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CHAPTER XIII UP CHAPTER XV CHAPTER XIV Anne s Confession ON the Monday evening before the picnic Marilla came down from her room with a troubled face. "Anne," she said to that small personage, who was shelling peas by the spotless table and singing, "Nelly of the Hazel Dell" with a vigor and expression that did credit to Diana s teaching, "did you see anything of my amethyst brooch? I thought I stuck it in my pincushion when I came home from church yesterday evening, but I can t find it anywhere." "I--I saw it this afternoon when you were away at the Aid Society," said Anne, a little slowly. "I was passing your door when I saw it on the cushion, so I went in to look at it." "Did you touch it?" said Marilla sternly. "Y-e-e-s," admitted Anne, "I took it up and I pinned it on my breast just to see how it would look." "You had no business to do anything of the sort. It s very wrong in a little girl to meddle. You shouldn t have gone into my room in the first place and you shouldn t have touched a brooch that didn t belong to you in the second. Where did you put it?" "Oh, I put it back on the bureau. I hadn t it on a minute. Truly, I didn t mean to meddle, Marilla. I didn t think about its being wrong to go in and try on the brooch; but I see now that it was and I ll never do it again. That s one good thing about me. I never do the same naughty thing twice." "You didn t put it back," said Marilla. "That brooch isn t anywhere on the bureau. You ve taken it out or something, Anne." "I did put it back," said Anne quickly--pertly, Marilla thought. "I don t just remember whether I stuck it on the pincushion or laid it in the china tray. But I m perfectly certain I put it back." "I ll go and have another look," said Marilla, determining to be just. "If you put that brooch back it s there still. If it isn t I ll know you didn t, that s all!" Marilla went to her room and made a thorough search, not only over the bureau but in every other place she thought the brooch might possibly be. It was not to be found and she returned to the kitchen. "Anne, the brooch is gone. By your own admission you were the last person to handle it. Now, what have you done with it? Tell me the truth at once. Did you take it out and lose it?" "No, I didn t," said Anne solemnly, meeting Marilla s angry gaze squarely. "I never took the brooch out of your room and that is the truth, if I was to be led to the block for it--although I m not very certain what a block is. So there, Marilla." Anne s "so there" was only intended to emphasize her assertion, but Marilla took it as a display of defiance. "I believe you are telling me a falsehood, Anne," she said sharply. "I know you are. There now, don t say anything more unless you are prepared to tell the whole truth. Go to your room and stay there until you are ready to confess." "Will I take the peas with me?" said Anne meekly. "No, I ll finish shelling them myself. Do as I bid you." When Anne had gone Marilla went about her evening tasks in a very disturbed state of mind. She was worried about her valuable brooch. What if Anne had lost it? And how wicked of the child to deny having taken it, when anybody could see she must have! With such an innocent face, too! "I don t know what I wouldn t sooner have had happen," thought Marilla, as she nervously shelled the peas. "Of course, I don t suppose she meant to steal it or anything like that. She s just taken it to play with or help along that imagination of hers. She must have taken it, that s clear, for there hasn t been a soul in that room since she was in it, by her own story, until I went up tonight. And the brooch is gone, there s nothing surer. I suppose she has lost it and is afraid to own up for fear she ll be punished. It s a dreadful thing to think she tells falsehoods. It s a far worse thing than her fit of temper. It s a fearful responsibility to have a child in your house you can t trust. Slyness and untruthfulness--that s what she has displayed. I declare I feel worse about that than about the brooch. If she d only have told the truth about it I wouldn t mind so much." Marilla went to her room at intervals all through the evening and searched for the brooch, without finding it. A bedtime visit to the east gable produced no result. Anne persisted in denying that she knew anything about the brooch but Marilla was only the more firmly convinced that she did. She told Matthew the story the next morning. Matthew was confounded and puzzled; he could not so quickly lose faith in Anne but he had to admit that circumstances were against her. "You re sure it hasn t fell down behind the bureau?" was the only suggestion he could offer. "I ve moved the bureau and I ve taken out the drawers and I ve looked in every crack and cranny" was Marilla s positive answer. "The brooch is gone and that child has taken it and lied about it. That s the plain, ugly truth, Matthew Cuthbert, and we might as well look it in the face." "Well now, what are you going to do about it?" Matthew asked forlornly, feeling secretly thankful that Marilla and not he had to deal with the situation. He felt no desire to put his oar in this time. "She ll stay in her room until she confesses," said Marilla grimly, remembering the success of this method in the former case. "Then we ll see. Perhaps we ll be able to find the brooch if she ll only tell where she took it; but in any case she ll have to be severely punished, Matthew." "Well now, you ll have to punish her," said Matthew, reaching for his hat. "I ve nothing to do with it, remember. You warned me off yourself." Marilla felt deserted by everyone. She could not even go to Mrs. Lynde for advice. She went up to the east gable with a very serious face and left it with a face more serious still. Anne steadfastly refused to confess. She persisted in asserting that she had not taken the brooch. The child had evidently been crying and Marilla felt a pang of pity which she sternly repressed. By night she was, as she expressed it, "beat out." "You ll stay in this room until you confess, Anne. You can make up your mind to that," she said firmly. "But the picnic is tomorrow, Marilla," cried Anne. "You won t keep me from going to that, will you? You ll just let me out for the afternoon, won t you? Then I ll stay here as long as you like AFTERWARDS cheerfully. But I MUST go to the picnic." "You ll not go to picnics nor anywhere else until you ve confessed, Anne." "Oh, Marilla," gasped Anne. But Marilla had gone out and shut the door. Wednesday morning dawned as bright and fair as if expressly made to order for the picnic. Birds sang around Green Gables; the Madonna lilies in the garden sent out whiffs of perfume that entered in on viewless winds at every door and window, and wandered through halls and rooms like spirits of benediction. The birches in the hollow waved joyful hands as if watching for Anne s usual morning greeting from the east gable. But Anne was not at her window. When Marilla took her breakfast up to her she found the child sitting primly on her bed, pale and resolute, with tight-shut lips and gleaming eyes. "Marilla, I m ready to confess." "Ah!" Marilla laid down her tray. Once again her method had succeeded; but her success was