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https://w.atwiki.jp/rockband/pages/161.html
Artist Song title Year Genre Difficulty MSP C O Here Comes Tomorrow 2009 Rock 80 Step on the Throat 2009 80 We Are the Best 2009 80 Wings of Infinity 2009 80 C.J. Ramone Do It To Me 2009 Punk 80 Why 2008 80 Calous I Cannibal 2011 Metal 160 Cancer Over and Out 2009 Rock 160 Cancer Bats Dead Wrong 2010 Metal 160 Hail Destroyer 2008 160 Scared to Death 2010 160 Sorceress 2008 160 Captor Burn 2001 Nu Metal 160 Carl Douglas Too Hot To Handle 2008 Rock 80 The Carsitters All Eyes on Me 2009 Rock 80 Push Me 2009 80 Casey James Prestwood Rebel On My Side 2011 Country 160 Cate Sparks Angels We Have Heard On High 2010 Rock 160 Whatever Happened to You 2009 Pop-Rock 160 Cauldron All Or Nothing 2011 Metal 160 Cephalic Carnage Abraxas of Filth 2010 Metal 160 Abraxas of Filth (2x Bass Pedal) 160 Cetan Clawson and the Soul Side White Heat 2006 Blues 160 Chad Smith's Bombastic Meatbats Need Strange 2009 Rbsoulfunk 160 Channel Dos Impar 2011 Indie Rock 80 Chaotrope Baptized by Fire 2010 Metal 80 Betrayed 2011 80 The Cascade Effect 2011 80 Ceraunophobia 2010 80 Diachylon 2011 80 Dystopia 2011 80 Elysian 2011 80 Extropy/Entropy 2011 80 Fading Sacrifice 2011 80 The Fall of Psilanthropy 2011 80 The Hourglass Paroxysm – Part I 2011 80 Pandemonium 2011 80 Reaper 2010 80 Scarred 2011 80 The Singularity 2012 80 Septilogy 2011 160 The Thief in the Night–Part I 2011 80 The Thief in the Night–Part I(2x Bass Pedal) 2011 80 The Thief in the Night – Part II 2011 80 XIV 2010 80 XIV (2x Bass Pedal) 80 Charlie Drown Crazy X 2010 Metal 160 Charmaine Run 2010 Other 160 Chaunce DeLeon and The Fountain of Choof Tadpole Search and Rescue 2009 Rock 80 Chelsea Grin Cheyne Stokes 2010 Metal 160 Child of Glass feat. Suela Fame Is Free 2011 Pop/dance/electronic 160 Children of Nova Arcaedion 2009 Prog 160 The Fall of Aphonia 2009 160 Impossible Landscape 2012 160 The Order 2009 160 Second Sight Blackout 2009 160 The Complexity of Light 2009 160 We Collide 2009 160 Chiodos Cave 2010 Rock 160 Lexington (Joey Pea-Pot With a Monkey Face) 2007 Emo 160 Christian Death Church of No Return 1988 Glam 160 Narcissus Metamorphosis Of 2007 160 Christina Marie Magenta Battle 2011 pop/dance/electronic 160 Burn 2011 160 Cold 2011 160 Flags 2011 160 Forget 2011 160 Lunatic 2011 160 Red Crayon 2011 160 Christmas at the Devil's House O Come, O Come Emmanuel 2010 Rock 80 Christopher J. Dawn of Spring 2011 Other 80 Chrome Coma Bow Down 2010 Rock 80 Circa Survive The Difference Between Medicine and Poison is in the Dose 2007 Alternative 160 Circus Circus First We Feast,Then We Felony 2008 Metal 80 India 2008 Punk 80 Citizen Cope I Couldn't Explain Why 2010 Rock 240 CJ Eency Weency Spider 2005 Pop-Rock 80 Mr. Sun 2005 80 Clandestine Disappear in You 2009 Metal 160 Cliff Lin The Countdown 160 The Cliks Dirty King 2009 Rock 160 Close Your Eyes The Body 2010 Punk 160 Closure in Moscow Sweet#hart 2009 Progressive 160 Cloudscape Mind Diary 2008 Metal 160 Clutch 50,000 Unstoppable Watts 2009 Rock 160 The Mob Goes Wild 2004 160 Codex Alimentarius Baptised 2011 Metal 160 Coelacanths Apocalypse for Breakfast 2011 Other 80 Coelacanths 2011 80 Coldera Melodicus Counterpointus 2011 Metal 160 The Cold Goodnight Cool As the Other Side of the Pillow 2009 Alternative 80 Give 2009 80 Revenants 2009 80 Cold Steel Forgotten Tragedy 2009 Rock 80 Inside 2009 Rock 80 Color Theory If Not Now When 2008 Other 80 We're Not Getting Any Younger 2009 80 Comeback Kid Do Yourself a Favor 2010 Punk 160 Common Anomaly Hate To Say 2009 Punk 80 Conditions Better Life 2010 Rock 160 Confide Now Or Never 2010 Metal 160 Conflicted Victor(ia) 2011 Metal 160 Converge Dark Horse 160 Cosmic Ballroom Painprovider 2006 Metal 160 Cosmic Tribe All I Want 2010 Rock 160 Connor Christian and Southern Gothic Sunday Suit 2009 Country 80 Cory Wong Upstream 2009 Blues 80 Counterfeit Pennies Five More Minutes 2010 Punk 80 Creed Higher 1999 Rock 160 Crush Luther We Are Kings 2009 Pop/Rock 80 Cult to Follow Leave It All Behind 2012 Rock 80 CyLeW Crinoline 2008 Alternative 160 Familiar 2008 160 Cynic The Space for This 2008 Metal 160 The Space for This (2x Bass Pedal) 2008 160
