんたに付いて行こう。 /string string id= zat_b7_bandit_boss_sultan_b5_give_task_dialog_412 text I m on my own. /text 俺は俺の道を行くさ。 /string string id= zat_b7_bandit_boss_sultan_intro_0 text Remember. I m Sultan. Everything that goes down here is either under my control or will be soon. If you want to live the good life, you gotta work for me. If you don t, you ll live the shitty life. That s how we roll, bro. /text 覚えておけ、俺が Sultan だ。ここら一帯に転がってる物は全部、じきに俺のモノになる。良い生活を送りたいんだったら、俺の為に働きな。さもなきゃ、ひでえ生活を送るハメになるぜ。さあ、どうするよ、兄弟。 /string string id= zat_b7_bandit_boss_sultan_start_dialog_11 text What do you need? /text 何が必要だ？ /string string id= zat_b7_bandit_boss_sultan_start_dialog_21 text What brings you here? /text 何用でここまで来た？ /string string id= zat_b7_bandit_boss_sultan_start_dialog_31 text Well? /text んん？ /string string id= zat_b7_killed_self_actor_dialog_0 text I killed all the stalkers myself. /text Stalker を残らず始末してきたぞ、俺一人でな。 /string string id= zat_b7_killed_self_actor_dialog_1 text Whoa, dude... shit, you a rough rider. Coming in here and taking them out like that, shit. What the hell did I hire you for... You ain t got us no cash, only heat... Cool the hell down man, you hear... /text 何だと、テメエ・・・クソ、とんだ狂犬野郎だな。ここで散々教えてやった筈だろうが、クソッタレめ。一体何の為にテメエを雇ったと思ってやがる・・・金も取らずに火を付けて回っただけじゃねえか・・・ほとぼりを冷ましてきやがれ、分かったな・・・ /string !-- Sultan から Shevchenko 襲撃を持ち掛けられた後、Knuckles へ話し掛けずに一人で Shevchenko を壊滅させた時の会話。 rough rider は狂犬と訳した -- string id= zat_b7_stalker_squad_leader_bunker_guarding_0 text Do you enjoy working for the scientists? /text Scientist との仕事はよろしくやってるか？ /string string id= zat_b7_stalker_squad_leader_bunker_guarding_1 text It ain t bad. No problems yet, everything seems cool. The scientists tossed some equipment our way, so we re doing good. /text 悪くは無いさ。今のところ特に問題もない、何もかもいい感じに進んでるよ。Scientit 連中は装備品もよこしてくれるし、いい仕事ができてるよ。 /string string id= zat_b7_stalker_squad_leader_bunker_guarding_2 text Excellent! The work is simple and they pay well. No one s come looking for the scientists while we ve been here. Not even the monsters. /text 素晴らしいよ！大した事するわけじゃあないが支払いはいいしね。俺達が来てからだれも襲撃になんか来ないよ、バケモノもね。 /string string id= zat_b7_stalker_squad_leader_come_with_me_0 text I m putting a squad together to go to Pripyat with. Will you join us? /text Pripyat へいく分隊を編成してるんだが、参加しないか？ /string string id= zat_b7_stalker_squad_leader_come_with_me_1 text Nah... I ain t got a hard-on for Pripyat, unlike others... Plus we got a job to do, protecting the scientists... You might wanna take that soldier dude with you. He d get a chance to look for his army buddies, and we d breathe easier, too. The guy s okay, kinda, but this ain t the best place for him... /text いや・・・他の奴らの様に Pripyat まで行くほどの度胸はねえな。それに、Scientist を護る仕事もある・・・あの兵隊連中を連れて行くってのはどうだ？連中は軍の仲間を探す事が出来て、俺達の肩の荷も下りる。きっとうまくいくぜ、この場所じゃあいつらも気分が良くねえだろうしな・・・ /string !--口調を修正-- string id= zat_b7_stalker_squad_leader_come_with_me_2 text Nah... I ain t got a hard-on for Pripyat, unlike others... Plus we got a job to do, protecting the scientists... /text いや・・・他の奴らの様に Pripyat まで行くほどの度胸はねえな。それに、Scientist を護る仕事もある・・・ /string !--口調を修正-- string id= zat_b7_stalker_squad_leader_employ_stalkers_0 text Would you like to work for the scientists? /text Scientist たちのために働くつもりはないか？ /string string id= zat_b7_stalker_squad_leader_employ_stalkers_1 text What s the job? /text どんな仕事だ？ /string !