very bitter to her. "Let me hear what you have to say then, Anne." "I took the amethyst brooch," said Anne, as if repeating a lesson she had learned. "I took it just as you said. I didn t mean to take it when I went in. But it did look so beautiful, Marilla, when I pinned it on my breast that I was overcome by an irresistible temptation. I imagined how perfectly thrilling it would be to take it to Idlewild and play I was the Lady Cordelia Fitzgerald. It would be so much easier to imagine I was the Lady Cordelia if I had a real amethyst brooch on. Diana and I make necklaces of roseberries but what are roseberries compared to amethysts? So I took the brooch. I thought I could put it back before you came home. I went all the way around by the road to lengthen out the time. When I was going over the bridge across the Lake of Shining Waters I took the brooch off to have another look at it. Oh, how it did shine in the sunlight! And then, when I was leaning over the bridge, it just slipped through my fingers--so--and went down--down--down, all purply-sparkling, and sank forevermore beneath the Lake of Shining Waters. And that s the best I can do at confessing, Marilla." Marilla felt hot anger surge up into her heart again. This child had taken and lost her treasured amethyst brooch and now sat there calmly reciting the details thereof without the least apparent compunction or repentance. "Anne, this is terrible," she said, trying to speak calmly. "You are the very wickedest girl I ever heard of." "Yes, I suppose I am," agreed Anne tranquilly. "And I know I ll have to be punished. It ll be your duty to punish me, Marilla. Won t you please get it over right off because I d like to go to the picnic with nothing on my mind." "Picnic, indeed! You ll go to no picnic today, Anne Shirley. That shall be your punishment. And it isn t half severe enough either for what you ve done!" "Not go to the picnic!" Anne sprang to her feet and clutched Marilla s hand. "But you PROMISED me I might! Oh, Marilla, I must go to the picnic. That was why I confessed. Punish me any way you like but that. Oh, Marilla, please, please, let me go to the picnic. Think of the ice cream! For anything you know I may never have a chance to taste ice cream again." Marilla disengaged Anne s clinging hands stonily. "You needn t plead, Anne. You are not going to the picnic and that s final. No, not a word." Anne realized that Marilla was not to be moved. She clasped her hands together, gave a piercing shriek, and then flung herself face downward on the bed, crying and writhing in an utter abandonment of disappointment and despair. "For the land s sake!" gasped Marilla, hastening from the room. "I believe the child is crazy. No child in her senses would behave as she does. If she isn t she s utterly bad. Oh dear, I m afraid Rachel was right from the first. But I ve put my hand to the plow and I won t look back." That was a dismal morning. Marilla worked fiercely and scrubbed the porch floor and the dairy shelves when she could find nothing else to do. Neither the shelves nor the porch needed it--but Marilla did. Then she went out and raked the yard. When dinner was ready she went to the stairs and called Anne. A tear-stained face appeared, looking tragically over the banisters. "Come down to your dinner, Anne." "I don t want any dinner, Marilla," said Anne, sobbingly. "I couldn t eat anything. My heart is broken. You ll feel remorse of conscience someday, I expect, for breaking it, Marilla, but I forgive you. Remember when the time comes that I forgive you. But please don t ask me to eat anything, especially boiled pork and greens. Boiled pork and greens are so unromantic when one is in affliction." Exasperated, Marilla returned to the kitchen and poured out her tale of woe to Matthew, who, between his sense of justice and his unlawful sympathy with Anne, was a miserable man. "Well now, she shouldn t have taken the brooch, Marilla, or told stories about it," he admitted, mournfully surveying his plateful of unromantic pork and greens as if he, like Anne, thought it a food unsuited to crises of feeling, "but she s such a little thing--such an interesting little thing. Don t you think it s pretty rough not to let her go to the picnic when she s so set on it?" "Matthew Cuthbert, I m amazed at you. I think I ve let her off entirely too easy. And she doesn t appear to realize how wicked she s been at all--that s what worries me most. If she d really felt sorry it wouldn t be so bad. And you don t seem to realize it, neither; you re making excuses for her all the time to yourself--I can see that." "Well now, she s such a little thing," feebly reiterated Matthew. "And there should be allowances made, Marilla. You know she s never had any bringing up." "Well, she s having it now" retorted Marilla. The retort silenced Matthew if it did not convince him. That dinner was a very dismal meal. The only cheerful thing about it was Jerry Buote, the hired boy, and Marilla resented his cheerfulness as a personal insult. When her dishes were washed and her bread sponge set and her hens fed Marilla remembered that she had noticed a small rent in her best black lace shawl when she had taken it off on Monday afternoon on returning from the Ladies Aid. She would go and mend it. The shawl was in a box in her trunk. As Marilla lifted it out, the sunlight, falling through the vines that clustered thickly about the window, struck upon something caught in the shawl--something that glittered and sparkled in facets of violet light. Marilla snatched at it with a gasp. It was the amethyst brooch, hanging to a thread of the lace by its catch! "Dear life and heart," said Marilla blankly, "what does this mean? Here s my brooch safe and sound that I thought was at the bottom of Barry s pond. Whatever did that girl mean by saying she took it and lost it? I declare I believe Green Gables is bewitched. I remember now that when I took off my shawl Monday afternoon I laid it on the bureau for a minute. I suppose the brooch got caught in it somehow. Well!" Marilla betook herself to the east gable, brooch in hand. Anne had cried herself out and was sitting dejectedly by the window. "Anne Shirley," said Marilla solemnly, "I ve just found my brooch hanging to my black lace shawl. Now I want to know what that rigmarole you told me this morning meant." "Why, you said you d keep me here until I confessed," returned Anne wearily, "and so I decided to confess because I was bound to get to the picnic. I thought out a confession last night after I went to bed and made it as interesting as I could. And I said it over and over so that I wouldn t forget it. But you wouldn t let me go to the picnic after all, so all my trouble was wasted." Marilla had to laugh in spite of herself. But her conscience pricked her. "Anne, you do beat all! But I was wrong--I see that now. I shouldn t have doubted your word when I d never known you to tell a story. Of course, it wasn t right for you to confess to a thing you hadn t done--it was very wrong to do so. But I drove you to it. So if you ll forgive me, Anne, I ll forgive you and we ll start square again. And now get yourself ready for the picnic." Anne flew up like a rocket. "Oh, Marilla, isn t it too late?" "No, it s only two o