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ポンチのうた Shall we Fruits Ponch? We are in pinch! You ll buy our ponch! To bring us joy! It s gonna be sold out! The symbol of timeout! Oh!Please, Don t miss our Ponch buying! ×2 中古車・中古車情報・中古車販売なら車選びドットコム Luis Garcia song のパロディです♪♪ TIMEOUT OFFICIAL MASCOT USA 画:たかたに MASCOT その2 画 山
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PPP Princes of The Apocalypse キャンペーン用キャラクター。 Andrew ( アンドリュー ) Race Half-Elf Alignment Lawful Good Experience / Next Level - / - xp Classes / Level Cleric 1 / Warlock 10 Patron Deity / Faith Bahamut Background Solder キャラ設定 戦士やパラディン、戦司祭を輩出している士族の末弟。 本人はパラディン志望だったが、兄姉の支えになれと、神官の道を強制されたため、不満を抱く。 神官の道を修め家に戻ったところ、一顧だにされなかったことに溜めこんでいた拗れが爆発し、出奔。 自身の力のみで成り上がるべく、流れの神官として荒事を求めていた。 その一環として、兵役も経験している。 が、兵役中に勲をたてられるような大きな争いもなかったため、冒険者の一団に加わることになる。 ( 将来ウォーロックを入れるため、色々と隙の多い設定 ) 【 2017/04/15 追記 ( ウォーロッククラス追加の顛末 ) 】 ネクロマンサーを倒してレッドラーチに戻った後、共同礼拝所で声を掛けられる。 どこからかネクロマンサー討伐の話を聞きつけたのかは分からないが、その功績を称えたいと酒の席に誘われた。 美酒を振る舞われ酩酊したところで、彼は自分の正体をバハムートの使いと名乗り、正しい行いをしたアンドリューに 更なる力を与えるよう遣わされたと明かした。 もちろんそれは、アンドリューの未熟さと功名心に付け込もうとするフィーンドの罠だったわけだが。 愚かなアンドリューは、その誘いを受け、契約書にサインをしてしまう……、 Hit Points 69 = 8 + 5 + 5 + 5 + 5 + 5 + 5 + 5 + 5 + 5 + 5 + 11 CON Mod. ( = + 1 CON ×11Lv. ) Ability Scores 【 STR 】 19 ( + 4 ) = 15 ( 9pts. ) + 1 Racial / 19 ( Gauntlets of Ogre Power ) 【 CON 】 12 ( + 1 ) = 12 ( 4pts. ) 【 DEX 】 10 ( + 0 ) = 10 ( 2pts. ) 【 INT 】 8 ( - 1 ) = 8 ( 0pts. ) 【 WIS 】 14 ( + 2 ) = 13 ( 5pts. ) + 1 Racial 【 CHA 】 16 ( + 3 ) = 14 ( 7pts. ) + 2 Racial Initiative Move Speed Initiative : + 0 = + 0 DEX Land Speed : 35 feet. Armor Class 20 = 18 Plate mail + 2 Shield Saving Throws 【 STR 】 + 4 ( = + 4 STR ) 【 CON 】 + 1 ( = + 1 CON ) 【 DEX 】 + 0 ( 2 ) ※ ( = + 0 DEX ) 【 INT 】 - 1 ( = - 1 INT ) 【 WIS 】 + 6 ( = + 2 WIS + 4 Proficiency ) 【 CHA 】 + 7 ( = + 3 CHA + 4 Proficiency ) ※ See Shield Master feat. Proficiencies Proficiency Bonus + 4 Armor : All Armor, shields Weapons : All Simple Weapons, Martial Weapons Tools : One type of gaming set, vehicles ( land ) Language : Common, Elvish, Giant Attacks Drown Thrown ( Range 20 / 60 ), Versatile ( 1d10 ) Attack : + 10 ( = + 4 STR + 4 Proficiency + 2 Enc. ) Damage : 1d6 + 6 ( = + 4 STR + 2 Enc. ) + 1d8 ( Cold ) / Piercing Longsword Versatile ( 1d10 ) Attack : + 8 ( = + 4 STR + 4 Proficiency ) Damage : 1d8 + 4 ( = + 4 STR ) / Slashing Longsword, Silvered Versatile ( 1d10 ) Attack : + 8 ( = + 4 STR + 4 Proficiency ) Damage : 1d8 + 4 ( = + 4 STR ) / Slashing Warhammer Versatile ( 1d10 ) Attack : + 8 ( = + 4 STR + 4 Proficiency ) Damage : 1d8 + 4 ( = + 4 STR ) / Bludgeoning Dagger Finesse, Light, Thrown ( Range 20 / 60 ) Attack : + 8 ( = + 4 STR + 4 Proficiency ) Damage : 1d4 + 4 ( = + 4 STR ) / Piercing Javelin Thrown ( Range 30 / 120 ) Attack : + 8 ( = + 4 STR + 4 Proficiency ) Damage : 1d6 + 4 ( = + 4 STR ) / Piercing Light Crossbow Ammunition ( Range 80 / 320 ), Loading, Two-handed Attack : + 4 ( = + 0 DEX + 4 Proficiency ) Damage : 1d8 + 0 ( = + DEX ) / Piercing Skills Strength ■ Athletics : + 8 ( = + 4 STR + 4 Proficiency ) Dexterity Acrobatics : + 0 ( = + 0 DEX ) Sleight of Hand : + 0 ( = + 0 DEX ) Stealth : + 0 ( = + 0 DEX ) Intelligence Arcana : - 1 ( = - 1 INT ) ○ History : - 1 ( = - 1 INT ) Investigation : - 1 ( = - 1 INT ) Nature : - 1 ( = - 1 INT ) ○ Religion : - 1 ( = - 1 INT ) Wisdom Animal Handling : + 2 ( = + 2 WIS ) ● Insight : + 6 ( = + 2 WIS + 4 Proficiency ) ○ Medicine : + 2 ( = + 2 WIS ) Perception : + 2 ( = + 2 WIS ) Survival : + 2 ( = + 2 WIS ) Charisma Deception : + 3 ( = + 3 CHA ) ■ Intimidation : + 7 ( = + 3 CHA + 4 Proficiency ) Performance : + 3 ( = + 3 CHA ) ● Persuasion : + 7 ( = + 3 CHA + 4 Proficiency ) Traits Half-Elf Ability Score Increases : + 2 CHA, + 1 other two abilities Size : Medium Speed : 30 feet Darkvision : You can see in dim light 60 feet of you as if it were bright light, and in darkness as if it were dim light. You can t discern color in darkness, only shades of gray. Fey Ancestry : You have advantage on saving throws against being charmed, and magic can t put you to sleep. Fleet of Foot : Your base walking speed increases to 35 feet. Languages : Common, Elvish, one other language Cleric 1 Hit Dice : 1d8 / Lv. Armor Proficiencies : Light Armors, Medium Armors, Shields Weapon Proficiencies : All Simple Weapons Tool Proficiencies : None Saving Throw Proficiencies : Wisdom, Charisma Skills : Choose two skills from History, Insight, Medicine, Persuasion, Religion Divine Domain : War Domain - Bonus Proficiencies : You gain proficiency with martial weapons and heavy armor. - War Priest : When you use the Attack action, yhou can make one weapon attack as a bonus action. You can use this feature a number of times equal to your Wisdom modifier ( a minimum of once ). You regain all expended uses when you dinish a long rest. Spellcasting : 3 Cantrips Known, 2 / - / - / - / - / - / - / - / - Warlock 10 Hit Dice : 1d8 / Lv. Armor Proficiencies : Simple Armors Weapon Proficiencies : All Simple Weapons Tool Proficiencies : None ( multiclassing ) Saving Throw Proficiencies : None ( multiclassing ) Skills : None ( multiclassing ) Other Worldly Patron : the Fiend - Dark One s Blessing : When you reduce a hostile creature to 0 hit points, you gain temporary hit points equal to your Charisma modifier + Warlock level ( minimum of 1 ). - Dark One s Own Luck : When you make an ability check or a saving throw. you can use this feature to add a d10 to your roll. You can do so after seeing the initial roll but before any of the roll s effects occur. Once you use this feature, you can t use it again until you finish a short or long rest. - Fiendish Resistance : You can do so after seeing the initial roll but before any of the roll s effects occur. Once you use this feature, you can t use it again until you finish a short or long rest. Pact Magic : 4 Cantrips Known, 10 Spells Known, 2 Spell Slots ( 5th Level ) Eldrich Invocations : - Agonizing Blast : When you cast eldritch blast, add your Charisma modifier to the damage it deals on a hit. - Fiendish Vigor : You can cast false life on yourself at will as a 1st-level spell, without expending a spell slot or material components. - Thirsting Blade : You can attack with your pact weapon twice, instead of once, whenever you take the Attack action on your turn. - Repelling Blast : When you hit a creature with eldritch blast, you can push the creature up to 10 feet away from you in a straight line. - Grasp of Hadar : Once on each of your turns when you hit a creature with your eldritch blast, you can move that creature in a straight line 10 feet closer to you. Pact Boon : Pact of the Blade You can use your action to create a pact weapon in your empty hand. You can choose the form that this melee weapon takes each time you create it. You are proficient with it while you wield it. This weapon counts as magical for the purpose of overcoming resistance and immunity to nonmagical attacks and damage. Your pact weapon disappears if it is more than 5 feet away from you for 1 minute or more. It also disappears if you use this feature again, if you dismiss the weapon (no action required), or if you die. You can transform one magic weapon into your pact weapon by performing a special ritual while you hold the weapon. You perform the ritual over the course of 1 hour, which can be done during a short rest. You can then dismiss the weapon, shunting it into an extradimensional space, and it appears whenever you create your pact weapon thereafter. You can’t affect an artifact or a sentient weapon in this way. The weapon ceases being your pact weapon if you die, if you perform the 1-hour ritual on a different weapon, or if you use a 1-hour ritual to break your bond to it. The weapon appears at your feet if it is in the extradimensional space when the bond breaks. Solder ( Background ) Skill Proficiencies : Athletics, Intimidation Tool Proficiencies : One type of gaming set, vehicles ( land ) Brooch of Shielding While wearing this brooch, you have Resistance to force damage, and you have immunity to damage from the Magic Missile spell.Requires Attunement. Gauntlets of Ogre Power Your Strength score is 19 while you wear these gauntlets. They have no effect on you if your Strength is already 19 or higher.Requires Attunement. Drown Feats War Caster ・You have advantage on Constitution saving throws that you make to maintain your concentration on a spell when you take damage. ・You can perform the somatic components of spells even when you have weapons or a shield in one or both hands. ・When a hostile creature s movement provekes an opportunity attack from you, you can use your reaction to cast a spell at the creature, rather than making an opportunity attack. The spell must have a casting time of 1 action and must target only that creature. Shield Master ・If you take the Attack action on your turn, you can use a bonus action to try to shove a creature within 5 feet of you with your shield. ・If you aren t incapaciated, you can add your shield s AC bonus to any Dexterity saving throw you make against a spell or other harmful effect that tagets only you. ・If you are subjected to an effect that allows you to make a Dexterity saving throw to take only half damage, you can use your reaction to take nodamage if you succeedon the saving throw, interposing your shield between yourself and the source of the effect. Spells Cleric 1 0Lv. Guidance Light Sacred Flame 1Lv. Cure Wounds ( Prepared ) Healing Word ( Prepared ) Warlock 1 0Lv. Eldritch Blast Green Flame Blade Sword Burst 2Lv. Blindness/Deafness 3Lv. Counterspell Fireball Fly Remove Curse 4Lv. Charm Monster Dimension Door Fire Shield Wall of Fire 5Lv. Scrying Equipments ★ Drown ( Trident + 2 ) Longsword Longsword, Silvered Warhammer Light Crossbow - Bolt × 20 Dagger Javelin × 4 Plate mail Shield Holy Symbol Component Pouch ★ Gauntlets of Ogre Power ★ Brooch of Shielding ○○ ☆ Potion of Healing × 2 ○ ☆ Potion of Healing, Greater × 1 ○ ☆ Potion of Giant Strength × 1 Priest s Pack - Backpack - Blanket - Candle × 10 - Tinderbox - Alms Box - 2 Blocks of Incense - Censer - Vestments - Ration × 2 Days + 11 Days - Waterskin Bedroll Healer s kit ( 20 use ) Rope, hempen × 50ft. Belt Pouch An insignia of rank A trophy taken from a fallen enemy A set of deck of cards A set of common clothes 13,342gp