--話の流れにあわせて修正-- string id= zat_b7_stalker_squad_leader_employ_stalkers_11 text Guarding their bunker. /text 移動研究所の護衛だ。 /string !--話の流れにあわせて修正-- string id= zat_b7_stalker_squad_leader_employ_stalkers_111 text Well, guarding, heh... wouldn t be the first time. I agree. We ll start for the bunker as soon as we re ready. /text なるほど、護衛・・・ね、フフン、初めてってわけじゃあない。いいだろう。準備出来次第向かうとするよ。 /string string id= zat_b7_stalker_squad_leader_employ_stalkers_12 text Taking measurements in anomalies. /text アノマリーの中で測定しろ。 /string string id= zat_b7_stalker_squad_leader_employ_stalkers_121 text Measurements, heh. Do I look like a lab technician to you? It s not really my profile. /text 測定、へへ。俺は研究所の Technician に見えるか？それは俺の本当の肩書きじゃない。 /string string id= zat_b7_stalker_squad_leader_employ_stalkers_2 text Let s talk about that later. There s too many new hoods running around; gotta put them back in their place and maybe then think about work. /text 後で話そう。うろついてるフード野郎が多すぎる；連中を有るべき場所に追い返した後、仕事を考えるかもな。 /string !-- ↑hood (フード)はBunditと思われる。 状況が不明な為修正歓迎-- string id= zat_b7_stalkers_raiders_actor_choose_dialog_1 text All right, let s blow this joint. We ll give it to em good! /text よし、そろそろ行くぞ。奴らをハチの巣にしてやろうぜ！ /string string id= zat_b7_stalkers_raiders_actor_teleport_dialog_11 text Good. /text 助かるよ。 /string string id= zat_b7_stalkers_raiders_actor_teleport_dialog_2 text We better find some cover though. It s the friggin emission! /text とはいえ遮蔽物を見つけた方がいいな。いまいましい Emission だ！ /string string id= zat_b7_stalkers_raiders_dialog_15 text Let s blow this joint. We ll give it to em good! Stay cool, it s gonna be all right. /text そろそろ行くぞ。奴らをハチの巣にしてやろうぜ！とにかく慌てるな、そうすれば全て上手くいく。 /string string id= zat_b7_stalkers_raiders_dialog_16 text Popped em good, eh! Here s the coin, pal. I ll holler atcha if we get any more business. /text 思いっきりぶっ潰してやったぜ！アオ！ほらカネだぜ、アミーゴ。もっと ビジネス があったらよ、ヒャアアアアッホゥ！だな！ /string !-- こんな感じの意味だと思うんですが、浮いてたら修正お願いします -- string id= zat_b7_stalkers_raiders_dialog_18 text Whoa, dude... shit, you re a rough rider. Coming in here and taking them out like that, shit. What the hell did I hire you for... You ain t got us no cash, only heat ... Cool the hell down man, you hear... /text 何だと、テメエ・・・クソ、とんだ狂犬野郎だな。ここで散々教えてやった筈だろうが、クソッタレめ。一体何の為にテメエを雇ったと思ってやがる・・・金も取らずに火を付けて回っただけじゃねえか・・・ほとぼりを冷ましてきやがれ、分かったな・・・ /string !-- 意訳化 -- string id= zat_b7_stalkers_raiders_dialog_19 text You ain t clear?! Where the stalkers at, huh?!... What kinda bullshit is this? You snitched, didn t ya? Couldn t have been no one else! All my bros were right next to me all this time... Now your dumb ass is gonna get the pluckin the stalkers woulda gotten! What the hell you looking at - empty your pockets now, bitch! /text はっきりしないのか？！Stalker 達は何処に居る、ああ？こりゃ何の冗談だ？お前が告げ口したんだろ？他には誰にもできなかった！俺の兄弟達はずっと側に居た・・・今にお前捕まえた Stalker がお前の汚いケツを引っこ抜くぞ！糞空っぽのポケットを見やがれ、この肉便器が！ /string !-- ↑仮訳、スラング多すぎて正確な訳は出来ないが意味は通じるはず -- string id= zat_b7_stalkers_raiders_dialog_20 text We should get going... to the barge. /text Barge に会いに行くべきだろうか・・・。 /string string id= zat_b7_stalkers_raiders_dialog_31 text Hey there, chief. Sorry, but I ain t in the talking mood right now. /text やあ、あんたか大将。悪いが今はお喋りする気分じゃない。 /string string id= zat_b7_stalkers_victims_actor_choose_dialog_0 text I ll help you. /text 任せろ。 /string string id= zat_b7_stalkers_victims_actor_choose_dialog_1 text Great. We ll set up the meet as agreed and you ll head out. When they come up, we ll drop the bomb on them from all sides. Make sure to keep your distance, don t catch friendly fire. /text 良くやった。同意させる為に会合を開く。お前が先頭だ。連中が来たら、俺達は四方八方から爆弾を投げる。距離を取れよ、誤爆を食らうなよ。 /string !-- ↑仮訳 -- string id= zat_b7_stalkers_victims_actor_choose_dialog_11 text OK. /text 分かった。 /string string id= zat_b7_stalkers_victims_actor_choose_dialog_12 text Nah. I ain t down with that. /text いいや、そいつは倒してない。 /string string id= zat_b7_stalkers_victims_dialog_11 text Howdy, stalker. I m busy right now. Let s talk later, okay? /text よお、Stalker。今は手が離せなくてな。また後で話そう、いいか？ /string string id= zat_b7_stalkers_victims_dialog_12 text Thanks for the warning. Maybe you can agree to our plan? A nice chance to shoot the bastards in the back, so to speak. /text 警告ありがとうな。俺たちの計画に参加するか？奴らを背後から撃つ良いチャンスだぜ。 /string string id= zat_b7_stalkers_victims_dialog_13 text We ll ambush them. When we do, you start shooting the shitheads from the rear. /text 俺らは奴らを待ち伏せしている。俺たちが動いたらあんたは背後から奴らの頭を撃ち始めろ。 /string string id= zat_b7_stalkers_victims_dialog_14 text Those assholes are as good as dead. Thanks for the heads up. /text 糞共は死んだも同然だ。警告ありがとうな。 /string string id= zat_b7_stalkers_victims_dialog_15 text Thanks for helping us. /text 俺たちを窮地から救ってくれたな。感謝するよ。 /string string id= zat_b7_stalkers_victims_dialog_31 text Howdy. Listen, if it ain t urgent, let s chat later, k? /text よぉ。聞いてくれ。急用じゃなければ後で話そう。いいな？ /string string id= zat_b7_stalkers_victims_leader_start_dialog_11 text Hello. /text よう。 /string string id= zat_b106_stalker_gonta_info_about_soroka_gone_0 text I found Magpie. He was at Yanov station, posing as Flint. He’s been dealt with. /text Magpie を見つけた。奴は Yanov 駅で Flint と名乗っていたが・・・始末されたよ。 /string !-- 次で依頼人が自分の手で復讐できなかったのを残念がっているので、deal with は「取引」ではなく「問題を処理する」の意かと -- string id= zat_b106_stalker_gonta_info_about_soroka_gone_1 text Dealt with? That’s a pity. I sure would have loved to hurt that cockroach myself... Oh well, it s good news either way. Here, take this - I’m a man of my word. /text 始末されたって？そいつは残念だ。そのゴキブリ野郎は自分でブチのめしたかったが・・・まぁいい、手にかけるまでも無いだろう。なんにせよ朗報だ。ほら、持って行け - 俺は約束は守る。 /string string id= zat_b106_stalker_gonta_info_about_soroka_gone_11 text Thanks. /text ありがとう。 /string string id= zat_b215_stalker_guide_leave_zone_0 text I want to leave the Zone. /text 俺は Zone を去りたい。 /string string id= zat_b215_stalker_guide_leave_zone_1 text You sure? There ain’t no way back. /text 本気か？二度と戻れないぞ。 /string string id= zat_b215_stalker_guide_leave_zone_11 text I’m sure. Let’s go. /text 分かった。行くぞ。 /string string id= zat_b215_stalker_guide_leave_zone_12 text Actually... I’ll stay for now. /text そうか・・・当分ここに居る事にするよ。 /string !-- ↑直訳だとうまく文意を再現できなかった -- string id= zat_b7_stalkers_raiders_dialog_191 text OK, take the money. I don t want to fight. /text 分かった。金を受け取れ。戦いたくは無いからな・・・ /string string id= zat_b7_stalkers_raiders_dialog_1911 text Huh? Gimme everything you got, bitch! Then get lost and stay lost! /text はあ？お前が手に入れた物を全てよこせ、糞野郎！そしたら二度と顔を見せるな！ /string string id= zat_b7_stalkers_raiders_dialog_19111 text I m leaving. /text 俺はもう行く。 /string string id= zat_b7_stalkers_raiders_dialog_192 text No can do! /text 不可能だ！ /string string id= zat_b22_stalker_medic_need_health_care_2 text Let s have a look... With your health? Well, if you’re doing badly, I must be dead or something... /text じゃあ診せてもらうよ。・・・全くの健康体じゃないか？