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Standard for Safety for Safety-Related Solid-State Controls for Household Electric Ranges, Ul 858A Underwriters Laboratories? UnderwritersLaboratories? Substores-UnknownASINs-35 Subjects-Science-General Starting and Operating a Business in South Dakota A Step-By-Step Guide (Psi Successful Business Library) Oasis Pr? Michael D. Jenkins? OasisPr? MichaelD.Jenkins? Substores-UnknownASINs-35 Subjects-Business&Investing-General? Starting and Operating a Business in Connecticut Oasis Pr? Michael Jenkins? OasisPr? MichaelJenkins? Substores-UnknownASINs-35 Subjects-Business&Investing-General? Subjects-Law-AdministrativeLaw-General? Subjects-Nonfiction-Law-AdministrativeLaw-General? Subjects-Professional&Technical-Law-AdministrativeLaw-General? Julie and Jackie at the Circus The Play and Musical Play/With Mu Sic Book, Story-And-Song Cassette and Piano Cassette (Jackie and Julie) Lane Center Pub Co? Karla Carey? LaneCenterPubCo? KarlaCarey? 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https://w.atwiki.jp/thecockrockshockpop/pages/898.html
http //www.myspace.com/highschoolmotherfuckers member Stuffy vocal guitar Davy Boy guitar Tony X bass Pamy drums Want Some ?! Want Some ?! 2004年 1. Rock N Roll U 2. Writings On The Wall 3. Hangover In Hungary 4. Spider 5. Blitzkrieg Bop [ cover of RAMONES ]
https://w.atwiki.jp/gigabeats/pages/15.html
・RockBox rockboxが動くようになったようです。 参考：「文のようで文になっていない雑記」@vorbiser Rockboxインストール前に * 最悪起動しなくなります。 * 元のファームウェアに戻せない可能性があります。 - デュアルブートできるので問題なし（シングルブート版もある模様なので注意）。 * 大きなバグが潜んでいるかも知れません。 * メーカーサポートを受けられなくなります。 - 痕跡が残ってなければ大丈夫だとは思います… * 全て自己責任ですので転んでも泣かないでください。 * インストール、アンインストール 問わずデータが消える可能性があります。 バックアップを取ってから実行してください。 NOTE Rockbox for the Gigabeat S is still in the early stages of development, and there is a good chance things won't go smoothly when you try to install using these instructions. If you are not confident that you can undo any changes to your Gigabeat, then you may wish to wait until Rockbox is more stable on the Gigabeat S （注意 Gigabeat S 向けのRockboxはまだ開発の初期段階です。 以下の解説に従ってインストールをしようとしても、順調にいかないことは十分考えられます。あなたに「Gigabeatへのどんな変更も元に戻すことができる」という確信がないなら、Gigabeat S でのRockboxがより安定するまで待った方がいいでしょう。） 引用元：Gigabeat S Installation 使用上の注意 * ファイル転送時はいったんRockboxをシャットダウンさせてから、USBを繋いでください(Bootloader USB Modeで）。 Rockboxが起動したままで転送するとファイルが壊れるみたいです。 * 電池の持ちはまだチェックしてません。 * RockboxとPMCとのデュアルブート出来ます。 PMCで起動するには：Holdをオンにして電源ボタンをオンにする（リセットしない限り次回以降もPMCで起動。注意。） PMCから再度Rockboxを起動するには：バッテリースイッチでリセット * 750 名前：名無しさん＠お腹いっぱい。[sage] 投稿日：2008/06/19(木) 14 32 27 ID yMKOHOvA * Rockbox個人的補足 * * 今のところ充電は公式ファーム側でやってくださいとの事。 * （充電ルーチンは、充電のアルゴリズムみたいのを実装して本家に搭載予定） * * バッテリーの持ちについてはまだチューンアップとかたいして * やってない状態なので期待しないこと（今のところCPUの動作周波数を523MHzの半分に落としてあるらしい） * ↑ここらへんがもっと可変になれば長時間動作するかもね SVN版ですが搭載されてます。 必要なもの *ACアダプタ *GigabeatSRecover *install.bat *nk.bin(デュアルブート対応版) *GigabeatS用Rockbox(コンパイル等してください。) GigabeatSRecover install.bat(rockbox.org直リン版) install.bat(@wikiアップローダリンク版) nk.bin(デュアルブート対応版) ↓v1.3のデュアルブート対応版nk.binを分割ファイルでアップロードしました↓ 分割ファイル1 分割ファイル2 分割ファイル3 分割ファイル4 分割ファイル5 結合バッチ GigabeatS用Rockbox 最新版はこのページへ Rockbox for Gigabeat S(rockbox.org直リン) 818 名前：名無しさん＠お腹いっぱい。[sage] 投稿日：2008/06/23(月) 03 14 42 ID dFCmAgul （略） rockbox-full.zip（full フォントが多いだけ） ・r17752-080622 下準備 1. まず、GigabeatSRecover.rar、nk.7z、Rockboxを解凍しておく。 2. GigabeatSRecoverフォルダをCドライブなどの直下に置く 3. nk.bin、install.batをGigabeatSRecoverフォルダにコピーしておく。 * C \ o GigabeatSRecover + install.bat + nk.bin + nk_orig.bin + pmcboot_secure.bin + recover.bat + Recovery.bin + update.exe ブートローダ、Rockboxのインストール 1. GigabeatSRecoverフォルダに移動した、 install.batを実行する。 2. Gigabeatを接続して、何でもいいのでキーを押す。 3. Updaterの起動を確認したら、ファームウェアの書き込みが終わるまで待つ。 4. PCから外してくださいと言われたら、Gigabeatを外す。 5. 2回再起動するので、この間にUSBを繋いで置く (←ここ重要!！) 6. 起動が終わると自動的にRockboxブートローダが起動して、 USBモードに移行します。 7. 2つドライブが現れます。 * 148MB - ファームウェア領域(表記：TFAT。いわゆるnk.bin) * 27.7GB - データ領域(表記：ローカルディスク。音楽とか入るパーティション) 8. データ領域に解凍しておいたRockboxをコピーする。 * ".rockbox"フォルダはルートディレクトリ(ドライブ直下)にコピーしてください。 9. コピーが完了したらPCから取り外す。 10. Rockboxが起動します。 ID3タグの日本語を表示にするには * 日本語対応のフォントをRockboxのFontフォルダに入れて転送してソレを使う * Default Codepageでjapanese(SJIS)を選択する（Settings→General Settings→Disply） PMCで同期したファイルをデータベース化した場合は上記を行っても文字化けする事がある（再生時の表示は問題なし） （当環境では[[WMP]]で作成したWMAは文字化けせず。別のソフトで作成したMP3は軒並み日本語が文字化けしてる。） 803 名前：名無しさん＠お腹いっぱい。[sage] 投稿日：2008/06/21(土) 22 13 16 ID qfRQLW3p http //monta.moe.in/article/060616_rockbox.htm ここの下の方を見てやったらできた！ Default CodepageをJapanese (SJIS)にすればいいみたい。 アルバムアートを表示させるには * ジャケット画像を用意する（ファイル名はCover.bmp。最新版ではFolder.jpgにも対応。） * アルバムフォルダに曲ファイルと一緒に突っ込んで転送 * アルバムアート表示可能なテーマを使用すること ジャケ写のサイズは100ピクセルx100ピクセルがデフォだがテーマ毎に違う（例：初期設定テーマのCabbie v2は140x140）。 拡大・縮小機能はテーマについていないようなので注意（最新版では画像のリサイズ不要）。 参考： Album Art Display on the WPS テーマ 792 名前：名無しさん＠お腹いっぱい。[sage] 投稿日：2008/06/21(土) 03 18 42 ID euNtDyAC （略） テーマはここがいいかも rockbox-themes.org アンインストール方法 * リカバリするのでHDD内のデータは全て消えます。 * この方法でリカバリすると英語版のファームウェアがインストールされてしまいます。 * ファームウェア領域にFontsフォルダ作り、その中にmsgothic.ttcを放り込めば日本語表示が可能に。 762氏の情報 リカバリー方法 その1 (初期化) 1. 