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A WAY OUT 項目数：14 総ポイント：1000 難易度：★☆☆☆☆ ストーリー進行で解除される実績はなく 特定の行動をしないと解除されない。 取り逃してもチャプターセレクトから補完可。 Take A Breather You took a break from it all. 80 Freedom You freed someone from captivity. 50 In Sync Music was played in harmony. 80 Timeless Treasure You linked up to get past. 100 No Cheating You exposed some infidelity. 50 Break From Reality You played a videogame with a friend. 50 Mayday! You almost took to the skies. 50 Managed Anger Dark desires done right. 80 Live The Dream "Houston, we ve had a problem." 100 Backseat Mechanic You helped fix the bike. 50 Take It For A Spin You did what the wind couldn t. 80 You Started It Not kids anymore. 80 The Dip You set a new record. 100 Home Run You are clearly good with a bat. 50 動画通りに行動すれば全て解除可能。 https //www.youtube.com/watch?v=ySnaZa-VBNc
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クエスト／Clearing the Way 概要 居住地となりうる地点の敵を掃討する 発生方法 プレストンガービーから依頼される 各地拠点の住民から依頼される ラジオ・フリーダムを聞く 主な流れ 指定された地点に行き、敵を掃討してワークショップを確保する 入植者に報告後、プレストンと話す 詳細と補足 ミニッツメンの繰り返しクエストの中では、新居住地を得られる分やりがいのあるクエスト。 敵を倒してからすぐにワークショップに触れると、死体が残ってしまう可能性があることに注意。 報酬 XP キャップ 新たな居住地
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Back in the days of my childhood In the evening when everything was still I used to sit and listen to the foxhounds With my dad in the old Kentucky hills * I m on my way back to the old home That road winds on up the hill But there s a light in the window That shines on the road where I lived Soon my child days were over I had to leave my old home Mother and Dad were called to Heaven I was left in this world all alone * Refrain High in the hills of old Kentucky The fondest part of my old memory I m on my way back to the old home That light in the window I long to see * Refrain
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ブレイク フリー (リード ザ ウェイ) 収録作品：スーパーマリオ オデッセイ［NS］ 歌：Kate Davis、向原愛海(日本語版) 作詞者：鈴木伸嘉(日本語版) 作曲者：久保直人 概要 本作のラストバトルでクッパを撃破後、最終決戦の余波で崩落するハニークレーター地下からの脱出時後半からエンディングに流れる曲にして、「Jump Up, Super Star!」に続く本作二つ目のボーカル曲。 ミュージックリストには「ハニークレーター（脱出）」という曲名で収録されており、TwitterでのiTunes Store配信の告知の際に正式に曲名が明かされた。 発売前から大々的に公開されていた「Jump Up, Super Star!」に対し、こちらは発売まで完全に存在が伏せられていたため、ストーリーの最終局面に二曲目のボーカルが流れるまさかの展開に数多のプレイヤーが驚愕することとなった。 Nintendo DREAM WEBにて、元々この曲は「Jump Up, Super Star!」の可能性の一つとして作曲されたものであることが明かされている。 ジャズに対してよりポピュラーなロックの曲も作曲し、プレゼンでついでに披露したところ、ディレクターの元倉健太氏が気に入ったこと、更に使う場面を探していたところ、最終局面からエンディングの場面にうまくハマったことで採用されることになったそうだ。 外(そと)が見(み)えたよ！ あと少(すこ)しで 脱出(だっしゅつ)だ！ ラスボスのクッパを撃破後、足場が崩落して全員落下。 崩壊するハニークレーターからの脱出のためにマリオが取った行動は、気絶したクッパをキャプチャーすることだった。 そしてキャプチャークッパで次々と岩を破壊していき、一際硬い岩盤を破壊すると、マリオ達の星が眼前に現れ曲が「ハニークレーター 崩落」からこの曲に切り替わる。 いつかの「イン・ザ・ファイナル」を思い起こさせるマリオとクッパの面白可笑しくも熱い共闘に加えて、それまでの不安や焦りを吹き飛ばす軽快でノリの良いこの曲に切り替わるこの最終局面はテンションが間違いなく上がるはずである。 この展開から、曲の間奏には『ドンキーコング』のフレーズだけではなく『スーパーマリオ64』のクッパ戦のフレーズも組み込まれている。 そして無事脱出に成功すると、一旦曲が止まりエンディングに入るのだが、盛大なオチと共に再び曲が始まり騒がしくも爽やかに締めくくって「スタッフロール」に突入する。 また歌詞を比較してみると「マリオ」に関係する言葉が散りばめているのは同じであるが、「Jump Up, Super Star!」がマリオを観た側の視点として書かれているに対して、この曲はマリオが我々に語りかけているように書かれている。 これらの特徴から、この曲は「Jump Up, Super Star!」と生まれを同じとする曲であると同時に、対になる曲であると見ることができる。 そしてこの曲もまた『スーパーマリオ オデッセイ』を代表する曲の一つであると言えるだろう。 