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CHAPTER X UP CHAPTER XII CHAPTER XI Anne s Impressions of Sunday-School "Well, how do you like them?" said Marilla. Anne was standing in the gable room, looking solemnly at three new dresses spread out on the bed. One was of snuffy colored gingham which Marilla had been tempted to buy from a peddler the preceding summer because it looked so serviceable; one was of black-and-white checkered sateen which she had picked up at a bargain counter in the winter; and one was a stiff print of an ugly blue shade which she had purchased that week at a Carmody store. She had made them up herself, and they were all made alike--plain skirts fulled tightly to plain waists, with sleeves as plain as waist and skirt and tight as sleeves could be. "I ll imagine that I like them," said Anne soberly. "I don t want you to imagine it," said Marilla, offended. "Oh, I can see you don t like the dresses! What is the matter with them? Aren t they neat and clean and new?" "Yes." "Then why don t you like them?" "They re--they re not--pretty," said Anne reluctantly. "Pretty!" Marilla sniffed. "I didn t trouble my head about getting pretty dresses for you. I don t believe in pampering vanity, Anne, I ll tell you that right off. Those dresses are good, sensible, serviceable dresses, without any frills or furbelows about them, and they re all you ll get this summer. The brown gingham and the blue print will do you for school when you begin to go. The sateen is for church and Sunday school. I ll expect you to keep them neat and clean and not to tear them. I should think you d be grateful to get most anything after those skimpy wincey things you ve been wearing." "Oh, I AM grateful," protested Anne. "But I d be ever so much gratefuller if--if you d made just one of them with puffed sleeves. Puffed sleeves are so fashionable now. It would give me such a thrill, Marilla, just to wear a dress with puffed sleeves." "Well, you ll have to do without your thrill. I hadn t any material to waste on puffed sleeves. I think they are ridiculous-looking things anyhow. I prefer the plain, sensible ones." "But I d rather look ridiculous when everybody else does than plain and sensible all by myself," persisted Anne mournfully. "Trust you for that! Well, hang those dresses carefully up in your closet, and then sit down and learn the Sunday school lesson. I got a quarterly from Mr. Bell for you and you ll go to Sunday school tomorrow," said Marilla, disappearing downstairs in high dudgeon. Anne clasped her hands and looked at the dresses. "I did hope there would be a white one with puffed sleeves," she whispered disconsolately. "I prayed for one, but I didn t much expect it on that account. I didn t suppose God would have time to bother about a little orphan girl s dress. I knew I d just have to depend on Marilla for it. Well, fortunately I can imagine that one of them is of snow-white muslin with lovely lace frills and three-puffed sleeves." The next morning warnings of a sick headache prevented Marilla from going to Sunday-school with Anne. "You ll have to go down and call for Mrs. Lynde, Anne." she said. "She ll see that you get into the right class. Now, mind you behave yourself properly. Stay to preaching afterwards and ask Mrs. Lynde to show you our pew. Here s a cent for collection. Don t stare at people and don t fidget. I shall expect you to tell me the text when you come home." Anne started off irreproachable, arrayed in the stiff black- and-white sateen, which, while decent as regards length and certainly not open to the charge of skimpiness, contrived to emphasize every corner and angle of her thin figure. Her hat was a little, flat, glossy, new sailor, the extreme plainness of which had likewise much disappointed Anne, who had permitted herself secret