clock. They won t be more than well gathered yet and it ll be an hour before they have tea. Wash your face and comb your hair and put on your gingham. I ll fill a basket for you. There s plenty of stuff baked in the house. And I ll get Jerry to hitch up the sorrel and drive you down to the picnic ground." "Oh, Marilla," exclaimed Anne, flying to the washstand. "Five minutes ago I was so miserable I was wishing I d never been born and now I wouldn t change places with an angel!" That night a thoroughly happy, completely tired-out Anne returned to Green Gables in a state of beatification impossible to describe. "Oh, Marilla, I ve had a perfectly scrumptious time. Scrumptious is a new word I learned today. I heard Mary Alice Bell use it. Isn t it very expressive? Everything was lovely. We had a splendid tea and then Mr. Harmon Andrews took us all for a row on the Lake of Shining Waters--six of us at a time. And Jane Andrews nearly fell overboard. She was leaning out to pick water lilies and if Mr. Andrews hadn t caught her by her sash just in the nick of time she d fallen in and prob ly been drowned. I wish it had been me. It would have been such a romantic experience to have been nearly drowned. It would be such a thrilling tale to tell. And we had the ice cream. Words fail me to describe that ice cream. Marilla, I assure you it was sublime." That evening Marilla told the whole story to Matthew over her stocking basket. "I m willing to own up that I made a mistake," she concluded candidly, "but I ve learned a lesson. I have to laugh when I think of Anne s `confession, although I suppose I shouldn t for it really was a falsehood. But it doesn t seem as bad as the other would have been, somehow, and anyhow I m responsible for it. That child is hard to understand in some respects. But I believe she ll turn out all right yet. And there s one thing certain, no house will ever be dull that she s in." CHAPTER XIII UP CHAPTER XV 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 25 11 (Tue)
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- 3 4 5 6 7 - - ハイパージャパネスク2 6 - - 3 4 5 6 7 - - ファッシネイション 6 - - 3 4 5 6 7 - - マキナ 6 - - 3 4 5 6 7 - - 空想メソロギヰ 7 - - 3 4 5 6 7 - - ソフトロックLONG 7 - - 3 4 5 6 7 8 - ビタミンポップ 7 - - 3 4 5 6 7 8 - ミス・パラレルワールド 7 - - 3 4 5 6 7 8 - God only knows 第三幕 7 - - 3 4 5 6 7 8 - ショウワカヨウ※ 8 - - 3 4 5 6 7 - - ストライフ 8 - - 3 4 5 6 7 8 - 呪エモ? 8 - - 3 4 5 6 7 8 - メタリックサーガ 8 1 - 3 - 5 6 7 - 9 only my railgun 8 - - 3 4 5 6 7 8 - 嘘 9 - - 3 4 5 6 7 8 - ウチュウリョコウ 9 - - 3 4 5 6 7 8 - ギャラクシヴロック 9 - - 3 4 5 6 7 - - くりむ童話 9 - - 3 4 5 6 7 - 9 プログレッシブリール 9 - - 3 4 5 6 7 - 9 胸キュン☆マーブル 9 - - 3 4 5 6 7 8 - CORE PRIDE 9 - 2 3 4 5 6 7 - - 暗黒サイケデリック 10 1 - 3 4 5 6 7 - 9 バブルガムダンス 10 1 - 3 4 5 6 7 - 9 GET WILD 10 1 - 3 4 5 6 7 - 9 悪魔城ドラキュラSLOT3 11 - 2 3 4 5 6 7 8 - エピックポエトリー 11 - 2 3 4 5 6 7 8 - エレジィ2 11 - 2 3 4 5 6 7 8 - ヒップロック 11 1 - 3 4 5 6 7 - 9 ポップンポップ 11 - 2 3 4 5 6 7 8 - A.I.デイトポップ 11 - 2 3 4 5 6 7 8 - 幻想音樂 12 - 2 3 4 5 6 7 8 - トラディショナルルーツ 12 1 - 3 4 5 6 7 - 9 ハンズアップ 12 1 - 3 4 5 6 7 8 - ロービットサンプリング 12 1 - 3 4 5 6 7 8 9 ヴィジュアル3 13 1 - 3 4 5 6 7 - 9 スターリートランス 13 - 2 3 4 5 6 7 8 - ドラムンコアダスト 13 1 2 3 4 5 6 7 8 9 ノマディックネイション 13 1 - 3 4 5 6 7 8 9 SFポップ 13 1 - 3 4 5 6 7 - 9 ダージュ 14 1 - 3 4 5 6 7 8 9 トランスコア 14 1 - 3 4 5 6 7 8 9 プログレッシブ(The Least 100 sec) 14 1 - 3 4 5 6 7 8 9 ユーロビート(Love2シュガ→) 14 1 2 3 4 5 6 7 8 9 2012/12/12追加分(34曲) 悪魔城ドラキュラ(15) 2 - - 3 - 5 6 7 - - ハート 5 - - 3 4 5 6 7 - - キルト 6 - - 3 4 5 6 7 - - グラディウス 6 - - 3 4 5 6 7 - - シンパシー 6 - - 3 4 5 6 7 - - レクリスレイヴ 6 - - 3 4 5 6 7 - - Butter-FLY 7 - - 3 4 5 6 7 - - スプリングテクノ 7 - - 3 4 5 6 7 8 - パニックポップ 7 - - 3 4 5 6 7 - - ラウンドポップ 7 - - 3 4 5 6 7 - - シンパシー4 8 - - 3 4 5 6 7 - - エモ 9 - - 3 4 5 6 7 - 9 カドルコア 9 - - 3 4 5 6 7 8 - ゴエモン 9 - - 3 4 5 6 7 - 9 ハイパージャパネスク※ 9 - - 3 4 5 6 7 - - ハイパーファンタジア 9 - - 3 4 5 6 7 - 9 禅ジャズ 10 - 2 3 4 5 6 7 8 - エレクトロショック 11 1 - 3 4 5 6 7 - 9 ダークネス2 11 - 2 3 4 5 6 7 8 - ピアノコンテンポラリー 11 1 - 3 4 5 6 7 - 9 理系ポップ 11 1 - 3 4 5 6 7 - 9 キャンディレイヴ(smooooch・∀・) 12 1 - 3 4 5 6 7 - 9 ハイスピードラブソング 12 1 - 3 4 5 6 7 - 9 ハイパンク 12 1 - 3 4 5 6 7 - 9 アンセムトランス 13 1 - 3 4 5 6 7 8 9 コンテンポラリーネイション2 13 1 - 3 4 5 6 7 - 9 ゾディアックオラクル7 13 1 - 3 4 5 6 7 8 9 撫子メタル 13 1 - 3 4 5 6 7 8 - ハッピーハードコア(I’m so Happy) 13 1 - 3 4 5 6 7 8 9 ラメント 13 1 - 3 4 5 6 7 8 9 A.I.ダークネス 13 1 - 3 4 5 6 7 8 9 ハードPf 14 1 - 3 4 5 6 7 8 9 和風プログレッシブ 14 1 - 3 4 5 6 7 8 9 IDM 14 1 - 3 4 5 6 7 8 9 イベントで追加された楽曲(登場順) スカーレット 5 1 - 3 - 5 - 7 - 9 コスモドライブ 5 1 - 3 - 5 - 7 - 9 スノーウィーコア 5 1 - 3 - 5 - 7 - 9 華恋ロック 5 1 - 3 - 5 - 7 - 9 キャンディレイヴ(Wuv U) 8 - - 3 4 5 6 7 - 9 デジタルロック 7 - - 3 4 5 6 7 - - プラチナムジャパネスク 5 - - 3 4 5 6 7 - - ドラムンベース 9 - - 3 4 5 6 7 - 9 エレクトロバロック 13 1 - 3 4 5 6 7 8 9 大宇宙の法典 12 - 2 3 4 5 6 7 8 - ハッピー 13 1 - 3 4 5 6 7 8 9 ハイブリープ 6 - - 3 4 5 6 7 - - J-エモ 8 - - 3 4 5 6 7 - 9 ガールズロマンスポップ 12 1 - 3 4 5 6 7 - 9 スウィングラテ 12 1 - 3 4 5 6 7 - 9 ファンタジアフュージョン 11 - 2 3 4 5 6 7 8 - ニューファンクロック 5 1 - 3 - 5 - 7 - 9 ブレイクアウトロック 5 - - 3 4 5 6 7 - - プログレッシブ(Concertino in Blue) 12 - 2 3 4 5 6 7 8 - 情念歌謡 10 1 - 3 4 5 6 7 - 9 いぇす!ゆゆゆ☆ゆるゆり♪♪ 6 - - 3 4 5 6 7 - - Get Off of My Way 4 - - 3 - 5 - 7 - - スティールクロニクル 6 - - 3 4 5 6 7 - - クイズマジックアカデミー2 4 - - 3 4 5 6 7 - - オービタリックレボリューション 13 1 - 3 4 5 6 7 - 9 クリエイター 10 1 2 3 4 5 6 7 8 9 スウィートロニカ 4 - - 3 4 5 6 7 - - ラッキーテクノ 6 - - 3 4 5 6 7 8 - ドラムステップ 3 1 - 3 - 5 - 7 - 9 スピードダンス 17 1 - 3 4 5 6 7 - 9 ライトビジュアルポップ 5 1 2 3 4 5 6 7 8 9 グラヴィオール 16 - 2 3 4 5 6 7 8 9 お米タル 11 1 - 3 4 5 6 7 - 9 ハードルネッサンス 18 1 - 3 4 5 6 7 8 9 にんじゃりばんばん 3 - - 3 4 5 6 7 - - 恋は渾沌の隷也 4 - - 3 4 5 6 7 - - 萌えおこし電波ソング 5 - - 3 4 5 6 7 - - 文学少女ロック 6 - - 3 4 5 6 7 - - シュピーゲル 7 - - 3 4 5 6 7 8 - テックトランス 9 - - 3 4 5 6 7 - 9 ハードルネッサンス2 12 - 2 3 4 5 6 7 8 - カラーフュージョン 7 - - 3 4 5 6 7 8 - エピックプログレ 12 - 2 3 4 5 6 7 8 - ムーンコア 6 - - 3 4 5 6 7 - - オリエンタルコア 7 - - 3 4 5 6 7 8 - ハイコア 6 - - 3 4 5 6 7 - - ハードルネッサンス3 14 1 - 3 4 5 6 7 - 9 アカシックハードコア 8 - 2 3 4 5 6 7 - - エッセンシャリー 10 1 - 3 4 5 6 7 - 9 ジャッジメント 15 1 - 3 4 5 6 7 8 9 sister’s noise 5 1 - 3 - 5 - 7 - 9 マジLOVE2000% 4 1 - 3 - 5 - 7 - 9 哀愁スカ 6 - - 3 4 5 6 7 - - ディーヴァポップ 7 - 2 3 4 5 6 7 8 - あさきの刺激ロック 9 - - 3 4 5 6 7 8 - 恋活ミュージカル 8 - - 3 4 5 6 7 8 - ノマディックネイション2 10 1 - 3 4 5 6 7 - 9 レトロスペクティビリー・メリーゴーランド 6 - - 3 4 5 6 7 - - draw!!!! 7 - - 3 4 5 6 7 8 - 超恋愛☆エクストリーム・ガール 8 - 2 3 4 5 6 7 - - サイバーシンフォニックポップ 6 - - 3 4 5 6 7 - - 想歌 梅 7 - - 3 4 5 6 7 - - アンセム(天空の夜明け) 12 - 2 3 4 5 6 7 8 - ゾディアックオラクル1 9 - - 3 4 5 6 7 8 - ブロークンサンバブレイク 10 1 - 3 4 5 6 7 - 9 ラッキーハードコア 13 1 - 3 4 5 6 7 8 9 ハイνブリープ 8 - - 3 4 5 6 7 8 - アートコア 15 1 2 3 4 5 6 7 8 9 スペースレクイエム 15 1 2 3 4 5 6 7 8 9 ビーストメタル 13 1 2 3 4 5 6 7 8 9 EDM 5 - - 3 4 5 6 7 - - チッピンレイヴ 12 - - 3 4 5 6 7 8 - わんわんコア 10 1 - 3 4 5 6 7 - 9 リグレッツフィーリング 8 - - 3 4 5 6 7 - - ポップミュージック 9 1 - 3 4 5 6 7 - 9 華陽炎-Hana Kagerou- 7 - - 3 4 5 6 7 8 - ませまてぃっく♥ま+ま=まじっく! 10 1 - 3 4 5 6 7 - 9 C18H27NO3 16 1 - 3 4 5 6 7 8 9 十面相 3 - - 3 - 5 - 7 - - 天ノ弱 4 1 - 3 - 5 - 7 - 9 セツナトリップ 5 1 - 3 - 5 6 7 8 9 届け!シューティングスター☆ 6 - - 3 4 5 6 7 - - VERSUS!! 11 - 2 3 4 5 6 7 8 - 金縛りの逢を 13 1 2 3 4 5 6 7 8 9 スイーツポップ 6 - - 3 4 5 6 7 - - スイーツプログレッシヴ 12 - 2 3 4 5 6 7 8 - ハイテンションギャルロック 8 - - 3 4 5 6 7 8 - エモーショナルデュオ 10 1 - 3 4 5 6 7 - 9 ウィザウチュナイ-ツヴァイ- 7 - - 3 4 5 6 7 8 - ウィザウチュナイ-トロワ- 9 - - 3 4 5 6 7 8 - ウィザウチュナイ-クアトロ- 10 1 - 3 4 5 6 7 - 9 ウィザウチュナイ-ペンデ- 8 - - 3 4 5 6 7 8 - 2013/12~ 回レ!雪月花 4 1 - 3 - 5 - 7 - 9 ナイトメアメタル 14 1 - 3 4 5 6 7 8 9 ロマスウィング 8 - 2 3 4 5 6 7 - - アンビション ポプコネ 7 - - 3 4 5 6 7 8 - モフポップ ポプコネ 6 - - 3 4 5 6 7 - - シンフォノベーティブロック 11 - 2 3 4 5 6 7 8 - 青春剛速球メタル 6 - - 3 4 5 6 7 - - ヴァリアントレイヴ 10 1 - 3 4 5 6 7 - 9 ビッグビート 9 - - 3 4 5 6 7 8 - くりむ童話2 7 - - 3 4 5 6 7 8 - ハッピーハードコア(Sakura Sunrise) 8 - - 3 4 5 6 7 - 9 エレクトリックマヌーシュスウィング 9 - - 3 4 5 6 7 8 - ウィザウチュナイ-ゼクス- 8 - - 3 4 5 6 7 8 - 野球のことがよくわかる 8 - - 3 4 5 6 7 8 - ベースボールヒロイン 11 - 2 3 4 5 6 7 8 - ハッピーサッドコア 10 1 - 3 4 5 6 7 - 9 プリズムユーロ 7 - - 3 4 5 6 7 8 - エッジ 8 - - 3 4 5 6 7 - - ブラッドメタル 14 1 2 3 4 5 6 7 8 - 忍者メタル ポプコネ 13 1 - 3 4 5 6 7 8 9 インボルク 15 1 2 3 4 5 6 7 8 9 エンジェリオン 15 1 2 3 4 5 6 7 8 9 グラティテュード 3 - - 3 4 5 6 7 - - メイドメタル 9 - - 3 4 5 6 7 8 - 浪漫歌謡 8 - - 3 4 5 6 7 8 - 関連用語 EASY譜面 基本要素・システム