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CHAPTER XVIII UP CHAPTER XX CHAPTER XIX A Concert a Catastrophe and a Confession "MARILLA, can I go over to see Diana just for a minute?" asked Anne, running breathlessly down from the east gable one February evening. "I don t see what you want to be traipsing about after dark for," said Marilla shortly. "You and Diana walked home from school together and then stood down there in the snow for half an hour more, your tongues going the whole blessed time, clickety-clack. So I don t think you re very badly off to see her again." "But she wants to see me," pleaded Anne. "She has something very important to tell me." "How do you know she has?" "Because she just signaled to me from her window. We have arranged a way to signal with our candles and cardboard. We set the candle on the window sill and make flashes by passing the cardboard back and forth. So many flashes mean a certain thing. It was my idea, Marilla." "I ll warrant you it was," said Marilla emphatically. "And the next thing you ll be setting fire to the curtains with your signaling nonsense." "Oh, we re very careful, Marilla. And it s so interesting. Two flashes mean, `Are you there? Three mean `yes and four `no. Five mean, `Come over as soon as possible, because I have something important to reveal. Diana has just signaled five flashes, and I m really suffering to know what it is." "Well, you needn t suffer any longer," said Marilla sarcastically. "You can go, but you re to be back here in just ten minutes, remember that." Anne did remember it and was back in the stipulated time, although probably no mortal will ever know just what it cost her to confine the discussion of Diana s important communication within the limits of ten minutes. But at least she had made good use of them. "Oh, Marilla, what do you think? You know tomorrow is Diana s birthday. Well, her mother told her she could ask me to go home with her from school and stay all night with her. And her cousins are coming over from Newbridge in a big pung sleigh to go to the Debating Club concert at the hall tomorrow night. And they are going to take Diana and me to the concert--if you ll let me go, that is. You will, won t you, Marilla? Oh, I feel so excited." "You can calm down then, because you re not going. You re better at home in your own bed, and as for that club concert, it s all nonsense, and little girls should not be allowed to go out to such places at all." "I m sure the Debating Club is a most respectable affair," pleaded Anne. "I m not saying it isn t. But you re not going to begin gadding about to concerts and staying out all hours of the night. Pretty doings for children. I m surprised at Mrs. Barry s letting Diana go." "But it s such a very special occasion," mourned Anne, on the verge of tears. "Diana has only one birthday in a year. It isn t as if birthdays were common things, Marilla. Prissy Andrews is going to recite `Curfew Must Not Ring Tonight. That is such a good moral piece, Marilla, I m sure it would do me lots of good to hear it. And the choir are going to sing four lovely pathetic songs that are pretty near as good as hymns. And oh, Marilla, the minister is going to take part; yes, indeed, he is; he s going to give an address. That will be just about the same thing as a sermon. Please, mayn t I go, Marilla?" "You heard what I said, Anne, didn t you? Take off your boots now and go to bed. It s past eight." "There s just one more thing, Marilla," said Anne, with the air of producing the last shot in her locker. "Mrs. Barry told Diana that we might sleep in the spare-room bed. Think of the honor of your little Anne being put in the spare-room bed." "It s an honor you ll have to get along without. Go to bed, Anne, and don t let me hear another word out of you." When Anne, with tears rolling over her cheeks, had gone sorrowfully upstairs, Matthew, who had been apparently sound asleep on the lounge during the whole dialogue, opened his eyes and said decidedly "Well now, Marilla, I think you ought to let Anne go." "I don t then," retorted Marilla. "Who s bringing this child up, Matthew, you or me?" "Well now, you," admitted Matthew. "Don t interfere then." "Well now, I ain t interfering. It ain t interfering to have your own opinion. And my opinion is that you ought to let Anne go." "You d think I ought to let Anne go to the moon if she took the notion, I ve no doubt" was Marilla s amiable rejoinder. "I might have let her spend the night with Diana, if that was all. But I don t approve of this concert plan. She d go there and catch cold like as not, and have her head filled up with nonsense and excitement. It would unsettle her for a week. I understand that child s disposition and what s good for it better than you, Matthew." "I think you ought to let Anne go," repeated Matthew firmly. Argument was not his strong point, but holding fast to his opinion certainly was. Marilla gave a gasp of helplessness and took refuge in silence. The next morning, when Anne was washing the breakfast dishes in the pantry, Matthew paused on his way out to the barn to say to Marilla again "I think you ought to let Anne go, Marilla." For a moment Marilla looked things not lawful to be uttered. Then she yielded to the inevitable and said tartly "Very well, she can go, since nothing else ll please you." Anne flew out of the pantry, dripping dishcloth in hand. "Oh, Marilla, Marilla, say those blessed words again." "I guess once is enough to say them. This is Matthew s doings and I wash my hands of it. If you catch pneumonia sleeping in a strange bed or coming out of that hot hall in the middle of the night, don t blame me, blame Matthew. Anne Shirley, you re dripping greasy water all over the floor. I never saw such a careless child." "Oh, I know I m a great trial to you, Marilla," said Anne repentantly. "I make so many mistakes. But then just think of all the mistakes I don t make, although I might. I ll get some sand and scrub up the spots before I go to school. Oh, Marilla, my heart was just set on going to that concert. I never was to a concert in my life, and when the other girls talk about them in school I feel so out of it. You didn t know just how I felt about it, but you see Matthew did. Matthew understands me, and it s so nice to be understood, Marilla." Anne was too excited to do herself justice as to lessons that morning in school. Gilbert Blythe spelled her down in class and left her clear out of sight in mental arithmetic. Anne s consequent humiliation was less than it might have been, however, in view of the concert and the spare-room bed. She and Diana talked so constantly about it all day that with a stricter teacher than Mr. Phillips dire disgrace must inevitably have been their portion. Anne felt that she could not have borne it if she had not been going to the concert, for nothing else was discussed that day in school. The Avonlea Debating Club, which met fortnightly all winter, had had several smaller free entertainments; but this was to be a big affair, admission ten cents, in aid of the library. The Avonlea young people had been practicing for weeks, and all the scholars were especially interested in it by reason of older brothers and sisters who were going to take part. Everybody in school over nine years of age expected to go, except Carrie Sloane, whose father shared Marilla s opinions about small girls going out to night concerts. Carrie Sloane cried into her grammar all the afternoon and felt that life was not worth living. For Anne the real excitement began with the dismissal of school and increased therefrom in crescendo until it reached to a crash of positive ecstasy in the concert itself. They had a "perfectly elegant tea;" and then came the delicious occupation of dressing in Diana s little room upstairs. Diana did Anne s front hair in the new pompadour style and Anne tied Diana s bows with the especial knack she possessed; and they experimented with at least half a dozen different ways of arranging their back hair. At last they were ready, cheeks scarlet and eyes glowing with excitement. True, Anne could not help a little pang when she contrasted her plain black tam and shapeless, tight-sleeved, homemade gray-cloth coat with Diana s jaunty fur cap and smart little jacket. But she remembered in time that she had an imagination and could use it. Then Diana s cousins, the Murrays from Newbridge, came; they all crowded into the big pung sleigh, among straw and furry robes. Anne reveled in the drive to the hall, slipping along over the satin-smooth roads with the snow crisping under the runners. There was a magnificent sunset, and the snowy hills and deep-blue water of the St. Lawrence Gulf seemed to rim in the splendor like a huge bowl of pearl and sapphire brimmed with wine and fire. Tinkles of sleigh bells and distant laughter, that seemed like the mirth of wood elves, came from every quarter. "Oh, Diana," breathed Anne, squeezing Diana s mittened hand under the fur robe, "isn t it all like a beautiful dream? Do I really look the same as usual? I feel so different that it seems to me it must show in my looks." "You look awfully nice," said Diana, who having just received a compliment from one of her cousins, felt that she ought to pass it on. "You ve got the loveliest color." The program that night was a series of "thrills" for at least one listener in the audience, and, as Anne assured Diana, every succeeding thrill was thrillier than the last. When Prissy Andrews, attired in a new pink-silk waist with a string of pearls about her smooth white throat and real carnations in her hair--rumor whispered that the master had sent all the way to town for them for her--"climbed the slimy