visions of ribbon and flowers. The latter, however, were supplied before Anne reached the main road, for being confronted halfway down the lane with a golden frenzy of wind-stirred buttercups and a glory of wild roses, Anne promptly and liberally garlanded her hat with a heavy wreath of them. Whatever other people might have thought of the result it satisfied Anne, and she tripped gaily down the road, holding her ruddy head with its decoration of pink and yellow very proudly. When she had reached Mrs. Lynde s house she found that lady gone. Nothing daunted, Anne proceeded onward to the church alone. In the porch she found a crowd of little girls, all more or less gaily attired in whites and blues and pinks, and all staring with curious eyes at this stranger in their midst, with her extraordinary head adornment. Avonlea little girls had already heard queer stories about Anne. Mrs. Lynde said she had an awful temper; Jerry Buote, the hired boy at Green Gables, said she talked all the time to herself or to the trees and flowers like a crazy girl. They looked at her and whispered to each other behind their quarterlies. Nobody made any friendly advances, then or later on when the opening exercises were over and Anne found herself in Miss Rogerson s class. Miss Rogerson was a middle-aged lady who had taught a Sunday-school class for twenty years. Her method of teaching was to ask the printed questions from the quarterly and look sternly over its edge at the particular little girl she thought ought to answer the question. She looked very often at Anne, and Anne, thanks to Marilla s drilling, answered promptly; but it may be questioned if she understood very much about either question or answer. She did not think she liked Miss Rogerson, and she felt very miserable; every other little girl in the class had puffed sleeves. Anne felt that life was really not worth living without puffed sleeves. "Well, how did you like Sunday school?" Marilla wanted to know when Anne came home. Her wreath having faded, Anne had discarded it in the lane, so Marilla was spared the knowledge of that for a time. "I didn t like it a bit. It was horrid." "Anne Shirley!" said Marilla rebukingly. Anne sat down on the rocker with a long sigh, kissed one of Bonny s leaves, and waved her hand to a blossoming fuchsia. "They might have been lonesome while I was away," she explained. "And now about the Sunday school. I behaved well, just as you told me. Mrs. Lynde was gone, but I went right on myself. I went into the church, with a lot of other little girls, and I sat in the corner of a pew by the window while the opening exercises went on. Mr. Bell made an awfully long prayer. I would have been dreadfully tired before he got through if I hadn t been sitting by that window. But it looked right out on the Lake of Shining Waters, so I just gazed at that and imagined all sorts of splendid things." "You shouldn t have done anything of the sort. You should have listened to Mr. Bell." "But he wasn t talking to me," protested Anne. "He was talking to God and he didn t seem to be very much inter- ested in it, either. I think he thought God was too far off though. There was a long row of white birches hanging over the lake and the sunshine fell down through them, way, way down, deep into the water. Oh, Marilla, it was like a beautiful dream! It gave me a thrill and I just said, `Thank you for it, God, two or three times." "Not out loud, I hope," said Marilla anxiously. "Oh, no, just under my breath. Well, Mr. Bell did get through at last and they told me to go into the classroom with Miss Rogerson s class. There were nine other girls in it. They all had puffed sleeves. I tried to imagine mine were puffed, too, but I couldn t. Why couldn t I? It was as easy as could be to imagine they were puffed when I was alone in the east