https://w.atwiki.jp/bemani2dp/pages/1427.html
GENRE TITLE ARTIST bpm notes CLEAR RATE TECHNO REPLAY SLAKE 140 1505 n%(yyyy/mm/dd) 攻略・コメント これも密度の割に配置が楽で難易度よりは簡単な譜面 曲調が少し単調で似たフレーズが繰り返しなのとトリルが複数回あるので少しBADハマりしやすいかも? -- 名無しさん (2009-06-08 02 09 18) 1p側の細かい外よりトリルと1→3→1+5+7配置がかなり押しづらいため左鏡でエクハ。2p側は全体的に押しやすい。両乱で良い練習になる。 -- 名無しさん (2019-06-23 20 39 24) 正規でやったらボロボロだった(特に左)ので左鏡つけたら全体的に楽になって緑 特に後半が凄く押しやすくなってゲージ維持が容易になった -- 名無しさん (2019-06-27 17 53 55) 難は序盤が抜けられればウイニングラン。全体的に左鏡が押しやすいかな。あと乱がいい感じの練習譜面になるので地力上げにオススメ -- 名無しさん (2019-07-31 12 22 49) 名前 コメント
https://w.atwiki.jp/iracing_wiki/pages/42.html
FUEL BRAKE BIAS DIFFERENTIALClutch Plates Preload Drive ramp angle Coast ramp angle CHASSISSpring rate Spring perch offset Camber Anti-roll bars Bump stiffness and Rebound stiffness Bumpstop gap Caster Toe-in Wing setting TIRES CONCLUSION [This guide has been updated to cover the changes for the NTM. The NTM is still very new at this time having only been out for 2-3 weeks, and learning its ins and outs is still an ongoing task. I share a lot of my setup secrets I have discovered so far about the NTM which are scattered throughout the guide in the relevant sections.] The NTM has transformed the Corvette substantially both in terms of driving technique and setup. The setup parameters still have the same effects they had before, but the sweet spots have definitely changed, and there are new nuances to understand. Heat is a very central element now. The Corvette can overheat its tires very easily... particularly if the tires are sliding around to any degree. So the new goal is smooth and quiet. It no longer pays to design sets around sliding the car effectively. In general, much less oversteer is called for than before. Now the main task is to plant both ends of the car as firmly as possible so that it doesn t eek out any noises while going fast as hell. There are a myriad of settings that can be changed. And they can all seem rather bewildering at first. Which setting gives me more oversteer, please? Well, there s not quite an easy answer to that. Many of the settings affect the car s balance. But the trick is that they each affect the balance under different circumstances. So in order to adjust the car properly, you need to feel out exactly where and when you want more or less oversteer, and know what settings affect that specifically. FUEL Fuel is always the first setting to work with. The fuel tank in the Corvette is located toward the rear of the car. So the amount of fuel being carried changes the balance of the car. Determine the amount of fuel you ll need, and set that first before you change anything else. Then take the car for a spin to see what it feels like. The fixed set starts with maximum fuel, and since you re probably going to run less fuel than that, the rear of the car is going to become lighter. This will lift the rear of the car, change the rake, and alter the wheel cambers... all of which would tend to make the car oversteer more. However, the great loss of weight rearward generally causes the car to understeer more overall. BRAKE BIAS Front brake bias Brake bias is the first real setting to work with on the car. It has significant impact on the driving style that will be used, and thusly how the remainder of settings will come into play. Front brake bias is the percentage of brake force that applies to the front wheels when you brake. A value of 63% is approximately neutral. 64% and higher will tend to lock up the fronts first. 62% and lower will tend to lock up the rears first. Beginning drivers tend to favor higher values here because the car is much more stable under braking with more forward bias. As they become more experienced, they ll tend to want to move the bias rearward. Brake bias below 63% tends to be used with gas on brake techniques to allow the driver greater dynamic range in their brake bias from moment to moment. That is, a bit of throttle is applied to cancel some of the rear brake at will. The driver can intentionally lock the rears at any point by simply letting off the on the throttle while braking. Gas on brake techniques require either left foot braking or heel and toe. I don t think low bias values are generally used with straight braking. Low brake bias settings are one of the chief reasons why alien setups are slow and dangerously unstable in the hands of less advanced drivers. Fixed setups tend to have rather high brake bias settings of 64% or more. Dropping it down to 63% or 62% will reduce the braking distances, but also make the car much less stable under braking. Keep in mind that if you re struggling to keep the car under control while braking, the potentially shorter stopping distances aren t worth it. Don t try for a lower brake bias than feels comfortable, or you ll be slower, not faster. DIFFERENTIAL The Corvette as a car is defined by its massive power. The differential has a dramatic effect on what s going on with those meaty rears, and its affect on the balance and overall driving experience of the Corvette is more dramatic than many drivers might expect. The differential tends to lock the rear wheels together the tighter you set it. The main purpose of this is to prevent the car from wasting its power spinning the inside wheel at the exit of a turn while the outside wheel remains unpowered, as would happen with an open differential. The downside of locking the wheels together is that the car won t want to turn properly. Imagine lifting the front of the car off the ground and then trying to rotate the car on its rear wheels while they are locked together. They wouldn t roll. You d have to force them to slide to turn the car. When your differential is tight, your own tires resist against your car turning. This seems like it should promote understeer and stability, but it actually doesn t. The forces that are preventing your car from turning properly are actually subtracting from the available traction in your rear tires. Your rear tires are resisting _each other_! So loosening the differential promotes more understeer because then the rear tires aren t wasting their traction on infighting. This is a good thing to do as much as possible because there are more efficient ways of tuning that oversteer back in with other settings. Loosening the differential improves the overall traction of the car. The down side of loosening the differential is that you can start spinning that inside tire on turn exit. That will lose speed. So the general idea is to have the differential just tight enough to prevent that from happening. The fixed sets all feature