ladder, dark without one ray of light," Anne shivered in luxurious sympathy; when the choir sang "Far Above the Gentle Daisies" Anne gazed at the ceiling as if it were frescoed with angels; when Sam Sloane proceeded to explain and illustrate "How Sockery Set a Hen" Anne laughed until people sitting near her laughed too, more out of sympathy with her than with amusement at a selection that was rather threadbare even in Avonlea; and when Mr. Phillips gave Mark Antony s oration over the dead body of Caesar in the most heartstirring tones--looking at Prissy Andrews at the end of every sentence--Anne felt that she could rise and mutiny on the spot if but one Roman citizen led the way. Only one number on the program failed to interest her. When Gilbert Blythe recited "Bingen on the Rhine" Anne picked up Rhoda Murray s library book and read it until he had finished, when she sat rigidly stiff and motionless while Diana clapped her hands until they tingled. It was eleven when they got home, sated with dissipation, but with the exceeding sweet pleasure of talking it all over still to come. Everybody seemed asleep and the house was dark and silent. Anne and Diana tiptoed into the parlor, a long narrow room out of which the spare room opened. It was pleasantly warm and dimly lighted by the embers of a fire in the grate. "Let s undress here," said Diana. "It s so nice and warm." "Hasn t it been a delightful time?" sighed Anne rapturously. "It must be splendid to get up and recite there. Do you suppose we will ever be asked to do it, Diana?" "Yes, of course, someday. They re always wanting the big scholars to recite. Gilbert Blythe does often and he s only two years older than us. Oh, Anne, how could you pretend not to listen to him? When he came to the line, "THERE S ANOTHER, not A SISTER, he looked right down at you." "Diana," said Anne with dignity, "you are my bosom friend, but I cannot allow even you to speak to me of that person. Are you ready for bed? Let s run a race and see who ll get to the bed first." The suggestion appealed to Diana. The two little white-clad figures flew down the long room, through the spare-room door, and bounded on the bed at the same moment. And then--something--moved beneath them, there was a gasp and a cry--and somebody said in muffled accents "Merciful goodness!" Anne and Diana were never able to tell just how they got off that bed and out of the room. They only knew that after one frantic rush they found themselves tiptoeing shiveringly upstairs. "Oh, who was it--WHAT was it?" whispered Anne, her teeth chattering with cold and fright. "It was Aunt Josephine," said Diana, gasping with laughter. "Oh, Anne, it was Aunt Josephine, however she came to be there. Oh, and I know she will be furious. It s dreadful--it s really dreadful--but did you ever know anything so funny, Anne?" "Who is your Aunt Josephine?" "She s father s aunt and she lives in Charlottetown. She s awfully old--seventy anyhow--and I don t believe she was EVER a little girl. We were expecting her out for a visit, but not so soon. She s awfully prim and proper and she ll scold dreadfully about this, I know. Well, we ll have to sleep with Minnie May--and you can t think how she kicks." Miss Josephine Barry did not appear at the early breakfast the next morning. Mrs. Barry smiled kindly at the two little girls. "Did you have a good time last night? I tried to stay awake until you came home, for I wanted to tell you Aunt Josephine had come and that you would have to go upstairs after all, but I was so tired I fell asleep. I hope you didn t disturb your aunt, Diana." Diana preserved a discreet silence, but she and Anne exchanged furtive smiles of guilty amusement across the table. Anne hurried home after breakfast and so remained in blissful ignorance of the disturbance which presently resulted in the Barry household until the late afternoon, when she went down to Mrs. Lynde s on an errand for Marilla. "So you and Diana nearly frightened poor old Miss Barry to death last night?" said Mrs. Lynde severely, but with a twinkle in her eye. "Mrs. Barry was here a few minutes ago on her way to Carmody. She s feeling real worried over it. Old Miss Barry was in a terrible temper when she got up this morning--and Josephine Barry s temper is no joke, I can tell you that. She wouldn t speak to Diana at all." "It wasn t Diana s fault," said Anne contritely. "It was mine. I suggested racing to see who would get into bed first." "I knew it!" said Mrs. Lynde, with the exultation of a correct guesser. "I knew that idea came out of your head. Well, it s made a nice lot of trouble, that s what. Old Miss Barry came out to stay for a month, but she declares she won t stay another day and is going right back to town tomorrow, Sunday and all as it is. She d have gone today if they could have taken her. She had promised to pay for a quarter s music lessons for Diana, but now she is determined to do nothing at all for such a tomboy. Oh, I guess they had a lively time of it there this morning. The Barrys must feel cut up. Old Miss Barry is rich and they d like to keep on the good side of her. Of course, Mrs. Barry didn t say just that to me, but I m a pretty good judge of human nature, that s what." "I m such an unlucky girl," mourned Anne. "I m always getting into scrapes myself and getting my best friends--people I d shed my heart s blood for--into them too. Can you tell me why it is so, Mrs. Lynde?" "It s because you re too heedless and impulsive, child, that s what. You never stop to think--whatever comes into your head to say or do you say or do it without a moment s reflection." "Oh, but that s the best of it," protested Anne. "Something just flashes into your mind, so exciting, and you must out with it. If you stop to think it over you spoil it all. Haven t you never felt that yourself, Mrs. Lynde?" No, Mrs. Lynde had not. She shook her head sagely. "You must learn to think a little, Anne, that s what. The proverb you need to go by is `Look before you leap --especially into spare-room beds." Mrs. Lynde laughed comfortably over her mild joke, but Anne remained pensive. She saw nothing to laugh at in the situation, which to her eyes appeared very serious. When she left Mrs. Lynde s she took her way across the crusted fields to Orchard Slope. Diana met her at the kitchen door. "Your Aunt Josephine was very cross about it, wasn t she?" whispered Anne. "Yes," answered Diana, stifling a giggle with an apprehensive glance over her shoulder at the closed sitting-room door. "She was fairly dancing with rage, Anne. Oh, how she scolded. She said I was the worst-behaved girl she ever saw and that my parents ought to be ashamed of the way they had brought me up. She says she won t stay and I m sure I don t care. But Father and Mother do." "Why didn t you tell them it was my fault?" demanded Anne. "It s likely I d do such a thing, isn t it?" said Diana with just scorn. "I m no telltale, Anne Shirley, and anyhow I was just as much to blame as you." "Well, I m going in to tell her myself," said Anne resolutely. Diana stared. "Anne Shirley, you d never! why--she ll eat you alive!" "Don t frighten me any more than I am frightened," implored Anne. "I d rather walk up to a cannon s mouth. But I ve got to do it, Diana. It was my fault and I ve got to confess. I ve had practice in confessing, fortunately." "Well, she s in the room," said Diana. "You can go in if you want to. I wouldn t dare. And I don t believe you ll do a bit of good." With this encouragement Anne bearded the lion in its den--that is to say, walked resolutely up to the sitting-room door and knocked faintly. A sharp "Come in" followed. Miss Josephine Barry, thin, prim, and rigid, was knitting fiercely by the fire, her wrath quite unappeased and her eyes snapping through her gold-rimmed glasses. She wheeled around in her chair, expecting to see Diana, and beheld a white-faced girl whose great eyes were brimmed up with a mixture of desperate courage and shrinking terror. "Who are you?" demanded Miss Josephine Barry, without ceremony. "I m Anne of Green Gables," said the small visitor tremulously, clasping her hands with her characteristic gesture, "and I ve come to confess, if you please." "Confess what?" "That it was all my fault about jumping into bed on you last night. I suggested it. Diana would never have thought of such a thing, I am sure. Diana is a very ladylike girl, Miss Barry. So you must see how unjust it is to blame her." "Oh, I must, hey? I rather think Diana did her share of the jumping at least. Such carryings on in a respectable house!" "But we were only in fun," persisted Anne. "I think you ought to forgive us, Miss Barry, now that we ve apologized. And anyhow, please forgive Diana and let her have her music lessons. Diana s heart is set on her music lessons, Miss Barry, and I know too well what it is to set your heart on a thing and not get it. If you must be cross with anyone, be cross with me. I ve been so used in my early days to having people cross at me that I can endure it much better than Diana can." Much of the snap had gone out of the old lady s eyes by this time and was replaced by a twinkle of amused interest. But she still said severely "I don t think it is any excuse for you that you were only in fun. Little girls never indulged in that kind of fun when I was young. You don t know what it is to be awakened out of a sound sleep, after a long and arduous journey, by two great girls coming bounce down on you." "I don t KNOW, but I can IMAGINE," said Anne eagerly. "I m sure it must have been very disturbing. But then, there is our side of it too. Have you any imagination, Miss Barry? If you have, just put yourself in our place. We didn t know there was anybody in that bed and you nearly scared us to death. It was simply awful the way we felt. And then we couldn t sleep in the spare room after being promised. I suppose you are used to sleeping in spare rooms. But just imagine what you would feel like if you were a little orphan