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• 毎日新聞の英語版サイトがひどすぎる　まとめ＠wiki - "I love the Mainichi Shimbun online. Sort of." 翻訳

  https://w.atwiki.jp/mainichiwaiwai/pages/30.html

  http //www.japaninc.com/node/2988 "I love the Mainichi Shimbun online. Sort of." 「私は、ある意味毎日新聞を愛している」 February 26, 2008 J@pan Inc Blog I love the Mainichi Shimbun online. Sort of. Having record of both the English and Japanese language versions of the same articles from the same publication resting side-by-side, only a hotlink away, the site serves as a rather interesting window into how news is tailored to its audience. 私は、毎日新聞オンラインを「ある意味」愛している。同じ新聞社の同じ記事の英語版と日本語版を記録していることで、このサイトはいかにニュースがそのオーディエンスに向けて仕立てられるかの興味深い窓となっている。 Looking at the publication, it seems that there is a fine line between news and entertainment—and the Mainichi’s leaning to the latter undoubtedly boosts their reading figures, particularly on the English site. As Ms Kitanaka has previously noted content is strategically selected and the writing style is self-consciously titillating. This applies to both the Japanese and the English versions but interestingly, there are inconsistencies between the two. 配信記事を見ると、ニュースとエンターテイメントの間には明確なラインがあるが、とりわけ英語版の方では後者のエンタメ志向が疑いの余地なく読者を増やしている。キタナカさんが以前指摘したように、内容は戦略的に選択され、記述スタイルも意識的に心をくすぐるようになっている。これは日本語版も英語版の両方に言えることだが、興味深いことにこの2つの間に不一致がある。 Opening up the English homepage the first thing I noticed was the startling number of articles related to sex crimes (click here for an example), none of which were related to the US military rape case that has been pummeling the headlines as of late. These were all crimes committed by Japanese people, primarily against young females. Clicking on any of the articles not only pulls up the article in question but an onslaught of similar stories under the “related articles.” You can follow these stories to the end of the earth. Yet when I checked out the Japanese versions of these same articles, if they even existed, the number of “related articles” was always significantly less, or entirely nonexistent. 英語のホームページを開くと、最初に気づくのは仰天すべき性犯罪の記事の多さである。このどれも米軍のレイプのケースとは関係ない。これはすべて、日本人により若い女性に対して犯された犯罪である。記事のどれをクリックしても問題の記事だけでなく「関連記事」の下に大量の類似のストーリーを読むことができる。しかし同様の記事の日本語版をチェックしても存在したとしても「関連記事」はいつも少ないか、全く存在していない。 Is it presumed that the Japanese audience doesn’t care to hear about these things? Does everyone know it’s happening and therefore it’s assumed that these stories don’t need to be told? God forbid readers actually have to stare problems in the face day in and day out to the point where they are forced to think critically about their contributing factors on a deeper level. Or、 is it simply that the English editors fall back on the sensationalist tendencies of the media in their home countries? これは日本人の読者がこうした事柄について聞きたいと思わないことを想定しているのか？みんなそれが起こったことを知っていて、そのような話は報道される必要が無いと思われているからだろうか？それとも英語版の編集者が自国のメディアのセンセーショナルな傾向に頼っているということなのか。 Either way, I don’t care for the Mainichi Shimbun as much as I first stated. I lied. In fact, I find it rather difficult to respect a publication that blatantly reports with such extreme discrepancy across its content. But I am glad that it exists and it is entertaining. It’s also an interesting window into the world of journalism and the Janus-faced duality of allegedly bilingual reporting. どちらにしても私は毎日新聞には最初に述べたほど興味がない。そう、嘘をついた。実際、私は内容についてこんなに極端な不一致をもってぬけぬけと報告するような新聞社を尊敬するのは難しいと思う。これはまたジャーナリズムの世界への、そしてバイリンガルなリポートとかいうもののヤヌスの双頭のような二元性への興味深い窓である。 By Justin Potts 翻訳は、Mozuの囀さんのブログを参考にしました。 http //rockhand.cocolog-nifty.com/blog/2008/04/post_6f5f.html