電源ボタンでオフにして、さらに本体したのバッテリースイッチを切る。 * ここでは電源ケーブルを繋がないこと。 2. 5秒以上たったら、 Windowsボタン、十字キー左を同時押したまま、本体下のバッテリースイッチをオンにする。 3. △3 - △4 - △1と進んでいくので、終わるまで待つ。 4. △1まで進んだら、GigabeatSRecoverフォルダにある recover.batを実行する。 5. 何でもいいのでキーを押してupdaterを起動させる。 6. updaterが起動したらgigabeatを繋ぎ、ファームウェア転送が終わるまで待つ。 7. PCから外してください。と言われたら外して、再起動するのを待つ 8. リカバリ完了。 リカバリー方法 その2 (PMC用のFontsフォルダを残したまま) 799氏の情報 1. ホールドをオンにしたままGigabeatの電源を入れる 2. GigabeatSRecoverフォルダにある recovery.bat を実行する 3. 何でもいいのでキーを押して update.exe を起動させる 4. GigabeatをPCに繋ぐ 5. update.exe が Gigabeatを認識後ファームを転送するのでしばらく待つ 6. PCから外してください。といわれたら外して、再起動するのを待つ 7. リカバリ完了 Rockboxを使ってPMCのフォント入れ替え（日本語表示） 762 名前：名無しさん＠お腹いっぱい。[sage] 投稿日：2008/06/20(金) 18 58 53 ID RLX2lutH nk.binに手を加えなくともデュアルブート環境で ファームウェア領域にFontsフォルダ作ってmsgothic.ttc 放り込めば日本語表示できたあああああ 799 名前：名無しさん＠お腹いっぱい。[sage] 投稿日：2008/06/21(土) 12 59 29 ID R/38gpbY HDD初期化の WinB+←同時押し電源オンをしなければフォント生きのこった。 1.HDD初期化でフォント含めて全部消す 2.Rockboxブートローダ・USBモードでフォントコピー 3.GigabeatSRecover_1.2 これで元通りになった。 参考元など Rockbox GigabeatSPort 2ch ポタAV版 gigabeat S シリーズ part23 コンパイルはCygwin上で行っています。 | |)_○ |ｪ)・） テーマを色々と試してみたい人はRockboxのフォントフォルダには |⊂ヽo 必要最小限のフォントだけ入れておくと幸せになれるｸﾏｰ |し-Ｊ 誰かまとめてくれるとうれしいな（はぁと
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member 吉川晃司 vocal 布袋寅泰 guitar CD DVDLive @ Tokyo Dome, Tokyo July 30th 2011 sat CD DVD Live @ Tokyo Dome, Tokyo July 30th 2011 sat S.E. "Die Walkure" ～ The Ride Of The Walkure ( ワルキューレの騎行 ) 1. Be My Baby 2. Pretty Doll 3. Crash Complexion 4. No More Lies 5. 路地裏の Venus 6. Love Charade 7. 2人の Another Twilight 8. Modern Vision 9. そんな君は欲しくない 10. Blue 11. Can't Stop The Silence 12. Cry For Love 13. Dragon Crime ( East West ) 14. Romantica 15. Propaganda 16. Imagine Heroes 17. Good Savage 18. 恋をとめないで 19. Majestic Baby encore 1 20. 1990 21. Rambling Man encore 2 22. After The Rain ( 朱い China )
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Spl/Mitchell Auto Collision Repair Delmar Pub? James E. Duffy? DelmarPub? JamesE.Duffy? Substores-UnknownASINs-35 Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Nonfiction-Automotive-Repair? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-General Spl/Mitchell Auto Collision Repair Delmar Pub? James E. Duffy? DelmarPub? JamesE.Duffy? Substores-UnknownASINs-35 Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Nonfiction-Automotive-Repair? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-General Spl/Mitchell Auto Collision Repair Delmar Pub? James E. Duffy? DelmarPub? JamesE.Duffy? Substores-UnknownASINs-35 Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Nonfiction-Automotive-Repair? 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On the Wright Track The Writers of Phoenix Wright s Sequel DiscussTheirNew Case http //www.nintendo.com/newsarticle?articleid=5mLTEfSPVUJJqjyIiQb3nJa-vdRURKQh page=currentNews Nintendo Power How would you compare the localization of Phoenix Wright to other gamesyou’veworked on? Nintendo Power： PhoenixWrightの翻訳は、あなたが担当した他のゲームの翻訳と比較してどうですか？ Brandon Gay As far as text alone, Phoenix Wright is one of our largest games tolocalize.Since it is a text-based game, there is a high emphasis on flow andconsistencyamong the characters. This is in contrast to other games such asDevil May Cryor Resident Evil where the story almost takes a backseat to theaction of thegame. It isn’t that the story is unimportant in those games, buta player maybe more apt to look past the story in those games since the mainfocus in thosegames is the action. With Phoenix Wright you are trying to conveyan entireworld and in-depth characters through text alone. This makes it achallenge topresent characters that are applicable to the US market. Thesecharacters allstarted off as much more Japanese-style characters, with jokesand dialoguedesigned with the Japanese player in mind. So part of the challengewas to makethe characters and the world itself relevant to an Americanaudience. Also, inworking on Justice for All, we had to make sure thecharacters that reappearfrom the first Phoenix Wright Ace Attorney game stayedconsistent with howthey behaved in that game. The fans of Phoenix Wright havegrown quiteaffectionate to the characters that populate this world, so wewanted to staytrue to the characters they have come to either love or hate.Brandon Gay： テキスト量から、PhoenixWrightは翻訳には大きなゲームのうちのひとつです。テキストベースのゲームなので、キャラクターたちの間に一貫した流れがあります。このことは、物語がゲームの流れから引いた位置にある、DevilMayCryやResidentEvil（バイオハザード）とは対照的です、ですが、DevilMayCryやResidentEvilが物語が重要ではないという意味ではありません。しかし、これらのゲームはアクションに重きを置いているので、プレイヤーはより、物語を低めに見る傾向があるかもしれません。PhoenixWrightはテキストのみで、キャラクターの内面や世界観を伝えることになります。これはアメリカの市場で通じるようなテキストを発売する挑戦となります。原作は日本語と日本的な文章、日本語のジョークや文字表示の方法（ダイアログ）で設計されています。