gable, but it was awfully hard there among the others who had really truly puffs." "You shouldn t have been thinking about your sleeves in Sunday school. You should have been attending to the lesson. I hope you knew it." "Oh, yes; and I answered a lot of questions. Miss Rogerson asked ever so many. I don t think it was fair for her to do all the asking. There were lots I wanted to ask her, but I didn t like to because I didn t think she was a kindred spirit. Then all the other little girls recited a paraphrase. She asked me if I knew any. I told her I didn t, but I could recite, `The Dog at His Master s Grave if she liked. That s in the Third Royal Reader. It isn t a really truly religious piece of poetry, but it s so sad and melancholy that it might as well be. She said it wouldn t do and she told me to learn the nineteenth paraphrase for next Sunday. I read it over in church afterwards and it s splendid. There are two lines in particular that just thrill me. "`Quick as the slaughtered squadrons fell In Midian s evil day. I don t know what `squadrons means nor `Midian, either, but it sounds SO tragical. I can hardly wait until next Sunday to recite it. I ll practice it all the week. After Sunday school I asked Miss Rogerson--because Mrs. Lynde was too far away--to show me your pew. I sat just as still as I could and the text was Revelations, third chapter, second and third verses. It was a very long text. If I was a minister I d pick the short, snappy ones. The sermon was awfully long, too. I suppose the minister had to match it to the text. I didn t think he was a bit interesting. The trouble with him seems to be that he hasn t enough imagination. I didn t listen to him very much. I just let my thoughts run and I thought of the most surprising things." Marilla felt helplessly that all this should be sternly reproved, but she was hampered by the undeniable fact that some of the things Anne had said, especially about the minister s sermons and Mr. Bell s prayers, were what she herself had really thought deep down in her heart for years, but had never given expression to. It almost seemed to her that those secret, unuttered, critical thoughts had suddenly taken visible and accusing shape and form in the person of this outspoken morsel of neglected humanity. CHAPTER X UP CHAPTER XII 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 27 34 (Tue)
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【登録タグ H METALLICAL ASTRONOMY Nana Takahashi SOUND HOLIC 曲 車椅子の未来宇宙】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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【登録タグ CD CDF SHO（キセノンP）CD をかだCD 全国配信 柾見ちえCD 雪月佳CD】 前作 本作 次作 REBIRTH -Return of Phoenix- FAIRYTALES -Geschichte von Inferno- (Lite Edition) FAIRYTALES -Geschichte von Inferno- SHO（キセノンP） 流通 即売 委託 配信 発売 2015年8月16日 2016年1月13日 価格 ￥1,000 ￥1,512（税込） ￥1,200 / 1曲￥150 サークル XM -Xenon Maiden- CD紹介 これが本当のグリム童話なのか！？ キセノンP率いるXM -Xenon Maiden-の7枚目のフルアルバムは、残酷で悲惨で卑猥なグリム童話の世界。人間の奥底に潜む悪魔の表現に挑む。 Complete Editionに先駆けた先行盤。音源は全てComplete Editionとは異なる。 マスタリング：Tom、イラスト・デザイン：をかだ、風の子、ｐっぽ、クロノ、神無、柾見ちえ、ねこむらおたこ、ヤミ、猫飴、雪月佳、うらら コミックマーケット88（C88）にて頒布。 アニメイト、虎の穴、メロンブックス、Amazon、Boothで委託販売が行われている。 KARENTレーベルよりダウンロード販売が行われている。こちらは12曲収録となっている。 曲目 CD版 Willkommen in Märchen (Vocaloid Version) / Miku Hatsune, GUMI Geschichte 1 Hänsel und Gretel / Len and Rin Kagamine Geschichte 2 Frau Trude / Yukari Yuzuki Geschichte 3 Schneeweißchen / GUMI Geschichte 4 Rotkäppchen / Miku Hatsune Geschichte 5 Blaubart / KAITO and MEIKO Geschichte 6 Die Gänsemagd / Iroha Nekomura Geschichte 7 Der gestiefelte Kater / CUL, Miku Hatsune Geschichte 8 Das eigensinnige Kind / Flower Geschichte 9 Aschenputtel / Luka Magurine Erwacht aus dem Alptraum (Vocaloid Version) / Miku Hatsune 配信版 Willkommen in Märchen (Vocaloid Version) （feat. 初音ミク＆メグッポイド） Geschichte 1 Hänsel und Gretel (Lite Version) （feat. 