• iRacing@wiki - 2. Front and Rear Suspension Adjustments

  https://w.atwiki.jp/iracing_wiki/pages/30.html

  レースカーにおいてサスペンションの調整は大変重要な項目です。サスペンションは、タイヤがしっかり路面を捉えるようにしたり、荷重移動をコントロールしたり、最適なエアロダイナミクスを得られるよう車体の姿勢を維持する役割があります。調整方法を説明するために、それぞれのコンポーネントごとにフロントとリアに分けて説明します。 The suspension adjustments of a race car are the “meat potatoes” of the car’s setup. The suspension is responsible for keeping the tires in constant contact with the racing surface, controlling weight transfer, and maintaining a proper aerodynamic stance for the car. In order to explain the adjustments, I’ve included paragraphs for front and rear adjustments for each component. Corner Weightこれは何？ 効果 フロント リア TIPS Ride Heightこれは何？ 距離を表します。車体までの距離ではありません。 効果 TIPS Shock Deflectionこれは何？ 効果 Spring Deflectionこれは何？ 効果 フロント リア TIPS Spring Perch Offsetこれは何？ 効果 フロント リア Spring Rateこれは何？ 効果 フロント リア TIPS Bump Stiffnessこれは何？ 効果 フロント リア TIPS Rebound Stiffnessこれは何？ 効果 フロント リア TIPS Camberこれは何？ 効果 フロント リア TIPS Casterこれは何？ 効果 TIPS Rear Toeこれは何？ 効果 TIPS Track Bar Heightこれは何？ 効果 TIPS Corner Weight これは何？ 読んで字の如く、車の各コーナー（左フロント・右フロント・左リア・右リア）の荷重です。 Explanation Simple. It’s the “weight” of that particular corner of the car. 効果 コーナーウェイトは車が静止状態の時の各コーナーの荷重を表します。これらはスプリングパーチオフセット（後述）で調整できます。 What does it do Corner weights basically just show how much load you are seeing on each corner of the car when the car is at rest. These are adjustable by the Spring Perch Offset, explained below. フロント 左側の荷重を大きくするとターン進入時に旋回性が良くなり、逆に右側を大きくすると進入時に車が安定します。 On the Front End For the front, increasing the left front weight will cause the car to turn better on entry, while increasing the right front weight can make the car more stable on entry. リア 右側の荷重を大きくすると、ターンの中間の旋回性が良くなり出口までスムーズに繋がるようになります。左側を大きくすると、ターン進入時にタイトになり出口まで安定した挙動になります。 On the Rear End At the rear end of the car, increasing the right rear weight will help the car to rotate at the center of the corner and free up the car on exit. Increasing the left rear weight will tighten the car on entry, as well as stabilize the exit of the corner. TIPS 左右の荷重に極端な差を付けるべきではありません。そうしてしまうと、レース中にハンドリングに重要な問題が起きる可能性があります。特定のタイヤの消耗が激しい場合はコーナーウェイトを確認し、荷重が偏りすぎていないか確認してください。 Tips Not something to be overlooked, huge differences between the left and right side corner weights can raise a red flag on a handling issue that can occur during a race. If you have one tire that is wearing particularly quickly, check the corner weights to see if there is a huge difference. Ride Height これは何？ 距離を表します。車体までの距離ではありません。 Explanation Ride Height is the distance from the frame rails to the racing surface. This is NOT a measurement of how far the body of the car is from the racing surface. 効果 車高は、車が路面からどの程度離れているかを表しています。空力的な効果を測る指標ともなります。 What does it do The Ride Heights just tell you how high the car is off the racing surface. From an aero standpoint, the heights can give a good indicator of how the attitude of the car will be at speed. TIPS 通常はリアよりフロントが低くなるようにします。これにより車体が前傾姿勢となりダウンフォースを得ることが出来ます。左右の傾きについてはトラックにより様々でテストが必要になるでしょう。小さなトラックでコーナーがタイトな場合は、左側を持ち上げると旋回性が上がります。 Tips Generally, keep the nose lower than the tail of the car. This will give you a good “rake”on the body and create the most down force on the car. The difference in the left and right heights will vary between tracks, so it’s good to experiment. Generally, if the track is smaller with tighter turns, lifting the left side will help the car to turn better in the tight corners. Shock Deflection これは何？ 通常"デフレクション"は負荷時の移動量を意味しますが、ショックアブソーバーにおいては、静止時にどの程度縮んでいるかを表しています。 Explanation “Deflection” basically means how much something has moved under load. In terms of the shock absorber, the deflection is how much it has compressed while the car is sitting still. 効果 ショックがどの程度動くか以外には何も意味しません。通常はショックが完全に縮む前にスプリングが完全に縮みます。 What does it do It really doesn t do much besides show you how much travel you have in the shock. Generally, you ll run out of travel in the spring before you run out of travel in the shock. Spring Deflection これは何？ ショックの場合と同じで、静止時のスプリングがどの程度縮んでいるかを表しています。 Explanation Just like the shock, the deflection in the spring shows how much the spring has compressed when the car is sitting still. 効果 スプリングがあとどの程度縮むことが出来るかを表しています。iRacingのガレージで表示される数値は、静止時にスプリングがどれだけ縮んでいるかを表しています。例えば、スプリングのデフレクションが2.5/4（インチ）の場合、静止時にスプリングが2.5インチ縮んでいて、あと1.5インチ縮むことが出来ることを表しています。 What does it do This piece of information shows how much travel is available from the spring. The number in the iRacing garage shows how much the spring is compressed while the car is stationary. For instance, if the spring has a deflection of 2.5" of 4", then the spring is compressed 2.5" while the car is at rest, and the spring has 1.5” of travel remaining. フロント フロントは特に重要で、"コイルバインド"状態になるためにどれだけスプリングを縮める必要があるのかを表しています。通常、右フロントより左フロントのほうがデフレクションが必要になるでしょう。 On the Front End This is important in the front end of the car, mainly by showing you how much the front end has to move before that particular spring is in a “coil-bind” state. Generally, you want more deflection in the left front spring than on the right front. For instance, if you have a deflection of 2.25” of 4.02”, then by simple math (4.02-2.25), you end up with 1.77” inches of travel until that spring is fully compressed. リア 通常、リアスプリングはフロントほど伸び縮みしませんが、全く無いわけではないので適切な移動量は与えておく必要があります。 On the Rear End The rear springs are less likely to bind under normal racing conditions, but it is still possible. Try to keep a decent amount of travel in the spring, otherwise the car will swap ends when the rear springs are bound. TIPS 基本的には、バンピーなトラックではデフレクションを少なく、スムースなトラックではデフレクションを多くします。Lowe s Motor Speedwayのようなトラックではスプリングの移動量は少なくて済みますが、同じセットをAtlantaに持ち込んだ場合は常に車が跳ねるような状態になってしまうでしょう。 Tips You ll generally look for less spring deflection on a bumpy track, and more deflection on a smooth track. You can get away with a small amount of travel at somewhere like Lowe s Motor Speedway, but at Atlanta, your car will bounce all over the place from the constant shock to the chassis. Spring Perch Offset これは何？ Impala A/BおよびSilveradoでは、スプリングはサスペンションに2つのパーチで固定されています。下のパーチはロア・スイングアームに固定されており、上のパーチはフードを開けてスレッドボルトを調整することにより固定位置を変更することができます。 スプリングパーチオフセットは、負荷を掛けていない時のスプリング自体の長さからの差を指します。スプリングが6インチで、パーチを調整した後も6インチならオフセットは0で、調整後に4インチならオフセットは-2インチとなります。 Explanation On the three "Big" stock cars (Silverado, both Impalas), the spring is held in the suspension by two "perches". The lower perch is usually fixed to the lower swing arms, and the upper perch is adjustable by means of a threaded bolt that goes through the upper perch and is accessible through the hood opening. When the springs are not exerting any force, they are in "equilibrium", and this is known as their "static length". Spring Perch Offset refers to the distance from static length as a result of moving the upper perch. For instance, if the spring’s static length is 6., and the perches are set so that the spring (when the car settles) is still 6.long, then your spring perch offset will be 0.00”. If you set the spring perch so that the spring is 4. when the car settles, your spring perch is now -2.00". This is a negative value because you ve removed length from the spring. 効果 車高や荷重の調整に使えます。"Hookeの法則"に従って言うと、オフセットを大きくするとスプリングを縮めることにより荷重が乗り、車高が上がります。オフセットを小さくすれば荷重が減り車高も下がります。 What does it do The spring perch offset has a multitude of uses, from the ride heights to weight movement. Using the concept "Hooke’s Law" (explained later), adjusting the spring perches to a negative value will compress the spring, and thus move weight towards that corner, and raise the height of that corner on the car. Moving towards a smaller negative value will reduce the weight on that corner, and lower that corner of the car. フロント フロントはリアとは違う観点でセッティングする必要があります。テストを重ねることによって、トラックごとに適したセッティングを見つけることができるでしょう。大きな変化を感じることはできないかもしれませんが、多少の改善はあります。 On the Front End The front perches have a much different role than the rear perches on these cars. With testing, you’ll find a good ride height split that works at each track, and then you will set the perches so the front end is at that split. Generally, you won’t see much results from shifting weight on the front with the perches, but you can get some minor results. リア リアのセッティングで車の曲がり方を調整することができます。ターン入口でルースなら、左リアのパーチを調整して荷重を増やすことで改善できます。反対にタイトなら左リアの荷重を抜きます。右リアでも同じことが言えます。コーナー中間でルースなら右リアの荷重を増やしてください。 On the Rear End The rear perches are quite possibly the best way to dial a car in, once the springs and shocks are set to where you like them. Generally, if you re a litt loose on entry, add some weight to the Left Rear of the car using the Perch Offset. If you re a little tight on entry, remove some weight from the Left Rear. It s the same idea with the Right Rear perch offset If you re loose in the center of the corner, add some weight to the Right Rear corner with the perch offset. Spring Rate これは何？ 単純にスプリングの固さを表します。例えば、500lb/inなら1インチ縮めるのに500ポンドの力が必要で、2インチなら1,000ポンド、といった具合です。 Explanation The spring rate is very simple how much force is exerted per unit of travel. For instance, a 500lb/in spring will exert 500lb of force for the first inch of travel, 1,000lb of force at 2 inches of travel, 1,500lb at 3 inches, and so forth. 効果 やっていることはただ一つ、どれだけ固いか、だけです。レートの高いスプリングほど固くなります。 What does it do The spring rate does one thing, and one thing only tells you how hard the spring is. A higher rate spring will be stiffer than a spring with a lower rate. フロント コイルバインドスタイルのセッティングをしているのなら、トラックに合ったレートを見つけるのに少し時間がかかるかもしれません。柔らかすぎればフロントタイヤに十分な荷重を掛けることができず、車はルースな挙動を示すでしょう。固すぎればスプリングを十分に縮めることができず、車はタイトになります。 コンベンショナルスタイルのセッティングをしているのなら、固めのスプリングが適しているでしょう。コンベンショナルスタイルのセッティングにおいてスプリングレートの変更は、コーナーウェイトを変え車のハンドリングが変わります。 On the Front End If you’re building a coil-binding setup, finding the proper springs for the track will take time. If your front springs are too soft, they won’t exert enough force on the front tires, and the car will feel very loose. If the front springs are too stiff, they may not bind, and will cause the car to become very tight. However, if you’re going with a "conventional" setup, using stiffer springs is the way to go. Changing the spring rates on a conventional setup will change the corner weights, and thus change how the car handles. リア リアスプリングのセッティングはやや難しく、フロントとのバランスも考慮する必要があります。コイルバインドならフロントより固く、コンベンショナルならフロントより柔らかくします。ベストなセッティングを見つけるにはテストを重ねるしかありません。フロント・リアでバランスの取れたセッティングを見るけることができれば、それをお気に入りのスプリングパッケージとすることができるでしょう。 On the Rear End Rear springs are a little more complex. They have to somehow balance the car from the force exerted by the front springs. Generally, if you’re running a coil-bind setup, the rear springs will be stiffer than the front springs, while if you’re running a conventional setup, the rear springs will be much softer than the front springs. The best way to find good rear springs is to run a lot of combinations in testing. You’ll find a pair of rear springs that work with the front springs you like, and then you’ve made a “spring package”. TIPS NASCARのプラクティスセッションを観戦すると、どんなスプリングが使われているのかコメンテーターが言及してくれる時があります。 ショートトラック、インターメディエイト、スーパースピードウェイそれぞれのタイプにあったパッケージを見つけられれば、より簡単に、より安定した車を手に入れることができます。 Tips If you get some time during the NASCAR season, watch a practice or two, and you may hear one of the commentators mention what springs are in the front or rear of the cars. Usually, you’ll look for a package to run at each of the three types of tracks short track, intermediate, and superspeedway. Once you have that package and something that makes the car feel stable, the rest of the setup will be much easier. Bump Stiffness これは何？ ストックカーのショックはバンプ側とリバウンド側のそれぞれで独立して調整が可能です。バンプはショックの縮む時の固さを指します。レートが大きければ固く、小さければ柔らかくなります。 Explanation The shocks on these stock cars are two-way adjustable, meaning "Bump" and "Rebound" are independently adjustable. The "Bump" setting refers to the stiffness rating of the shock when it is in compression. A higher number will mean a stiffer shock under compression, and a lower number will mean a softer shock under compression. 効果 人によってセッティングの目的は様々です。バンプのセッティングによりフロントへの荷重移動をコントロールしたり、サスペンションの伸び縮みのスピードをコントロールできたりします。 What does it do Many people use the bump adjustment for many different things. It does control the weight transfer to the front (stiffer bump will resist weight moving to the nose), but it can also be used to control how quickly the suspension travels. フロント フロントのバンプのセッティングにより、ブレーキング時のノーズダイブの早さ、スプリングが完全に縮むタイミング、フロントへの荷重移動の速度をコントロールできます。 通常は、左フロントのバンプを弱めることにより荷重移動が速くなりターンインしやすくなります。右フロントを弱めると右フロントへの荷重移動が速くなり、ターン進入時にタイトになります。固くするとこれらの反対の効果が現れます。 On the Front End The bump setting on the front will control how quickly the nose “drops”under braking, when the springs bind, and how quickly weight will transfer to the front. Generally, on the left front, decreasing the left front bump will move weight to that corner faster, and help with turn in. Decreasing the right front bump will shift weight to that corner faster, and make the car tighter on entry. Increasing the bump will do the opposite for each corner. リア リアのバンプのセッティングによりターン出口での挙動をコントロールすることができます。リア両方のバンプを柔らかくすることにより加速時のトラクションが得やすくなりますが、タイトにもなります。 スプリングと同様なことがショックにも言えます。右リアのショックが固ければ加速時にルースに、左リアが固ければタイトになります。右リアが柔らかければ加速時にタイトに、左リアが柔らかければルースになります。 On the Rear End The rear bump setting will mainly control how the car behaves on corner exit. If you lower the bump on both sides of the rear, the car will have more traction under throttle, but will be tighter on the exit. Separately, the shocks will do the same as the springs a stiffer right rear shock will loosen the car under throttle, while a stiffer left rear shock will tighten the car under throttle. Lowering the right rear bump setting will tighten the car under throttle, and lowering the left rear bump will loosen the car under throttle. TIPS ショックの働きを説明するのは難しく、それ用の新しいガイドの必要性を認識しているほどです。しかしあなたがテストを重ねれば、どんなセッティングがベストでどんなセッティングがまずいのかは分かるようになるでしょう。 フロントがフワフワしている感覚がある時はバンプを固くしてください。反対に固く感じる時は柔らかくしてください。リアでも同じです。 ショックはスプリングの"ファイン・チューナー"と言えます。固いスプリングと柔らかいスプリングがあって、その中間が欲しい時は柔らかいスプリングをバンプで調整すると良いでしょう。 Tips It s difficult to explain how the shocks work, I d need an entire new guide for that. However, testing will show you what works and what doesn t work. If the front end feels really "floaty" when it s moving up and down, increase the bump in the front shocks. If it feels to "rigid", decrease the bump, and the same goes for the rear end. In addition, shocks can be thought of as "spring fine tuners". If one spring is too stiff, but the next one is too soft, use the softer spring and change the bump until you find a happy medium. Rebound Stiffness これは何？ バンプとは反対に、リバウンドはショックが伸びる時の固さを指します。数値が大きければ伸びる時の抵抗が大きく、小さければ抵抗は小さくなります。 Explanation The opposite of "Bump", the "Rebound" refers to how stiff the shock is when it is expanding. A higher number on the rebound will show more resistance to expanding, and a lower number will expand with less resistance. 効果 リバウンドのセッティングにより、どのくらいの間荷重を乗せるか、をコントロールできます。リバウンドが固ければ荷重が掛かったままになり、柔らかければすぐに荷重は移動します。 What does it do The rebound setting controls how long weight stays on a specific corner of the car. A stiffer rebound will hold weight on that corner longer, while a softer rebound will release that weight faster. フロント フロントのリバウンドは最適なエアロダイナミクスを得るために極めて重要です。一般的にはフロントが路面に近い状態を維持するため固めのリバウンドにセッティングしますが、固すぎるとバンピーなトラックでは車が不安定になります。 On the Front End The front rebound is crucial to maintaining a proper aerodynamic attitude. Generally, high rebound settings are desired in order to keep the front end down on the pavement, but too much rebound on a bumpy track could make the car unstable. リア リアのリバウンドは、減速時のリアの持ち上がり方をコントロールします。リバウンドを固くすると減速時に荷重をリアにとどめておく事ができますが、タイトな挙動になります。反対に柔らかくするとフロントへ荷重が移りやすくなります。 On the Rear End The rebound will control how the rear raises during deceleration. Higher rebound will keep weight on the rear end under braking, and make the car tighter, while less rebound will allow weight to shift up to the front and free up the car under braking. TIPS リバウンドもまたスプリングの"ファインチューナー”として使えます。基本的にはバンプのセッティング効果の反対と考えていいでしょう。しかしリバウンドのセッティングは過ちを犯しやすい項目でもあります。右フロントのリバウンドを固くし過ぎた場合、トラックバーをlarge splitにした時と同じ感覚になるでしょう。本当にショックの調整が必要と言えるまで十分なテストを行ってください。 Tips Rebound is also a good way to "fine tune" your springs. Each rebound adjustment will basically have the exact opposite of its corresponding bump setting. However, it’s extremely easy to mistake a bad rebound setting for something else. For instance, too much rebound on the right front corner could have a similar feeling to a track bar with a large split, so test the settings until you can tell when the shocks have issues. Camber これは何？ キャンバーはシャーシに対する垂直方向の傾きを現します。ポジティブキャンバーはタイヤ下部より上部のほうがシャーシから離れていることを意味し、ネガティブキャンバーはタイヤ下部より上部のほうがシャーシに近いことを意味します。ポジティブキャンバーを"リーンアウト"、ネガティブキャンバーを"リーンイン"とも言います。 Explanation Camber is the vertical lean of the tire in relation to the centerline of the chassis. Positive camber means the top of the tire is farther away from the chassis than the bottom of the tire, and Negative camber means the top of the tire is closer to the chassis than the bottom of the tire. Positive camber is when the tire "leans out" and Negative camber is when the tire "leans in". 効果 コーナリング中のタイヤの接地量をキャンバー角で調整します。サスペンションが縮む時、サスペンションの移動量に合わせてキャンバー角が変わり、このことを"キャンバーゲイン"もしくは"キャンバーロス"と言います。最終的な目的は最も荷重が掛かった時にキャンバー角が0度になることで、これによりタイヤが路面に対してフラットに接地することになります。 What does it do Camber is used to control the amount of tire on the surface of the race track while cornering. When the suspension compresses, it goes through what s known as "Camber Gain" or "Camber Loss", where the camber of the tire changes through suspension travel. The goal is to get the camber set so that when the car is under full load, you have 0° of camber, i.e. the tire is completely flat on the pavement. フロント フロントは独立したサスペンション構造のため、リアよりもキャンバーゲイン/ロスが大きくなります。そのためフロントは左右でキャンバーが大きく異なり、それぞれのタイヤ温度が適切かどうかといった注意も必要になります。 キャンバー角を大きくするとコーナリング性能は上がりますが、大きすぎるとタイヤのエッジを酷使しタイヤライフが短くなります。 On the Front End The front end will go through much more camber gain/loss than the rear end due to the front end being independent suspension. As a result, the left front and right front camber will be very different, so pay attention to your tire temperatures and a accordingly. High amounts of camber will help straight cornering of the car. Too much camber also wears heavily on the edges of the tires, and can lower the useful life of the tire. リア リアはソリッドアクスルのためキャンバーゲイン/ロスはあったとしてもそれほど大きくありません。オーバルでは大抵右リアをネガティブに、左リアをポジティブにします。キャンバー角を大きくすると直線でスピードが伸びますが、加速時に路面を捉える力が弱くなります。小さければトラクションがかかりやすくなりますが、直線スピードは落ちます。 On the Rear End The rear end is a solid axle, so the tires won t experience much, if any, camber gain/loss. Thus, the rear camber will be much closer than the front camber settings. On an oval, the right rear camber will be negative, the left rear will be positive. Higher Camber will yield more straight-line speed, but could hurt the forward bite under throttle. Less camber will give more traction under acceleration, but will hurt your straight line speed. TIPS 一般的には左フロントをポジティブにして右フロントをネガティブにしますが、それが全てのケースで当てはまるわけではありません。キャンバーのセッティングを行う時はタイヤ温度に注意してください。タイヤのアウトサイドとインサイドの平均がセンターになるように、差が7度から8度程度になるようにすると良いでしょう。サスペンションのセッティングによっては、右フロントをポジティブにすることもありえます。 Tips The general idea is that the LF tire will have positive camber, and the RF will have negative camber. However, that s not always the case. To set the camber, look at your tire temperatures. Generally, you re looking for a consistent range across the tire, with an average in the center. Say the Outside edge and the Inside edge have a difference of 15, then the middle should be 7° or 8° off of either edge. Don t be afraid to run positive camber in the RF either, it s completely possible that the suspension is set up that way. Caster これは何？ キャスターはサスペンションの上部･下部ボールジョイントの垂直方向の傾きを表します。 ボールジョイント上部が下部より後ろにあればポジティブキャスター、上部が下部より前にあればネガティブキャスターと言います。 Explanation Caster is the angle of the upper and lower ball joints on the suspension in relation to vertical. Positive caster is when the upper ball joint is behind the lower ball joint, and Negative caster is when the upper ball joint is ahead of the lower ball joint. 効果 キャスターにより車の曲がり方をコントロールすることができます。ポジティブ側に大きくセッティングすればステアリング操作に対する車の反応がマイルドになり、旋回半径も大きくなります。キャスター角を小さくすれば、反応はクイックに、旋回半径も小さくなります。 What does it do Caster controls how the tire steers. Rolling the caster back to a higher positive will reduce the responsiveness of the steering, and increase the turning radius of the car. Moving the caster closer to zero will cause the steering to be "snappier" and decrease the turning radius of the car. (See picture on next page) TIPS キャスター角を小さくと旋回半径が小さくなることから、通常は小さくタイトなトラックではキャスター角も小さく、大きくワイドなトラックではキャスター角を大きくします。左右でキャスター角に差を付けると（右フロントよりも左フロントを小さくすると）、車は左に引き寄せられるようになりクイックなターンインができるようになります。バンク角が小さいトラックではそうでないトラックよりもキャスター角の差を大きくする必要があるでしょう。 Tips Since lower caster decreases the turning radius, it s more common to have less caster on smaller, tighter tracks, and more caster on larger, wider tracks. Any split (less caster on the LF than the RF) in the caster will cause the car to pull more to the left, and create a quicker turn-in. If the track has less banking, that will call for more split in the caster than a high-banked track. Rear Toe これは何？ ストックカーのリア・トーが調整できるのはシムの世界では少し珍しいかもしれません。フロントの場合とやる事は同じですが、リアの場合は左右を独立して調整できます。 Explanation The rear toe on these stock cars is something that s a little new to sim-racing. The rear toe is the same as the front toe setting, but on the rear of the car. Unlike the front end, however, each side is independently adjustable. 効果 リア・トーにより、ストレートで車体がどの程度ヨー方向の角度を持つかをコントロールできます。両タイヤを右に向くようにセッティングすれば、車はその方向に押し出されることになるので、スロットルを開けたときに車が曲がろうとするようになります。これにより、NASCAR Sprint Cupで見られるような"クラブエフェクト"ももたらします。 What does it do The rear toe controls how much yaw angle the chassis has when traveling in a straight line. Since the toe is only adjustable so that the wheels both point to the right side of the car, adding toe to the car will cause the car to want to turn when the throttle is applied, since the wheels are at an angle to the direction the car is traveling. This will create the "crab" effect that is common with the Sprint Cup cars in NASCAR. TIPS 車が曲がりにくいと感じている時に、その問題を解決する手段としてリア・トーの調整は魅力的に見えますが、悪い結果をもたらすこともあるので注意してください。本当の問題を隠してしまい、レース中より大きな問題を引き起こす可能性があります。 Tips It s extremely tempting to add rear toe to the car when the car won t turn, and this can be a bad practice. Doing so will only mask what is really going on with the car, and could lead to serious issues late into a run. Track Bar Height これは何？ トラックバー（パンハードバーとも言います）は単純なデバイスで、ソリッドアクスル構造のサスペンションにおいて車軸を真っ直ぐに保つために使用されます。一方はリアのハウジングに（左リアタイヤの内側）、もう一方は右リア近くのシャーシに固定されます。両サイドをガレージで調整することができますが、レース中はリアウィンドウに開けられた穴から右側だけを調整することができます。 Explanation The track bar (also commonly known as a “Panhard Bar”) is a simple device used in solid-axle suspension systems to keep the axle in line on the chassis. One end of the bar is connected to the rear end housing (just inside of the LR tire), and the other end is connected to the chassis just behind the RR tire. Both sides are adjustable in the garage, but usually only the Right side is adjustable during a race through a hole in the rear window. 効果 トラックバーだけで一冊の本が書けるぐらいですが、なるべく完結に述べます。 上で書いたように、トラックバーはリアエンドを直線上に保とうとします。そして、トラックバーを調整することで加速・減速時にリアタイヤにどのよう荷重が掛かるか、もしくは抜けるかをコントロールできます。トラックバー全体を持ち上げると、リアのロールセンターも上がりコーナリング中の挙動がルースになります。反対に下げるとロールセンターも下がり、挙動はタイトになります。 What does it do I could do a whole guide on the track bar alone, but I’ll try to keep it simple, but it will still be a bit lengthy. Like I said earlier, the track bar keeps the rear end in line while the car is in motion. In turn, adjusting the track bar has a great effect on how the rear tires are loaded and unloaded during acceleration and deceleration. Raising the whole track bar will raise the “roll center” of the rear end and thus make the car looser while cornering. Lowering the whole track bar will lower the roll center and tighten the car while cornering. トラックバー全体を上げ下げするほか、右を下げる、左を下げる、というセッティングもあります。左を下げるのが定番で大抵はこのセッティングにします。右を下げるのは新しいセッティング手法として流行りつつあります。 トラックバーは一方がシャーシに固定されているため、リアが上下に移動すると弧を描く形になります。この弧に合わせて、リアは上下に移動すると同時に左右にも動くことになります。これにより"リア・ステア"効果がもたらされ、この時車は4輪で曲がっていることになります。 トラックバーの一方の下げ方でリア・ステア効果がどう現れるかが変わります。左側を下げればブレーキング時にタイトになり、加速時にはルースになります。右側を下げればブレーキング時はルースに、加速時はタイトになります。 Aside from adjusting the whole bar, the track bar can be set two different ways right-side down and left-side down. The “Left-side down" is more conventional, and has been used basically forever. The “Right-side down” setting is relatively new, becoming more prevalent with the new coil-binding setups. Since the track bar is fixed to one side of the chassis, it will create an arc as the rear end moves up and down in the chassis. As a result of the arc, the rear end will also move to the left or right as it moves up and down in the chassis. This creates "rear steer", where the rear end is not straight in the chassis, and has essentially gone into a four-wheel steering mode for that moment. Having one end of the track bar lower than the other will change how that rear steer affects the car. If the track bar is set Left-side down, the track bar will generally tighten the car under braking, and loosen the car under throttle. Setting the bar Right-hand down will generally loosen the car under braking and tighten the car under acceleration. 元々トラックバーがどうセッティングされていたかに関わらず、各側を調整すると上述と同じ効果が現れます。右を下げれば加速時にタイトに、上げればルースになります。左を下げれば加速時にルースに、上げればタイトになります。 Independently, adjusting the ends of the bar will always do the same thing regardless of how the bar is configured. Lowering the Right side of the track bar will tighten the car under acceleration, while raising it will loosen the car under acceleration. Lowering the left side of the bar will loosen the car under acceleration, while raising it will tighten the car under acceleration. TIPS トラックバーのセッティングは、リアスプリング、スウェイバー、もっと言うなれば全てのセッティングに依存します。また、リアを持ち上げる力も発生させるので、加減速時のリアの上下の動きもトラックバーでコントロールできます。 Tips Track Bar settings are going to rely heavily on your rear springs, rear sway bar, your overall setup configuration. The track bar also creates a "jacking force" on the rear end of the car, and can either raise or lower the rear end of the car under acceleration/deceleration.