girl who had never had such an honor." All the snap had gone by this time. Miss Barry actually laughed--a sound which caused Diana, waiting in speechless anxiety in the kitchen outside, to give a great gasp of relief. "I m afraid my imagination is a little rusty--it s so long since I used it," she said. "I dare say your claim to sympathy is just as strong as mine. It all depends on the way we look at it. Sit down here and tell me about yourself." "I am very sorry I can t," said Anne firmly. "I would like to, because you seem like an interesting lady, and you might even be a kindred spirit although you don t look very much like it. But it is my duty to go home to Miss Marilla Cuthbert. Miss Marilla Cuthbert is a very kind lady who has taken me to bring up properly. She is doing her best, but it is very discouraging work. You must not blame her because I jumped on the bed. But before I go I do wish you would tell me if you will forgive Diana and stay just as long as you meant to in Avonlea." "I think perhaps I will if you will come over and talk to me occasionally," said Miss Barry. That evening Miss Barry gave Diana a silver bangle bracelet and told the senior members of the household that she had unpacked her valise. "I ve made up my mind to stay simply for the sake of getting better acquainted with that Anne-girl," she said frankly. "She amuses me, and at my time of life an amusing person is a rarity." Marilla s only comment when she heard the story was, "I told you so." This was for Matthew s benefit. Miss Barry stayed her month out and over. She was a more agreeable guest than usual, for Anne kept her in good humor. They became firm friends. When Miss Barry went away she said "Remember, you Anne-girl, when you come to town you re to visit me and I ll put you in my very sparest spare-room bed to sleep." "Miss Barry was a kindred spirit, after all," Anne confided to Marilla. "You wouldn t think so to look at her, but she is. You don t find it right out at first, as in Matthew s case, but after a while you come to see it. Kindred spirits are not so scarce as I used to think. It s splendid to find out there are so many of them in the world." CHAPTER XVIII UP CHAPTER XX 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 22 55 (Tue)
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How to Simplify the Motion of the Torso - The Bean どうやってトルソの動きを単純化するか - ビーン https //www.youtube.com/watch?v=0660Fuih7qo http //www.proko.com/the-bean/ There are 3 major masses connected by the spine. 人体は、脊椎でつながれている三つの大きな部分で構成されています。 Head, rib cage and pelvis. 頭部、胸郭、骨盤です。 In this episode we ll take a look at the two that make up the torso. このビデオでは、 トルソを構成する二つの部分についてみていきます。 What is the bean? ビーンとは何か? Hey guys, you re watching Proko. こんにちは皆さん。 Prokoチャンネルです。 So, what is the bean? さて、 ビーンとは何でしょう? The torso could initially be thought of as a bean. トルソは、初級の段階では、bean(豆)として考えることができます。 no not that bean.. そのbeanじゃありませんよ。 mmm, not that one either. これでもないです。 That’s the same bean! これも俳優の方のbeanです! This one... こっちです。 This is the bean I’m talking about. これが私が言っているところのbeanです。 We have two forms, one for the rib cage and another for the hips. 二つの形があります。 一方は胸郭で、もう一方は臀部です。 You can even just imagine a sock with two balls in it.. 二個のボールが入った靴下を想像しても構いません。 Whatever analogy you want to use. 別にあなたが比喩に使いたいものなら何でもいいのです。 Basically we have two hard forms with a softer "skin" around them. 基本的に、二つの硬い部分と、 それを包むやわらかい「皮膚」を考えます。 The balls can twist, tilt side to side, and lean forward or backward. ボール同士は、ねじられ、 左右に傾き、前後に倒れます。 The cloth of the sock will stretch, pinch, or twist accordingly, which represents the way the skin would react to the same motion on a human body. 靴下の布は延ばされ、 圧迫され、ねじられますが、 そのことは、実際の皮膚が、人体に於ける動作に反応する様子を 象徴しています。 To be more specific about what these ovals actually represent, here s how I think of it. 二つの卵型が実際に何を表しているのか明確にするために、 私が何を考えているのかここにお見せしましょう。 The rib cage isn t a perfect oval. 胸郭は完全には卵型ではありません。 The curve stops at around the 10th rib and then swings back up to the sternum. カーブは第10肋骨で止まり、 胸骨に向かって戻っています。 But, to simplify it, I ll continue the curves of the sides and use an oval. しかし、 それを単純化すれば、 側面のカーブを続けて卵型としてみなすことができます。 The oval of the hips actually includes the area above the hips. 臀部を表す卵型は、 実際には、 臀部の上の範囲も含んでいます。 It continues up the oblique and meets the top oval at the thin part of the waist. それは、斜筋の上まで続き、 腰が細くなった部分で上の卵型とぶつかります。 As a result, the two ovals will overlap. 結果として、二つの卵型は重なっています。 Why practice the bean? なぜビーンを練習するのか? The concept I’ll be talking about today is a very simplified approach. 今回私がお話しする概念は、 とても単純化された方法です。 It obviously doesn t get you a realistic figure drawing, but it s the concepts behind it that we re learning. これは、明らかに、 あなたに写実的な人物画の描き方を与える方法ではありません。 しかし、我々が今学んでいるのは、そのような 真に迫った人物画の背後に潜んでいるものです。 Then once we understand these concepts we can apply them to a realistic more complex approach. ひとたびこれらの概念を理解すれば、 我々は、その概念を、より真実味のある複雑な方法に適用できるのです。 Sometimes what I have my students do in my figure drawing class is a 20 minute session of 30 second poses just doing the beans. 時々、 私が受け持っている人物画のクラスにおいてさせていることは、 30秒間でビーンを使ったドローイングを20分行うことです。 I tell them, they re not drawing a person. 私は彼らに、 人物を描くなと言います。 Don t think of this as a figure drawing. 人物画を描いていると思うなということです。 Instead it s an analogy for the body. 代わりに描いているビーンは、 人体の比喩です。 These are little notes that you could use later on in longer figure drawings. これらは、 あなたが、後でより長時間人物画に取り組むときに使える 覚書なのです。 It s the form of the torso represented in the simplest way. これは、最も単純な方法で表現されたトルソの形なのです。 The reason we do this is to eliminate all details and not get distracted by contours or smaller forms. 我々がこれを行う理由は、 すべての細部を取り除き、 輪郭や小さな形に邪魔されないためです。 We do it to isolate what s important in capturing the motion and mass of the torso. 我々は、 動きをとらえるために重要な何かと トルソの量感を抽出するためにこれを行うのです。 How to practice the bean ビーンの練習の仕方 Take poses and draw the equivalent bean at its extreme. ポーズを用意し、 二つの同様でポーズを極端にしたビーンを描きます。 Take note of that last part. 最終段階でいくつかの要素を加えます。 You’re drawing an extreme version of the pose. あなたは、ポーズの極端なバージョンを描いているのです。 So if there is a subtle twist, make that twist even "twistier". ですので、そこにわずかなひねりがあるなら、 そのひねりを、よりひねったものにしてください。 A lean to the right? Lean it further. 右に傾いている? より遠くへ傾けてください。 The process of exaggerating these elements creates a habit of actually observing each element. これらの要素を誇張する過程は、 個々の要素を実際に観察する習慣を作ります。 The things we look for to identify in the bean are ビーンに於いて識別するために、 我々が探すものは、 1.Tilt side to side 左右の傾き、 2.Lean forward and backward 前後の傾き 3.Twisting of the spine 背骨のひねり 4.Foreshortening 短縮遠近法 です。 Tilt 左右の傾き Let’s start with a tilt from side to side. 左右の傾きから始めましょう。 When there is a tilt, or a curvature of the spine towards one side, there will always be a compressed side and a stretched side. 左右に傾いているとき、 または、一方向へ向かっている脊椎のカーブがあるとき、 常に、圧縮されている側と延ばされている側が存在します。 As these points move closer to each other, everything between them bunches up. これらの点が互いに近くまで移動したとき、 点の間のすべては圧縮されます。 You ll see wrinkles going across the torso. トルソを横切る皺が見えると思います。 On the other side, these points move away from each other stretching everything between them. もう一方の側では、 これらの点は互いに離れていき、 点の間に存在するものは引き延ばされます。 I ll always try to emphasize the stretching here and play down any kind of muscular bumps that would take away from the stretching effect. 私は、ここで延ばされているものを強調するようにしています。 また、引っ張り効果を減ずるあらゆる筋肉の出っ張りは 軽視するようにしています。 !--ここから有料-- !--ここまで-- Here s a pose with a subtle tilt. ここに、わずかに傾いたポーズがあります。 Find the angle of the ribcage. 胸郭の角度を探りましょう。 Angle of the hips, considering also the position relative to the rib cage. 臀部の角度です。 胸郭との相対的な位置を同様に考えます。 It s a common mistake to always put the two forms one on top of the other. 一方をもう一方の真上に配置するのは よくある間違いです。 Observe the angle from the top of the rib cage to the bottom of the hips. 胸郭の頂上から、臀部の底までの角度を観察しましょう。 Adding an action line will also help to identify this relationship. 動作の線を加えることは、 同様に関係性を識別することの助けになります。 A centerline will emphasize the c curve of this pose and show that it is slightly facing towards the left, since the center is closer to the left edge of the form. 中心線は、 このポーズのCカーブを強調し、 また、 中心線が、形状の縁の左側に近いので、 幾分このポーズが左のほうに面していることを表しています。 !--ここから有料-- !--ここまで-- Lean forward and backward 前後への傾き The second action is leaning forward or backward. 二番目の動作は、前後への傾きです。 It s pretty much the same effect of a tilt. これは、左右への傾きとほぼ同じです。 The side where the points are compressing will get the pinch and the opposite side will get a stretch. 点同士が圧縮されている側は圧迫され、 反対側は延ばされます。 The only difference is that now the centerline is on the stretching or pinching side. 違いというのは、 この場合、 中心線は伸びているか圧迫されている側にあるということです。 If the person leans towards us, there will be a crease on the front plane. もし、人物が我々に向かって傾けば、 皺が前面に存在することになります。 And the centerline itself also has a pinch. 中心線自身も圧迫されます。 This sharp corner creates the tension in the front plane. この鋭い角は、前面に緊張感を作り出します。 On the back, show the stretching gesture line. 背中側では、 延ばされたジェスチャーの線が見られます。 When the person leans back away from us, it s a bit trickier to indicate with a bean. 人物が、我々から遠ざかる形で傾いた場合、 ビーンを使ってそれを表現するのはいささか 難しいものとなります。 This looks too similar to a tilt. 左右への傾きと大変似ているからです。 It s hard to show this because the pinch is back there. 圧迫は背後のここにありますので、 表すのは難しいのです。 It s hidden from us. それは我々には隠されています。 The only way to show that the forms are going away from us is with some cross contour lines, which indicate foreshortening similar to these cylinders. 形が我々から遠ざかっているということを表す 唯一の方法は、 いくつかの等高線を使うことです。 等高線は短縮遠近法を指し示し、 (ビデオに映っている)これらの円筒形に類似しています。 !--ここから有料-- !--ここまで-- Twisting the spine 脊椎をひねる Alright! The twist! I love doing the twist. ツイストです。 私はツイストが好きです。 During a twisting motion, the skin will be pulled from one side of the form to the other. ひねる動作の最中、 皮膚は、形の一方からもう一方へ引っ張られます。 Let’s look at what happens to this towel when I twist it. 私がこのタオルをひねったとき何が起きるか見てください。 The string represents the centerline. 黒い線は中心線を表します。 At the top the plane twists this way and at the bottom the other way. てっぺんの面では平面はこっちへひねられ、 底の面では反対へひねられます。 On this side the lines will overlap from the top, on the other side they overlap from the bottom. こちら側では、線は上の方から覆いかぶさり、 反対側では、そこの方から覆いかぶさります。 