鏡音リン＆鏡音レン） Geschichte 2 Frau Trude (Lite Version) （feat. 結月ゆかり） Geschichte 3 Schneeweißchen (Lite Version) （feat. メグッポイド） Geschichte 4 Rotkäppchen (Lite Version) （feat. 初音ミク） Geschichte 5 Blaubart (Lite Version) （feat. MEIKO＆KAITO） Geschichte 6 Die Gänsemagd (Lite Version) （feat. 猫村いろは） Geschichte 7 Der gestiefelte Kater (Lite Version) （feat. CUL＆初音ミク） Geschichte 8 Das eigensinnige Kind (Lite Version) （feat. v Flower） Geschichte 9 Aschenputtel (Lite Version) （feat. 巡音ルカ） Erwacht aus dem Alptraum (Vocaloid Version) （feat. 初音ミク） Ouvertüre (Director's Cut Version) リンク 特設サイト amazon KARENT：「FAIRYTALES -Geschichte von Inferno- (Lite Edition)」 iTunes Store コメント おおおお！！！ -- 名無しさん (2017-02-08 20 48 22) 名前 コメント
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CHAPTER III UP CHAPTER V CHAPTER IV Morning at Green Gables It was broad daylight when Anne awoke and sat up in bed, staring confusedly at the window through which a flood of cheery sunshine was pouring and outside of which something white and feathery waved across glimpses of blue sky. For a moment she could not remember where she was. First came a delightful thrill, as something very pleasant; then a horrible remembrance. This was Green Gables and they didn t want her because she wasn t a boy! But it was morning and, yes, it was a cherry-tree in full bloom outside of her window. With a bound she was out of bed and across the floor. She pushed up the sash--it went up stiffly and creakily, as if it hadn t been opened for a long time, which was the case; and it stuck so tight that nothing was needed to hold it up. Anne dropped on her knees and gazed out into the June morning, her eyes glistening with delight. Oh, wasn t it beautiful? Wasn t it a lovely place? Suppose she wasn t really going to stay here! She would imagine she was. There was scope for imagination here. A huge cherry-tree grew outside, so close that its boughs tapped against the house, and it was so thick-set with blossoms that hardly a leaf was to be seen. On both sides of the house was a big orchard, one of apple-trees and one of cherry-trees, also showered over with blossoms; and their grass was all sprinkled with dandelions. In the garden below were lilac-trees purple with flowers, and their dizzily sweet fragrance drifted up to the window on the morning wind. Below the garden a green field lush with clover sloped down to the hollow where the brook ran and where scores of white birches grew, upspringing airily out of an undergrowth suggestive of delightful possibilities in ferns and mosses and woodsy things generally. Beyond it was a hill, green and feathery with spruce and fir; there was a gap in it where the gray gable end of the little house she had seen from the other side of the Lake of Shining Waters was visible. Off to the left were the big barns and beyond them, away down over green, low-sloping fields, was a sparkling blue glimpse of sea. Anne s beauty-loving eyes lingered on it all, taking everything greedily in. She had looked on so many unlovely places in her life, poor child; but this was as lovely as anything she had ever dreamed. She knelt there, lost to everything but the loveliness around her, until she was startled by a hand on her shoulder. Marilla had come in unheard by the small dreamer. "It s time you were dressed," she said curtly. Marilla really did not know how to talk to the child, and her uncomfortable ignorance made her crisp and curt when she did not mean to be. Anne stood up and drew a long breath. "Oh, isn t it wonderful?" she said, waving her hand comprehensively at the good world outside. "It s a big tree," said Marilla, "and it blooms great, but the fruit don t amount to much never--small and wormy." "Oh, I don t mean just the tree; of course it s lovely--yes, it s RADIANTLY lovely--it blooms as