過去のランキング順位 第12回みんなで決めるゲーム音楽ベスト100 126位 第13回みんなで決めるゲーム音楽ベスト100 692位、737位(日本語) 第14回みんなで決めるゲーム音楽ベスト100 800位 みんなで決める2017年の新曲ランキング 23位、63位(日本語) 第2回みんなで決めるエンディングBGMベスト100 235位 第3回みんなで決めるゲームソングBEST100 5位、150位(日本語) みんなで決めるマリオシリーズBGMランキング 14位 第2回みんなで決めるラストバトルBGMベスト100 203位 第3回みんなで決める任天堂ゲーム音楽ベスト100 291位 歌詞 + クリックすると表示 Smash through the blocks that bar your way No time for fear just let it all fall away (all fall away) Nobody believes in me and you, Just look at the way they stare So what if we live in a walled garden, as long as I've got you then I don't care Kick off the wall and take the plunge Tripping through 2 dimensions Up on the moon we'll twirl and swoon Just lead the way (and I'll follow you) I'll throw my hat in the ring 'cause you're the one A miracle in three dimensions Follow the brick path straight to my heart And we'll grab the flag together the fireworks are gonna start Shake off the chains, you're running free You'll be amazed at all that there is to see (there is to see) Together we're racing for the goal, and no one can stop us now maybe we don't know where we're going, but we're gonna get there somehow Climb up the vine and land in the clouds Maybe then we'll swap up for down 'cross the sea we're still you and me I'll follow you (Just lead the way) You've got me over the moon and that's no jest We're miles above the rest Look in your eyes and I know we'll be fine So let's shoot for the stars and make this love really shine Nobody believes in me and you, Just look at the way they stare So what if we live in a walled garden, as long as I've got you then I don't care Kick off the wall and take the plunge Tripping through 2 dimensions Up on the moon we'll twirl and swoon Just lead the way (and I'll follow you) I'll throw my hat in the ring 'cause you're the one A miracle in three dimensions Follow the brick path straight to my heart And we'll grab the flag together the fireworks are gonna start 日本語版 感情の ブロックを壊したら 臆病は 奈落の底に消えていった（逃げていった） 無理無駄と 決めつける 奴ら尻目に 箱庭な 煌く世界で 僕ら壮大な恋をしよう 蹴り上げた この足で ２次元を 跨げば 跳ねる 駆ける 回る 月を 便りに（導かれて） 振り投げた 赤い軌跡が ３次元の 奇跡が 揺れる 笑う 君の 胸の ハートに靡く フラッグを掴むよ 未来への プロット 描いたら 信号は スイッチ 青へ変わっていった（走り出した） くどくどと 垂れ流す 小言塞いでさ 晴れ間覗く 輝く世界へ 僕ら壮大な虹架けよう 擦り減った この靴で 地平線 越えれば 跳ねる 翔る 回る 風を頼りに（導かれて） 錆びだらけ この船で 水平線 越えれば 姿 形 今も 浮かぶ 君の心 ゴールを目指すよ のこのこと現れた僕らのチャンスが 箱庭な 煌めく世界で より一層の光を放つ クシャクシャの その切符を 今こそ取り出してよ 「僕ら × 夢」の 答え 出す旅（導かれて） 振りかざせ その腕を 空高く突き上げろ 壊せ 超えろ 叫べ Wow! 僕ら希望 めがけて「Break Free!」 サウンドトラック スーパーマリオ オデッセイ オリジナルサウンドトラック
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ストーリーの翻訳＞27.THE LAST MAN ■Part 66 http //www.youtube.com/watch?v=6WeVDyzAj0U feature=related ■Part 67 http //www.youtube.com/watch?v=FEdGJBB4XIo feature=related ■Part 68 http //www.youtube.com/watch?v=YY7vw6rS920 feature=related ■Part 69 http //www.youtube.com/watch?v=Y8aSE_uLrCE feature=related ■Part 70 http //www.youtube.com/watch?v=g8qQ5cS5q8c feature=related part69からミッションスタートのようなのでpart66～68の字幕抽出はしておりません。 このPROTOTYPEプレイ動画シリーズには字幕が出ているので、 時間がある人は少しでもいいので英文を載せていってください。 書式が分からない場合はベタ書きで構いません。 （特に重要でなければムービー部分だけで構いません） Contact Location 3-SoHo ミッション中 ミッションクリア 27.THE LAST MAN [最後の男] Contact Location 3-SoHo CAPT. CROSS I thought it was a time we talked. そろそろ話すべきだと思ってな。 CAPT. CROSS You don t want to do that. おい、そんなことするなよ。 ALEX I ve done your job for you. I ve broken the back of the infection. お前のために動いてたってのか。感染源を破壊して。 CAPT. CROSS In a few hours, this whole place will be glass. あと数時間で、この島は一掃される。 ALEX Even Randall s not crazy enough to nuke Manhattan. まさか。いくらRandallでもマンハッタンを核攻撃したりはしないだろ。 CAPT. CROSS You re wrong. He was at Hope in 69. He ll do anything to stop the infection. If you help me stop him, you get your secret. いや、する。彼は69年にHopeにいたんだ。感染を止めるためなら何でもするさ。お前が俺を手伝ってくれれば知りたがってた秘密にも届くはずだ。 ALEX There s no way to get to that ship without being blown out of the sky. 迎撃されずに空母に乗り込む方法なんて無いぜ？ CAPT. CROSS I have a way. Randall wants a Colonel named Taggart. He s sent me to find him. He s our key on to the Reagan. RandallはTaggart大佐を探してる。そのために俺がここにいるわけだが、彼が空母Reaganへのカギになる。 CAPT. CROSS Taggart s massing a large force of Helicopters at these locations. Taggartはここに大規模なヘリ部隊を組織している。 