そこで、アメリカ人向けに、アメリカ的なテイストにキャラクターや世界観をもっていくことを試みました。また、JusticeforAll（海外版2）では、初めてPhoenixWrightに触れるプレイヤーに、再登場人物をわかるようにしなければなりませんでした。PhoenixWrightのファンはキャラクターに思い入れがありますので、私たちは味方から嫌な敵キャラまで、忠実に訳したかったのです。 JP Kellams There is a fair amount of pressure because of how well the localizationforPhoenix Wright was received, but there is also quite a bit offreedomcreatively. All titles require you to match the localization to the toneof thegame and Japanese text. In a serious game, an off-the-wall joke wouldbedistracting. However, with Justice for All, the subject and style of thegamegive you the creative ability to add humor and little touches thatjustwouldn’t fit into other games. JP Kellams： PhoenixWrightの翻訳をいかに良くできたかというプレッシャーがありますが、オリジナルの部分もわずかに作る事ができます。このシリーズの翻訳は、日本語版テキストのタイミングと合わせなくてはなりません。 （※訳注 英語版は、日本語版が1画面22文字で構成されていることに合わせて、1画面ごとの翻訳がなされている。SVCまたはSVO、SVOOの構文を日本語文法に合わせることは大変な作業だと、プレイして感じた） シリアスなゲームにおいて、突飛な冗談は気が散ります。しかし、JusticeforAllでは、他のゲームの翻訳とは異なる、創造的な能力、ユーモアが必要です。 Janet Hsu Personally, compared with other titles I have worked on, I feel thatPhoenixWright demands a lot of yourself and your ability to understand thecharacterson a deeper level. Because some of the characters have a lot of depthto them,you almost have to become them in a sense to get the nuance andmotivations intheir lines right.Janet Hsu： 個人的に感じたことは、私が今まで翻訳してきたゲームと比べて、PhoenixWrightではより深くキャラクターを理解する能力が要求されるということです。幾つかのキャラクターは、非常に奥深い性格なので、そのニュアンスと、行動する上での動機付けを正しくするために、ある意味では、そのキャラクター自身にならなくてはなりません。 NP What was your philosophy for determining North American character names? NP： 北米版でのキャラクターの名前を決定するためのコンセプトは何でしたか？ Brandon A lot of the character names were determined with the Japanese names inmind.Some of the Japanese names were already quite clever, so we wanted to keepthesame feel they had. Obviously, with some names, they had to be changedquitedrastically from their Japanese counterparts. But we wanted to keep thehumoraspect of the Japanese names when we came up with the English names.Sincethere is so much underlying humor in Phoenix Wright Ace Attorney, wewantedthe names to have the same type of double meanings that the Japanesenameshad. Brandon： ほとんどのキャラクターは日本名から決定しました。日本のキャラ名は非常に面白かったので、私たちもその雰囲気を継承したかったのです。幾つかは日本名とは全く異なるものに変えざるを得なかったのですが、日本語でのユーモアな雰囲気は保ちたかったのです。PhoenixWright AceAttorneyの元になるユーモアから、日本語版のようなダブルミーニングになる名前を付けたいと思いました。 JP There is this mystique that names get handed down from upon high and areforcedupon us. Not so. For my part, I try to make names that lean on popularcultureso they have a tinge of familiarity. For instance, the logic behind thename ofLawrence “Moe” Curls should be instantly indefinable by olderplayers, butshould still give younger players that instant identification thathe is aslapstick-loving clown. This popular-culture identification is somethingthatShu Takumi [the game’s director and creator] does very well with theJapanesenaming and I try to follow that spirit when it comes to naming.JP： 仰々しい名前でミステリアスな雰囲気は必要ない。私の担当部分では、親しみをもてるように、大衆文化からとっていこうと思いました。例えば、Lawrence“Moe”Curls（トミーの本名）の名前のネタは、喜劇役者のピエロであるということを、すぐに識別できるようにしてあります。この方法は日本語版ディレクターの巧氏がとる方法で、私はこの精神にのっとって名前をつけるようにしました。 （※訳注 トミーの英語名はTheThreeStoogesという、1930年代から、第２次世界大戦の戦前戦後を通じて活躍したコメディ・チームのメンバーの名前「Larry,Moe,Curly」を使用している模様） Janet I was not as pop-culture-oriented as JP since in his episode, Takumi-sanhadused more pop culture references in the original Japanese, but for cases 1and2, I kept the play-on-words naming the first Phoenix Wright is so famousfor.However, due to the more dramatic feel of the last case, I kept more tothenaming sense Takumi-san used there and created names that sounded morelikereal names, but had deeper meanings (sometimes more than one) tothem.Incidentally, Takumi-san personally approved all the English names inthisgame. I can now fondly look back and remember we had an interestingtimebouncing names back and forth for a few days for one of the characterswhich hethought didn’t convey the same feeling as the Japanese [name]. Janet： 私はJP程大衆文化を根底にはしませんでした、巧氏は日本語版で大衆文化を引用した名前を付けましたが、私は1話と2話のために、1作目では特徴であるダジャレをよく使いました。しかし、最終話のようなドラマティックな展開のために、リアルでもありそうな名前を使い、そしてそれらには（時には1作目以上の）意味を持たせました。ちなみに、巧氏は、このゲームにおいて、考え出した英語名を全て承認しました。日本名と同じ雰囲気を伝える事ができないと、ある名前に非常に悩み、2、3日かけたことも良い思い出です。 NP If you worked on the first Phoenix Wright, what was the process likedeterminingPhoenix’s name? What other names were considered but rejected?Also, pleaseelaborate on Oldbag’s name. NP： 1作目に取り組むとき、Phoenixの名前はどのように決定しましたか？ 他に候補はありましたか？ また、Oldbag（オバチャン）のネーミングについて教えてください。 