Things are being pulled across the form to these corners. 形全体は、この点へ向かう形でこの形を横断して、 引っ張られています。 Sometimes it’s confusing to figure out which side will overlap, which one is in front and which is behind. 時々、どっちが前でどっちが背後なのか、 どちらの側が覆いかぶさるのかを描くのに混乱します。 Basically, the two corners that are closer to us will have the lines that overlap the corners further from us. 基本的に、 我々に近い二つの角を結ぶ線が、 我々から遠い角を結ぶ線に覆いかぶさる線を持つことになります。 Makes sense because objects that are closer to us are in front of objects further from us. これは当然です。 なぜなら、我々に近いほうの物体は、 我々から遠いほうの物体の前にあるからです。 It’s basic perspective. これは透視図法の基本です。 The centerline is now an S shape rather than a C during a tilt or lean. 中心線は、左右に傾いていた時のCカーブというよりは、 今はS型になっています。 So let’s take a look at two angles of the twist with the bean. では、 ビーンを使ったひねりを 二つの角度で見てみましょう。 In this pose we re looking at a twisting torso from the side. このポーズでは、横の方から ひねっているトルソを見ています。 This means we see the centerline of the front plane at the top and the centerline of the back at the bottom. このことは、 上部前面で中心線が見え 下部背面で中心線が見えるということです。 There s a transition from one to the other. 一方から一方への推移が存在します。 As the front plane gets thinner and the center line starts to wrap behind, on the other side the spine starts to come out from behind and twisting towards us. 前面は見かけ上薄くなり、中心線が画面奥へ消えていこうとしている一方、 脊椎は画面奥から現れ、 我々に向かってひねられています。 So only a portion of the centerline is visible on each side. ですので、 どちらの側でも中心線は一部しか見えていません。 When looking at a twist from the front or back you only see one of the planes, but it’s being twisted. ひねりを前か後ろから見る場合、 あなたはいくつかの平面のうちの一つだけを見ているのですが、 それはひねられているのです。 In this pose, the pit of the neck is closer to the left side of her body and the pubic bone is turning toward the right side. このポーズでは、 首の根元のくぼみは、人体の左側に近くなり、 恥骨は右側に回転しています。 !--ここから有料-- !--ここまで-- Foreshortening 短縮遠近法 When a figure is extremely foreshortened you ll observe two changes. 人物が極端に短縮遠近されているとき、 あなたは二つのことを観察することでしょう。 The first is a change of the oval shapes that indicate the rib cage and hips. 最初は、 胸郭と臀部を表す卵型の変化です。 We re no longer seeing the full length, so the ovals will be shorter. 我々には卵型の本来の長さは見えませんので、 卵型は短く見えています。 The second change is the position relationship between these ovals. 二つ目の変化は、 卵型同士の位置関係です。 One will overlap the other and sometimes cover up most of it. 一方がもう一方に重なり、 時々そのほとんどを覆い隠します。 This shows that the ribcage is directly in front of the hips so the torso is pointing directly toward us. このモデルでは、胸郭はほとんど臀部の前にあり、 よってトルソの頂点は、ほとんどまっすぐ我々の方を向いています。 In this pose, she s leaning toward us, creating a lot of foreshortening. このポーズでは、 彼女は我々に向かって傾いているので、 大きな短縮遠近を作り出しています。 I ll make sure to keep the oval more circular and overlap them a bit more than usual. 卵型をより球形に近くし、 それらを通常より重ね合わせます。 I like to put a dot on the north and south poles of these forms. 私はこれらの形の南極と北極に 点を打つのが好きです。 This helps me imagine how to wrap the centerline over the top plane. このことが、 どのように中心線がてっぺんの面にかぶさっているのか 想像するのを助けます。 I also see a twist since the belly button is pointing to the left. 同時に、へそが左の方を向いているので、 ひねりにも注目します。 What s next? ビーンの次は何をするのか? After establishing the bean, attaching the head and limbs is much easier. ビーンを構築した後は、 頭や手足を付けるのはより簡単になります。 The action of the torso is the most difficult and most important to capture the body in motion. トルソの動作は、 人体の動きをとらえるためには 一番難しく、 一番重要です。 I ll talk a lot more about this part in the mannequinization video in a few weeks. 私はこの項目について、 数週間後、 マネキン化のビデオで もっとたくさん話そうと思います。 !--ここから有料-- !--ここまで-- Assignments 課題 This week, practice drawing the bean from the pose photos at proko.com/poses. 今週は、 proko.com/posesのポーズ写真から、 ビーンを描く練習をしましょう。 It shouldn t take you more than 30 seconds to a minute for each pose. 各々のポーズには30秒から1分以上かかってはいけません。 Look for tilting, leaning, twisting, and foreshortening. 左右への傾き、 前後への傾き、 ひねり、 短縮遠近を探しましょう。 Exaggerate the motion and draw the two volumes, the skin in between, and the centerline. 動きを誇張し、 二つの量感、間の皮膚、中心線を描きましょう。
https://w.atwiki.jp/lotroquest/pages/282.html
Into The Silver Deep 灰色のローブを纏っているのがGandalf,あなたの王Thorin Oakenshieldの相談役でもある 目的1 ●魔法使いと話せ Gandalf 「君は鉱夫ではないのか?君の名前を教えてくれ?」 「・・・良い名前だ。ワシを知ってるか?ワシはGandalfだ」 「君の知ってのとおりの灰色のGandalfだよ」 「ワシと歩きながら呪文について愉快な話でもしないか?」 「ワシは疲れてるんでよろしく頼むぞ」 目的2 ●Gandalfと話して詳細を聞こう クエスト・データ 適正レベル:1 クエスト・タイプ:ソロ 前提クエスト: 派生クエスト:[[]]
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【Tags K Len Miku Rin tA tC tT Machigerita-P】 Original Music Title 暗い森のサーカス English music title Circus in the Dark Woods Romaji music title Kurai Mori no Saakasu Music Lyrics written, Voice edited by マチゲリータP(Machigerita-P) Singers 初音ミク (Hatsune Miku), 鏡音リン (Kagamine Rin), 鏡音レン (Kagamine Len) Fanmade Promotional Videos Click here for the original Japanese Lyrics English Lyrics (translated by soundares): In a woods Deep,deep inside It exist. That circus. The chairman, Big eyes and A tall height. Ten meter. Casts are All distorted. Forms are Strange though Quite Fun,it is At the circus in dark woods. A two-heads' sideshow A diva of by-form as 2nd and That thing that eats cold-things That blue beast... See. ...Never was hoped for. Given life (in) this body. Why do people watch me with such eyes Her face,decaying. It's painful It's too painful She said. Yet the circus goes on. How fun. How fun. This circus is fun. A rotten fruit To that melting eye Festered skin reflects. I want to die. I want to die. Please get me out of here. "That's impossible", that I think somebody said it before... English Lyrics (translated by ArtemisA): Deep, deep in the heart of the forest, there you'll find that circus With its ringmaster, wide-eyed and 10 meters tall All the performers are so happy, though their appearances are bizarre The Dark Woods Circus is such fun! Come see the two-headed freak and the wondrous siren And watch as the blue beast eats dreadful things It's not that we wished to be born into these forms Why are you looking at us like that? What a rotten face. "This life is horrid, yes, it can't help but be so." That's what she said; and yet, the show goes on What fun, what fun, this circus is great You can see it in our rotting faces, melting eyes, and festering skin I want to die, I want to die, get me out of here, please But I feel like someone said to me, "That'll never happen." Romaji lyrics (transliterated by ArtemisA): mori no ne, oku no oku ni arunda, sono SAAKASU. zachou wa, ookina me ni takai se - juu MEETORU KYASUTO wa minna yukai, katachi wa hen dakeredo tottemo tanoshiinda! Kurai Mori no SAAKASU! futatsu atama MISEMONO, igyou no utahime ni tsumetai mono taberu no, aoi kemono ga nozomarete umarete kita wake janai kono karada nande sonna me de miteiru no kao ga kusatteku "Kurushii yo kurushikute shikata ga nai" to kanojo wa ittanda soredemo kono SAAKASU wa tsuzukunda tanoshii yo tanoshii yo kono SAAKASU wa tanoshii kusatta mi tokeru me ni tadareta hada ga utsuru no shinitai yo shinitai yo koko kara dashite kudasai "Sore wa muri na koto" to, dareka ga itteita kigasuru. [Machigerita-P, MachigeriitaP, MachigeritaP, Machigeriita-P]
https://w.atwiki.jp/faeria/pages/46.html
Tierとは簡単に言うと強いカード。流行のカードのことです https //boards.faeria.com/t/tool-faeria-collection-spreadsheet-2-0-with-a-reroll-guide-statistics-constructed-and-pandora-tierlist/2301 や https //www.faeria.com/the-hub/guide/105-legendary-tierlist を参考にしてます レジェンドカードTierリスト S 非常に強い。どこにいっても通用する A 強い。その色のデッキには大体いる B 普通。デッキによっては追加する C 弱い。特定下で威力を発揮する D 非常に弱い。使うには愛が必要 Neutral Tier Card Name A レジェンドの時間 - Time of Legends C- マーロバルの女王 マグダー - Magda, Queen of Meroval C+ サルガー男爵 - Baron Thulgar D ドラゴンスレイヤー シャーラ - Sharra, Dragonslayer B マーロバルの王 マグナス - Magnus, King of Meroval D+ 竜の日 - Day of the Dragons B+ 帝国の飛行船 レディアンス - Radiance, Imperial Airship Green Tier Card Name D 万事の声 エラドン - Eredon, Voice of All D 慈悲無き者 ルーニン - Ruunin, the Relentless A 野生の霊魂 テスラ - Tethra, Soul of the Wild C- 森の世界 タラム - Tarum, the Forest World Blue Tier Card Name S 神話の作り手 アーロラ - Aurora, Myth Maker B+ 最初の波 バエル - Baeru, the First Wave C+ 怪夢 オローセイ - Orosei, Dream of the Deep C- アーロラの夢 - Aurora´s Dream Red Tier Card Name S 血の暴君 サイファー - Seifer, Blood Tyrant C- 原初の炎 イグナス - Ignus, the First Flame S 山の心 ガルダン - Garudan, Heart of the Mountain D 鬼の王 クログ - Krog, the Ogre King Yellow Tier Card Name D すべてから愛されるもの アイオナ - Iona, Beloved by All C+ 忘却への扉 ドゥームゲート - Doomgate, Door to Oblivion S 空の天才 カリム - Khalim, Sky Prodigy D 砂漠の怒り アザライ - Azarei, Wrath of the Desert コモンで強いカード(S~A) Tier Card Name S 治癒の歌 - Healing Song S 霊魂吸収 - Soul Drain S 風の兵士 - Wind Soldier S デューンドレイク - Dune Drake A ハヤブサの急降下 - Falcon Dive A 骨収集家 - Bone Collector A 年配木の抱擁 - Elderwood Embrace A 生きている柳 - Living Willow A ティキの介護者 - Tiki Caretaker A ウッドエレメンタル - Wood Elemental A ギャブリアンの魅力 - Gabrian Enchantment A 春のモチ - Spring Mochi A ウォーターエレメンタル - Water Elemental A ギャブリアンの支配者 - Gabrian Archon A 古代の伝令 - Ancient Herald A ウィンドフォール - Windfall A 血を歌うもの - Blood Singer A サイファーの飼料 - Seifer s Fodder A シェディムの邪魔者 - Shedim Pest A 嫌悪の種 - Hate Seed A オードリムの狂信者 - Oradrim Fanatic A 暴風の突撃者 - Windstorm Charger コメント 治癒の声Sってマ? - 名無しさん 2017-06-01 01 05 14 失礼。歌です - 名無しさん 2017-06-01 01 05 34 3Fで5ライフとドローカードはコスパ的には強いけど使いどころはあんまりないよねってことじゃないだろうか - 名無しさん 2017-06-01 19 12 56 今のルーニンはSだね - 名無しさん 2017-08-13 11 28 25 name
https://w.atwiki.jp/sentokun/pages/48.html