if it meant it--but I meant everything, the garden and the orchard and the brook and the woods, the whole big dear world. Don t you feel as if you just loved the world on a morning like this? And I can hear the brook laughing all the way up here. Have you ever noticed what cheerful things brooks are? They re always laughing. Even in winter-time I ve heard them under the ice. I m so glad there s a brook near Green Gables. Perhaps you think it doesn t make any difference to me when you re not going to keep me, but it does. I shall always like to remember that there is a brook at Green Gables even if I never see it again. If there wasn t a brook I d be HAUNTED by the uncomfortable feeling that there ought to be one. I m not in the depths of despair this morning. I never can be in the morning. Isn t it a splendid thing that there are mornings? But I feel very sad. I ve just been imagining that it was really me you wanted after all and that I was to stay here for ever and ever. It was a great comfort while it lasted. But the worst of imagining things is that the time comes when you have to stop and that hurts." "You d better get dressed and come down-stairs and never mind your imaginings," said Marilla as soon as she could get a word in edgewise. "Breakfast is waiting. Wash your face and comb your hair. Leave the window up and turn your bedclothes back over the foot of the bed. Be as smart as you can." Anne could evidently be smart to some purpose for she was down-stairs in ten minutes time, with her clothes neatly on, her hair brushed and braided, her face washed, and a comfortable consciousness pervading her soul that she had fulfilled all Marilla s requirements. As a matter of fact, however, she had forgotten to turn back the bedclothes. "I m pretty hungry this morning," she announced as she slipped into the chair Marilla placed for her. "The world doesn t seem such a howling wilderness as it did last night. I m so glad it s a sunshiny morning. But I like rainy mornings real well, too. All sorts of mornings are interesting, don t you think? You don t know what s going to happen through the day, and there s so much scope for imagination. But I m glad it s not rainy today because it s easier to be cheerful and bear up under affliction on a sunshiny day. I feel that I have a good deal to bear up under. It s all very well to read about sorrows and imagine yourself living through them heroically, but it s not so nice when you really come to have them, is it?" "For pity s sake hold your tongue," said Marilla. "You talk entirely too much for a little girl." Thereupon Anne held her tongue so obediently and thoroughly that her continued silence made Marilla rather nervous, as if in the presence of something not exactly natural. Matthew also held his tongue,--but this was natural,--so that the meal was a very silent one. As it progressed Anne became more and more abstracted, eating mechanically, with her big eyes fixed unswervingly and unseeingly on the sky outside the window. This made Marilla more nervous than ever; she had an uncomfortable feeling that while this odd child s body might be there at the table her spirit was far away in some remote airy cloudland, borne aloft on the wings of imagination. Who would want such a child about the place? Yet Matthew wished to keep her, of all unaccountable things! Marilla felt that he wanted it just as much this morning as he had the night before, and that he would go on wanting it. That was Matthew s way--take a whim into his head and cling to it with the most amazing silent persistency--a persistency ten times more potent and effectual in its very silence than if he had talked it out. When the meal was ended Anne came out of her reverie and offered to wash the dishes. "Can you wash dishes right?" asked Marilla distrustfully. "Pretty