Brandon Ahh, making me go back into the memory banks for this one [laughs]. Weactuallycame up with a rather large list of names for the Phoenix Wrightcharacter. Weconsulted with our American branch on what would be the best namefor the titlecharacter. It was agreed that Phoenix Wright would be the best andmostappropriate name for the title character. As for Wendy Oldbag, I believe that name originated from the mind of AlexSmith,who translated the first title, but the story behind it is amystery. Brandon： （笑い）思い出してみますと、実は、私たちはPhoenixWrightの性格から考えた大きな名前候補リストを作成したのです。そして、主役の名前としてベストなものをカプコンUSAと相談しました。その中でPhoenixWrightが最も良いということで同意し、決定しました。 WendyOldbag（大場カオル）については、翻訳担当のAlexSmith氏が決定したと思います。そのバックグラウンドはわかりませんが。 （※訳注 AlexSmith氏は、ファイナルファンタジー10やグイン・サーガの翻訳を担当している人物。） Eric Bailey We wanted to make sure that [Phoenix’s] first name was something thatwouldreally stand out with players, and so we went back and forth withthetranslator and the R D team to determine the name that would work.Duringthe brainstorming, when everyone was throwing out whatever names came tomind,there was a wide range of them-everything from Cole to Wilton-but in theendPhoenix had a good ring to it and symbolized rising from the ashes, perfectforthe game’s theme, which is turnabouts. We also needed a shortened formofPhoenix for some of the characters to use in the dialog and the finalnicknamearrived at was “Nick” since it sounded natural but was stillreasonablegiven the sound of “Phoenix.” Of course, we always made sure toexplain anyof the naming choices to the game’s creator to make sure it wassomething hewould like and he ended up liking Phoenix Wright as well. Unfortunately no one here seems to recall the exact story behind howWendyOldbag’s name came about, so it will go down as a mystery. In the end,it wasa perfect choice for the character and works well with the dialog aroundher,so we are glad it became her final name. It’s hard to imagine her anyotherway now.Eric Bailey： 主人公の名前は目立つものがいいと私たちは考えていました。そして、翻訳チームと開発チームの間を行ったり来たりして、思いついた名前案がボツになり続けていたのですが、risingfromtheashes（※訳注 英語版5話「蘇る逆転」のサブタイトル、灰から復活するの意）から、Phoenix（灰から復活する不死鳥）がゲームのテーマと一致しました。また、Phoenixの（短縮された）ニックネームが必要だったので（※訳注 日本語版でいえば「なるほどくん」にあたる愛称）、最終的にそれはNickになりました。 残念なことに、ここの誰もWendyOldbagの由来がわからないようです。最終的にはキャラクターの性格から由来されたものであり、今では他のネーミングは思いつきません。 NP What were some of the most radical changes made to any of thegame’scharacters or plot points? NP： ゲームのキャラクターやシナリオが根本的に変更された点は何かありますか？ Brandon I am not sure any character underwent “radical” changes, as that wouldhavegreatly affected the overall arc of the game. Say changing a characterfrom“evil” to “good,” as this would have greatly altered the story fromtheoriginal concepts. The point that should be made is that while many aspectsofthe game had to be altered to suit the US player, we would be doing agreatdisservice to completely alter/change characters and/or plot points. Italsowould mean rewriting large parts of the game if we were to change keyplotpoints. We tried to walk the fine line of keeping the original visionwhilemaking an enjoyable game for English-speakers. Brandon： ゲーム全体に影響するので、「根本的な」変更はないと思っています。キャラが悪から善へと変わってしまえば、オリジナルのコンセプトから変えてしまうでしょう。アメリカのユーザーのために変えたら結局は大きな弊害になります。 JP There were concerns we would have to change some of the more mature sectionsofthe Japanese version, but luckily, everything was able to get throughunscathedeven though I had to tone down some things because concepts of age andmaturityare a bit different in the west. I think the biggest changes come tothe jokes.Some of them are just incomprehensible to westerners, and while thereis avocal set that wants everything exactly the same, I feel the jokes have tobemade culturally relevant to gamers. JP： 私たちは完成された日本版のうち、幾つか変更せねばならないかという懸念がありました。しかし、幸運にも、多少変えなくてはならない面がありましたが、全て根本的な変更はなく作成することができました。最大の変更点はジョーク関係でしょう。アメリカ人には理解できないジョークもありました。全て正確に海外のプレイヤーに伝えたいのであれば、ジョークも文化的に同じでないと無理だと思います。 Janet Plot-wise, we didn’t have to change anything, but character-wise, we hadafew things we had to change. For example, there is one character who is abiton the perverse side of things, and while it’s alright to make jokesaboutbeing perverse in Japanese culture, that sort of thing is not so welcomedinour own, so he had to be toned down. Janet： シナリオに関しては、変更する必要は全くありませんでした。しかし文字に関しては変更せざるを得ない部分がありました。例えば、日本文化では悪い性格の人物に対するジョークが問題ないのですが、それらの類は私たちにはあまり受け入れられないので、弱めた表現をせざるを得ませんでした。 NP What were some jokes that had to be completely reworked from theJapaneseversion? NP： 日本版から完全に変更しなければならなかったジョークは何ですか？ Brandon A lot of the jokes that involve Phoenix’s last name “Wright” werenewjokes for the US version of the game. Since his name is not Phoenix Wrightinthe Japanese version, all of these jokes were new. Generally speaking, most of the jokes that appear in the English versionarequite different than the Japanese version due to the differences inhumor.Sarcasm, for instance, is not something that most Japanese people willfindhumorous. It was important to keep the overall humor of the game, but toconveyit in a way that an English-speaking audience could understand andfindfunny. Brandon： Phoenixの名字であるWrightは、英語版のために新しいジョークを作成するのに使われました。 一般的に、英語版でのジョークのほとんどは、日本語版とは全く異なります。皮肉は日本人にとってユーモラスだと感じないものもあります。しかし、英語圏のプレイヤーがユーモアを理解して、ゲームの総合的な面白さを保つのは重要でした。 JP My favorite example is when Moe goes crazy in case 3. Whenever caught in alie,he would launch into a stream of funny, but untranslatable gibberish. IntheEnglish version, Moe’s gibberish has become an upscale kind ofjibberjabber. JP： 私が好きな部分はMoe（トミー）が3話でクレイジーなトークをする場面です。愉快で翻訳できない、ワケのわからない話になってしまいます。英語版ではワケのわからない話は超早口のおしゃべりになっています。 Janet The humor of this game relies heavily on its jokes . . . we had to changequitea number of them. A lot of Japanese humor is derived from culturalreferences,but more than cultural references, this series is about wordplay.Takumi-san isa huge fan of playing with words to extract humor, and needless tosay,Japanese word-based jokes are not translatable. So we created a lot ofjokesfrom scratch. One of my personal favorites that we came up with has to dowithPearl and her comments about the TV remote in episode 4. Janet： このゲームの面白さはジョークにかかっています。私たちは、これらのほとんどを変えなくてはなりませんでした。日本の冗談には日本の文化が背景にあります。しかし、このシリーズでは文化的なものより、言葉のやりとりの面白さが目立っています。巧氏は言葉遊びの天才です、しかし、言うまでもなく、日本語に基づく冗談は翻訳できません。そこで、私たちはゼロから多くの冗談を作成しました。個人的に好きなもののひとつが、4話のPearl（春美）とのテレビに関するコメントです。 NP In the first Phoenix, the setting seemed to intentionally not be specified,butin Justice for All, there’s a distinctly Japanese village, and at thesametime, “the Heartland” is mentioned as “part of this country.”There’salso the matter of which side of the car the steering wheel is on. Howdid youdeal with these cultural and geographic issues? NP： 2作目では、明確に日本風の村と思われるものが登場し、同時に、故郷（＝日本風の村）はこの国の一部（＝アメリカの一部に日本っぽい村が出てきてしまったということ）となっています。また、車のハンドルがどちらについているかという問題もあります。これらの文化的、地理的問題をどう対処しましたか？ Brandon The US version of Phoenix Wright Justice for All is set in the US. Wethinkthat while some aspects of the game may have a Japanese flair, itdoesn’tnecessarily mean that it is set in Japan. There are many areas withintheUnited States where Japanese culture and traditions are observed. Maya’shomevillage is one of these areas. Brandon： 北米版2はアメリカを舞台としています。ゲームの舞台には日本的なものがありますが、それらは日本でなくてはならないという意味ではないと考えています。アメリカにも日本文化と伝統が守られる地域があり、Maya（真宵）の故郷も、これらの地域のひとつだということです。 JP You change them to something culturally relevant to your targetaudience.Steering wheels, signboards, etc. all have to make sense to everyonepicking upand playing the game. While it has an anime feel, Phoenix Wrightshouldn’trequire a Japanese degree to play the English version. JP： 文化的に問題があるものを差し替えてみてください。ステアリングホイール、看板、その他は全て変更されています。英語版をプレイするときに、日本の知識は必要ありません。 Janet Actually, we set the English version of the game to take place in LosAngeles,hence the time-difference puzzle in the first game. However, had westated thatin the game, it probably would have ruined that puzzle. The culturalandgeographical issues were not as big of a problem as some people mightimagine.I personally feel that since the world of Phoenix Wright is clearly notourown, some differences can be allowed. Things like the steering wheelcancertainly be the same, but a Japanese-style village could theoreticallyexistif, say, the Fey family immigrated and then established their own villagein amountainous area of California. At least, that’s how I rationalizedit. ジャネット： 実際、1作目1話では時差のエピソードを差し替えていますが、それによって舞台がロサンゼルスになりました。しかし、文化的・地理的な問題は、さほど大きくはありませんでした。PhoenixWright世界では、それらのズレが許容されているのではないかと、個人的に思います。ハンドルのネタでも同じことがありますし、Fey（綾里）一族が移住してカリフォルニアの山岳地帯に村を作ったというような感じで合理的に説明ができるでしょう。 NP What characters did you especially enjoy writing for? Were there anycharactersthat were particularly challenging? NP： どのキャラクターのテキストを書くときに楽しかったですか？ 特に思い出深いキャラはいますか？ Brandon Some characters with extreme personality quirks are always both funandstressful to write for. Moe the clown, for example, presented a challengeofwriting for a clown who is no longer considered funny by anyone but himself.Itwas also important to show that this character had a big heart. So it wasachallenge to find the proper balance between silly jokes and seriousdialogueso that the player would not become annoyed by his “craziness.” Wethinkthe payoff, though, is well worth it when it is done right. We feel wewereable to create a character that the player will both like and dislike atthesame time. We believe this helps to create a more realistic andbelievablecharacter. Brandon： 極端な性格は常に面白く、また、書くことはストレスでもあります。