Warhammer Online - Melee Combat Mechanics こちら INTRODUCTION Based on my experiences in WoW, I developed a passion for simulating combat, especially melee combat. Finding the gear combinations for attaining my character’s maximum Damage Per Second (DPS) was the foundation of those exercises on both my rogue Discoepfeand and my shaman Disquette. The information in this post is intended to be the foundation for those people who wish to do the same in Warhammer Age of Reckoning (WAR). DPS AND THEORYCRAFTING IN WAR WAR, for better or worse, is primarily a PvP (or RvR, actually) game at heart. As a result, sustained DPS is often not going to be the concern of the players, who will instead be focused on burst damage as much as sustained damage. There are, however, some high-end PvE aspects that the developer (Mythic Entertainment) has alluded to. I don’t particularly care how useful this information is to the “average RvR player”, to be quite frank. My desire in this game isn’t to gain knowledge for the purpose of using it as Mythic intended, but simply to know and explain it for those who might care about the PvE portions of the game. As might be evident from my writing style, I’m getting older and am finding happiness in different things than I used to. As such, this blog is here for my own edification, and if you don’t like it or my motivations, feel free to stop reading - I’ll never know the difference ;-) So, with that all out of the way… BASIC STATS TO KNOW 1. Strength - this increases your auto-attack melee dps, all other things remaining the same, by 0.1 dps per strength. 2. Toughness - this stat, which both players and mobs have as a characteristic, is the inverse of strength (with respect to damage - your strength also effects your target’s chance to parry your attacks. That’s irrelevant for this post). Explicitly, it reduces the dps done to you by 0.1 dps / toughness. 3. Weapon DPS - the damage per second inherent in every weapon. It’s interesting to note that WAR is not like WoW - there is no variability from hit to hit. It’s all a mathematical formula with no randomness to the outcome of each hit. Crits may be an exception (I haven’t started work on them yet). 4. Weapon Speed - how many seconds it takes for each auto-attack swing of your weapon. OTHER BASICS TO KNOW Your combat log will show not only the damage you did, but also how much was mitigated by armor. As an example, you might see the following Your attack hits Evil Ogre for 80 damage. (20 mitigated) Very Important Disclaimer!!! So far the formulas I’m comfortable sharing in this post have proved to be accurate within 1 point of damage in all the testing I’ve done. I cannot, however, say without a doubt that these are the formulas being used. The best thing we can do is test for ourselves and draw our own conclusions. Having other people confirm these formulas via in-game testing would be nifty, so drop me a line if you do so. ON TO THE SHOW! Basic Attack Damage when single-wielding Your auto-attack damage is calculated by a fairly simple formula. We’ll use some of those stats we covered earlier. I’ll use the following variable names Strength Str Target’s Tougness Tou Strength Bonus StrBon (I’m going to use this so as to simplify the way the formulas look. So far I haven’t found any damage calculations which use Str but not Tou, or vice versa, and when they’re used together, so far they’ve always been seen in the form Str-Tou). Weapon DPS Wdps Weapon Speed Wspeed Armor Mitigation % Armor Please note - throughout this whole post I’ll just be using a single term for armor. Weapon Skill affects armor penetration. That’s a very uninteresting stat for me, as it’s essentially a linear effect. A fully accurate formula would use (ArmorMitigation = TargetArmor%*(1-WeaponSkillArmorPenetration%). If you’re writing a calculator, be sure to include that term, but this thing is complicated enough without that uninteresting term to further expand these large formulas. Thanks to Wodin and Hermit for pointing out that I shouldn’t leave this out all together without and explanation! Damage per Attack Dmg (I’m specifying this so that it’s not confused with Damage per Second). Dmg = ((StrBon/10) + Wdps)*(Wspeed)*(1-Armor) Let’s do an example! Let’s say you’re a White Lion, fighting a Vicious Spider (made up name) and the actors have the following stats White Lion Str 350 Spider Tou 250 White Lion Wdps 25 White Lion Wspeed 2.0 seconds / swing (thanks for catching this labeling error, DPS_squared) Spider Armor Mitigation 15% (Incidentally, this is about half of what is typical for even con’d mobs) Using our formula above, each melee auto-attack will do… Dmg = (((Str - Tou)/10) + Wdps)*(Wspeed)*(1-Armor) Dmg = (((350-250)/10) + 25)*2.0*(1-15%) Dmg = ((100/10) + 25)*2.0*85% Dmg = (10+25)*2*0.85 Dmg = 59.5 This will appear in your combat log as Your attack hits Vicious Spider for 59 damage. (11 mitigated) Ok, so what’s happening here? Lots of interesting things! To wit 1. Rounding - It should come as no surprise that WAR, like other MMOs, rounds abilities to whole numbers for display purposes. This does not mean that the game doesn’t process fractions - I’ve seen one of my HoTs tick for varying amounts, sometimes 268, sometimes 267, which I can only imagine is the game keeping track of the fractions internally in the server (or perhaps the client, I don’t know). 2. There are two forms of damage mitigation, but you’re only seeing one explicitly - Only the armor mitigation shows up in the display window, but remember that the target’s toughness is also factoring in to reduce the damage. Calculating Mob Damage Reduction You might ask how to figure out the opponent’s armor and toughness values. I sure needed to know that in order to reverse-engineer the more complicated attack types. Let’s go through that process (Hey, I spent the hours to figure out how to calculate these, so you’re gonna read about it p ) Armor - this was the easy one. For every auto attack, on every character, it was pretty straightforward to see that comparing the amount mitigated in the combat log to the damage done always had the same ratio when all else remained the same (target mob, your str, weapon, etc). And that’s that! Ok, except for crits, which I keep coming back to as being special. Other blogs or articles will probably cover how that is working in game at the moment. Toughness - this was the harder one. The first thing is to realize that mobs have this! Coming from WoW where the only mitigation stat against physical attacks was armor, I had to expand my horizons a bit to understand that this was not only present, but was *invisible* (ooooh, ahhhhh). What I mean by that is that it doesn’t show in the mitigation portion of the combat log. However, if you do a few tests on mobs, you find that regardless of your weapon dps, your strenght, your weapon speed, etc, you are constantly hitting the mob for a consistent amount less than you would expect if you used just strength in a simple calculation.You might find it helpful, if you want to do dps testing for yourself, to have a set of guidelines to follow for calculating a mob’s toughness. Here’s what you do - look at your stats, auto attack a mob, and back into the toughness using the following procedure 1. Record your Str, Wdps, and Wspeed 2. Auto attack the mob, and add the mitigated and non-mitigated portions together. For instance, for the combat log entry Your attack hits Vicious Spider for 59 damage. (11 mitigated), The number you would want to record is 59+11 = 70. We’ll call this number TDmg (for Total Damage, including armor mitigation) 3. Use the formula below, which you can re-create yourself by undoing the process we used above if you like to prove things out to yourself tou = 10*((((0.1*Str + Wdps)*Wspeed)-TDmg)/Wspeed) That might need an example to make sure I got my parentheses right! Let’s use the spider example from above. Remember from before, that White Lion Str 350 White Lion Wdps 25 White Lion Wspeed 2.0 seconds / swing Spider Armor Mitigation 15% (this is completely unnecessary information for this calculation) Add to that our two new data points Mitigated Damage 11 Final Actual Damage to Mob 59 TDmg = 70 (the 2 lines above added together) Let’s calculate it out using the formulas shown above tou = 10*((((0.1*Str + Wdps)*Wspeed)-TDmg)/Wspeed) tou = 10*(*1)/Wspeed) tou = 10*((((35+25)*2.0)-70)/2) tou = 10*((120-70)/2) tou = 250 Yay, it works! It matches the toughness we had in the assumptions used for the first example. If you’re theorycrafting/testing dps on mobs, build this formula into a spreadsheet - you’re going to use it a lot ;-) Calculation Damage of Special Attacks (Note I haven’t looked at special attack damage while dual-wielding. This only works for single wielding at the moment) (Edit for Update! Erdrick figured out the Dmg for special attacks while dual-wielding, yay!) Unlike DAoC, and like some classes in WoW, WAR intertwines special attacks with your auto attack, as opposed to having a queue’ing system. As a result of not using a queue system, Mythic did something very smart for calculating special attack damage - they treat the weapon speed for the damage calculations as if it were the speed of the ability. Most special abilities are instant. Since each instant attack invokes the global cooldown of 1.5 seconds, 1.5 is the speed value used for most specials, whether you’re using a big 2 hander or a quick dagger. This is in contrast to WoW in which weapon speeds are normalized for instant attacks by their type (2.4 for swords, 1.7 for daggers, 3.something for 2 handers). Another wrinkle thrown into the special attack calculations is that strength counts for twice as much! Above we noted that, per the character screen, each point of Str added 0.1 dps to your attacks. Also per the character screen, you will see that for special abilities, each point of Str adds 0.2 dps. What the character screen does not tell you is that your opponent’s toughness mitigation is also doubled per point. This makes things very convenient for us, as that doubling for both means that we can continue using our meta-stat StrBon (Your strength - Your target’s toughness) Now we have two facts that help us calculate the damage - weapon speed of 1.5 (usually) and StrBonus doubling - but we need more. MORE BLOOD FOR THE BLOOD GOD! First, we have the ability’s damage itself. An ability may something like “A cruel blow which does 63 damage to your target and causes it to hate you greatly”. Second, we have the special attack weapon dps modifier. This modifier, from my testing, is set to 150%. This means that if your weapon was 100dps, the damage of your special attack would be increased by 150 due to its weapon dps. As noted by EasymodeX in the comments section, that’s equal to the multiplier for strength, which is a pleasing number - it again is the swing time of an instant attack. So, let’s put that all