tight differentials which exhibit their locking force all the time. There s speed to be gained by loosening them. Clutch Plates You can have between one and three clutch plates. More clutch plates makes the differential much tighter with the same other settings. It multiplies the effects of those settings. So two clutch plates will be twice as tight. And three clutch plates will triple the effects of the other settings. With the OTM, I never saw a need for more than one clutch plate. But the NTM seems to respond well to settings which are roughly twice as tight as before. So two clutch plates seems to be a good standard. Though I still sometimes run singles. Preload The tightness of the differential is variable depending on how much engine power is being applied. This setting determines how tight the differential is when no engine power is applied at all. I generally set this to 0. I prefer not having my rears resist each other from letting the car turn when I m neither accelerating nor decelerating. You may want to run with a preload if you find the balance transition of locking the rears together when you do get on the gas too jarring, but that s the only reason I can think of to do it. Note that reducing the preload on the car versus the fixed sets will add substantially more traction in the rear... and thus quite a lot of global understeer. Soften the front sway bar or tighten the rear to counteract this effect and restore your desired balance. Drive ramp angle The lower you set this value, the more tightly the rears will lock together when you get on the gas. The car will rotate more when you punch it. You generally don t want to set this value so low that the car wants to kick out when you get on the gas. With the OTM, this could be a desirable effect. But not with the NTM. Now what you re looking for is the rear to stay planted under heavy acceleration and not wash out into understeer. Coast ramp angle When you re completely off the gas, the engine drags, effectively applying a braking force to the rear wheels through the drive line. This setting determines how tightly the rears lock together when this happens. It s just like the Drive ramp angle, but the opposite direction. In general, it is no longer so effective to coast through the mid turn with the NTM as it was with the OTM. Instead, neutral throttle generally produces the best cornering speed. Therefore, the coast ramp no longer effects portions of the mid turn that it used to. The car has to coast for this setting to have any effect at all. Now the coast ramp is primarily of value only in the braking zone prior to the turn. Whereas locking the rear wheels together tends to reduce stability in the midturn, it has the opposite effect during straight line braking. It will tend to resist any tendency of the car to want to turn while in the brake zone, promoting stability as the car approaches turn in. The coast ramp is commonly set with lower values (tighter) than the drive ramp. This can seem counter intuitive, but remember that there s much less force being applied through the drive line on the coast side. So the same amount of locking requires a lower angle to achieve. CHASSIS Spring rate I subscribe to the notion that the purpose of springs is to keep the car s chassis from sitting on the ground. They are not a primary method of balancing the car. As such, we will fiddle with them early. The things to consider with spring rates are ride height and compliance with the road. The more bumpy a track is, or the more three dimensional it is with steep bankings, crowns, crests, and other non-flat features, the softer your springs need to be in order to keep the wheels in contact with the road at all times. The softer your springs are, the more ride height you ll need to keep the car from bottoming out. Stiffer springs allow you to lower the car more, but they only work well on tracks which are rather flat. And remember that curbing counts, too. The lower and stiffer you make the car, the more it will freak out over the curbs. Contrary to common belief, stiff springs _do not_ reduce weight transfer. The same amount of weight transfers from the inside to the outside in a turn whether the car leans on soft springs or not. However, reducing the ride height does reduce weight transfer. And stiffer springs allow lower ride height. So this may be the origin of the misconception. But understand that it s not the springs themselves. With the OTM, spring rates near the minimum (1000lb) were generally ideal. The NTM tires seem to have considerably more bounce to them, and so the suspension needs to be relatively stiffer to compensate. Values more toward the middle of the range (1300-1600) seem to work well. Note that if you re making a qualifying set with low fuel, you re removing quite a lot of weight. And consequently the springs will lift the rear of the car up. It can be a good idea to take some spring out of the car to compensate, dropping the car back down a bit. The car is lighter, so less spring force is needed to hold it at the same level. Spring perch offset This is the other end of the spring rate and ride height equation. This is how to directly adjust the ride height of the car. Higher numbers drop the car down. Keep in mind that you re not just lowering the car, you re also compressing the suspension which changes all of the geometry. In particular, your cambers will change when you adjust the ride height. Take note of what your cambers were prior to the change and then set the cambers back to what they were afterward. Now the goal here is not actually to lower the car as much as you possibly can before it bottoms out. There s a diffuser under the car, and it stalls at less than about 2 inches of clearance. The ideal ride height at the front of the car seems to be in the range of 2.2 to 2.5 inches. The rake of the car is important primarily because of its aerodynamic effect. That is, the lower the front of the car is compared to the rear end, the greater the angle on the otherwise fixed wing and other aero elements. That s right. We can t adjust the angle of the wing, so we just tip the whole car instead. Clever, no? Good values for the rake seem to be roughly 0.5-0.8 inches. The rear ride height should be in the range of 2.7-3.0 inches or so. There s a trade off here between getting the rear end of the car as low as possible for reduced weight transfer and raising it up higher for greater rake and thus down force. Or to put it another way, that s a trade off between better low speed turning (where aero is weak anyway) or better high speed turning (where down force is strong). Camber Negative camber tilts the tires inward so that when the car leans into a turn, the outside tire will be flat against the track. The NTM currently has unrealistically weak side walls, and so seems to run best with rather low cambers near -1.0 front and back. The fixed sets use considerably more camber, and this does seem to have a good feel to it, but it has less traction, produces very uneven wear on the tires over time, and seems to make the tires more susceptible to overheating (presumably because the heat isn t spread across the whole surface). In general, the more camber you run, the harder the car will turn (up to