well. I m better at looking after children, though. I ve had so much experience at that. It s such a pity you haven t any here for me to look after." "I don t feel as if I wanted any more children to look after than I ve got at present. YOU RE problem enough in all conscience. What s to be done with you I don t know. Matthew is a most ridiculous man." "I think he s lovely," said Anne reproachfully. "He is so very sympathetic. He didn t mind how much I talked--he seemed to like it. I felt that he was a kindred spirit as soon as ever I saw him." "You re both queer enough, if that s what you mean by kindred spirits," said Marilla with a sniff. "Yes, you may wash the dishes. Take plenty of hot water, and be sure you dry them well. I ve got enough to attend to this morning for I ll have to drive over to White Sands in the afternoon and see Mrs. Spencer. You ll come with me and we ll settle what s to be done with you. After you ve finished the dishes go up-stairs and make your bed." Anne washed the dishes deftly enough, as Marilla who kept a sharp eye on the process, discerned. Later on she made her bed less successfully, for she had never learned the art of wrestling with a feather tick. But is was done somehow and smoothed down; and then Marilla, to get rid of her, told her she might go out-of-doors and amuse herself until dinner time. Anne flew to the door, face alight, eyes glowing. On the very threshold she stopped short, wheeled about, came back and sat down by the table, light and glow as effectually blotted out as if some one had clapped an extinguisher on her. "What s the matter now?" demanded Marilla. "I don t dare go out," said Anne, in the tone of a martyr relinquishing all earthly joys. "If I can t stay here there is no use in my loving Green Gables. And if I go out there and get acquainted with all those trees and flowers and the orchard and the brook I ll not be able to help loving it. It s hard enough now, so I won t make it any harder. I want to go out so much--everything seems to be calling to me, `Anne, Anne, come out to us. Anne, Anne, we want a playmate --but it s better not. There is no use in loving things if you have to be torn from them, is there? And it s so hard to keep from loving things, isn t it? That was why I was so glad when I thought I was going to live here. I thought I d have so many things to love and nothing to hinder me. But that brief dream is over. I am resigned to my fate now, so I don t think I ll go out for fear I ll get unresigned again. What is the name of that geranium on the window-sill, please?" "That s the apple-scented geranium." "Oh, I don t mean that sort of a name. I mean just a name you gave it yourself. Didn t you give it a name? May I give it one then? May I call it--let me see--Bonny would do--may I call it Bonny while I m here? Oh, do let me!" "Goodness, I don t care. But where on earth is the sense of naming a geranium?" "Oh, I like things to have handles even if they are only geraniums. It makes them seem more like people. How do you know but that it hurts a geranium s feelings just to be called a geranium and nothing else? You wouldn t like to be called nothing but a woman all the time. Yes, I shall call it Bonny. I named that cherry-tree outside my bedroom window this morning. I called it Snow Queen because it was so white. Of course, it won t always be in blossom, but one can imagine that it is, can t one?" "I never in all my life say or heard anything to equal her," muttered Marilla, beating a retreat down to the cellar after potatoes. "She is kind of interesting as Matthew says. I can feel already that I m wondering what on earth she ll say next. She ll be casting a spell over me, too. She s cast it over Matthew. That look he gave me when he went out said everything he said or hinted last night over again. I wish