• Dance Dance Revolution DP攻略 Wiki - Chronos(鬼)

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  Chronos(鬼) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FREEZE その他 Chronos TAG X3 鬼15 128 542 / 48 STREAM VOLTAGE AIR FREEZE CHAOS 96 85 49 39 107 楽譜面(4) / 踊譜面(8) / 激譜面(12) / 鬼譜面(15) 属性 発狂(カニ歩き、同時踏み、リズム難)、渡り、ひねり、変拍子 譜面 http //eba502.web.fc2.com/fumen/ddr/x3/chronos_8s.html 譜面動画 https //www.youtube.com/watch?v=om6Y4gAeE4I (x2.5, NOTE, Clap) http //www.nicovideo.jp/watch/sm16770081 http //www.nicovideo.jp/watch/sm16770081 (x3.5?, NOTE, Clap) プレイ動画 http //www.youtube.com/watch?v=61f8HWu259A 解説 エンジョイレベル45で解禁(X3)。ギタドラV6からの移植で、BGVもギタドラと同じもの（全画面）が使われている。 BPM128の16分をひたすら踏み続ける譜面。配置は素直で交互に取りやすい。 その一方で、変拍子ゆえにリズム難の要素を持つ。リズム自体は曲に合っているので、曲を聴きこむとスコアが伸びやすくなる。 休憩後、1小節半ほど同時踏み地帯がある。 一箇所16分の中に同時を踏ませるところがある。 -- 名無しさん (2011-12-16 12 22 32) 変拍子のせいでリズムが狂いやすいが、配置そのものは素直で最後の長い滝意外に15に匹敵する要素なし。 -- 名無しさん (2011-12-27 00 25 40) 交互踏みがスムーズにできないと難しくなる。 -- 名無しさん (2012-01-23 17 47 39) 16分の入り乱れたリズム難ではあるが、基本的に音合せかつ踏みやすい配置。踏む速度そのものは足15の中でもかなり遅いので、発狂配置慣れに向いてるかもしれない -- 名無しさん (2015-04-11 22 22 17) 名前 コメント コメント(私的なことや感想はこちら) 早く踏みやすいので、引きつけて踏むといいかも。 -- 名無しさん (2011-12-08 02 05 38) VANESSAの練習譜面に。BPMは異なるが。 -- 名無しさん (2011-12-11 09 50 34) 判定が変な感じがするが俺だけか･･･ -- 名無しさん (2011-12-19 00 29 47) なんだかリズムがムズイ。問題なければ3.5倍が楽かもよ!? -- 名無しさん (2011-12-24 18 22 13) 入り足と拍数覚えてHS4.5かなぁ、足15ではパラ鯖クレイジーに次いで鳥Aまでなら出しやすい部類 -- 名無しさん (2011-12-25 20 41 29) 動画1 42の２Ｐ→から中央ＦＡにかけてコンボを切りやすいが左足で２Ｐ→から入ると交互に踏めるので安定しやすい -- 名無しさん (2012-02-13 16 00 45) ノンバーで4.5はできる？ -- 名無しさん (2012-04-25 01 11 45) バーをもっても4.5倍は速いかと… -- 名無しさん (2012-05-12 11 43 21) 15弱レベル？ -- 名無しさん (2013-01-26 05 28 15) SPなら5.5(バー有り)にする時あるけど流石にDPだとバー有りでも４～4.5倍かな。でもバー無しで3.5くらいで配置も素直だし踏みやすい15弱 -- 名無しさん (2013-08-19 18 30 38) リズム難ではあるけど基本的にメロディ通りなので、曲を聴き込むのが攻略への近道かも -- 名無しさん (2014-04-24 20 30 45) BPM128と考えると最高にリズム難。BPM85.33の3連符譜面と考えれば決して難しいリズムではない。。 -- 名無しさん (2014-04-24 20 53 08) 名前 コメント PV http //www.nicovideo.jp/watch/sm19999807 http //www.nicovideo.jp/watch/sm19999807

• elvis @Wiki - Subjects-Engineering-Electrical&Electronics-Electronics-General 16