CAPT. CROSS If we don t move now, he ll muscle his way out of Manhattan in a fleet of Helicopters. And Randall might not be able to stop him. 俺たちが今動かなければ、あいつはヘリを使って無理やりにでもマンハッタンから出ようとするだろう。そうなったらRandallでは止められないかもしれない。 CAPT. CROSS Mercer, take out the Helicopters. I ll try and pin down Taggart s location. And don t let any of them get out of the city. Taggart could be on any one of them. Mercer、ヘリを落とせ。俺はTaggartの居所を探る。ヘリは全部落とせよ、Taggartがどれに乗るかはわからんのだからな。 ALEX Why does it seem like I m getting the short end of this deal? おいおい、俺が損な役回りの気がするぞ。 ミッション中 ALEX Taggart access the Helicopters for getting out anytime at once. I can fix that. Taggartはいつでもすぐにヘリで脱出できる。俺が絞り込んでやるよ。 （字幕表示されず） ALEX Taggart s aircraft is somewhere near here. この辺にTaggartのヘリ部隊がいるはずだ。 （字幕表示されず） BLACKWATCH COMMANDER ZEUS has benn sighted! Clear the landing areas! ZEUSを発見！着陸地点をあけろ！ ALEX Nothing left. 全滅だな。 ALEX Everyone else to die 全員死んでもらうぜ。 （字幕表示されず） BLACKWATCH HEADQUARTERS Urgent! Spin those choppers up, clear the ground, clear clear! 緊急連絡！全ヘリを飛ばせ、地上に残すな！ MARINE TRANSPORT PILOT This is Ghost Three Three Eight Four, we are go! こちらGhost3384、離陸する！ MARINE TRANSPORT PILOT We re clear of the ground, entering high altitude orbit. 離陸した、高高度まで昇る。 ALEX No aircraft, no personal, no survivers. ヘリ、兵士、生き残り、すべてゼロっと。 （字幕表示されず） BLACKWATCH COMMANDER Flight Leader, get those Birds in the air. NOW! フライト・リーダー、全機飛ばせ、早く！ BLACKWATCH HEADQUARTERS He s here! Get our wings off the ground! Clear, clear! ここにいるぞ！はやく飛べ、飛べ！ BLACKWATCH HEADQUARTERS Priority order, scramble all crews, we need to get these Birds in the air. NOW! 最優先事項、スクランブル発進せよ、全機離陸だ、急げ！ ミッションクリア ALEX damn you taggart. damn it for make me do this. Taggartのクソ野郎が、手間かけさせやがって。 （字幕表示されず）
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Pathfinder Society Scenario #4–21 Way of the Kirin 3～7レベル用パスファインダー協会シナリオ ティエン・シアの東部では、パスファインダー協会は大きな政治的な展望においては小さな一員でしかないが、ゴガGokaの豊かな町にあるLantern Lodgeのボスであるアマラ＝リーAmara Liは、その状態を変える計画があらう。アブサロムのGrand Lodgeから世界の向こう側に影響力のある組織としてのパスファインダー協会の地位を確保するために、彼女は神秘的なWay of the Kirinと同盟を結ぶ必要がある。しかし、パスファインダー協会の長年のライバルアスピス財団は独自の同盟関係を作る計画があり、アスピス財団が成功してしまうならば、パスファインダー協会は龍諸帝国Dragon Empiresで地盤を固める希望は永遠に打ち砕かれるであろう。 著者 Dennis Baker このシナリオはパスファインダー協会加盟プレイを遊ぶためにデザインされているが、いかなるワールドで使用するのにも簡単に改変できる。このシナリオはOpen Game License（OGL）が適用され、パスファインダー・ロールプレイング・ゲームの使用が適している。 カテゴリ：Pathfinder Society Scenario │ 製品リスト
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http //www.haaretz.com/hasen/spages/1064909.html Always on the side of the egg By Haruki Murakami I have come to Jerusalem today as a novelist, which is to say as a professional spinner of lies. Of course, novelists are not the only ones who tell lies. Politicians do it, too, as we all know. Diplomats and military men tell their own kinds of lies on occasion, as do used car salesmen, butchers and builders. The lies of novelists differ from others, however, in that no one criticizes the novelist as immoral for telling them. Indeed, the bigger and better his lies and the more ingeniously he creates them, the more he is likely to be praised by the public and the critics. Why should that be? My answer would be this Namely, that by telling skillful lies - which is to say, by making up fictions that appear to be true - the novelist can bring a truth out to a new location and shine a new light on it. In most cases, it is virtually impossible to grasp a truth in its original form and depict it accurately. This is why we try to grab its tail by luring the truth from its hiding place, transferring it to a fictional location, and replacing it with a fictional form. In order to accomplish this, however, we first have to clarify where the truth lies within us. This