a point... which isn t very much right now). But the trade off is you lose straight line braking because the tires are not flat against the track surface when moving in a straight line. In the real world, camber is set by checking the outside, middle, and inside tire temperatures after running a few laps. These values are reported for the NTM, but they re unusable because the inside and outside temperatures are averaged with the sidewall temperatures. There are the tire wear percentages, too. Those do work properly and they do help, but it takes quite a few laps to get enough wear to see if the tires are wearing evenly. So your only real tool for setting camber at the moment is driving the car and feeling for it. You can tell whether a change in camber increased or decreased the car s traction if a change on one end of the car changes the balance of the car in that direction. For instance, if you add negative camber to the front of the car and the car starts oversteering more, then it worked! This is increasing the overall traction of the car, not just shunting the balance around like swaybar adjustments do, so it s definitely worth pursuing. Note that positive camber is never used in road course sets. Anti-roll bars The sway bars are your primary overall balance tuning devices for the car. They pretty much adjust the balance evenly across the board. Soften the front and/or stiffen the rear to produce more oversteer. Stiffen the front and/or softer the rear to produce more understeer. The more stiff the sway bars are overall, the less compliance the wheels will have with bumpy and unflat roads, just like using heavier springs. Bump stiffness and Rebound stiffness These are damper (shock absorber) settings. They affect the balance of the car just like swaybars do except that they only affect the stiffness of the suspension when it s in motion. So that means the stiffness of the suspension is momentarily increased when the car leans into a turn. Or when it levels back out again after a turn. You can tune these settings to make the car more lively so that it has a more oversteery edge when you first start to turn. Or you can set it opposite to ease into a turn more smoothly. One effect to watch out for in particular is when you turn the car, and the front end initially turns in very rapidly as if too spin, and then immediately washes out again and settles into the turn all on its own. This is what happens when your dampers are set for a lot of nervous oversteer while the springs/swaybars are set for much less. The balance difference is too extreme. In general, I like to set the dampers to the same relative stiffness front and back as the springs have. This will help the car maintain steady and predictable balance as it goes over bumps. Otherwise, if you were to make the front dampers relatively stiffer, for instance, then whenever the car passed over a bump during a turn, the balance of the car would momentarily shift toward understeer. That could be desirable in some circumstances, but in my opinion usually not. Bumpstop gap The bumpstops limit the suspension movement in an effort to prevent the car from ever bottoming out. Essentially, they re like very stiff springs which are reached only when the suspension compresses beyond a certain point. They would be important to work with on a real car, but in iRacing, there doesn t seem to be much downside to just letting the Corvette bottom out on the track if it s going to. So I always set these to the maximum gap possible. I also suspect that if they are set to a smaller value where they ll actually get hit before the car bottoms out, it becomes possible to break your suspension by just running over curbs on the track. Caster Caster is a wonderful thing. This is a rearward tilt of the wheel such that when the steering wheel is turned, negative camber is increased. This is great because it allows the wheels to have less camber when travelling in a straight line and more camber when turning. Theoretically, caster can be used in combination with static camber settings to tune the car s behavior in low speed and high speed corners seperately. However, I have found that maximum caster values seem to work best all of the time. Note that lower caster values also reduce steering wheel feel. Toe-in Theoretically, you can use positive toe-in to make the car more stable. And negative (toe-out) to make it less stable. In practice, I haven t found a reason to change these settings on the Corvette. I don t believe in toe settings very much because it s another example of making wheels fight each other. Wing setting Unless you re visiting the salt flats, leave this on the highest downforce setting for the Corvette. Always. TIRES The tires pane shows you the condition of the last set of tires that came off the car. That is... their condition at the moment that you left the track after slowing the car to a halt. Keep in mind what effects that will have. Tires heat up and cool down rather quickly. So if the last turn you did was a hard left sweeper, your right front tire is going to show more temperature. And if you just locked up all four tires while you came to a halt, your readings will pretty much all be garbage. Unfortunately, as I mentioned earlier, the tire temperatures being reported aren t very useable at this time. Only the center temperature is reported correctly, but it s not all that useful by itself other than telling you if you re overworking a tire. Values in the range of 220-240 degrees F are good. 250 and higher is around where the tire will lose traction due to overheating. If you are destroying a particular tire, the most common cause isn t setup. It s driving technique. The usual culprit is turning the steering wheel even further when the car won t turn any harder. Even if the tire doesn t emit smoke (which you currently wouldn t be able to see anyway, you re hurting it unnecessarily when you do this. This will show up as very high overall temperatures for that tire immediately after the turn in question. Setup can be used to try to make life easier on particular tires. You could try lowering that end of the car to reduce weight transfer to the outside tire. You could also concentrate on making that end of the car more planted so that it s sliding less. CONCLUSION Setting up the car is an iterative process. Make changes slowly and try them out for a while before giving them the yay or nay. Often times a good setup change will feel bad at first because you have to change the way you re driving to accomodate it. Save each iteration of your setup so that you can go back to it later if you decide that a whole direction you were going with the setup doesn t work (and that will happen). Also, don t consider a setup change to be an improvement unless you can actually produce a better lap time with it. I find it can be easy to just judge a setup change to feel better . But this can be deceptive because feeling better may just mean easier for you to drive and can easily be slower overall. Let me know if you found this guide helpful. I write up these materials to aid the Corvette community in general and promote participation for this awesome car. The more drivers it helps, the more motivated I am to write more of this stuff.