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• elvis @Wiki - Charles Ray

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  Eames Design The Work of the Office of Charles and Ray Eames John NeuhartMarilyn NeuhartRay EamesCharles Eames Chicka Chicka Boom Boom Bill MartinJohn Archambault?Ray Charles?Lois Ehlert? Eames Furniture Journal (Eames) Charles EamesRay Eames Eames House Pacific Palisades 1949, Charles and Ray Eames (Architecture in Detail) James Steele? Eames Address Book (Eames) Lucia EamesCharles EamesRay Eames Ray Charles -- A Man and His Soul (Legendary Performance) Ray Charles? Painting Landscapes With Atmosphere An Artist's Essential Guide Ray Balkwill? The Work Of Charles And Ray Eames A Legacy Of Invention Donald Albrecht? Charles Ray Charles RayPaul Schimmel?Lisa PhillipsCalif.) Museum of Contemporary Art (Los Angeles? Diller + Scofido Eyebeam Museum of New Media / The Charles and Ray Eames Lecture Elizabeth Diller?Ricardo Scofidio?Keith Mitnick? Brother Ray Ray Charles' Own Story Ray Charles?David Ritz? 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Fresh Watercolour Bring Light and Life to Your Painting Ray Campbell Smith? Lumbar Spine Surgery Techniques and Complications Arthur H. White?Richard H. Rothman?Charles D. Ray? Central Venous Access Charles E., Jr. Ray? Basketball Brian Coleman?Peter Ray? Powers of Ten A Book About the Relative Size of Things in the Universe and the Effect of Adding Another Zero Philip Morrison?Phylis Morrison?Office of Charles and Ray Eames? Power of Ten A Flipbook Charles EamesRay Eames Powers of Ten A Book About the Relative Size of Things in the Universe and the Effect of Adding Another Zero Philip Morrison?Phylis Morrison?Office of Charles and Ray Eames? Osha Compliance Guide for Medical Employers Jennifer Busick?H. Ray Kirk?Kirk?Charles B. Lewis? Hill 488 Ray Hildreth?Charles W. Sasser? Ray Charles Man and Music Michael Lydon? Charles And Ray Eames Designers of the Twentieth Century Pat Kirkham? Ray Charles "I Was Born With Music Inside Me" (African-American Biography Library) Carin T. Ford? The Works of Edmund Spenser A Variorum Edition Faerie Qveene, Book Five (Works of Edmund Spenser) Edmund Spenser?Edwin Greenlaw?Charles Grosvenor Osgood?Frederick Morgan Padelford?Ray Heffner? Brother Ray Ray Charles' Own Story Ray Charles?David Ritz?Andrew L. Barnes? Brother Ray Ray Charles' Own Story Ray Charles?David Ritz?Andrew L. Barnes? Brother Ray Ray Charles' Own Story Ray Charles?David Ritz?Andrew L. Barnes? Brother Ray Ray Charles' Own Story Ray Charles?David Ritz?Andrew L. Barnes? The Burnt Orange Heresy Charles Ray Willeford? Marco Polo (Junior World Explorers) Charles Parlin Graves?Ray Keane? Ray Charles Voice of Soul (Great Achievers Lives of the Physically Challenged) David Ritz? Drugs, Society and Human Behavior Oakley Ray?Charles Ksir? Drugs, Society and Human Behavior Oakley Stern Ray?Charles Ksir? Drugs, Society and Human Behavior Oakley S. Ray?Charles Ksir? 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Eames Sketchbook (Eames) Charles EamesRay Eames Eames Textile Patterns A Stationery Collection 30 Sheets and 30 Envelopes [Letter Set] http //logbord.lolipop.jp/asin/Books/0811833402/? Charles EamesRay Eames Cafe Purgatorium Dana M. Anderson?Charles De Lint?Ray Garton? Drugs, Society, and Human Behavior Oakley Ray?Charles Ksir? Back There Where the Past Was A Small-Town Boyhood Ray Bradbury?Charles Champlin? The Legacy of Ancient Egypt (Facts on File's Legacies of the Ancient World) Charles Freeman?J. D. Ray? Euv X Ray and Gamma Ray Instrumentation for Astronomy and Atomic Physics 7-11 August 1989 San Diego, California (Proceedings of S P I E) Charles J. Hailey?Oswald H. W. Siegmund? Saint Anthony of Padua Fire and Light (Encounter the Saints Series, 1) Margaret Charles Kerry?Mary Elizabeth Tebo?Ray Morelli? Gold Fever America's First Gold Rush (Georgia History and Culture Series) Ray Charles Rensi?H. David Williams? Soul An Archaeology Readings from Socrates to Ray Charles Phil Cousineau? Soul An Archaeology Readings from Socrates to Ray Charles Phil Cousineau? Drugs, Society, and Human Behavior Oakley Stern Ray?Oakl Ray?Charles Ksir? Drugs, Society and Human Behavior Oakley S. Ray?Charles Ksir? Drugs, Society, and Human Behavior With Powerweb Oakley Ray?Charles Ksir? Drugs, Society, and Human Behavior Oakley S. Ray?Charles Ksir? High Definition Dvd Handbook Producing for Hd-dvd and Blu-ray Disc Mark Johnson?Charles Crawford?Christen Armbrust? When the Boys Came Out to Play Ray Salisbury? Drugs, Society And Human Behavior Charles Ksir?Oakley Stern Ray?CARL L. HART?Charles. Ksir? Drugs, Society and Human Behavior Oakley S. Ray?Charles Ksir? Drugs, Society, And Human Behavior Charles Ksir?Carl L. Hart?Oakley S. Ray? The Illustrator and the Book in England from 1790 to 1914 Gordon N. Ray?Thomas V. Lange?Charles V. Passela? 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Advances in X-Ray Analysis Proccedings of the Forty-Second Annual Conference on Applications of X-Ray Analysis Held in Denver, Colorado, August 2-6 (Advances in X-Ray Analysis) John V. Gilfrich?Charles C. Goldsmith? Advances in X-Ray Analysis (Advances in X-Ray Analysis) Paul K. Predecki?D. Keith Bowen?John V. Gilfrich?Charles C. Goldsmith?Ting C. Huang?Ron Jenkins?I. Cev Noyan?Deane K. Smith? Brother Ray Ray Charles' Own Story Ray Charles?David Ritz? Brother Ray Ray Charles' Own Story Ray Charles?David Ritz? Sideswipe Charles Ray Willeford? Scanning Electron Microscopy and X-Ray Microanalysis Joseph Goldstein?Dale E. Newbury?Patrick Echlin?David C. Joy?Charles Fiori?Eric Lifshin? Cafe Purgatorium Dana M. Anderson?Charles De Lint?Ray Garton? New Hope for the Dead Charles Ray Willeford? Sideswipe Charles Ray Willeford? Miami Blues Charles Ray Willeford? New Hope for the Dead Charles Ray Willeford? Justice and the Media Issues and Research Ray Surette? Something About a Soldier Charles Ray Willeford? Way We Die Now Charles Ray Willeford? Architectural Graphic Standards 1993 Cumulative Supplement (Architectural Graphic Standards) Charles George Ramsey?Harold Reeve Sleeper?John Ray Hoke? The Way We Die Now Charles Ray Willeford? Dermatology for Students Ray O. Noojin? The Parent of the Handicapped Child The Study of Child-Rearing Practices Ray H. Barsch? Something About a Soldier Charles Ray Willeford? The Fundamentals of X-Ray and Radium Physics Joseph Selman? X-Ray Imaging Equipment An Introduction Euclid Seeram? X-ray Repair A Comprehensive Guide To The Installation And Servicing Of Radiographic Equipment Joseph J. Panichello? X-Ray Repair A Comprehensive Guide to the Installation and Servicing of Radiographic Equipment Joseph P. Panichello? Sideswipe Charles Ray Willeford? X-ray Repair A Comprehensive Guide To The Installation And Servicing Of Radiographic Equipment Joseph J. Panichello? Handbook of Counselling in Britain Windy Dryden?David Charles-Edwards?Ray Woolfe?British Association for Counselling? Ray Charles Man and Music Michael Lydon? The Shark-Infested Custard Charles Ray Willeford? X-Ray Repair A Comprehensive Guide to the Installation and Servicing of Radiographic Equipment Joseph J. Panichello? Architectural Graphic Standards (9th Edition) Charles Ramsey?Harold Sleeper?John Ray Hoke? Brother Ray Ray Charles' Own Story Ray Charles?David Ritz? New Hope for the Dead Charles Ray Willeford? The Way We Die Now Charles Ray Willeford? Miami Blues Charles Ray Willeford? Architectural Graphic Standards 1995 Supplement (Architectural Graphic Standards) Charles George Ramsey?John Ray Hoke? Traditional Details for Building Restoration, Renovation, and Rehabilitation From the 1932-1951 Editions of Architectural Graphic Standards Charles George Ramsey?John Ray Hoke?John Belle?Harold Reeve Sleeper?Stephen A. Kliment? Architectural Graphic Standards Charles G. Ramsey?Sleeper Harold R. John Ray? Architectural Graphic Standards (Architectural Graphic Standards) Charles George Ramsey?Harold Reeve Sleeper?John Ray Hoke? Architectural Graphic Standards Charles George Ramsey?John Ray Hoke? Architectural Graphic Standards Charles George Ramsey?Harold Reeve Sleeper?John Ray Hoke? Scanning Electron Microscopy and X-Ray Microanalysis Dale E. Newbury?Patrick Kchlin?David C. Joy?Charles E. Lyman?Eric Lifshin?Linda Sawyer?Joseph R. Michael?Joseph I. Goldstein? Exploring Ray Tracing Animation Photorealism, Fractals, 3d Modeling C. Watkins? Eames Chairs (Eames) Charles EamesRay Eames The Collected Memoirs of C. Willeford I Was Looking for a Street Something About a Soldier Charles Ray Willeford? Applications of Low-Energy X Gamma Rays Charles A. Ziegler? X-ray Interpretation for the MRCP Charles R K Hind? The Evolution of X-Ray Binaries College Park, MD October 1993 (Aip Conference Proceedings) Stephen S. Holt?Charles S. Day? Roy Ray John Charles Clark? Office Automation Charles RayJanet J Palmer? You Are the Voice Ray Charles With CD (You Are the Voice) Brother Ray (Raven S) Ray Charles?David Ritz? Lord Charles Wine Guide Ray Alan? Conspiracy and Tragedy of Charles, Duke of Byron George Chapman?George Ray? Brother Ray Ray Charles?David Ritz? Wild Wives (Vintage Crime/Black Lizaed) Charles Ray Willeford? Drugs, Society, and Human Behavior Charles J Ksir?Carl L Hart?Oakley S Ray? The Legacy of Ancient Egypt Charles Freeman?John D. Ray? X-Ray Interpretation for Mrcp Charles Robert Keith Hind? X-ray Interpretation for Membership of the Royal College of Physicians Charles R K Hind? High Priest of California The Novel and a Play Charles Ray Willeford? Charles Ray Interviews by Lucinda Barnes and Dennis Cooper Charles Ray Unchain My Heart The Ray Charles Story (Newmarket Pictorial Moviebooks (Paperback)) James L. White? Cockfighter Charles Ray Willeford? Zero Tolerance (Choice in Welfare) Ray Mallon?William Bratton?Charles Pollard?John Orr?William Griffiths? Brother Ray Ray Charles Own Story Ray Charles?David Ritz? 1, 2 Timothy, Titus Philemon Goals To Godliness Charles Ray Ray Charles Voice of Soul (Great Achievers Lives of the Physically Callenged) David Ritz? The Merrill Studies in Winesburg, Ohio (Charles E. Merrill Program in American Literature) Ray Lewis White? Ray Charles Musician Handbook of Counselling in Britain Windy Dryden?David Charles-Edwards?Ray Woolfe?British Association for Counselling? Ray Charles Soul Man (Newsmakers) Ruth Turk? Ray Charles with the Voices of Jubilation Choir Ray Charles?Jubilation Choir? Watercolour for All Plusdeo Ray Campbell Smith? Eames House An Appreciation of the Work of Charles Ray Eames James Barkeley? Heavy Duty Drivetrains The System and Component Application (S P (Society of Automotive Engineers)) Charles R. Jones? 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Ray Kirk?Charles Lewis?