例えば、Moe（トミー）はもう自分以外の誰によってもおかしすぎて考えられないピエロという挑戦でした。この人物が大物であることを示すのは重要でもありました。プレイヤーがストレスに悩まない程度にバカな冗談と重要な話との間でバランスをとることが要求されました。私たちは、プレイヤーに好まれたり、同時に嫌われたりするキャラを作ることができたと思います。このことで、リアルに存在するような人物を思い起こさせるでしょう。 JP Moe is my boy. I love him like a clown loves a Volkswagen. As far aschallengingcharacters, Acro sparked some heated arguments on how to get histone andpersonality right. JP： Moeはもはや自分の息子のようなものです。私はフォルクスワーゲンのマークのクラウン（英語ではピエロと王冠の意味の両方がある）並に彼が好きです。Acro（アクロ）はその個性について、熱い議論が交わされました。 Janet Wow, that’s tough. I enjoyed writing all of them, to be honest. Eachcharacterhad their own unique trait that I loved and even characters likeLotta Hart orWendy Oldbag, who some people found annoying, had their owncharm. But if I hadto pick three, I’d say Franziska von Karma, Shelly deKiller, and AdrianAndrews. As for challenging, I’d say Morgan Fey is thewinner. Her speechpattern in Japanese is a very old style and translating thatinto English was atough one. Janet： 私は全て楽しかったです。各々のキャラは彼ら独特のユニークな特徴を持ち、一部の人には腹立たしいと思われているらしい、LottaHart（大沢木ナツミ）やWendyOldbag（オバチャン）ですら魅力的でした。ベスト3はFranziskavonKarma（狩魔冥）とShelly deKiller（コロシヤ）、AdrianAndrews（華宮霧緒）です。難しかったのはMorganFey（綾里キミ子）で、彼女の日本語が古いスタイルだったので苦労しました。 NP Were there any big graphical changes that had to be made during thelocalizationprocess? NP： 翻訳のためにグラフィックを変えなくてはならない点はありましたか？ Brandon As with most games that originate in Japan, there are graphics thathaveJapanese Kanji or other Japanese characters on them that have to be changedforan American version. Since Phoenix Wright doesn’t rely as heavily onchanginggraphics, the changes are not as difficult to make. Brandon： 日本からの大部分のゲームと同じく、日本語、漢字などのためにアメリカ版では変更しなくてはならないものがあります。大きな変更ではないので難しくはありません。 Janet There were a few changes that were made, and most had to do with changingsignsin the background and clues into their English counterparts. However, oneofthe more interesting changes had to do with how to change adistinctivelyJapanese seal into something more Western. We decided in the endthat if wewere to go with a signature, it would give the identity of the personaway, sowe dropped that part of the picture entirely. Janet： 幾つか変更点がありました。物語のヒントになる部分はグラフィック担当者にそれを伝えました。しかしながら、よりおもしろい変化のひとつはどのようにはっきりと日本語をより西洋の何かに変える方法を処理しなければなりませんでした。結局は認識のためにグラフィックを変えるのをやめました。 NP Did you have any localization troubles stemming from the differencesbetweenreal law and the way law is portrayed in the game? NP： 本当の法律との違いから翻訳に関するトラブルはありましたか？ Brandon The world of Phoenix Wright is based more upon the Japanese structure oflawthan US law. While references and dialogue were able to be translatedintoEnglish, the law of the game still stayed fundamentally intact fromtheoriginal Japanese version. This is one area that we really couldn’tchangewithout altering the entire game structure. We could make referencesandcharacters relevant for US audiences, but to change the law structure ofthegame would have sacrificed what made the game so popular in the first place.Sofor American audiences, I am sure at times the laws of the Phoenix Wrightworldwill be quite wacky. Brandon： PhoenixWrightの世界は、アメリカの法律よりも日本の法律に基づいています。基本的に翻訳では日本版とはゲームのルールを変えることはしませんでした。アメリカの法律に基づくように変更もできましたが、ゲーム内での法律の構造を変えれば元のゲームが崩れてしまいます。ですので、アメリカ人には、PhoenixWrightの世界の法律は独自と言っています。 JP Nope. I don’t recommend playing Phoenix Wright to study for thebarexamination. JP： 司法試験のためにPhoenixWrightをプレイすることはお勧めできません。 Janet Actually, there is one that caused us to rethink how to phrase a fewsentencesin the game, but if I told you now, it would be a spoiler. Suffice tosay, theway the law is portrayed in the game is more Japanese than not, butenough ofit is different from real Japanese law that we could take similarlibertieswithin the confines of the American legal system. Janet： 実は、ゲーム中で2、3個ほどどう表すか再考したフレーズがあります。ここではネタバレになるので話しませんが。ゲーム内の法律は日本を元にしていますが、それらは私たちがアメリカの法律制度の範囲の中で類似した、自由に持っていくことができた本当の日本の法律と異なります。 NP What are your thoughts on Phoenix being successful enough to get a sequelinNorth America? NP： シリーズの続編を作るためには充分成功していると思われますが、いかがですか。 Brandon It is actually quite surprising that Phoenix Wright was successful in theUS.Text-based adventure games have been declining in popularity over the past10years or so. But it goes to show that people still love a good storycombinedwith a good mystery. We also think that people can really relate tothecharacters. In too many games there are very flat, one-dimensionalcharacters.In the world of Phoenix Wright, while the characters may appearwacky, theplayer can get a real sense of the makeup of each character. Webelieve thecharacters in Phoenix Wright are not so black-and-white, that theyfeel morelike real people. We believe this aspect is important in telling agood storyand people have picked up on that.Brandon： PhoenixWrightがアメリカで成功したことは、実際驚くべき出来事です。