is an important qualification for making up good lies. Today, however, I have no intention of lying. I will try to be as honest as I can. There are a few days in the year when I do not engage in telling lies, and today happens to be one of them. So let me tell you the truth. A fair number of people advised me not to come here to accept the Jerusalem Prize. Some even warned me they would instigate a boycott of my books if I came. The reason for this, of course, was the fierce battle that was raging in Gaza. The UN reported that more than a thousand people had lost their lives in the blockaded Gaza City, many of them unarmed citizens - children and old people. Any number of times after receiving notice of the award, I asked myself whether traveling to Israel at a time like this and accepting a literary prize was the proper thing to do, whether this would create the impression that I supported one side in the conflict, that I endorsed the policies of a nation that chose to unleash its overwhelming military power. This is an impression, of course, that I would not wish to give. I do not approve of any war, and I do not support any nation. Neither, of course, do I wish to see my books subjected to a boycott. Finally, however, after careful consideration, I made up my mind to come here. One reason for my decision was that all too many people advised me not to do it. Perhaps, like many other novelists, I tend to do the exact opposite of what I am told. If people are telling me - and especially if they are warning me - "don t go there," "don t do that," I tend to want to "go there" and "do that." It s in my nature, you might say, as a novelist. Novelists are a special breed. They cannot genuinely trust anything they have not seen with their own eyes or touched with their own hands. And that is why I am here. I chose to come here rather than stay away. I chose to see for myself rather than not to see. I chose to speak to you rather than to say nothing. This is not to say that I am here to deliver a political message. To make judgments about right and wrong is one of the novelist s most important duties, of course. It is left to each writer, however, to decide upon the form in which he or she will convey those judgments to others. I myself prefer to transform them into stories - stories that tend toward the surreal. Which is why I do not intend to stand before you today delivering a direct political message. Please do, however, allow me to deliver one very personal message. It is something that I always keep in mind while I am writing fiction. I have never gone so far as to write it on a piece of paper and paste it to the wall Rather, it is carved into the wall of my mind, and it goes something like this "Between a high, solid wall and an egg that breaks against it, I will always stand on the side of the egg." 高くて堅い壁があり、それに向って壊れる卵があるとき、私は常に卵の側に立ちたい。 Yes, no matter how right the wall may be and how wrong the egg, I will stand with the egg. Someone else will have to decide what is right and what is wrong; perhaps time or history will decide. If there were a novelist who, for whatever reason, wrote works standing with the wall, of what value would such works be? そうです。たとえ壁が正しく卵が間違っていたとしても、私は卵の側に立ちたい。ほかの方々は、何が正しくて何が間違っているかを決めるべきだというかもしれませんが、たぶんそれは時間と歴史が決めるでしょう。いかなる理由であっても、小説家が壁の側に立って作品を書くならば、その作品にはいったいどんな価値があるというのでしょうか？ What is the meaning of this metaphor? In some cases, it is all too simple and clear. Bombers and tanks and rockets and white phosphorus shells are that high, solid wall. The eggs are the unarmed civilians who are crushed and burned and shot by them. This is one meaning of the metaphor. この比喩の意味は何でしょうか？ 