• SteelChronicleねた@ うぃき - 波運怒駅　指定席券売機

  https://w.atwiki.jp/steelchronicleneta/pages/30.html

  はじめに･･･ ようこそ、波運怒駅　指定席券売機へ。 ここは自分のHN･CNなどを自己申告で晒していくページです。 ここに書き込んでなきゃ波運怒駅に書き込んだりページ編集したりしてはいけないということもありません。 積極的にネタを仕込む気概さえあれば誰でもネタうぃきの住民なのです。 ハンドルネーム キャラネーム／アバター 加入or非加入 クラス よく使う兵装 ホーム店舗 一言コメント ①上のテンプレをそのままコピーしてメモ帳に貼り付ける ②該当部分を埋める　埋め終わったら一応保存しておくと万が一の時も安全 ③埋めたテンプレをコピーしたら、芳名帳のページを開き、上の編集→このページを編集で編集画面へ ④埋めたテンプレを貼り付ける ⑤プレビューで変になってないか確認、大丈夫なら英数字入力してページ保存をクリック！ ⑥サブカードも記録したいなら、メインカードの次の行に下記をコピペ。キーは「～」だ。 うぃきネーム CN／アバター e-AMUSEMENT GATE クラス よく使う兵装 ホーム店舗 何か一言 ねたうぃきの経営はこいつらのしわざだ！ ねたうぃきメンバー一覧 肩書き なめー 主な役割 編集者ID 1行AA 管理人 捨て黒鉄道株式会社社長 ページ編集 steelchronicleneta (社長)