together into a formula that captures these different facts. We’ll use the term Admg to refer to any extra damage you get from the special attack, per its tooltip, and we’ll use the term Sdmg to refer to the total damage of your special attacks after all the calculations are done. Sdmg = (((StrBon/10)*2 + Wdps)*1.5 + Admg)*(1-armor) (single wield only) (note that Wspeed doesn’t factor in here - the special ability damage calculation is completely weapon-speed-free. You’ll be seeing this fact referred to again later in this post.) As usual, let’s do an example so you can see it working. Assume the following White Lion Str 323 Spider Tou 264 White Lion Wdps 51 White Lion Admg 62 Spider Armor Mitigation 15% Sdmg = ((StrBon/10)*2*1.5 + Wdps*150% + Admg)*(1-Armor) Sdmg = (((323-264)/10)*3 + 51*150% + 62) * (1 - 15%) Sdmg = (5.9*3 + 76.5 + 62) * 0.85 Sdmg = 156.2 * 0.85 Sdmg = Your special attack hits Vicious Spider for 133 damage. (23 mitigated) Update as indicated above, big thanks to Erdrick for figuring out special damage while single *or* dual wielding. That dude has more patience than me, that’s for sure D Here it is Sdmg = ((StrBon/10)*2*1.5 + MHdps*150% + OFdps*52.5%+ Admg)*(1-Armor) (Update on 9/18/08 - OFdps coefficient may be 67.5% now. I’ll have to check when I have a reasonably high level dual-wielder. Right now I only have a WP) Alrighty, I hope that’s all clear, because the next formula (the last in this article) is the real doozy. Or maybe it’s not. But the fact is, it was horrible trying to figure it the next formula, and I had a victory beer when I finally got it working. However, even though it has so far been within 1 damage of actual tests each time I’ve done this, it looks so odd that I don’t have 100% confidence in its accuracy. I do have enough confidence in it to post it, and hopefully it stands up to further testing. If it doesn’t, so be it, and I’ll be very open to seeing a more accurate formula. So then, without further ado, let’s talk about… Off-Hand Damage, when it happens, and how it’s calculated Mythic has taken a novel (to me at least) approach to the mechanics of dual-wielding melee weapons. Instead of the off-hand weapon always swinging as it does in WoW, the chance for the off-hand weapon to swing is a simple proc from the main hand. A certain percentage of the time when the main hand hits, the offhand will also hit as an auto-attack. I don’t know what that percentage is. It’s probably documented somewhere, and if not, that’s a trivial task to empirically determine the proc chance (probably, who knows if they threw in something odd in the determination). The part that I cared about was how to calculate how much damage each off-hand swing would cause when one did happen. So then why go into the proc-chance explanation? It is because that concept is intrinsic to understanding how and why the off-hand damage is what it is. In contrast to the other sections, I’m going to start us off with the damage formula, and then explain it after the fact. First, however, we need some new terminology to add to our stable of stats Our current familiar stats Strength Str Target’s Tougness Tou Strength Bonus StrBon Armor Mitigation % Armor Off-Hand Damage per Attack OHDmg Our new stats Off-Hand Weapon DPS OHWdps Off-Hand Weapon Speed OHWspeed Main-Hand Weapon Speed MHWspeed Off-Hand Weapon DPS penalty OHWPen Off-Hand Strength penalty OHSPen Alrighty, so here’s the formula OHDmg / (1 - Armor) = (StrBon*OHSPen/10)*OHWSpeed (MHWSpeed-OHWSpeed)*OHWdps OHWdps*OHWSpeed*OHWPen) ZOMG! I thought I was going to cry figuring that out. 4 seriously. At this point, you have to take on faith that through trial and error and a few beers, I figured out the following constant values, and that they’re correct OHWPen = 0.9 OHSPen = 0.5 By now, you know what comes next - An Example! Let’s lay out the relevant stats… Str 391 Tou 291 StrBon 100 (Remember, this is just Str - Tou) Armor 15% OHWdps 38.0 OHWspeed 2.2 MHWspeed 2.6 OHWPen 0.9 OHSPen 0.5 OHDmg / (1 - Armor) = (StrBon*OHSPen/10)*OHWSpeed (MHWSpeed-OHWSpeed)*OHWdps OHWdps*OHWSpeed*OHWPen OHDmg / (1 - 0.15) = (100*0.5/10)*2.2 (2.6-2.2)*38.0 38.0*2.2*0.9 OHDmg / (1 - 0.15) = (100*0.5/10)*2.2 (2.6-2.2)*38.0 38.0*2.2*0.9 OHDmg / (0.85) = 5*2.2 + 0.4*38.0 + 38.0*2.2*0.9 OHDmg / (0.85) = 11 + 15.2 + 75.2 OHDmg = 101.4 * 0.85 OHDmg = Your special attack hits Vicious Spider for 86 damage. (15 mitigated) hey. HEY. HEY!!!!! Wake up! You still with me??? Ok, good, we’re almost done. I want to explain what’s happening with the formula above so you can have a sense of how well thought out Mythic’s offhand damage mechanic is. First, as we discovered before, note that your special attacks aren’t diminished by using a fast weapon since special attacks don’t factor weapon speed into the damage calculations. Since off-hand weapon swings are procs of main-hand attacks, Mythic wanted to make sure that people didn’t abuse this mechanic by having a really fast main-hand to proc a hard hitting slow off-hand. Thus, they prorate the damage of your off-hand attacks by the difference between it and your main-hand weapon speed. The part of the calculation where you see this is in the term (MHWSpeed-OHWSpeed)*OHWdps. The first term in the formula is also interesting in that you see Mythic halving the Strength bonus compared to a main-hand attack. Both that, and the last term of the formula (in which you see that Mythic has reduced the standard (weapon dps * weapon speed) by 10%) seem to be their attempt to tune the offhand damage to whatever internal goals they have. That’s my guess, at least, because it’s pretty damn complicated if that isn’t why they made this monstrosity of an off-hand-auto-attack-damage-calculation! Conclusion Melee DPS calculations in WAR are not nearly as simple as one might expect at first glance. While even these very primal calculations are relatively complex, there are even more complex formulas that will need to be developed to explain things such as off-hand crit damage. And finally, I must reiterate These formulas are my attempt at matching up mathematical formulas with observed results in WAR. I cannot guarantee that any of these are correct. However, they match up with my in game experiences so far. I guess this is then end of my first blog post EVAR! If you have any comments or questions, feel free to post them in the response section (assuming it works, we’ll see if i get this blog thing figured out or not) ;-) Disquette (Shaman, Disciple of Khaine, and ElitistJerks.com forum member)
https://w.atwiki.jp/mtg2384/pages/1523.html
開催日:2012 / 05 / 27 参加人数:213名 フォーマット:レガシー(~AVR) Live Coverage of StarCityGames.com Open Series Nashvile autolink 優勝:Show and Tell‐Sneak Attack 準優勝:Dredge 第3位:UW Control‐Terminus 第4位:Maverick 第5位:Show and Tell‐Sneak Attack 第6位:URG Tempo 第7位:UWB Control‐Stoneforge 第8位:Show and Tell‐Sneak Attack 第9位:URG Tempo 第10位:Maverick 第11位:Show and Tell‐Sneak Attack 第12位:UW Control‐Stoneforge 第13位:URG Tempo‐Canadian 第14位:UBG Control 第15位:Elves‐Gw 第16位:Reanimate‐BU 優勝:Show and Tell‐Sneak Attack 使用者:Jonathan Hickerson Main Deck 3《島/Island》 1《山/Mountain》 3《古えの墳墓/Ancient Tomb》 2《裏切り者の都/City of Traitors》 3《霧深い雨林/Misty Rainforest》 4《沸騰する小湖/Scalding Tarn》 3《Volcanic Island》 4《引き裂かれし永劫、エムラクール/Emrakul, the Aeons Torn》 4《グリセルブランド/Griselbrand》 4《水蓮の花びら/Lotus Petal》 4《騙し討ち/Sneak Attack》 4《渦まく知識/Brainstorm》 4《Force of Will》 2《直観/Intuition》 3《誤った指図/Misdirection》 3《呪文貫き/Spell Pierce》 4《思案/Ponder》 1《定業/Preordain》 4《実物提示教育/Show and Tell》 Sideboard 4《神聖の力線/Leyline of Sanctity》 4《虚空の力線/Leyline of the Void》 2《残響する真実/Echoing Truth》 2《紅蓮破/Pyroblast》 1《赤霊破/Red Elemental Blast》 2《裂け目の突破/Through the Breach》 準優勝:Dredge 使用者:Gerry Thompson Main Deck 4《セファリッドの円形競技場/Cephalid Coliseum》 4《真鍮の都/City of Brass》 4《宝石鉱山/Gemstone Mine》 2《知られざる楽園/Undiscovered Paradise》 4《ゴルガリの墓トロール/Golgari Grave-Troll》 4《ゴルガリの凶漢/Golgari Thug》 2《イチョリッド/Ichorid》 4《ナルコメーバ/Narcomoeba》 4《朽ちゆくインプ/Putrid Imp》 4《臭い草のインプ/Stinkweed Imp》 4《ライオンの瞳のダイアモンド/Lion s Eye Diamond》 4《黄泉からの橋/Bridge from Below》 2《打開/Breakthrough》 4《陰謀団式療法/Cabal Therapy》 4《入念な研究/Careful Study》 2《戦慄の復活/Dread Return》 4《信仰無き物あさり/Faithless Looting》 Sideboard 1《隔離するタイタン/Sundering Titan》 2《恐血鬼/Bloodghast》 1《憎悪縛りの剥ぎ取り/Flayer of the Hatebound》 1《イチョリッド/Ichorid》 2《蒸気の連鎖/Chain of Vapor》 3《炎の嵐/Firestorm》 3《自然の要求/Nature s Claim》 1《大修道士、エリシュ・ノーン/Elesh Norn, Grand Cenobite》 1《知られざる楽園/Undiscovered Paradise》 第3位:UW Control‐Terminus 使用者:Philip Lorren Main Deck 5《島/Island》 2《平地/Plains》 4《溢れかえる岸辺/Flooded Strand》 1《氷河の城砦/Glacial Fortress》 1《湿地の干潟/Marsh Flats》 4《汚染された三角州/Polluted Delta》 3《Tundra》 1《Karakas》 3《瞬唱の魔道士/Snapcaster Mage》 2《ヴェンディリオン三人衆/Vendilion Clique》 3《師範の占い独楽/Sensei s Divining Top》 4《渦まく知識/Brainstorm》 2《対抗呪文/Counterspell》 4《Force of Will》 2《呪文貫き/Spell Pierce》 2《呪文嵌め/Spell Snare》 4《剣を鍬に/Swords to Plowshares》 1《天使への願い/Entreat the Angels》 4《思案/Ponder》 3《終末/Terminus》 2《遍歴の騎士、エルズペス/Elspeth, Knight-Errant》 3《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 Sideboard 3《相殺/Counterbalance》 2《青霊破/Blue Elemental Blast》 2《解呪/Disenchant》 1《流刑への道/Path to Exile》 2《呪文貫き/Spell Pierce》 3《外科的摘出/Surgical Extraction》 1《ヴェンディリオン三人衆/Vendilion Clique》 1《終末/Terminus》 第4位:Maverick 使用者:Todd Anderson Main Deck 3《森/Forest》 1《平地/Plains》 2《魂の洞窟/Cavern of Souls》 1《地平線の梢/Horizon Canopy》 2《霧深い雨林/Misty Rainforest》 4《Savannah》 4《不毛の大地/Wasteland》 4《吹きさらしの荒野/Windswept Heath》 1《ドライアドの東屋/Dryad Arbor》 1《Karakas》 2《エイヴンの思考検閲者/Aven Mindcensor》 4《聖遺の騎士/Knight of the Reliquary》 4《ルーンの母/Mother of Runes》 4《貴族の教主/Noble Hierarch》 3《クァーサルの群れ魔道士/Qasali Pridemage》 2《漁る軟泥/Scavenging Ooze》 1《スクリブのレインジャー/Scryb Ranger》 1《ウルヴェンワルドの足跡追い/Ulvenwald Tracker》 1《ガドック・ティーグ/Gaddock Teeg》 3《スレイベンの守護者、サリア/Thalia, Guardian of Thraben》 1《流刑への道/Path to Exile》 4《剣を鍬に/Swords to Plowshares》 2《梅澤の十手/Umezawa s Jitte》 4《緑の太陽の頂点/Green Sun s Zenith》 1《情け知らずのガラク/Garruk Relentless》 Sideboard 2《エーテル宣誓会の法学者/Ethersworn Canonist》 1《調和スリヴァー/Harmonic Sliver》 1《スパイクの飼育係/Spike Feeder》 4《墓場の浄化/Purify the Grave》 2《静寂の守り手、リンヴァーラ/Linvala, Keeper of Silence》 1《スレイベンの守護者、サリア/Thalia, Guardian