https://w.atwiki.jp/achiev-solo/pages/14.html
The Saboteur 項目数:45 総ポイント:1000 難易度:★★☆☆☆ 全実績難易度不問。 秘密の実績は全てストーリー関連。 フリープレイでの兵器破壊等のターゲットの総数が1200以上。 そのため難しい実績はないが、ひたすら作業を強いられる。 Tourist Collect all monument postcards.すべてのポストカードを集めた 15 Hell on Wheels Complete and win all freeplay races.すべてのフリープレイレースに勝利した 10 Weapon Master Purchase all weapons available in the shops.すべての武器をショップで購入した 35 Solid Gold Complete all gold level perks.すべてのゴールドレベルのPerkを取得した 50 Saint Honoré Spend 75,000 contraband.75,000contraband使った 15 Demolition Derby Destroy 50 vehicles.50台の車輌を破壊した 15 Top o the World Climb to the top of the Eiffel Tower.エッフェル塔の頂上に登った 15 Liberator of France Inspire the people of France.フランスの人々を勇気づけた 110 Silent Death Stealth kill 50 or more Nazis.50人以上のナチス兵をサイレントキルで殺した 10 Northern Command Inspire the people of Paris Area 1.Paris Area 1の人々を勇気づけた 10 Western Command Inspire the people of Paris Area 2.Paris Area 2の人々を勇気づけた 10 Southern Command Inspire the people of Paris Area 3.Paris Area 3の人々を勇気づけた 10 Chain Smoker Spend a lot of time idling around doing nothing.多くの時間を無駄に費やした 5 Casanova Kiss 50 women.50人の女性にキスをした 10 Silver Streak Obtain your first silver perk.最初のシルバーレベルのPerkを取得した 10 Gold Medalist Obtain your first gold perk.最初のゴールドレベルのPerkを取得した 20 First Blood Complete your first ambient freeplay event.最初のフリープレイイベントを完了した 5 Commando Complete each type of ambient freeplay.どれか1種類のフリープレイをすべて完了した 10 Wrecking Crew Complete 333 ambient freeplay in Paris Area 1.Paris Area 1の333のフリープレイをすべて完了した 15 Unnatural Disaster Complete 212 ambient freeplay in Paris Area 2.Paris Area 2の212のフリープレイをすべて完了した 15 Walking WMD Complete 239 ambient freeplay in Paris Area 3.Paris Area 3の239のフリープレイをすべて完了した 15 Fatherland Fighter Complete 53 ambient freeplay in Saarbrucken.Saarbruckenの53のフリープレイをすべて完了した 15 Coast Guard Complete 76 ambient freeplay in Le Havre.Le Havreの76のフリープレイをすべて完了した 15 Guerilla Warfare Complete 425 ambient freeplay in the countryside.the countrysideの425のフリープレイをすべて完了した 15 Pigeon Parfait Find and play Bird Blast. Bird Blastをプレイした 5 No Witnesses Complete a mission without raising alarm.警戒度を上げずにミッションをクリアした 10 Master of Disguise Complete a story mission with disguise intact.変装した状態でストーリーミッションをクリアした 15 Trick or Treat Stealth kill a Nazi General while disguised.Nazi Generalを変装した状態でステルスキルした 5 High Diver Jump from the Eiffel Tower and survive.エッフェル塔から飛び降り、生き残った 15 Not On My Watch Stop the Nazis from executing 40 civilians.40人の市民をナチス兵から救った 15 秘密の実績 Vive La Resistance You inspired your first area of Paris.初めてパリのエリアで勇気づけた 25 Road Trip You ve arrived in Germany with Jules.Julesをドイツに到着させた 10 Knockwurst You bested your opponents in the bar fight.バーでのケンカで相手を打ち負かした 10 Pint and a Shag You got lucky with Skylar.Skylarと幸運を手に入れた 10 Fenderbender You crashed Dierker s car.Dierkerの車を破壊した 10 Out of the Frying Pan You escaped from Germany.ドイツから脱出した 30 Into the Fire You reached Paris.パリに到着した 40 Buried Secrets The Resistance was born.レジスタンスを結成した 25 Crashlander You sent the Nazi zeppelin up in flames.ナチのツェッペリンを炎上させた 30 Bridge Buster You destroyed the train.列車を破壊した 30 Repo Man You recovered the Aurora.Auroraを取り戻した 30 Rescue You rescued Veronique.Veroniqueを救出した 40 Pole Position You beat Dierker in the Parisian race.パリ市民レースでDierkerに勝利した 40 Payback You blew up "Doppelsieg.""Doppelsieg."爆破した 50 The Legend Begins You completed The Saboteur.The Saboteurを完了した 100 ◆プレイを通して取りこぼす可能性がある実績は以下の4つ。 Solid Gold(Brawling) No Witnesses Master of Disguise Trick or Treat いずれもGeneralがらみ、もしくは特定の条件でミッションクリアと言う内容。 ◆フリープレイ関連 各エリアのマップを購入するとターゲットの位置が記載される。 非常に数が多いため、本来のプレイスタイルであるはずのステルスでやってたら到底終わらない。 そのため必然的に特攻になってしまうと思われる。 死んだり爆薬切れでHQまで戻る手間が省けるため、ミッション中のチェックポイントを活用し近隣のターゲット破壊しておきたい。 ●Solid Gold "Luck O The Irish"や"St Patty s Day"を購入して上げても解除される。 BrawlingにGeneralがらみの要素があるため、取得前にGeneralを全滅させ且つ"St Patty s Day" を他のperkに使用してしまったら積み。 以下各PerkのGold取得の一例。 Brawling Generalsを5人Silent Kill。 フリープレイでのGeneralには必ず二人の護衛がついている。 護衛をSilent Pistol片付けるか、強襲で護衛がリスポーンする前に警戒度を下げ無防備になったところをSilent Kill。 Generalは有限なだけで取得自体は難しくないので、"St Patty s Day"は他のPerkに回したい。 Hardware 一度の警報中にZeppelinとWulf Tankを破壊。 通常警戒レベル5にならないとWulf Tankは現れない。 フリープレイでの停車中のWulf Tankを狙えば楽。 