• Big Fish Gamesスレまとめ @ ウィキ - ゲームリスト（日本）

  https://w.atwiki.jp/bfgmatome/pages/146.html

  2011/5/5までのデータ（ページ未作成のゲームを含む） 10 Talismans (10 のタリスマン) 3 Days Zoo Mystery (3 デイズ - 動物園ミステリー) 4 Elements (4 精霊の魔法書) 7 Wonders II (7 ワンダーズ 2) 7 Wonders of the World (7 ワンダーズ オブ ザ エインシェント ワールド) A Gypsy s Tale The Tower of Secrets (ジプシー テイル：タワー オブ シークレット) Abra Academy ™ (アブラ・アカデミー ™) Adventures of Robinson Crusoe (ロビンソン・クルーソーの冒険) Affair Bureau (アフェア・ビューロー) Age of Japan (エイジ オブ ジャパン) Airport Mania First Flight (エアポート マニア：ファースト フライト) Alabama Smith in the Quest of Fate (アラバマ・スミス：運命のクリスタル) Alexandra Fortune Mystery of the Lunar Archipelago (アレクサンドラ フォーチュン ルナ群島の謎) Alice s Teacup Madness (アリスのティーカップマッドネス) Amazing Adventures Around the World (アメージング アドベンチャーシリーズ - 世界旅行 -) Amelie s Cafe (アメリーズカフェ) Ancient Wonderland (古代のワンダーランド) Anka (少年探偵アンカ) Annabel (アナベル) Antique Road Trip USA (アンティーク・ロードトリップUSA) Around the World in 80 Days (80 日間世界一周) Art Detective (アート捜査官 - 美術怪盗を追え！) Artifact Quest (アーティファクト・クエスト) Artist Colony (アーティスト コロニー) AstroPop Deluxe (アストロポップ デラックス) Atlantis (アトランティス) Atlantis Sky Patrol™ (アトランティス - スカイパトロール ™) Autumn s Treasures The Jade Coin (Autumn s Treasures： ヒスイのコイン) Avenue Flo (アベニュー フロー) Awakening The Dreamless Castle (Awakening 魔法の城と眠り姫) Azada ® (Azada ™) Ballistik (バリスティック) Be a King 2 (王様になろう 2) Be Rich (BE リッチ) Be Richer (BE リッチ 2) Beach Party Craze (クレイジー・ビーチパーティー) Bee Garden (ビー・ガーデン：消えた女王) Between the Worlds (トゥー ワールズ・魔術師の罠) Big Brain Wolf (ビッグ ブレイン ウルフ) Big City Adventure Vancouver (ビッグ・シティ・アドベンチャー：バンクーバー) Bilbo The Four Corners of the World (ビルボ：夢のレストラン) Bipo The Mystery of the Red Panda (ビポ：赤いパンダのミステリー) Blood Ties (ブラッド・タイズ) Boom Voyage (ブーム ボヤージュ) Brain Challenge (ブレイン チャレンジ) Broken Hearts A Soldier s Duty (ブロークン ハート 兵士の義務) Bubble Xmas (バブル クリスマス) Bubblefish Bob (バブル フィッシュ ボブ) Bud Redhead (バッド レッドヘッド) BugBits (バグビッツ - 昆虫もラクじゃないよ！) Build-a-lot (ビルド ア ロット) Build-a-lot 2 Town of the Year (ビルド ア ロット 2：タウン・オブ・ザ・イヤー) Burger Bustle (バーガー・バッスル) BurgerTime Deluxe (バーガータイム・デラックス) Butterfly Escape (バタフライ エスケープ) Cake Mania (ケーキ マニア) Cake Mania Main Street (ケーキマニア：メインストリート) Cake Shop (ケーキショップ ) Cake Shop 2 (ケーキショップ 2) Cake Shop 3 (ケーキショップ 3) Call of Atlantis (アトランティスの呼び声) Cassandra s Journey The Fifth Sun (カサンドラズ・ジャーニー 2：ノストラダムス・第五の太陽) Cassandra s Journey The Legacy of Nostradamus (カサンドラズ・ジャーニー - ノストラダムスの伝説) Chocolatier (ショコラティエ) Christmas Wonderland (クリスマスワンダーランド) Chuzzle Deluxe (チャズル デラックス) Cindy s Travels Flooded Kingdom (シンディーの大冒険：王国をガラクタから救え！) Coffee Rush 2 (コーヒーラッシュ 2) Columbus Ghost of the Mystery Stone (コロンブスの冒険：石に眠るファントム) Cooking Academy (クッキング アカデミー) Cooking Academy 2 World Cuisine (クッキングアカデミー2： 世界の料理) Cooking Dash 3 Thrills and Spills (クッキングダッシュ3：スリル＆スピル) Cooking Quest (クッキング クエスト) Coyote s Tale Fire and Water (コヨーテ物語：神々との挑戦) Cradle of Persia (ペルシャの建国) Cradle of Rome (ローマの建設) Crime and Punishment Who Framed Raskolnikov? (クライム＆パニッシュメント：罪と罰 - あやつられた男) Cursed House (呪われた家) Danger Next Door Miss Teri Tale s Adventure (ミス テリー テールの冒険 - ご近所殺人事件) Deadtime Stories (デッドタイム・ストーリー) Deep Voyage (ディープ ボヤージュ：夢見るマーメイド) Department 42 The Mystery of the Nine (超常現象捜査局 42：ミステリー・オブ・ナイン) Detective Stories Hollywood (謎の探偵：ハリウッド事件) Digby`s Donuts (ディグビーズ ドーナツ) Diner Dash (ダイナー ダッシュ) Diner Dash 2 Restaurant Rescue (ダイナー ダッシュ 2 レストラン レスキュー) Diner Dash 5 BOOM (ダイナーダッシュ 5 BOOM) Diner Dash Flo on the Go (ダイナー ダッシュ - フロー オン ザ ゴー) Discovering Nature (ディスカバー ネイチャー) DNA (ディー エヌ エー) Doors of the Mind Inner Mysteries (ドア・オブ・マインド：閉ざされた記憶) Dr. Lynch Grave Secrets (ドクターリンチ：呪われた墓) Dragon Empire (ドラゴンエンパイア) Drawn Dark Flight (Drawn：暗黒の翼と希望の灯台) Drawn The Painted Tower ™ (Drawn 呪われた塔と魔法の絵の具 ™) Dream Chronicles (ドリームクロニクル) Dream Chronicles ™ 2 The Eternal Maze (ドリームクロニクル2：永遠の迷路) Dream Chronicles The Book of Air (ドリームクロニクル：大気の書) Dream Chronicles The Chosen Child (ドリームクロニクル：選ばれし子) Dream Day First Home (ドリームデイ ファーストホーム) Dream Day Wedding (ドリームデイ ウエディング) Dream Day Wedding Married in Manhattan (ドリームデイ ウエディング：マンハッタンの結婚式) Dream Day Wedding Viva Las Vegas (ドリームデイ ウエディング：ビバ ラスベガス) Dream Sleuth (夢探偵 ドリームスルース) Dress Up Rush (ドレスアップ・ラッシュ) Echoes of the Past Royal House of Stone (エコー・オブ・ザ・パスト：呪われた石の王家) Echoes of the Past The Castle of Shadows (エコー・オブ・ザ・パスト：囚われし魂) Egyptian Ball (エジプシャン ボール) Elements (エレメント) Elixir of Immortality (エリクサー オブ イモータリティ：不死の霊薬と謎の城) Elizabeth Find MD Diagnosis Mystery (エリザベス・ファインド MD：診断ミステリー) Elven Mists (エルフの霧) Elythril The Elf Treasure (エリスリル - エルフの宝物) Empress of the Deep The Darkest Secret (エンプレス オブ ザ ディープ：海底に沈む暗黒の秘密) Enchanted Cavern (エンチャンティッド カバーン - 不思議な夢の洞窟) Enchanted Katya and the Mystery of the Lost Wizard (魔法少女カチャ：消えた魔法使いの謎 ) Enigma 7 (エニグマ 7) Escape from Frankenstein s Castle (フランケンシュタイン博士の陰謀) Escape the Lost Kingdom (エスケープ・ザ・ロスト・キングダム：失われた砂漠の王国) Escape the Museum (エスケープ ザ ミュージアム) Escape the Museum 2 (エスケープ ザ ミュージアム 2) Evoly (エボリー) Faded Reality (フェイデッド・リアリティ：色あせた現実) Fairy Island (フェアリー アイランド) Family Farm Fresh Start (ファミリー ファーム - 畑を救え！) Fantastic Farm (ファンタスティック ファーム) Farm Craft (ファームクラフト) Farm Frenzy (ファーム フレンジー) Farm Frenzy 2 (ファーム フレンジー 2) Farm Frenzy 3 (ファームフレンジー 3 ) Farm Frenzy 3 American Pie (ファームフレンジー３：アメリカンドリーム) Farm Frenzy 3 Ice Age (ファームフレンジー 3：アイスエイジ) Farm Frenzy 3 Madagascar ( ファームフレンジー 3：マダガスカル) Farm Frenzy 3 Russian Roulette (ファームフレンジー 3：ロシアンルーレット) Farm Frenzy Gone Fishing (ファームフレンジー：フィッシュ アイランド) Farm Frenzy Pizza Party (ファームフレンジー ピザパーティ) Farm Mania (ファーム マニア) Farm Tribe (ファーム・トライブ) Farmers Market (ファーマーズ・マーケット) Fashion Apprentice (ファッション アプレンティス - アンナのサクセスストーリー) Fashion Fortune (ファッション フォーチュン) Fashion Rush (ファッション ラッシュ) Fashion Story (ファッション ストーリー) Fear for Sale The Mystery of McInroy Manor (フィア フォー セール マッキンロイ屋敷の謎) Feeding Frenzy 2 Shipwreck Showdown (フィーディング・フレンジー２：難破船の決闘) Fiction Fixers The Curse of OZ (フィクション･フィクサーズ：呪われたオズの魔法使い) Fill Up 2 (フィルアップ 2) First Class Flurry (ファーストクラス・フルーリー) FishCo (FishCo) Fishdom (フィッシュダム) Fishdom H2O Hidden Odyssey (フィッシュダム H2O) Five Card Deluxe (ファイブ カード デラックス) Flower Paradise (フラワーパラダイス) Flux Family Secrets The Rabbit Hole (フラックス・ファミリー・シークレット： ラビット・ホール) Flux Family Secrets - The Ripple Effect (フラックス・ファミリー・シークレット：リップル・エフェクト) Froggy Castle 2 (フロッギー キャッスル 2) Funny Miners (ファニー・マイナーズ：魔法使いと小人たち) Fury Race (フューリーレース) G.H.O.S.T Chronicles Phantom of the Renaissance Faire (G.H.O.S.T.：ルネサンスフェアの亡霊) Galapago (ガラパゴ) Gardenscapes (ガーデンスケープ) Gem Shop (ジェム ショップ) Gemini Lost (ジェミニ・ロスト：星の村人たち) Go-Go Gourmet (ゴーゴーグルメ) Golden Trails The New Western Rush (ゴールデントレイル：消えた黄金を追え！) Gotcha Celebrity Secrets (Gotcha 追跡！セレブ・スキャンダル) Gourmania (グルメマニア) Governor of Poker (ガバナー オブ ポーカー：目指せポーカーキング！) Governor of Poker 2 (ガバーナー オブ ポーカー 2) Great Adventures Lost in Mountains (Great Adventures レスキュー大作戦！) Great Secrets Da Vinci (グレイト シークレッツ：ダ・ヴィンチの素顔) Hamlet (ハムレット) Harlequin Presents ™ Hidden Object of Desire (ハーレクイン・プレゼンツ：秘められた欲望) Haunted Hotel Lonely Dream (ホーンテッド・ホテル：ロンリードリーム) Haunted Manor Lord of Mirrors (ホーンテッド マナー：呪われた館と鏡の王) Heroes of Hellas 2 Olympia (ヒーローズ オブ ヘラス 2：オリンピア) Hidden Expedition ® - Devil s Triangle (秘宝探索 ™：魔のトライアングル) Hidden Expedition Titanic ™ (秘宝探索： タイタニック ™) Hidden in Time Mirror Mirror (ヒドゥン・イン・タイム ： 呪われた鏡の伝説) Hidden Mysteries - Civil War (ヒドゥン ミステリーズ - 南北戦争の隠された謎) Hidden Mysteries Buckingham Palace ™ (ヒドゥン ミステリーズ™ - バッキンガム宮殿の隠された謎) Hidden Secrets The Nightmare (ヒドゥン シークレッツ - ナイトメア) Hidden World of Art (ワールド オブアート：神秘なる名画の世界) Holly 2 Magic Land (不思議の国のホリー 2) Hospital Hustle (ホスピタル ハッスル) Hotdog Hotshot (ホットドッグ・ホットショット) Hotel Dash Suite Success (ホテル ダッシュ：ホテルリフォーム大作戦) Hotel Mogul (ホテル エンパイヤー) Huru Beach Party (HURU ビーチパーティ) Ice Cream Dee Lites (アイスクリーム・ディ ライツ) Ice Cream Mania (アイスクリーム マニア) In Living Colors! (イン リビング カラーズ！) Insaniquarium! Deluxe (クレイジー アクアリウム デラックス) Insider Tales Vanished in Rome (インサイダー - ローマに消ゆ) Interpol The Trail of Dr. Chaos (インターポール：Dr. カオスの陰謀) Isidiada (Isidiada イシディアダの宝) Island The Lost Medallion (アイランド：失われたメダリオン) Jack of All Tribes (ジャックと楽しい仲間たち) James Patterson Women s Murder Club A Darker Shade of Grey (女性殺人捜査クラブ：ダークグレイの殺人) James Patterson Women s Murder Club Death in Scarlet (女性殺人捜査クラブ：スカーレットの悲劇) James Patterson Women s Murder Club Little Black Lies(女性殺人捜査クラブ – 罪深き嘘) James Patterson s Women s Murder Club Twice in a Blue Moon (女性殺人捜査クラブ：ブルームーンの悪夢) Jane s Hotel (ジェーンズホテル) Jane s Realty (ジェーンズ不動産) Jane s Realty 2 (ジェーンズ不動産 2) Jane`s Hotel Family Hero (ジェーンズホテル： ファミリーヒーロー) Jane s Zoo (ジェーンズ動物園) Jenny s Fish Shop (ジェニーのフィッシュ・ショップ) Jewel Craft (ジュエル クラフト) Jewel Match (ジュエル マッチ) Jewelleria (ジュエリア) Jigsaw World (ジグソー ワールド) John and Mary s Memories (ジョン＆メアリーの旅日記) Journey of Hope (古代神殿に眠る謎) Jumpin Jack (ジャンピンジャック) Jungo (ジャンゴ) Kate Arrow Deserted Wood (ケイト・アロー：忘れ去られた森) Kindergarten (キンダーガーデン) King s Legacy (キングズ・レガシー：がんばれ王子さま！) Kitchen Brigade (キッチン ブリゲード) Lamp of Aladdin (ランプ・オブ・アラジン) Laura Jones and the Gates of Good and Evil (ローラ・ジョーンズと運命の扉) Laura Jones and the Secret Legacy of Nikola Tesla (ローラ・ジョーンズとテスラの遺産) Liong The Lost Amulets (LIONG 失われたアミュレット) Lisa s Fleet Flight (リサのフリート・フライト：ただ今搭乗手続き中！) Lost in the City (Lost in the City) Lost in Time The Clockwork Tower (ロスト イン タイム：クロックワーク・タワー) Lost Lagoon The Trail of Destiny (ロスト・ラグーン - 運命を追って) Lost Secrets Bermuda Triangle (ロスト シークレット：バミューダ - 魔の三角海域) Love & Death ™ Bitten ™ (ラブ＆デス - BITTEN - 恋焦がれて) Love Chronicles The Spell (ラブ・クロニクル：眠れる国物語) Love Story Letters from the Past (ラブ・ストーリー：過去からの手紙) Luxor 3 (ルクソール 3) Magic Academy II (謎の要塞 - トリスファル) Magic Ball 2 New Worlds (マジックボール 2) Magic Encyclopedia (マジック エンサイクロペディア 第一の物語) Magic Encyclopedia Illusions (マジック エンサイクロペディア 幻影) Magic Encyclopedia Moon Light (マジック エンサイクロペディア：ムーンライト) Magic Farm (マジック ファーム) Mahjong Match (麻雀マッチ) Mahjong Towers Eternity ™ (マージャン タワーズ エタニティ) Mahjongg Dimensions Deluxe (麻雀ディメンションズ・デラックス) Margrave Manor 2 Lost Ship (マーグレイブ家の秘密２：呪われた船と幻の財宝) Mark and Mandi Love Story (マークとマンディのラブストーリー) Master of Defense (マスター オブ ディフェンス) Master Wu and the Glory of the Ten Powers (ウー先生と伝説の刀) Matchmaker Joining Hearts (マッチメーカー：恋愛成就の方法) Megaplex Madness Now Playing ™ (メガプレックスマッドネス - 上映中 ™) Megaplex Madness Summer Blockbuster (メガプレックスマッドネス - 大ヒットオンパレード) Megastore Madness (メガストア マッドネス) Memory Loops (メモリーループス) Millennium Secrets Emerald Curse (ミレニアムシークレット：エメラルドの呪い) Millionaire Manor The Hidden Object Show (ミリオネア・マナー：アイテム探しショー) Mind s Eye Secrets of the Forgotten (マインド・アイ：失われし秘密) Miracles (ミラクルズ - 奇跡の魔法使い アリオナ) Miss Teri Tale (ミス テリー テール) Miss Teri Tale Vote 4 Me (ミス テリー テール - テールの市長選) Money Tree (マネー ツリー) Monkey s Tower (モンキータワー) Mushroom Age (マッシュルーム紀) My Kingdom for the Princess (すべてはお姫様のために) My Kingdom for the Princess II (すべてはお姫様のために 2) Mysteries of Magic Island (ミステリー オブ マジック アイランド) Mystery Age The Dark Priests (ミステリーエイジ：悪の神官) Mystery Age The Imperial Staff (ミステリーエイジ：インペリアル スタッフ) Mystery Case Files ® 13th Skull ™ (ミステリー事件簿：十三番目の骸骨™) Mystery Case Files ® Dire Grove ™ (ミステリー事件簿：ダイアグローブの伝説 ™) Mystery Case Files Huntsville ™ (ミステリー事件簿： ハンツビル ™) Mystery Case Files Ravenhearst ® (ミステリー事件簿：レーブンハースト ™) Mystery Case Files Return to Ravenhearst ™ (ミステリー事件簿： 続・レーブンハースト ™) Mystery Legends Sleepy Hollow (スリーピー・ホロウ：首なし騎士の伝説) Mystery Legends The Phantom of the Opera (ファントム・オブ・オペラ：オペラ座の怪人) Mystery of Unicorn Castle (ミステリー オブ ユニコーン キャッスル) Mystery Trackers The Void (ミステリー・トラッカー：ボイド邸の秘密) Mystery Valley (ミステリーバレー：謎の町) Mystic Diary Haunted Island (ミスティック ダイアリー：呪われた島) Mystic Diary Lost Brother (ミスティック ダイアリー - 消えた兄の謎) Mystic Emporium (リリーのマジカルショップ) Mystic Gateways The Celestial Quest (ミスティックゲートウェイ：天空のクエスト) Mystic Inn ™ (ミスティック イン ™) Natalie Brooks Secrets of Treasure House (ナタリー ブルックス：トレジャーハウスの秘密) Natalie Brooks The Treasures of the Lost Kingdom (ナタリーブルックス：亡国の財宝) National Geographic ™ presents Herod s Lost Tomb (ナショナル ジオグラフィック：ヘロデ王の失われた墓) Nemo s Secret The Nautilus (ネモ船長の秘密 - ノーチラス号) Neverland (ネバーランド) Nightfall Mysteries Curse of the Opera (ナイトフォール・ミステリーズ：オペラ座の呪い) Nightfall Mysteries Asylum Conspiracy (ナイトフォール・ミステリーズ：アッシュバーグの陰謀) Nikakudori (二角取り) Nora Roberts Vision in White (ノーラ・ロバーツ：純白のビジョン) Ocean Express (オーシャン エクスプレス) Oriental Dreams (オリエンタルドリーム) Pantheon (パンテオン) Paradise Beach (パラダイスビーチ) Paradise Quest (パラダイス クエスト) Party Down (パーティー ダウン) Peggle Deluxe (ペグル デラックス) Penguins Journey (ペンギンの大冒険) Penny Dreadfuls™ Sweeney Todd (スウィーニー・トッド：ペニー・ドレッドフル ) Perfect Tree (パーフェクト・クリスマスツリー) Pet Show Craze (クレイジー・ペットショー) Pets Fun House (ペット ファン ハウス) Phantasmat (ファンタズマ：ダムの底に消えた町) Plan it Green (グリーンヴィル エコ計画) Plantastic (プランタスティック) Potion Bar (ポーションバー) Princess Isabella A Witch s Curse (プリンセス・イザベラ：魔女の呪い) Puzzle City (パズルシティ) Puzzle Hero (パズルヒーロー) Quantz (クワンジー) Rainbow Web (レインボー ウェブ) Rainbow Web 2 (レインボー ウェブ 2) Ranch Rush (ゴー！ゴー！牧場！) Ranch Rush 2 - Sara s Island Experiment (ゴー！ゴー！牧場！２ サラのアイランド物語) Redrum ™ (レッドラム) Redrum Time Lies (レッドラム 2 - タイム・ライズ)Reincarnations The Awakening (リインカーネーション：覚醒) Reincarnations Uncover the Past (リインカーネーション - 回帰) Rescue at Raijini Island (ラジーニ島の伝説：女神の悲恋) Rhianna Ford & The Da Vinci Letter (リアナ・フォード＆ダ・ヴィンチからの手紙) Robin s Quest A Legend Born (ロビンズ クエスト：伝説が生まれた日) Robinson Crusoe and the Cursed Pirates (ロビンソン・クルーソー：呪われた海賊たち) Rotate Mania Deluxe (ロテート マニア デラックス) Runes of Avalon 2 (ルーンズ オブ アヴァロン 2) Satisfashion (サティスファッション) Season of Mystery The Cherry Blossom Murders (シーズン オブ ミステリー：桜吹雪に隠された陰謀) Secret Diaries Florence Ashford (シークレット・ダイアリーズ：フローレンス・アシュフォード) Secret Missions Mata Hari and the Kaiser s Submarines (シークレット ミッション：マタ・ハリとカイザーの潜水艦 ™) Secret Mission The Forgotten Island (シークレット ミッション：魔法のクリスタルと謎の島) Secrets of Great Art(隠された名画の秘密) Secrets of Olympus (シークレッツ オブ オリンパス) Secrets of the Dragon Wheel (エピファニー・オデイの冒険：シークレット オブ ドラゴン ホイール) Shaolin Mystery Tale of the Jade Dragon Staff (少林ミステリー・ヒスイの龍杖) Shapo Gold (シェイポ ゴールド) Sherlock Holmes The Hound of the Baskervilles (シャーロック・ホームズ：バスカヴィル家の魔犬) Sherlock Holmes The Mystery of the Persian Carpet (シャーロック ホームズ - ペルシャじゅうたんの謎) Shop-n-Spree (ショップ＆スプリー：ショッピング大作戦！) Sky Kingdoms (スカイキングダム) Skymist - The Lost Spirit Stones (スカイミスト：ロスト・スピリット・ストーン) Slingo Deluxe (スリンゴ デラックス) Smileys (スマイリーズ) Spa Mania (スパ・マニア) Space Journey (スペース ジャーニー) Spirit Seasons Little Ghost Story (スピリット・シーズン：謎の屋敷とお化けの少女) Sprill and Ritchie Adventures in Time (スプリール＆リッチー：時間旅行へGO！) Sprill The Mystery of the Bermuda Triangle (スプリール：バミューダ トライアングルの謎) Stardrone (スタードローン) Stoneloops! of Jurassica (ストーンループス！オブ ジュラシカ) Strange Cases - The Lighthouse Mystery (ストレンジ・ケース：スノードームと灯台の謎) Strange Cases The Tarot Card Mystery (ストレンジ・ケース：タロットカードの謎) Strimko (Strimko - 頭脳チャレンジ) Super Stamp (SUPER STAMP - マイ切手コレクション) Superior Save (ビジネスマン誘拐事件) Syberia (シベリア) Syberia II (シベリア II) The Book of Wanderer The Story of Dragons (さすらい人の書：ドラゴンの物語) The Cameron Files Secret at Loch Ness (ロックネス - ネス湖の秘密) The Clumsys 2 Butterfly Effect (ザ・クラムジーズ 2：バタフライ・エフェクト) The Dark Hills of Cherai (暗黒の丘：チェライ) The Enchanted Kingdom Elisa s Adventure (エンチャンテッド キングダム：エリサの冒険) The Fall Trilogy Chapter 1 (記憶の彼方 第1章：別離) The Fifth Gate (ザ・フィフス・ゲート) The Great Sea Battle The Game of Battleship (ザ グレート シー バトル：戦艦ゲーム) The Legend of Sanna (レジェンド・オブ・サンナ：偉大なる土地) The Lost Cases of Sherlock Holmes (ザ ロスト ケース オブ シャーロック ホームズ) The Magicians Handbook - Cursed Valley (マジシャンズ ハンドブック：呪われた谷) The Magician s Handbook II Blacklore (マジシャンズ ハンドブック 2 ：ブラックロア) The Mysterious City Cairo (ミステリアス シティー：カイロ) The Mysterious City Golden Prague (ミステリアス シティー：黄金の都市プラハ) The Mystery of the Crystal Portal (ミステリー・オブ・クリスタルポータル) The Mystery of the Crystal Portal Beyond the Horizon (ミステリー・オブ・クリスタルポータル：地平線のかなたに) The Palace Builder (パレスビルダー - 夢の王室建築家) The Rise of Atlantis (ライズ オブ アトランティス) The Secret of Margrave Manor (マーグレイブ家の秘密) The Serpent of Isis ™ (サーペント・オブ・イシス - ロンドンに眠る女神の秘宝 ™) The Spirit of Wandering The Legend (スピリット・オブ・ワンダリング - 海賊船の伝説) The Sultan s Labyrinth (スルタンズ ラビリンス) The Sultan s Labyrinth A Royal Sacrifice (スルタンズ ラビリンス：王に捧げる命) The Treasures Of Montezuma (モンテズマの宝) The Treasures of Montezuma 2 (モンテズマの宝 2) The Treasures of Mystery Island (ミステリー島の秘宝) The White House (ホワイトハウス) Tiger Eye - Part I Curse of the Riddle Box (タイガーアイ Part 1 ：呪いの箱) Time Dreamer (タイムドリーマー：時空を越える旅人) Time Mysteries Inheritance (タイム・ミステリーズ：消えたアンブローズ家の宝) Time to Hurry Nicole s Story (タイム・トゥー・ハリー：ニコールの場合) Tornado The secret of the magic cave (トルネード：魔法の洞窟の秘密) Tory s Shop N Rush (トリーのショッピング・ラッシュ) Trapped The Abduction (トラップ：逃げられぬ罠) Travelogue 360 ™ Paris (トラベローグ 360 ™： パリ) Treasure Island (トレジャー アイランド) Treasure Masters (トレジャー マスター) Treasure Seekers Follow the Ghosts (トレジャー・シーカーズ 3 – 甦った亡霊たち) Treasure Seekers The Enchanted Canvases (トレジャー・シーカーズ 2 - 魔法のカンバス™) Treasure Seekers The Time Has Come (トレジャー・シーカーズ 4：時の到来) Treasure Seekers Visions of Gold ™ (トレジャー・シーカーズ - 海賊の秘宝 ™) Trial of the Gods Ariadne s Fate (勇者テーセウスと運命の糸) Trial of the Gods Ariadne s Journey (勇者テーセウスとアマゾーンの戦い) Trijinx (トライ ジンクス) Tropical Farm (トロピカルファーム) Tropical Fish Shop Annabel s Adventure (トロピカルフィッシュショップ：アナベルの冒険) Tropical Fish Shop 2 (トロピカル フィッシュ ショップ２) Tumblebugs (タンブルバグズ) Turbo Fiesta (ターボ フィエスタ) Turbo Pizza (ターボ・ピザ) Turbo Subs (ターボ サブ) Twisted Lands Shadow Town (ツイステッド ランド：シャドー・タウン) Unsolved Mystery Club™ Amelia Earhart™ (未解決ミステリークラブ：アメリア・イアハート) Unwell Mel ™ (敏腕ドクター：メルを救え！™) Valerie Porter and the Scarlet Scandal (バレリー・ポーター：ハリウッドスター殺人事件) Vampire Saga Pandora s Box (ヴァンパイア・サーガ：パンドラの匣) Vault Cracker (ボールトクラッカー：最後の壁) Veronica Rivers Portals to the Unknown ™ (ヴェロニカ・リバーズ：未知のポータル) Veronica Rivers The Order of the Conspiracy (ヴェロニカ・リバーズ：陰謀の騎士団) Victorian Mysteries Woman in White (ビクトリアン・ミステリーズ：白衣の女) Virtual Farm (バーチャル ファーム) Wedding Dash 4-Ever (ウェディングダッシュ 4 エバー) Wedding Salon (ウエディングサロン) Wendy s Wellness (ウェンディーの健康ホスピタル) Winemaker Extraordinaire (ワインメーカー) World Mosaics (ワールド モザイク) World Mosaics 3 - Fairy Tales (ワールド モザイク 3 ：フェアリー・テイル) World Mosaics 4 (ワールドモザイク 4) World of Zellians (ワールド・オブ・ゼリアンズ：王国をつくろう™) World Riddles Animals (ワールド・リドル - 世界の動物) Yosumin (ょすみん。) Youda Camper (ユー・ダ キャンパー) Youda Farmer (ヨーダ・ファーマー) Youda Farmer 2 Save the Village (ヨーダ・ファーマー２：村を救う) Youda Legend The Curse of the Amsterdam Diamond (ユーダ・レジェンド：アムステルダム・ダイヤの呪い) Youda Legend The Golden Bird of Paradise (ユーダ・レジェンド：ゴールデン バード パラダイス) Youda Survivor (ヨーダ・サバイバー) Youda Survivor 2 (ヨーダ・サバイバー２) Youda Sushi Chef (ユーダ・寿司ショップ) Yucatan (ユカタン) Yumsters! 2 (ヤムスターズ！ 2) Zen Fashion (禅ファッション) Zuma Deluxe (ズーマ デラックス) (ザ・クロックワークマン：時計じかけのハート) (スカイタクシー) (スプーキー ルーンズ) (ティーボル：やさしいバンパイア) (トロピカル倶楽部) (パズル エクスプレス) (バブル シューター) (ハリウッド - ディレクターズ カット) (ボルダー ダッシュ) (謎の町：ミステリーヴィル) (謎の町：ユーリカバーグ) 名前 コメント