of Thraben》 1《ギデオン・ジュラ/Gideon Jura》 1《ボジューカの沼/Bojuka Bog》 1《Maze of Ith》 1《Karakas》 第5位:Show and Tell‐Sneak Attack 使用者:Samuel Buchanan Main Deck 2《島/Island》 1《山/Mountain》 3《古えの墳墓/Ancient Tomb》 2《裏切り者の都/City of Traitors》 4《霧深い雨林/Misty Rainforest》 4《沸騰する小湖/Scalding Tarn》 2《Volcanic Island》 4《引き裂かれし永劫、エムラクール/Emrakul, the Aeons Torn》 3《グリセルブランド/Griselbrand》 4《水蓮の花びら/Lotus Petal》 4《騙し討ち/Sneak Attack》 4《渦まく知識/Brainstorm》 3《目くらまし/Daze》 4《Force of Will》 3《直観/Intuition》 2《誤った指図/Misdirection》 2《呪文貫き/Spell Pierce》 4《思案/Ponder》 1《定業/Preordain》 4《実物提示教育/Show and Tell》 Sideboard 3《トーモッドの墓所/Tormod s Crypt》 1《森滅ぼしの最長老/Woodfall Primus》 4《神聖の力線/Leyline of Sanctity》 2《青霊破/Blue Elemental Blast》 2《赤霊破/Red Elemental Blast》 3《紅蓮地獄/Pyroclasm》 第6位:URG Tempo 使用者:Justin Uppal Main Deck 4《溢れかえる岸辺/Flooded Strand》 2《霧深い雨林/Misty Rainforest》 2《沸騰する小湖/Scalding Tarn》 4《Tropical Island》 3《Volcanic Island》 4《不毛の大地/Wasteland》 4《秘密を掘り下げる者/Delver of Secrets》 4《敏捷なマングース/Nimble Mongoose》 4《タルモゴイフ/Tarmogoyf》 4《渦まく知識/Brainstorm》 4《目くらまし/Daze》 3《Force of Will》 4《稲妻/Lightning Bolt》 4《呪文貫き/Spell Pierce》 2《呪文嵌め/Spell Snare》 2《思考掃き/Thought Scour》 2《二股の稲妻/Forked Bolt》 4《思案/Ponder》 Sideboard 3《トーモッドの墓所/Tormod s Crypt》 2《硫黄の精霊/Sulfur Elemental》 2《硫黄の渦/Sulfuric Vortex》 1《古えの遺恨/Ancient Grudge》 2《赤霊破/Red Elemental Blast》 4《水没/Submerge》 1《壌土からの生命/Life from the Loam》 第7位:UWB Control‐Stoneforge 使用者:Justin Geary Main Deck 2《島/Island》 1《平地/Plains》 1《沼/Swamp》 4《溢れかえる岸辺/Flooded Strand》 2《湿地の干潟/Marsh Flats》 3《汚染された三角州/Polluted Delta》 1《Scrubland》 1《市長の塔/Tower of the Magistrate》 3《Tundra》 3《Underground Sea》 1《Karakas》 3《瞬唱の魔道士/Snapcaster Mage》 4《石鍛冶の神秘家/Stoneforge Mystic》 1《ヴェンディリオン三人衆/Vendilion Clique》 1《殴打頭蓋/Batterskull》 4《渦まく知識/Brainstorm》 1《対抗呪文/Counterspell》 3《Force of Will》 1《直観/Intuition》 4《剣を鍬に/Swords to Plowshares》 2《梅澤の十手/Umezawa s Jitte》 2《コジレックの審問/Inquisition of Kozilek》 4《未練ある魂/Lingering Souls》 2《思案/Ponder》 2《思考囲い/Thoughtseize》 1《名誉回復/Vindicate》 3《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 Sideboard 1《饗宴と飢餓の剣/Sword of Feast and Famine》 1《暗黒破/Darkblast》 2《解呪/Disenchant》 1《Force of Will》 2《呪文貫き/Spell Pierce》 2《呪文嵌め/Spell Snare》 3《外科的摘出/Surgical Extraction》 1《盲信的迫害/Zealous Persecution》 2《非業の死/Perish》 第8位:Show and Tell‐Sneak Attack 使用者:Philip Dickman Main Deck 2《島/Island》 1《山/Mountain》 4《古えの墳墓/Ancient Tomb》 2《裏切り者の都/City of Traitors》 4《霧深い雨林/Misty Rainforest》 4《沸騰する小湖/Scalding Tarn》 2《Volcanic Island》 4《引き裂かれし永劫、エムラクール/Emrakul, the Aeons Torn》 4《グリセルブランド/Griselbrand》 4《水蓮の花びら/Lotus Petal》 4《騙し討ち/Sneak Attack》 4《渦まく知識/Brainstorm》 4《Force of Will》 4《直観/Intuition》 2《誤った指図/Misdirection》 2《呪文貫き/Spell Pierce》 4《思案/Ponder》 1《定業/Preordain》 4《実物提示教育/Show and Tell》 Sideboard 4《墓掘りの檻/Grafdigger s Cage》 4《神聖の力線/Leyline of Sanctity》 3《青霊破/Blue Elemental Blast》 2《紅蓮破/Pyroblast》 2《紅蓮地獄/Pyroclasm》 第9位:URG Tempo 使用者:Anthony Morris Main Deck 1《繁殖池/Breeding Pool》 4《汚染された三角州/Polluted Delta》 3《Tropical Island》 3《Volcanic Island》 4《不毛の大地/Wasteland》 4《樹木茂る山麓/Wooded Foothills》 4《秘密を掘り下げる者/Delver of Secrets》 4《敏捷なマングース/Nimble Mongoose》 4《タルモゴイフ/Tarmogoyf》 4《渦まく知識/Brainstorm》 3《目くらまし/Daze》 3《Force of Will》 4《稲妻/Lightning Bolt》 3《呪文貫き/Spell Pierce》 3《呪文嵌め/Spell Snare》 2《思考掃き/Thought Scour》 3《二股の稲妻/Forked Bolt》 4《思案/Ponder》 Sideboard 1《呪われたトーテム像/Cursed Totem》 2《トーモッドの墓所/Tormod s Crypt》 2《漁る軟泥/Scavenging Ooze》 2《硫黄の精霊/Sulfur Elemental》 1《古えの遺恨/Ancient Grudge》 2《水流破/Hydroblast》 1《赤霊破/Red Elemental Blast》 4《水没/Submerge》 第10位:Maverick 使用者:Reuben Bresler Main Deck 2《冠雪の森/Snow-Covered Forest》 1《冠雪の平地/Snow-Covered Plains》 2《魂の洞窟/Cavern of Souls》 1《地平線の梢/Horizon Canopy》 4《Savannah》 4《不毛の大地/Wasteland》 4《風立ての高地/Windbrisk Heights》 1《ドライアドの東屋/Dryad Arbor》 1《ガイアの揺籃の地/Gaea s Cradle》 2《Karakas》 1《極楽鳥/Birds of Paradise》 1《台所の嫌がらせ屋/Kitchen Finks》 4《聖遺の騎士/Knight of the Reliquary》 4《ルーンの母/Mother of Runes》 3《貴族の教主/Noble Hierarch》 2《クァーサルの群れ魔道士/Qasali Pridemage》 1《漁る軟泥/Scavenging Ooze》 2《スクリブのレインジャー/Scryb Ranger》 1《ガドック・ティーグ/Gaddock Teeg》 3《スレイベンの守護者、サリア/Thalia, Guardian of Thraben》 1《最後のトロール、スラーン/Thrun, the Last Troll》 2《森の知恵/Sylvan Library》 1《流刑への道/Path to Exile》 4《剣を鍬に/Swords to Plowshares》 2《梅澤の十手/Umezawa s Jitte》 4《緑の太陽の頂点/Green Sun s Zenith》 1《遍歴の騎士、エルズペス/Elspeth, Knight-Errant》 1《情け知らずのガラク/Garruk Relentless》 Sideboard 3《窒息/Choke》 4《精神壊しの罠/Mindbreak Trap》 1《流刑への道/Path to Exile》 4《外科的摘出/Surgical Extraction》 1《ガドック・ティーグ/Gaddock Teeg》 1《情け知らずのガラク/Garruk Relentless》 1《ボジューカの沼/Bojuka Bog》 第11位:Show and Tell‐Sneak Attack 使用者:Randy Davis Main Deck 3《島/Island》 1《山/Mountain》 4《古えの墳墓/Ancient Tomb》 1《裏切り者の都/City of Traitors》 1《溢れかえる岸辺/Flooded Strand》 2《汚染された三角州/Polluted Delta》 4《沸騰する小湖/Scalding Tarn》 3《Volcanic Island》 4《引き裂かれし永劫、エムラクール/Emrakul, the Aeons Torn》 4《グリセルブランド/Griselbrand》 4《水蓮の花びら/Lotus Petal》 4《騙し討ち/Sneak Attack》 4《渦まく知識/Brainstorm》 4《Force of Will》 3《直観/Intuition》 3《誤った指図/Misdirection》 3《呪文貫き/Spell Pierce》 4《思案/Ponder》 4《実物提示教育/Show and Tell》 Sideboard 3《墓掘りの檻/Grafdigger s Cage》 3《血染めの月/Blood Moon》 3《残響する真実/Echoing Truth》 2《紅蓮破/Pyroblast》 1《呪文貫き/Spell Pierce》 3《外科的摘出/Surgical Extraction》 第12位:UW Control‐Stoneforge 使用者:Robert Graves Main Deck 4《島/Island》 1《平地/Plains》 4《溢れかえる岸辺/Flooded Strand》 3《ミシュラの工廠/Mishra s Factory》 3《霧深い雨林/Misty Rainforest》 1《汚染された三角州/Polluted Delta》 4《Tundra》 1《Karakas》 4《瞬唱の魔道士/Snapcaster Mage》 4《石鍛冶の神秘家/Stoneforge Mystic》 4《聖トラフトの霊/Geist of Saint Traft》 3《ヴェンディリオン三人衆/Vendilion Clique》 1《殴打頭蓋/Batterskull》 2《金属モックス/Chrome Mox》 1《饗宴と飢餓の剣/Sword of Feast and Famine》 4《渦まく知識/Brainstorm》 4《剣を鍬に/Swords to Plowshares》 4《思案/Ponder》 4《時間の熟達/Temporal Mastery》 1《遍歴の騎士、エルズペス/Elspeth, Knight-Errant》 3《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 Sideboard 1《戦争と平和の剣/Sword of War and Peace》 3《エイヴンの思考検閲者/Aven Mindcensor》 4《Force of Will》 2《流刑への道/Path to Exile》 4《呪文貫き/Spell Pierce》 1《ギデオン・ジュラ/Gideon Jura》 第13位:URG Tempo‐Canadian 使用者:Jeremy Stowe Main Deck 4《霧深い雨林/Misty Rainforest》 4《沸騰する小湖/Scalding Tarn》 1《Taiga》 2《Tropical Island》 3《Volcanic Island》 4《不毛の大地/Wasteland》 4《秘密を掘り下げる者/Delver of Secrets》 4《敏捷なマングース/Nimble Mongoose》 1《瞬唱の魔道士/Snapcaster Mage》 4《タルモゴイフ/Tarmogoyf》 4《渦まく知識/Brainstorm》 3《目くらまし/Daze》 1《四肢切断/Dismember》 3《Force of Will》 4《稲妻/Lightning Bolt》 2《呪文貫き/Spell Pierce》 1《呪文嵌め/Spell Snare》 4《もみ消し/Stifle》 1《思考掃き/Thought Scour》 2《二股の稲妻/Forked Bolt》 4《思案/Ponder》 Sideboard 1《トーモッドの墓所/Tormod s Crypt》 3《硫黄の精霊/Sulfur Elemental》 2《硫黄の渦/Sulfuric Vortex》 2《赤霊破/Red Elemental Blast》 1《呪文貫き/Spell Pierce》 4《水没/Submerge》 2《外科的摘出/Surgical Extraction》 第14位:UBG Control 使用者:Brian Braun-Duin Main Deck 1《島/Island》 2《Bayou》 1《忍び寄るタール坑/Creeping Tar Pit》 2《溢れかえる岸辺/Flooded Strand》 2《ミシュラの工廠/Mishra s Factory》 2《霧深い雨林/Misty Rainforest》 4《汚染された三角州/Polluted Delta》 2《Tropical Island》 4《Underground Sea》 3《不毛の大地/Wasteland》 2《瞬唱の魔道士/Snapcaster Mage》 1《ヴェンディリオン三人衆/Vendilion Clique》 3《破滅的な行為/Pernicious Deed》 4《渦まく知識/Brainstorm》 2《対抗呪文/Counterspell》 1《暗黒破/Darkblast》 3《Force of Will》 1《恐ろしい死/Ghastly Demise》 3《呪文貫き/Spell Pierce》 3《無垢の血/Innocent Blood》 3《コジレックの審問/Inquisition of Kozilek》 2《壌土からの生命/Life from the Loam》 2《思案/Ponder》 1《思考囲い/Thoughtseize》 3《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 3《ヴェールのリリアナ/Liliana of the Veil》 Sideboard 1《従者/Squire》 4《タルモゴイフ/Tarmogoyf》 4《虚空の力線/Leyline of the Void》 1《悪魔の布告/Diabolic Edict》 1《ヴェンディリオン三人衆/Vendilion Clique》 1《情け知らずのガラク/Garruk Relentless》 2《非業の死/Perish》 1《思考囲い/Thoughtseize》 第15位:Elves‐Gw 使用者:Chris Andersen Main Deck 4《森/Forest》 3《霧深い雨林/Misty Rainforest》 2《Savannah》 3《新緑の地下墓地/Verdant Catacombs》 1《樹木茂る山麓/Wooded Foothills》 1《ドライアドの東屋/Dryad Arbor》 2《ガイアの揺籃の地/Gaea s Cradle》 1《ペンデルヘイヴン/Pendelhaven》 3《樺の知識のレインジャー/Birchlore Rangers》 1《エルフの大ドルイド/Elvish Archdruid》 4《エルフの幻想家/Elvish Visionary》 3《Fyndhorn Elves》 4《遺産のドルイド/Heritage Druid》 2《ラノワールのエルフ/Llanowar Elves》 2《鏡の精体/Mirror Entity》 4《イラクサの歩哨/Nettle Sentinel》 3《ティタニアの僧侶/Priest of Titania》 2《クウィリーオン・レインジャー/Quirion Ranger》 1《威厳の魔力/Regal Force》 1《ヴィリジアンのシャーマン/Viridian Shaman》 4《ワイアウッドの共生虫/Wirewood Symbiote》 1《輪作/Crop Rotation》 4《垣間見る自然/Glimpse of Nature》 4《緑の太陽の頂点/Green Sun s Zenith》 Sideboard 2《弱者の石/Meekstone》 1《迫撃鞘/Mortarpod》 4《アメジストのとげ/Thorn of Amethyst》 4《フェアリーの忌み者/Faerie Macabre》 1《リス・アラナの弓使い/Lys Alana Bowmaster》 1《クァーサルの群れ魔道士/Qasali Pridemage》 1《漁る軟泥/Scavenging Ooze》 1《ガドック・ティーグ/Gaddock Teeg》 第16位:Reanimate‐BU 使用者:Dustin Sendejas Main Deck 4《島/Island》 2《沼/Swamp》 4《湿地の干潟/Marsh Flats》 4《汚染された三角州/Polluted Delta》 4《Underground Sea》 1《鋼の風のスフィンクス/Sphinx of the Steel Wind》 1《絶望の天使/Angel of Despair》 1《浄火の大天使/Empyrial Archangel》 1《大修道士、エリシュ・ノーン/Elesh Norn, Grand Cenobite》 1《グリセルブランド/Griselbrand》 1《エメリアの盾、イオナ/Iona, Shield of Emeria》 1《核の占い師、ジン=ギタクシアス/Jin-Gitaxias, Core Augur》 2《動く死体/Animate Dead》 4《渦まく知識/Brainstorm》 3《目くらまし/Daze》 4《納墓/Entomb》 4《Force of Will》 4《入念な研究/Careful Study》 3《死体発掘/Exhume》 4《思案/Ponder》 4《再活性/Reanimate》 3《思考囲い/Thoughtseize》 Sideboard 3《真髄の針/Pithing Needle》 1《墨溜まりのリバイアサン/Inkwell Leviathan》 1《魅力的な執政官/Blazing Archon》 3《残響する真実/Echoing Truth》 3《強迫/Duress》 4《実物提示教育/Show and Tell》
https://w.atwiki.jp/rulersofnationswiki/pages/43.html
Constitution [任命] Nomination of head of government [政府の首班の指名]Democratically elected by universal suffrage [国民投票により民主的に選出] Democratically elected by the Parliament [議会により民主的に選出] Appointed by the King [王により指名] Appointed for life [終身制] Change the system for electing the head of government [政府首班の選出方法の変更]One turn Two turns Change renewal of head of government s mandate [政府首班命令の更新?]None 1 2 Unlimited Change the duration of head of government s mandate [政府首班の命令の持続時間変更] Communication [報道] Personality Cult [個人崇拝]Likeness in administrative centers [行政施設に肖像画] Portrait in schoolbooks [教科書に肖像] Statues in squares and public gardens [広場や公園に彫像] Visit a public place [公共の場を訪問]Hospital University Employment agency Barracks Police station Attend a public event [公共のイベントに出席]Sporting event Opera Rock concert Video game competition Appear on television [テレビ出演] Order a poll from the National Census Bureau [国勢調査局への投票要請?]Basic poll of voting intentions [about 3 months of preparatioon] Opinion poll of interest groups and associations [about 6 months of preparation] Detailed opinion poll of groups and associations [about 6 months of preparation]