Zeppelinが現れたところで警戒度をわざと上げ、Wulf TankにRDX、Zeppelinにロケランで。 Sniping スナイパーライフルで10回double Kills。 Bellの酒場(最初のHQがあるストリップバー)の表口から出て左へしばらく進むと、右側に門番が2人立っている。 2人をヘッドショット出来る射線上から撃つ。 あとはセーブ→ロードの繰り返し。 Explosives 10秒間にダイナマイトかRDXで10人のナチを殺害。 Act 2のSantosからのミッションを利用、3台のトラックを破壊すると言う内容。 比較的速い車にトラップをしかけ(乗車中B長押し)、トラックに突っ込む直前にYで脱出。 Demolitions ダイナマイトかRDXでWulf Tanksを3台破壊。 フリープレイで停車中の車両が数台ある。 Mayhem 1台の車両で20台のナチの車両を破壊。 AA Gunでも可。エッフェル塔の近所にある道路より高い広場に設置されたAA Gunを使うと、ギリギリ道路の敵車両を破壊できるが敵はこっちを狙えないので、ここで粘ると比較的安全に破壊可能。HardwareのゴールドとEvasionのゴールドも同時に狙える。 Sabotage 4基の鉄橋を破壊。 ストーリー後半にbridge killerが使えるようになる。 使用方法はストーリー中に分かるので割愛。 Racing Country Race 2で勝利。 レースを全て出来るのはAct 3に入ってから。 予め対抗車からドライバーを引きずり降ろせば快適ドライブ。 Mechanics http //www.youtube.com/watch?v=NebYgtz1Wp8 feature=player_embedded 一般車、レースカー及び軍用車の全てを集める。 一部の車両はナチの基地にしかないレアな物もあるので面倒。 ここで"St Patty s Day"を使いたい。 Evasion 警戒レベル5から回避。 通常のhiding spotは使えない。 エッフェル塔中層のラウンジならOK。 入り方は"Top o the World"の項を参照。 ※キスや通常の隠れ場所でも見られてさえいなければレベル5でも解除可能。(確認済) ●Top o the World、High Diver http //www.youtube.com/watch?v=5QEj30xfaj0 feature=player_embedded ●Saint Honoré クリア後武器及びアップグレードを全て購入しても数万足りないと思われる。 ひたすらpanzershrek空撃ち→弾薬購入で。 なお発射後即座ににグレを投げればリロードモーションをキャンセル出来るので多少の時間短縮に。 難易度を最大にして死亡すると、ショップの所持弾薬が激減するので 全部購入(約2000減らせる)して自爆を繰り返すのが良い。 ●Chain Smoker Lスティック押し込みでタバコを吸う。 100本のタバコを吸うと解除。 タバコを捨てるモーションでワンカウント。 安全な場所で放置でも勝手に吸い始めるが、コントローラの接続が外れると止まるので注意。 ●Casanova http //www.youtube.com/watch?v=5jxA36v5IpU feature=player_embedded 女性にキスしてナチをやり過ごすhiding spotの一つ。 見かけたらナチの前で空撃ちなどして警戒度を上げる→キスの繰り返し。 ●No Witnesses、Master of Disguise、Trick or Treat 尾行後Generalとスパイを殺害する内容の序盤のミッションで全て取得可。 Master of DisguiseとTrick or TreatはGeneralを全滅させる前に。 No Witnessesは後半になると警戒度を上げずにクリアはほぼ困難なミッションばかりなので序盤のうちに。 Master of Disguiseはレースミッション開始前に変装して完走するだけで楽に解除可能。 ●Northern Command、Western Command、Southern Command、Liberator of France メインストーリーをクリアしただけでは全部の地域を色づけできない。 各地域を色づけするにはサブミッションをこなす必要がある。
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Soviets Chapter 8 Easter Island ~イースター島~ The Premier sets up a trap for the Allies in the form of a false peace treaty. 首相は連合軍にニセの平和協定という罠を仕掛ける。 SUBTITLE SFS08_01=*[3.4 2]Commander! [チェルデンコ首相]司令官! SUBTITLE SFS08_02=*[6 4.7]First of all I want to congratulate you on such an important victory! [チェルデンコ首相]まず最初にこの重要な勝利にお礼を言いたい。 SUBTITLE SFS08_03=*[11.8 7.8]The Empire of the Rising Sun has now joined the family of our glorious socialist republics! [チェルデンコ首相]"日出づる帝国"は、我々の栄誉ある社会主義共和国の一員となった。 SUBTITLE SFS08_04=*[20.3 4.8]Though culturally they are a backward and superstitious people, [チェルデンコ首相]文化的には時代遅れで迷信的な民族だが、 SUBTITLE SFS08_05=*[25.4 3.3]technologically they are quite advanced. [チェルデンコ首相]技術的には明らかに進歩している。 SUBTITLE SFS08_06=*[29.1 7]Dr. Zelinsky has been delving into some of their secrets and I'm sure he has some interesting insights. [チェルデンコ首相]ゼリンスキー博士が機密を探っているところだ。きっと何らかの興味深い発見があるだろう。 SUBTITLE SFS08_07=*[36.6 1.6]Dr. Zelinsky? [チェルデンコ首相]ゼリンスキー博士? SUBTITLE SFS08_08=*[41.8 1.5]Dr. Zelinsky! [チェルデンコ首相]ゼリンスキー博士! SUBTITLE SFS08_09=*[45.1 1.3]Now where did he go? [チェルデンコ首相]全くどこへ行ったんだ? SUBTITLE SFS08_10=*[47.8 2.6]No matter...We have more work to do. [チェルデンコ首相]まあいい…我々には他にやらなくてはいけない事がある。 SUBTITLE SFS08_11=*[51.7 4.8]It is time my comrade, to deliver the final blow to the Allied cause. [チェルデンコ首相]我が同志よ、連合軍の大本営に最後の一撃を加える時が来た。 SUBTITLE SFS08_12=*[56.8 4]You are to meet the Supreme Allied Commander at Easter Island. [チェルデンコ首相]君はイースター島にて連合軍最高指揮官と会談する。 SUBTITLE SFS08_13=*[60.8 4.6]Together you will sign a treaty, calling for an end to all armed conflict. [チェルデンコ首相]共に軍事紛争を終結させるための協定を結ぶのだ。 SUBTITLE SFS08_14=*[65.6 8.3]I have convinced them that we, as a nation, are weary of war and that our people only want peace. [チェルデンコ首相]私は、我々国家は戦争に疲れきって、国民は平和だけを望んでいると確信したのだよ。 SUBTITLE SFS08_15=*[76.4 7]We will sign this treaty, we will come together as brothers, and then...we will crush them! [チェルデンコ首相]我々はこの協定を結び、兄弟のように団結し、そして…、協定などぶち壊す! SUBTITLE SFS08_16=*[85.1 1.3]Yes, General [チェルデンコ首相]そうだ将軍。 SUBTITLE SFS08_17=*[87.1 1.5]it is a trap [チェルデンコ首相]これは罠だ。 SUBTITLE SFS08_18=*[89.1 2]and you, my friend [チェルデンコ首相]そして我が友よ。 SUBTITLE SFS08_19=*[91.5 2]are the bait. [チェルデンコ首相]君はおとりとなれ。