場合によっては、それは単純で明確すぎるほどです。爆撃機に、戦車に、ロケットに、白リン弾、これらが高くて堅い壁にあたります。卵は、それらの兵器によって砕かれ燃やされ撃たれる、武装してない市民のことです。これが比喩の一つの意味です。 This is not all, though. It carries a deeper meaning. Think of it this way. Each of us is, more or less, an egg. Each of us is a unique, irreplaceable soul enclosed in a fragile shell. This is true of me, and it is true of each of you. And each of us, to a greater or lesser degree, is confronting a high, solid wall. The wall has a name It is The System. The System is supposed to protect us, but sometimes it takes on a life of its own, and then it begins to kill us and cause us to kill others - coldly, efficiently, systematically. しかしこれが意味の全てではありません。もっと深い意味を導きます。次のように考えてください。多かれ少なかれ、私たち一人一人が卵です。私たち一人一人は、個性的で他人と取り替えることが出来ない精神を、壊れやすい殻の中に閉じ込めています。私もそうです。みなさん一人一人もそうです。私たち一人一人は、激しいかそうでないか程度の差はあれ、高くて堅い壁に立ち向かっています。その壁は、システムという名をもっています。システムは私たちを守ろうともしますが、時としてシステム自身が一人歩きを始め、やがて私たちを殺したり、私たちを殺しに差し向けたりし始めます、---冷徹に、効率的に、そしてシステマチックに。 I have only one reason to write novels, and that is to bring the dignity of the individual soul to the surface and shine a light upon it. The purpose of a story is to sound an alarm, to keep a light trained on The System in order to prevent it from tangling our souls in its web and demeaning them. I fully believe it is the novelist s job to keep trying to clarify the uniqueness of each individual soul by writing stories - stories of life and death, stories of love, stories that make people cry and quake with fear and shake with laughter. This is why we go on, day after day, concocting fictions with utter seriousness. My father died last year at the age of 90. He was a retired teacher and a part-time Buddhist priest. When he was in graduate school, he was drafted into the army and sent to fight in China. As a child born after the war, I used to see him every morning before breakfast offering up long, deeply-felt prayers at the Buddhist altar in our house. One time I asked him why he did this, and he told me he was praying for the people who had died in the war. He was praying for all the people who died, he said, both ally and enemy alike. Staring at his back as he knelt at the altar, I seemed to feel the shadow of death hovering around him. My father died, and with him he took his memories, memories that I can never know. But the presence of death that lurked about him remains in my own memory. It is one of the few things I carry on from him, and one of the most important. I have only one thing I hope to convey to you today. We are all human beings, individuals transcending nationality and race and religion, fragile eggs faced with a solid wall called The System. To all appearances, we have no hope of winning. The wall is too high, too strong - and too cold. If we have any hope of victory at all, it will have to come from our believing in the utter uniqueness and irreplaceability of our own and others souls and from the warmth we gain by joining souls together. Take a moment to think about this. Each of us possesses a tangible, living soul. The System has no such thing. We must not allow The System to exploit us. We must not allow The System to take on a life of its own. The System did not make us We made The System. That is all I have to say to you. I am grateful to have been awarded the Jerusalem Prize. I am grateful that my books are being read by people in many parts of the world. And I am glad to have had the opportunity to speak to you here today. 外国報道
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製作者 小外瞬 DL先↓ http //www.mediafire.com/file/ueseely93cet714/I+wanna+be+the+way+v.1.2.zip