• Electronica入門 - I

  https://w.atwiki.jp/electronica/pages/14.html

  Ｉ I Am Robot And Proud　Icarus　Infant

• ファンタジー世界『ロクシアース』を作ろう！！ @ ウィキ - ROYAL and STRONG

  https://w.atwiki.jp/opfan/pages/1926.html

  暗雲割って現れる 稲妻が白く爆ぜる 内なる神に捧げた剣 正義の為に今振るう あの日剣に誓った『正しくそう有るべき世界（理想）』今こそ実現させる時だ 正義を！ そうROYAL and STRONG！手にしたのだから 自分がやらなければ それを行う為ならば 如何なる過程も省みない ROYAL and STRONG！無駄な抵抗は止せ 『正しくそう有るべき世界（理想）』の為に今… ROYAL and STRONG！ 美しい世界汚染する 自由やらという穢れ 地平の彼方天の果て 一つ残らず駆逐する 今目の前にある『混沌とした雑踏（現実）』を許容なんてしない 天誅！ だからROYAL and STRONG！議論の余地無く 正しく教化してくれよう 何れ理解できるだろう 我等の正しさを ROYAL and STRONG！『高等人種（人間）』の誇り 『混沌とした雑踏（現実）』を許さず今… ROYAL and STRONG！ 鮮血に染まる両腕 それでも止まるわけにはゆかない 『亜人（あれら）』の為にも！ そうROYAL and STRONG！手にしたのだから 自分がやらなければ それを行う為ならば 如何なる過程も省みない ROYAL and STRONG！無駄な抵抗は止せ 『正しくそう有るべき世界（理想）』を胸に今… ROYAL and STRONG！ そうROYAL and STRONG！ だからROYAL and STRONG！ 関連 オードリー・ドゥ・ジャスティスブレイド 目次に戻る