he was like other men and would talk things out. A body could answer back then and argue him into reason. But what s to be done with a man who just LOOKS?" Anne had relapsed into reverie, with her chin in her hands and her eyes on the sky, when Marilla returned from her cellar pilgrimage. There Marilla left her until the early dinner was on the table. "I suppose I can have the mare and buggy this afternoon, Matthew?" said Marilla. Matthew nodded and looked wistfully at Anne. Marilla intercepted the look and said grimly "I m going to drive over to White Sands and settle this thing. I ll take Anne with me and Mrs. Spencer will probably make arrangements to send her back to Nova Scotia at once. I ll set your tea out for you and I ll be home in time to milk the cows." Still Matthew said nothing and Marilla had a sense of having wasted words and breath. There is nothing more aggravating than a man who won t talk back--unless it is a woman who won t. Matthew hitched the sorrel into the buggy in due time and Marilla and Anne set off. Matthew opened the yard gate for them and as they drove slowly through, he said, to nobody in particular as it seemed "Little Jerry Buote from the Creek was here this morning, and I told him I guessed I d hire him for the summer." Marilla made no reply, but she hit the unlucky sorrel such a vicious clip with the whip that the fat mare, unused to such treatment, whizzed indignantly down the lane at an alarming pace. Marilla looked back once as the buggy bounced along and saw that aggravating Matthew leaning over the gate, looking wistfully after them. CHAPTER III UP CHAPTER V 今日 - | 昨日 - | Total - since 04 June 2007 last update 2007-06-05 01 32 16 (Tue)
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Archer 遠距離攻撃が得意な職業 通常の狩りにおいては射程距離と攻撃速度を活かして優位に立ち回れる 一方で防具のDefenseが低くHPも少ないので打たれ弱い 自分とPT全員の移動速度を上げるバフが使える Lv20になると強力な自己回復スキルを覚えてソロ狩りが安定する Lv27でHealingChargeを覚えるとタレントスキルによってはヒーラーの真似事もできる HunterかSniperに転職可能 Focus pointとは 敵を攻撃し続けると徐々に貯まっていき1ポイント以上貯まると攻撃ダメージにボーナスが入る 攻撃を止めると時間経過とともに減少していく スキルによってはFocus pointがないと発動できなかったりFocus pointを消費することで効果が上がる物もある Archer Skills Lv Name Energy Cooldown 説明 1 Trial Shot 10 1 sec. Deals 17-23 damage to the target. Restores 1 Focus point. 敵を攻撃しFocus pointを1ポイント得る。ダメージ倍率は低い 3 Target 10 30 sec. The damage dealt to the selected target by long-range attacks is increased.Focus points charge speed is increased. 敵をTarget状態にする。Target状態の敵を攻撃する時ダメージとFocus pointチャージ速度にボーナス 5 Burr 12 6 sec. Places a trap which activates when an enemy approaches. After activation,it deals Neutral Damage and slows the target down. 踏んだ敵にダメージと鈍足効果を与えるトラップを設置する 7 Precise Shot 17 5 sec. Deals 23-31 damage, and the chance of hitting is increased by 50%. Focusing(consumes 1 Focus point if it is available, increasing the damage caused by this skill by 30%). アーチャーの主力スキル。クールタイムが短めでダメージ倍率が高い使用可能なFocus pointがある場合1ポイント消費しダメージ+30% 10 Vigor 25 1 sec. Aura increases Movement Speed by 10%. The Aura affects other Party members. 30分間自分とPTメンバーの移動速度+10%。効果時間が長いので常時使用できる 12 Piercing Shot 18 8 sec. Deals 10-14 damage to enemies in the line of the shot. Focusing (consumes 1 Focus point if it is available, increasing the damage caused by this skill by 30%). 直線状の全ての敵に攻撃できる。が、威力が低い使用可能なFocus pointがある場合1ポイント消費しダメージ+30% 14 Undistracted Attention 18 90 sec. Focus point is completely restored in 2 seconds. Focus pointを2秒でフルチャージする。攻撃スキルのコンボの頭に入れるといいクールタイムが長いので使いどころが重要 16 Walking Tour 20 1 sec. All unmounted Party members go on a walking tour and get a bonus +20% Running Speed for 20 sec. 20秒間自分とPTメンバーの移動速度+20%。消費Energy多めだが移動に便利 18 Aiming 10 6 sec. Your long-range weapon attack is increased. Focus charge speed is increased. The effect wears off if you move. 20秒間自身の攻撃力とFocus pointチャージ速度が増加する。その場から移動すると効果が切れる 20 Wound Dressing 12 5 sec. Restores 124-170 Health over 10 sec. 便利な自己回復スキル。