テキストアドベンチャーの人気はここ10年ほど落ち込んでいました。しかし、PhoenixWrightの成功は、良いミステリーとそれに基づくストーリーが好まれていることを示しています。これはキャラクター人気にも関連していると思います。多くのゲームでは平べったいキャラクターばかりですが、PhoenixWrightではキャラクターがリアルであると言えます。彼らがリアルな人物だと感じるために、白か黒かといった二次元論ではない部分があります。私たちはこれが良質のストーリーを生み出すのに重要であること、また、ゲーマーがそれに気づいたのだろうと思います。 JP Originally it wasn’t thought that the game could work in the States. It isatestament to both Takumi-san’s story and all of those involved inthelocalization that such a unique game could find a home where just a fewyearsago no one thought it was possible. JP： 当初、このゲームがアメリカで動くことになるとは思われませんでした。これは、数年前、誰も翻訳が可能だと思わなかった頃の巧氏の話と翻訳に関係するそのような面白いゲームを見つけることができたという証言です。 Janet All I can say is wow. I think Phoenix’s success has surprised everyonehere,but thank you, everyone, for your support. I hope Justice for All lives uptoits predecessor, and please look forward to more of the Ace Attorney seriesinthe future! Janet： とにかく大当たりだったと言えます。PhoenixWrightの成功に驚いたみなさんに、支援の謝意を表します。JusticeforAllの成功と、将来のAceAttorneyシリーズを楽しみにしていてください！ ▲ページ上へ▲
https://w.atwiki.jp/factmr/pages/10.html
Coconut oil market has seen rapid adoption across multiple industries, such as food service, food processing and personal care, driven by clear strengthening of the benefits associated with its use. Different use cases, ranging from use in cosmeceuticals to inclusion in food items, are expected to be a continuous driver of the dynamics of the coconut oil market. These observations were taken from Fact.MR s research report on the coconut oil market. The market stratosphere continues to be influenced by numerous arguments put forward by influential instructions about the use of coconut oil. As per the study, due to mixed feedback from key research staff worldwide, the consumption of coconut oil will experience frequent fluctuations. For example, while recent NCBI journals demonstrate the benefits of coconut oil for Alzheimer s patients, many organizations, including the WHO, the U.S. Department of Health and Human Services, and the FDA, have emphasized that coconut oil intake is limited or non-existent. Manufacturers are making a smart move from the conventional business model in the coconut oil market and exploiting the emerging statistics. The aim of this switch is to ensure that output is increased and to tap into prime possibilities. Producers are reinvigorating the production of such goods to achieve high profit margins, sensing the fad for high-value products such as virgin coconut oil as a functional food oil across the global stratosphere. With the onset of the trend of eco-innovation, key stakeholders in the coconut oil market are increasingly implementing sustainable methods to manufacture high-quality goods that align with environmental well-being. Because of its unparalleled flexibility, coconut oil has seen tremendous demand in the last decade. Supply inconsistencies and slow production rates, however, have boosted coconut oil prices to a new high. Growing demand for coconut-based variants, such as coconut sugar and coconut water, has skyrocketed over the past few years, according to reports, depleting raw materials used for oil production. This price increase has resulted from the inability of manufacturers to streamline the supply framework according to the demand generated for coconut oil. This price rise is likely to lead to the market launch of adulterated coconut oil, which may pose a challenge to the integrity of coconut oil products. The fuel crisis and growing public concerns about the depletion of non-renewable energy supplies have resulted in the search for alternative options. There have been many attempts to produce electricity from different renewable sources, including solar and biological sources. Energy production has prevailed as traditional practices by transforming trapped energy from sunlight to electricity and renewable agricultural products to fuel. Over the past few years, a move towards using coconut oil to generate biodiesel fuel as an alternative to traditional diesel fuel has gained popularity. In this respect, a flurry of developments could serve as an elixir that will improve the prospects of the coconut oil market in the near future. Source- https //www.factmr.com/report/91/coconut-oil-market https //www.factmr.com
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