• Anne of Green Gables　のぺーじ - CHAPTER XXVI with impression

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  CHAPTER XXV? UP CHAPTER XXVII CHAPTER XXVI The Story Club Is Formed 第26章 物語クラブの結成（松本訳） Junior Avonlea found it hard to settle down to humdrum existence again. アヴォンリーの学校の子供を「Junior Avonlea」と表現している To Anne in particular things seemed fearfully flat, stale, and unprofitable 「fearfully flat, stale, and unprofitable」松本訳注第26章(1) p. 507参照 after the goblet of excitement she had been sipping for weeks. Could she go back to the former quiet pleasures of those faraway days before the concert? At first, as she told Diana, she did not really think she could. "I m positively certain, Diana, that life can never be quite the same again as it was in those olden days," she said mournfully, as if referring to a period of at least fifty years back. 「fifty years back」このころの50年前は、どんなだったろう。カナダは独立していないのはわかるのだけど "Perhaps after a while I ll get used to it, but I m afraid concerts spoil people for everyday life. I suppose that is why Marilla disapproves of them. Marilla is such a sensible woman. It must be a great deal better to be sensible; but still, I don t believe I d really want to be a sensible person, because they are so unromantic. Mrs. Lynde says there is no danger of my ever being one, but you can never tell. I feel just now that I may grow up to be sensible yet. But perhaps that is only because I m tired. I simply couldn t sleep last night for ever so long. I just lay awake and imagined the concert over and over again. That s one splendid thing about such affairs--it s so lovely to look back to them." Eventually, however, Avonlea school slipped back into its old groove and took up its old interests. 「slipped back into its old groove」grooveは、軌道（松本訳）、わだち、溝など。または、常道、きまり、慣習。slipを使うことで、溝に滑り落ちるように元に戻っている様子を表現しているのでしょうか。また、「slipped back」、「took up」と、落ちて上がる、のがコトバの上でも気持ちいいのかもしれません To be sure, the concert left traces. 「the concert left traces」、grooveに滑り落ちるように戻ったけれども、trace＝跡は残した。土手を滑り落ちるときに残る滑り跡、を連想させる Ruby Gillis and Emma White, who had quarreled over a point of precedence in their platform seats, no longer sat at the same desk, and a promising friendship of three years was broken up. Josie Pye and Julia Bell did not "speak" for three months, because Josie Pye had told Bessie Wright that Julia Bell s bow 「bow」は、おじぎ。《バウ》のような発音。《ボウ》のような発音の蝶結びではない when she got up to recite made her think of a chicken jerking its head, and Bessie told Julia. 「bow」を蝶結びと勘違いして読んでいたら、ニワトリのトサカの話と思ってしまいました (^^; 。もしかしたら、ジュリア・ベルは頭にリボンを付けていて（前章に記述はありませんが）、それと引っかけているのかも、と自分を慰めたりして…… None of the Sloanes would have any dealings with the Bells, because the Bells had declared that the Sloanes had too much to do in the program, and the Sloanes had retorted that the Bells were not capable of doing the little they had to do properly. Finally, Charlie Sloane fought Moody Spurgeon MacPherson, because Moody Spurgeon had said that Anne Shirley put on airs about her recitations, and Moody Spurgeon was "licked"; consequently Moody Spurgeon s sister, Ella May, would not "speak" to Anne Shirley all the rest of the winter. エラ・メイはムーディー・スパージョンのsisiterとしかないけれども、こういう子供っぽいことをするのだから、また、アンの同級生グループにもいないことから、妹だとわかる With the exception of these trifling frictions, work in Miss Stacy s little kingdom went on with regularity and smoothness. 「Miss Stacy s little kingdom」アンの青春にも似た表現があったと思う「アンの小さな王国」（村岡訳ではこうだったような） The winter weeks slipped by. ここにも「slipped」。今度は雪を連想させる It was an unusually mild winter, with so little snow that Anne and Diana could go to school nearly every day by way of the Birch Path. On Anne s birthday they were tripping lightly down it, keeping eyes and ears alert amid all their chatter, for Miss Stacy had told them that they must soon write a composition on "A Winter s Walk in the Woods," and it behooved them to be observant. "Just think, Diana, I m thirteen years old today," remarked Anne in an awed voice. 「awed」畏敬の、って地の文でもbig word。アンの言葉に対する形容だけど "I can scarcely realize that I m in my teens. 「teens」松本訳注第26章(2) p. 508参照 When I woke this morning it seemed to me that everything must be different. You ve been thirteen for a month, so I suppose it doesn t seem such a novelty to you as it does to me. It makes life seem so much more interesting. In two more years I ll be really grown up. It s a great comfort to think that I ll be able to use big words then without being laughed at." 第31章で、マリラにあまりおしゃべりしなくなった、おおげさな言葉を使わなくなった "You don t chatter half as much as you used to, Anne, nor use half as many big words. What has come over you?" と言われるものの伏線になっている。CHAPTER XXXI、CHAPTER XXXI with impressionも参照 "Ruby Gillis says she means to have a beau as soon as she s fifteen," said Diana. "Ruby Gillis thinks of nothing but beaus," said Anne disdainfully. beauが複数になっているところが、アンのdisdainfully（軽蔑して）を表わしているのかも。「beaus」は、puffin books版では「beaux」となっている。beauxは、beauのフランス語の複数形。Gutenberg版はアメリカ英語化されているものを使っているためではないでしょうか。beauxは《ボ》と発音は単数形のbeauと同じになっちゃうのだけれど、aの有無で話し言葉でもわかるはず "She s actually delighted when anyone writes her name up in a take-notice for all she pretends to be so mad. But I m afraid that is an uncharitable speech. Mrs. Allan says we should never make uncharitable speeches; 「uncharitable」演芸会のタブローでアンが演じたのはHope（希望：松本訳）であって、Charity（愛 松本訳、または、慈愛）ではない（CHAPTER XXIV、CHAPTER XXIV with impression?）。英語で読んでくるとここで気付く but they do slip out so often before you think, don t they? ここにも「slip」。この章はslipがキーワードのひとつかも (^^) I simply can t talk about Josie Pye without making an uncharitable speech, so I never mention her at all. You may have noticed that. I m trying to be as much like Mrs. Allan as I possibly can, for I think she s perfect. Mr. Allan thinks so too. Mrs. Lynde says he just worships the ground she treads on and she doesn t really think it right for a minister to set his affections so much on a mortal being. But then, Diana, even ministers are human and have their besetting sins just like everybody else. 「besetting sins」松本訳注第26章(3) p. 508参照。 sinは原罪 I had such an interesting talk with Mrs. Allan about besetting sins last Sunday afternoon. There are just a few things it s proper to talk about on Sundays and that is one of them. My besetting sin is imagining too much and forgetting my duties. I m striving very hard to overcome it and now that I m really thirteen perhaps I ll get on better." "In four more years we ll be able to put our hair up," said Diana. "Alice Bell is only sixteen and she is wearing hers up, but I think that s ridiculous. I shall wait until I m seventeen." "If I had Alice Bell s crooked nose," said Anne decidedly, 「crooked」には、曲った、の意味のほかに、不正直な、という意味もある。アリス・ベルが髪を大人のように結い上げることが、年齢に対して不正直であるとのことからこのコトバが連想され、コトバがコトバを紡ぎ出していく会話になっている "I wouldn t--but there! I won t say what I was going to because it was extremely uncharitable. Besides, I was comparing it with my own nose and that s vanity. I m afraid I think too much about my nose ever since I heard that compliment about it long ago. It really is a great comfort to me. Oh, Diana, look, there s a rabbit. That s something to remember for our woods composition. I really think the woods are just as lovely in winter as in summer. They re so white and still, as if they were asleep and dreaming pretty dreams." "I won t mind writing that composition when its time comes," sighed Diana. "I can manage to write about the woods, but the one we re to hand in Monday is terrible. The idea of Miss Stacy telling us to write a story out of our own heads!" "Why, it s as easy as wink," said Anne. "It s easy for you because you have an imagination," retorted Diana, "but what would you do if you had been born without one? I suppose you have your composition all done?" Anne nodded, trying hard not to look virtuously complacent and failing miserably. "I wrote it last Monday evening. It s called `The Jealous Rival; or In Death Not Divided. I read it to Marilla and she said it was stuff and nonsense. Then I read it to Matthew and he said it was fine. That is the kind of critic I like. It s a sad, sweet story. I just cried like a child while I was writing it. 「I just cried like a child」13歳になったご利益はなかったのかも。childのニュアンスがよくわからない。松本訳では「わんわん泣いちゃったわ」 It s about two beautiful maidens called Cordelia Montmorency and Geraldine Seymour who lived in the same village and were devotedly attached to each other. 「Cordelia Montmorency」松本訳注第26章(4) p. 508参照。 「Geraldine Seymour」松本訳注第26章(5) p. 508参照 Cordelia was a regal brunette with a coronet of midnight hair and duskly flashing eyes. 「coronet」松本訳注第26章(6) p. 509参照 Geraldine was a queenly blonde with hair like spun gold and velvety purple eyes." [「purple eyes」紫色の目。アンは自分の緑色の目の代りに、想像のうえでは violet の目を持っていると考え（てい）たことがある（CHAPTER II with impression Matthew Cuthbert is surprised） 19 August 2007 追記 "I never saw anybody with purple eyes," said Diana dubiously. "Neither did I. I just imagined them. I wanted something out of the common. Geraldine had an alabaster brow too. I ve found out what an alabaster brow is. 「I ve found out what an alabaster brow is. 」松本訳注第26章(7) p. 509参照。 CHAPTER II、CHAPTER II with impressionも参照 That is one of the advantages of being thirteen. You know so much more than you did when you were only twelve." "Well, what became of Cordelia and Geraldine?" asked Diana, who was beginning to feel rather interested in their fate. "They grew in beauty side by side until they were sixteen. Then Bertram DeVere came to their native village 「Bertram DeVere」松本訳注第26章(8) p. 509参照 and fell in love with the fair Geraldine. 「fair」は金髪の、金髪で色白の。公正な、の意味も含めているのかもしれない He saved her life when her horse ran away with her in a carriage, and she fainted in his arms and he carried her home three miles; because, you understand, the carriage was all smashed up. I found it rather hard to imagine the proposal because I had no experience to go by. I asked Ruby Gillis if she knew anything about how men proposed because I thought she d likely be an authority on the subject, having so many sisters married. Ruby told me she was hid in the hall pantry when Malcolm Andres proposed to her sister Susan. She said Malcolm told Susan that his dad had given him the farm in his own name and then said, `What do you say, darling pet, if we get hitched this fall? 「pet」お気に入りの物、人。動物のペット以外の意味もある And Susan said, `Yes--no--I don t know--let me see --and there they were, engaged as quick as that. But I didn t think that sort of a proposal was a very romantic one, so in the end I had to imagine it out as well as I could. I made it very flowery and poetical and Bertram went on his knees, although Ruby Gillis says it isn t done nowadays. Geraldine accepted him in a speech a page long. 「a speech a page long」アンのおしゃべりは、more than a page longで、改行なしで1ページ以上あるのを読者は知っているから、ここでも笑ってしまう I can tell you I took a lot of trouble with that speech. I rewrote it five times and I look upon it as my masterpiece. Bertram gave her a diamond ring and a ruby necklace 「ruby necklace」ちょっと前にルビー・ギリスが出てきたから、ルビーの首飾りなのかどうかは不明 and told her they would go to Europe for a wedding tour, for he was immensely wealthy. But then, alas, shadows began to darken over their path. Cordelia was secretly in love with Bertram herself and when Geraldine told her about the engagement she was simply furious, especially when she saw the necklace and the diamond ring. All her affection for Geraldine turned to bitter hate and she vowed that she should never marry Bertram. But she pretended to be Geraldine s friend the same as ever. One evening they were standing on the bridge over a rushing turbulent stream and Cordelia, thinking they were alone, pushed Geraldine over the brink with a wild, mocking, `Ha, ha, ha. But Bertram saw it all and he at once plunged into the current, exclaiming, `I will save thee, my peerless Geraldine. 文語調で叫んでいる。松本訳も文語調 But alas, he had forgotten he couldn t swim, and they were both drowned, clasped in each other s arms. Their bodies were washed ashore soon afterwards. They were buried in the one grave and their funeral was most imposing, Diana. It s so much more romantic to end a story up with a funeral than a wedding. As for Cordelia, she went insane with remorse and was shut up in a lunatic asylum. I thought that was a poetical retribution for her crime." 「retribution」は悪行に対する報い。または、天罰 "How perfectly lovely!" sighed Diana, who belonged to Matthew s school of critics. 「school」は学派や派、と訳すことが多いのでしょうけども、日本語の学派から連想されるほど堅いコトバではないはず。とはいえ漢字の「派」を使わざるをえないところで、すでに堅い感じを漂わせてしまうのは仕方がないのかもしれません "I don t see how you can make up such thrilling things out of your own head, Anne. I wish my imagination was as good as yours." "It would be if you d only cultivate it," said Anne cheeringly. "I ve just thought of a plan, Diana. Let you and me have a story club all our own and write stories for practice. I ll help you along until you can do them by yourself. You ought to cultivate your imagination, you know. Miss Stacy says so. Only we must take the right way. I told her about the Haunted Wood, but she said we went the wrong way about it in that." This was how the story club came into existence. It was limited to Diana and Anne at first, but soon it was extended to include Jane Andrews and Ruby Gillis and one or two others who felt that their imaginations needed cultivating. No boys were allowed in it--although Ruby Gillis opined that their admission would make it more exciting--and each member had to produce one story a week. "It s extremely interesting," Anne told Marilla. "Each girl has to read her story out loud and then we talk it over. We are going to keep them all sacredly and have them to read to our descendants. We each write under a nom-de-plume. 「sacredly」「nom-de-plume」とか、big wordsで笑えるところ Mine is Rosamond Montmorency. All the girls do pretty well. Ruby Gillis is rather sentimental. She puts too much lovemaking into her stories and you know too much is worse than too little. Jane never puts any because she says it makes her feel so silly when she had to read it out loud. Jane s stories are extremely sensible. Then Diana puts too many murders into hers. She says most of the time she doesn t know what to do with the people so she kills them off to get rid of them. I mostly always have to tell them what to write about, but that isn t hard for I ve millions of ideas." "I think this story-writing business is the foolishest yet," scoffed Marilla. "You ll get a pack of nonsense into your heads and waste time that should be put on your lessons. Reading stories is bad enough but writing them is worse." 「Reading stories is bad enough but writing them is worse.」松本訳注第26章(9) p. 509参照 日本でも、漢詩が格上で、物語は格下。和歌は物語よりも上だけれども、漢詩より格下。平安時代から江戸時代にかけては "But we re so careful to put a moral into them all, Marilla," explained Anne. "I insist upon that. All the good people are rewarded and all the bad ones are suitably punished. 「reward」は善いことに対する報い。先にコーデリアの受けた報い「retribution」とは違う I m sure that must have a wholesome effect. The moral is the great thing. Mr. Allan says so. 「Mr. Allan says so.」松本訳では「アラン夫人」となっていますが（p.305）、「アラン牧師」の誤植だと思います。MrとMrsの誤植ではないと思われる理由は、次の文が「to him and Mrs. Allan」で、先に男の人であるMr Allanが述べられていることが明らかだからです I read one of my stories to him and Mrs. Allan and they both agreed that the moral was excellent. Only they laughed in the wrong places. I like it better when people cry. Jane and Ruby almost always cry when I come to the pathetic parts. Diana wrote her Aunt Josephine about our club and her Aunt Josephine wrote back that we were to send her some of our stories. So we copied out four of our very best and sent them. Miss Josephine Barry wrote back that she had never read anything so amusing in her life. That kind of puzzled us because the stories were all very pathetic and almost everybody died. But I m glad Miss Barry liked them. It shows our club is doing some good in the world. Mrs. Allan says that ought to be our object in everything. I do really try to make it my object but I forget so often when I m having fun. I hope I shall be a little like Mrs. Allan when I grow up. Do you think there is any prospect of it, Marilla?" "I shouldn t say there was a great deal" was Marilla s encouraging answer. "I m sure Mrs. Allan was never such a silly, forgetful little girl as you are." "No; but she wasn t always so good as she is now either," said Anne seriously. "She told me so herself--that is, she said she was a dreadful mischief when she was a girl and was always getting into scrapes. I felt so encouraged when I heard that. Is it very wicked of me, Marilla, to feel encouraged when I hear that other people have been bad and mischievous? Mrs. Lynde says it is. Mrs. Lynde says she always feels shocked when she hears of anyone ever having been naughty, no matter how small they were. Mrs. Lynde says she once heard a minister confess that when he was a boy he stole a strawberry tart out of his aunt s pantry 「he stole a strawberry tart」松本訳注第26章(10) p. 510参照 and she never had any respect for that minister again. Now, I wouldn t have felt that way. I d have thought that it was real noble of him to confess it, and I d have thought what an encouraging thing it would be for small boys nowadays who do naughty things and are sorry for them to know that perhaps they may grow up to be ministers in spite of it. That s how I d feel, Marilla." "The way I feel at present, Anne," said Marilla, "is that it s high time you had those dishes washed. You ve taken half an hour longer than you should with all your chattering. Learn to work first and talk afterwards." CHAPTER XXV? UP CHAPTER XXVII 2007年6月10日 2007年8月19日 追記 今日 - | 昨日 - | Total - since 10 June 2007 last update 2007-08-19 21 24 47 (Sun)