これで治療が必要だったら、僕の方は死体か何かだよ・・・ /string string id= zat_b30_owl_stalker_trader_start_dialog_13 text Listen, there s some urgent business. A trader I know wants to swing a deal. Only problem is, his customers are the bothersome type, so he s hiring a security guard just in case. You interested? /text よく聞け、急な仕事が入った。知り合いの Trader が取引を上手くやりたいと思っている。唯一の問題は客が厄介な奴だってことで、念のため用心棒を雇う。やってみるか？ /string string id= zat_b30_owl_stalker_trader_start_dialog_131 text Yes. /text そうだ。 /string string id= zat_b30_owl_stalker_trader_start_dialog_1311 text OK. The trader will be waiting for you by the ranger station, he ll fill you in on the details. /text よし。その Trader が森林管理事務所の側で待っていて、彼が詳細を説明する。 /string string id= zat_b30_owl_stalker_trader_start_dialog_132 text Not really. /text 気が乗らんな。 /string string id= zat_b30_owl_stalker_trader_start_dialog_1321 text Up to you. If you do change your mind soon enough, the job may still be up for grabs. /text お前次第だ。早めに気が変わるなら、仕事の口はあるだろうよ。 /string string id= zat_b7_bandit_boss_sultan_b7_give_task_dialog_0 text What kind of job can you offer me? /text どんな仕事を紹介してくれるんだ？ /string string id= zat_b7_bandit_boss_sultan_b7_give_task_dialog_1 text The money-making kind. Now think why am I asking you? You re the new guy with no connections to speak of but if you play your cards right you could quickly gain the locals respect. Wanna know what I m thinking? /text 金を生む仕事だ。考えてもみろ、どうして話をしたと思う？テメエはコネも無え新入りだが、きっちり手札を切ってりゃ、すぐにでも尊重される立場になれるかもしれねえぜ。俺の考えを聞きてえか？ /string string id= zat_b7_bandit_boss_sultan_b7_give_task_dialog_11 text Yeah, sure. /text ああ、勿論だ。 /string string id= zat_b7_bandit_boss_sultan_b7_give_task_dialog_111 text All right, then listen up. We got a mind to shake down a few of Beard s stalkers. It s a real cinch. Late at night, you and our guys come up to Shevchenko, and before these tourists figure out what s going down, you take ‘em for a ride. We get the dough, you get the props... Catch my drift? Alrighty then. See Knuckles standing over there? He ll give you all the details. /text よし、じゃあ耳かっ穿ってよく聞けよ。Beard に付いてる Stalker を何人か、減らしてやろうって腹づもりでな。チョロいもんだろう。夜遅くなったら、テメエと俺たちは Shevchenko へ向かう。で、あのピクニック気分の連中が気付いて泡食う前に、テメエがダマし討ちする。俺たちゃ金を、テメエは後ろ盾を手に入れるって寸法だ・・・俺の話に付いてきてるな？ よーし、なら次だ。そこに Knuckles が突っ立ってんのは分かるな？ 詳しい話は奴から聞け。 /string string id= zat_b7_bandit_boss_sultan_b7_give_task_dialog_12 text Not really. /text 気が乗らんな。 /string string id= zat_b7_bandit_boss_sultan_b7_give_task_dialog_121 text Too bad. Take some time and think it over... You ll come back if you know what s good for you, buddy. /text そいつは残念だ。暫くの間、よくよく考えてみるんだな・・・ どうするのが利口か分かりゃ、戻ってくるだろうぜ、兄弟。 /string string id= zat_b7_bandit_boss_sultan_b7_give_task_dialog_2 text The kind you d appreciate if you wanna go places... Wanna know what I m thinking? /text 成功者になりてえって言うなら、俺の思いやりに感謝する事になるぜ・・・ 俺の考えを聞きてえか？ /string string id= zat_b3_tech_buddies_pda_11 text Barge s PDA. I found his dead body in the caves under the burnt farmstead. /text Barge の PDA だ。農家の焼け跡地下にある洞窟に死体があった。 /string string id= zat_b3_tech_buddies_pda_12 text I found it near some bare bones not far from Oakpine. It s Joker s PDA. /text Oakpine からそう離れていない場所に、幾つか骨が散らばっていてな。Joker の PDA だ。 /string string id= zat_b3_tech_buddies_pda_121 text Joker s?!... That s impossible! Wow, I m so devastated... Joker s dead... Oh Joker, we won t be laughing at your jokes anymore... Rest in peace... I hope Barge is all right at least... /text Joker の・・・！？ そんな、あり得ねえ！ 畜生、こいつは応えたぜ・・・ Joker が死んだ・・・ はぁ、Joker 、もうお前の冗談を笑い飛ばせないとはよ・・・ 往生しろよ・・・ 少なくとも、 Barge の無事を祈る他ねえぜ・・・ /string string id= zat_b3_tech_buddies_pda_122 text Joker s?!... That s impossible! Wow, I m so devastated... So Joker s dead too... Oh Joker, we won t be laughing at your jokes anymore... Rest in peace... And you too, Barge... How did it come to this... /text Joker の・・・！？ そんな、あり得ねえ！ 畜生、こいつは応えたぜ・・・ Joker も死んだ・・・ はぁ、Joker 、もうお前の冗談を笑い飛ばせないとはよ・・・ 往生しろよ・・・ Barge 、お前もな・・・ 何でこんな事になっちまったんだ・・・ /string string id= zat_b3_tech_buddies_pda_13 text Barge s and Joker s. I found one by a skeleton near Oakpine, and the other on a dead body in the caves under the burnt farmstead. /text Barge と Joker の PDA だ。Oakpine 近くの白骨と、農家の焼け跡地下にある洞窟にあった死体から見付けたよ。 /string string id= zat_b215_stalker_guide_about_surge_1 text To be honest with you, there s not much to tell. Emissions are especially dangerous and almost always fatal. You can feel one coming on gradually, by the changing weather, but it passes soon after hitting its peak. At the first signs of its approach, run for the nearest cover - a cave, something made of concrete, bricks or steel... Like some others, I can feel an emission coming on when my back starts to ache. As for the nature of emissions, I don t have anything useful to tell you - I just don t know. /text 正直言って、話せることは殆ど無い。Emission は特に危険で大抵いつも命取りだ。徐々に近づいてくるのを天気の変化で感知出来て、ピークに達したら終わる。接近の兆候が出たら、近くの遮蔽物 －洞窟や、コンクリートや煉瓦、鋼鉄製のものへ避難しろ・・・。他の奴のように、俺は背中が痛み始めると Emission の接近を感知できる。Emission の性質について役立つことは何も言えない － ただ知らないんだ。 /string string id= zat_b30_owl_stalker_trader_start_dialog_11 text Need goods? Information?.. Or maybe you want to sell information? /text 何が要る？ モノか？ ネタか？ ・・・それとも、ネタを売り込みたいってワケか？ /string string id= zat_b7_stalkers_raiders_actor_choose_dialog_0 text Sultan says you’re planning to fleece the stalkers. Count me in. /text Sultan があんたは Stalker の奴らから金品を奪う計画をしていると言っていた。俺も混ぜてくれ。 /string string id= zat_b7_stalkers_raiders_actor_choose_dialog_2 text Great. Get your ass over to Shevchenko after midnight - we ll be waiting for you. Just don’t wait till morning to show up. /text いいぞ。真夜中に Shevchenko へ来い - あんたを待っている。しかし、朝日が昇るまで待ってはいられんぞ。 /string string id= zat_b7_stalkers_raiders_dialog_13 text Oh, it s you, bro. So, what did you and Sultan agree on? /text おぉ、相棒。何で Sultan に賛同したんだ？ /string string id= zat_b7_stalkers_raiders_dialog_14 text So... Get over to the barge after midnight but before the sun comes up - we’ll be waiting for you. /text だから・・・真夜中に荷船に来い。しかし太陽が昇る前にだ - あんたを待ってるぞ。 /string string id= zat_b7_stalkers_raiders_actor_teleport_dialog_0 text I think I better stay with you. We’ll wait for midnight and then you can show me the way to Shevchenko. /text あんたと一緒にいるのが良さそうだ。俺たちは真夜中になるのを待っている。それから、 Shevchenko へ行く方法を教えろ。 /string string id= zat_b7_stalkers_raiders_actor_teleport_dialog_1 text No problem, stick around. Taking you to the barge ain’t a problem. /text 問題ねぇ、近くにいろ。荷船へ連れて行ってやる。 /string string id= zat_b7_stalkers_raiders_actor_teleport_dialog_12 text Actually... I’m gonna go take care of some things. /text 実は・・・他に用事があるんだ。 /string string id= zat_a2_linker_b29_actor_info_1 text I have major customers outside the Zone who regularly order specific artifacts, which must be delivered within a specific period of time. You bring me what I ask and I pay you good money for it. Keep in mind that these orders are very important for me, which is why I try to commission several agents at a time... You get the full fee only if you deliver first. /text 定期的に特定のアーティファクトを注文する大口依頼人が Zone 外に居て、期限内に渡さなきゃならん。俺が頼んだ物を持って来れば良い額を払うぜ。この注文は俺にとってとても重要だから、同時に何人かに同じ物を依頼するようにしている。覚えておけ・・・謝礼を全額払うのは、最初に持ってきた奴だけだ。 /string !--顧客ではMercenaryの顧客と紛らわしいので依頼人に変更-- string id= zat_b18_noah_plateau_way_112 text Via the burnt farmstead. Hrm... Who are you, anyway? /text 焼けた農場を通ってきた。うーん・・・ところであんたは何者だ。 /string string id= zat_b30_owl_stalker_trader_buy_info_15311 text They also call that place the Iron Forest. The chopper crashed slap bang into the power pylons. None of the jarheads survived... Even if they did, they d never make it out alive. Those poltergeists just love chasing people into electric anomalies... Those scumbags respond to the tiniest movement, as I’m sure you know. /text あの場所は Iron Forest って呼ばれてる。ヘリの件だが、馬鹿でかい音を立てながら高圧線の鉄塔にぶち当たってな。生き残った兵士はいなかったぜ・・・まあ、仮に墜落時に死ななかろうが、生きて戻れやしなかったろうよ。Poltergeist は電気アノマリーに人間を追い込むのが大好きだからな・・・知ってるだろうが、あのゴミ溜めの化け物、ほんの僅かな動きにも反応しやがる。 /string string id= zat_b30_owl_stalker_trader_buy_info_15411 text Listen... After the chopper came down, five army guys were spotted there. Apparently they even managed to climb out of that swamp successfully... Reaching that place is no big deal, just stay away from water and keep to steady ground. And you ll need chemical protection, too. So, if you re planning on heading out there, buy some antidotes from the medic. /text 耳を貸しな・・・ ヘリが着陸した後、周辺で Military が５人目撃されてるぜ。どうやら、うまい事あの沼地から抜け出したみたいだな・・・もっとも、大して難しくもないだろうよ。単に水から離れて、地面の上に立ち続けてりゃいい事だからな。ついでに、薬品防護も要るか。そんな訳だ、現場へ向かうなら、医者から解毒剤を幾つか買っておくんだな。 /string !--「Militaryの兵士」という表現は普通しないので修正-- string id= zat_b3_stalker_tech_start_1311 text Too bad my buddies Joker and Barge aren t here... We d have a hell of a time. We were like brothers, always got each others backs... How did it all come to this?... I m still here, but they re gone hell knows where... /text ここに俺の相棒の Joker と Barge がいりゃあ良かったんだが・・・本当に楽しかったぜ。俺たちは兄弟みたいなもんでな、ずっとお互い背中を預け合ってきたんだ・・・それが、どうしてこんな事になっちまったのかね・・・？ 俺がずっとこの場にいるってのに、あいつらはどこかへ行っちまったきりでよ・・・ /string string id= zat_b3_tech_buddies_about_0 text Tell me about Joker and Barge. /text Joker と Barge の事を教えてくれ。 /string string id= zat_b30_owl_stalker_trader_choose_task_111213 text I’ve already got something from there. /text あそこにあった物はすでに入手済みだ。 /string string id= zat_b30_owl_stalker_trader_choose_task_1112131 text Start talking... Did you get something for me? /text さっさと話せ・・・何を持ってきた？ /string string id= zat_b51_stalker_nimble_b52_about_gun_questions_11111 text Well, that explains it. I know him. He s always been a crook, but lately he s gotten really out of hand, scamming stalkers like that... He needs to be put in his place. /text よし、これで大体わかる。奴の事は知っている。奴はいつでも詐欺師だが、最近はそういう Stalker をだまして本当に手に負えなくなった・・・奴は奴の居場所に置く必要がある。 /string !--「騙」は使用できない漢字です。-- !-- He needs to be put in his place. は、「奴に責任を取らせる必要がある」という意味かも知れない -- string id= zat_b30_owl_stalker_trader_choose_task_116 text I need information from the mercenary camp. It’s not as hard as it sounds. /text Mercenary のキャンプのネタが欲しい。想像よりは楽だと思うぜ。 /string string id= zat_a2_linker_b29_actor_get_adv_task_111 text OK, I’ll be waiting... Keep in mind that the job is urgent - it has to be done within two days. /text わかった、待って置こう・・・この仕事が２日以内に済ませなきゃならん緊急である事を覚えて置けよ。 /string string id= zat_b30_owl_stalker_trader_sell_items_28 text Sultan’s messenger’s PDA. /text Sultan の使者の PDA だ。 /string string id= zat_b30_owl_stalker_trader_sell_items_281 text It’s not that interesting. I ll give you 500 for it. /text 興味が無いな。 500 払おう /string string id= zat_b30_owl_stalker_trader_sell_items_2811 text OK. /text いいだろう。 /string string id= zat_b30_owl_stalker_trader_sell_items_26 text Detector prototypes. Would you like to buy them back? /text 試作品の探知機だ。買いたいか？ /string !--状況が不明だが、「買い戻したいか？」の方がより合っている場合は変更するべき-- string id= zat_b30_owl_stalker_trader_sell_items_27 text Secret documents, I found them on the bridge by the motor column. Wanna have a look? /text 機密書類だ。橋にある軍の車列から見付けてな。見たいか？ /string string id= zat_b30_owl_stalker_trader_sell_items_31 text A strange artifact. I found it at the dredge station. /text しゅんせつ船で奇妙なアーティファクトを見つけた。 /string string id= zat_b30_owl_stalker_trader_sell_items_32 text A strange artifact. I found it near Yanov station. /text Yanov 駅の近くで奇妙なアーティファクトを見つけた。 /string string id= zat_b30_owl_stalker_trader_sell_items_33 text Heart of the Oasis artifact. /text アーティファクト Heart of the Oasis だ。 /string !-- Heart of the Oasis ←これはアイテム名-- string id= zat_b7_stalkers_raiders_dialog_151 text Let’s rock. /text さあ、やろうぜ。 /string !-- 大虐殺ターイム。 -- string id= zat_b7_stalkers_raiders_dialog_152 text Wait. /text 待ってくれ。 /string string id= zat_b7_stalkers_victims_actor_start_dialog_0 text A group of stalkers is planning to stick you up. Stay alert. /text Stalker の奴らはあんたらを返り討ちにしようと計画している。警戒しろよ。 /string string id= zat_b7_stalkers_victims_actor_start_dialog_1 text Rat bastards... All right, we ll give them a warm welcome... Listen, try to make them think you’re on their side. Do that and you can help us fight them off... We ll make it worth your while... /text 雑魚共め・・・準備万全だ、温かく迎えてやろう・・・聞け、あんたは奴らの仲間だと思わせろ。その隙に俺たちが奴らをハチの巣にする・・・期待しているぜ・・・ /string string id= zat_b52_robbery_port_bandits_1_1111 text I don t give a shit what you agreed to. Hand it over! /text お前が同意しようがしまいが知った事じゃねえ。そいつを渡しやがれ！ /string !-- Zaton のクエスト Reputation に関する会話 -- string id= zat_b52_robbery_port_bandits_1_1111212 text Okay, here you go. /text 分かったよ、持って行け。 /string string id= zat_b52_robbery_port_bandits_1_21 text You don t?... We don t give a rat s ass. Hand it over, moron! /text 知らねえのか・・・？ まあ、どちらでも構わねえがよ。そいつを渡しやがれ、ウスノロが！ /string !-- not give a rat s ass ～ 全く気にしない -- string id= zat_b52_robbery_port_bandits_1_11111 text Easy, easy... Here you go. /text まあ、落ち着け・・・ほらよ、持って行け。 /string string id= zat_b7_stalkers_victims_actor_start_dialog_2 text Rat bastards... All right, we ll give them a warm welcome... Listen, help us fight them off if you can. We ll make it worth your while... /text 雑魚共め・・・準備万全だ、温かく迎えてやろう・・・聞け、手助けできるなら一緒に奴らをハチの巣にしよう。期待しているぜ・・・ /string string id= zat_b7_stalkers_raiders_dialog_21 text Popped em good, eh! You didn’t get involved, so you ain’t getting a cut. I ll holler atcha if we get any more business. /text ぶっ潰してやったぜ！ お前は・・・見てるだけとは良いご身分じゃねえか。また何か ビジネス の話があったら大声で呼んでやるよ。 /string string id= zat_b5_stalker_commander_dialog_31 text You’re no use... Don’t expect a reward. Well, at least you came to have a chat, That’s something. /text 使えん奴だ・・・報酬は期待するなよ。まぁいい、何か話があるようだが、一体何だ。 /string string id= zat_b5_stalker_commander_dialog_311 text See ya. /text またな。 /string string id= zat_b7_bandit_boss_sultan_b30_compass_give_actor_dialog_1 text Attaboy. Now we put the screws on our little client. I heard Beard gave his stalkers some very powerful detectors designed for finding rare artifacts. So you need to join up with those stalkers and make it so those detectors don t slip past your pocket. Catch my drift? /text いいぞ。これで俺たちの小さなお客に圧力をかけられる。 Bread がレアなアーティファクトを探すための高性能探知機を奴の Stalker 共に与えたと聞いた。 で、お前は連中に紛れ込んでそいつを手に入れてこい。懐に隠せるなんて思うなよ。流れは掴めたか？ /string string id= zat_b7_bandit_boss_sultan_b30_start_actor_dialog_2 text No chance of outmuscling him. I tried to squeeze up his supply routes but that bearded scumbag managed to get a Compass anyway. Looks like he’s doing just fine... for now. /text 奴に圧力をかける機会はないな。奴の補給経路を締めてみるが、いずれにせよあのゲスなひげ面野郎は Compass を手に入れたって訳だ。野郎、うまくいってるようじゃないか・・・ 今はな。 /string string id= zat_b22_stalker_medic_dialog_start_1111211 text [continue...] /text [続行・・・] /string string id= zat_b22_stalker_medic_dialog_start_1141111 text [continue...] /text [続行・・・] /string string id= zat_b22_stalker_medic_need_health_care_11 text [continue...] /text [続行・・・] /string string id= zat_b22_barmen_about_vampire_actor3_0 text Grouse is dead. It looks like Tremor killed him... but he’s dead too. /text Grouse は死んだ。Tremor に殺されたようだ・・・しかし、奴も死んだ。 /string /string_table
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Sword of the Stars The Pit
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Sound Test 2- Octave (Piano Version) ≪△≫ (Japanese) musical grammar. 2nd study. Basic Information 3rd work of "Technical works" StylePiano solo Collaborationuse sample music of Vita and Revolta 2 (MAGIX Music Maker) 1st appearanceDecember 1, 2008 on zoome.jp Publish on Web YouTube Dailymotion 作品解説 on zoomeon メーカー未公認jamバンドファンクラブ(zoome) Tags Work Technical workst7. Range of voice - The vocaloid spirit t6. History of the synapse t5. Visual Test - Alpha t4. LET S BEGIN OUR MUSIC t3. Sound Test 2- Octave (Piano Version) t2. Sound Test 1- Intervals t1. We make musics as this WorkSearch by Singer Search by Performer Date Order WelcomeAbout Exhibition space Work LinksSearch Japanese Version page view( - ) Copyright ©2008-2009 to_dk.
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製作者 Habluka DL先↓ http //www.mediafire.com/download/f5y7bib51e3wvs2/I+wanna+be+the+0x00FF00.zip
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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。
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作詞：冈岛こんちーた(パティ不動産) 作曲：冈岛こんちーた(パティ不動産) 編曲：冈岛こんちーた(パティ不動産) 歌：GUMI 翻譯：木子圣贤 we take off the world 有谁说出口了 有谁舍弃掉了 哀伤的话语 不会消逝的话语 为了不成为输家 为了不落下眼泪 形形色色的谎言堆积成山 我们没有察觉 不知何时 向着前方的表象之下 是沉浸于后方（过去）的自己 在被符号化的轨迹之上 生怕坠落的我们小心翼翼行走着 充斥著空白的工作 一直侵蚀著心 越是填充就越是能看见 逐渐可视化的空虚啊 just going my way yes myself 摆脱舍弃掉这世界 we take off the world we take off the world 为了选择新的世界 we take off the world we take off the world we take off the world 是真实还是虚幻 是个人还是分人 倘若不直面自己一直在身侧的心 就什麼也无法开始 现实什麼的不去面对就好 不懂得希望的现实毫无意义 尘世间纷纷扰扰 并没有什麼了不起 just going my way yes myself 摆脱舍弃掉这世界 we take off the world we take off the world 忐忑雀跃著 向著未来前进吧 we take off the world we take off the world we take off the world we take off from the world(从这世界起航) 大胆编织梦想吧 尽情倾吐思绪吧 无法言喻的极乐 就在前方 we take off the world 人类是自由的 人类是脆弱的 所以不得不前行 向著前方（未来）的明日 we take off the world