1.5秒のキャストタイム後10秒間HPが回復し続ける回復中も移動できるのでダメージを受ける前に使用しておく使い方もできる 23 Buttstock Strike 14 15 sec. Deals 17-23 damage to the target, knocks it back, and slows it down. Required Gun or Mortar. 近接攻撃スキル。相手を吹き飛ばした上に鈍足効果を与える。銃か大砲を装備時のみ使用可 25 Pellet Shot 16 2 sec. Deals 12-17 damage to targets in the direction of the shot. Required Gun. ターゲットと直線状にいるすべての敵にダメージを与える。銃を装備時のみ使用可 27 Healing Charge 16 5 sec. A healing charge is shot which restores 32-44 of an ally’s Health. 回復弾を撃ってターゲットのHPを回復する。自分や自分が召喚したRoland砲には使用できないのでPT専用 29 Eagle Eye 15 25 sec. Allows you to see hidden and invisible objects within a range of 13 m. 周囲13mの隠れている対象を見つけ出す Talents Shooting Name Type 説明 Magical Target Passive The bonus damage dealt to a target under the Target effect is increased from 15% to 20%. Target状態の相手へのダメージボーナスが15%から20%に増加 Healing Brew Passive The efficiency of the First Aid and Wound Dressing skills is increased by 25%. FirstAidとWoundDressingの回復量が25%増加 ▼ Unloading Passive Auto Attack restores 4 of the Archer s Energy points. 通常攻撃が命中する度にEnergyが4ポイント回復 Second Wind Passive The Vigor skill increases the natural regeneration of Energy by 50%. Vigorの効果中はEnergy回復速度が50%増加 ▼ Deep Wounds Passive The Piercing Shot skill inflicts the Bleeding effect, which causes an extra 28-39 damage every 2 sec. for 6 sec. PiercingShotに6秒間継続するDOTダメージを追加する Resilience Passive When under the Aiming effect, the Archer takes 10% less Damage. Aimingの効果中は被ダメージが10%低下 ▼ Reckless Archer Passive Every critical hit increases the Archer s Attack by 2% for 5 sec. This effect can stack up to 8 times. 攻撃開始から5秒間攻撃する度にクリティカル率が2%ずつ上昇。上昇効果は8回まで ▼ Regenerating Charge Passive Healing Charge not only restores the target s Health but also gives him a Regeneration effect that restores an extra 366-504 Health over 10 sec. HealingChargeに更にターゲットのHPを10秒間徐々に回復させる追加効果を与える Toxic Charge Passive The Archer can shoot an enemy with a Healing Charge, poisoning them for 19-26 damage every 2 sec. for 8 sec. HealingChargeを敵に使用することが可能になり、敵に使用した場合8秒間継続するDOTダメージを与える ▼ Shooting Legs Passive The fist shot slows down an enemy by 10%. Every subsequent shot slows down the target s Movement Speed by 1%. The effect s duration is 30 sec. 拳発射は10%ずつ敵をのんびりさせます。すべての後の発射は1%ずつ目標の移動速度を遅くします。結果の持続は30秒です。（検証中） Stormtrooper Passive Allows you to use Pellet Shot while moving. PelletShotを移動中に使用できるようになる ▼ Energy Control Active Energy consumption is decreased by 50% for 10 sec. 10秒間Energy消費量が50%減少
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【登録タグ ALiCE'S EMOTiON Sphere Caliber U キャプテン・ムラサ 曲 野宮あゆみ】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/touhoukashi/pages/5426.html
【登録タグ W 天然ジェミニ 小さな小さな賢将 愛原佑季 愛原千尋 曲 東方オールナイト幻想郷 虎柄の毘沙門天】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/endlicheri/pages/10.html
2007.04.11 2nd Album 『Neo Africa Rainbow Ax』 E☆Eが放つ2nd albumは、シングル「空が泣くから」を含む13曲を収録。1st album『Coward』から更に進化したE☆E。今作はFUNK色を全面に押し出した仕上がりで、音楽的に、ファッション的に、より洗練された作品。アルバムタイトルにある「Ax」の意味は「斧」で、竿が付いている楽器“ギター”を表現。また、魚のエンドリケリーが生息するアフリカとE☆Eの象徴の一つであるRainbowを組み合わせ 「Neo Africa Rainbow Ax」というタイトルが生まれた。頭文字を取ると、E☆Eの出身地である”NARA”(奈良)となる。 またM1にはスライ＆ザ・ファミリー・ストーン、グラハム・セントラル・ステーションでFUNK界を一世風靡したスラップ・ベースの生みの親、Larry Graham(ラリ－・グラハム)がベース、ヴォイスで参加！ 1.ENDLICHERI☆ENDLICHERI 2 2.White DRAGON 3.傷の上には赤いBLOOD 4.Sparkling -album version- 5.FISH DANCE 6.DARLIN 7.宇宙の雨はね 二人で 8.NARA 9.空が泣くから 10.脳 11.Take U 2 The Rainbow Star 12.Rainbow wing 13.The Voice In My Heart 通常版ではM12に「Blue Berry -NARA Fun9 Style-」収録 2007.02.07 3rd Single 『空が泣くから』 2006年、前人未到の同一会場(The ENDLI. Water Tank)におけるLIVE 100本を成し遂げたENDLICHERI☆ENDLICHERI 。その3rdステージのアンコールで初披露されたこの「空が泣くから」は、彼の真骨頂とも言うべき、奈良エネルギー、和のテイストを散りばめながらのFUNK。エンドリの世界が強烈に襲うFUNKなバラード。今、此処に発生。 M2にはファンキーなインストゥルメンタル曲、M3には初回盤と通常盤で、歌詞とアレンジが異なる楽曲を収録。 初回限定盤 JECR-0001 1.空が泣くから 2.Sparking -instrumental- 3.Woman～あなたの宇宙に生きていたい～ 4.空が泣くから (Backing Track) 通常盤 JECR-0002 1.空が泣くから 2.Sparking -instrumental- 3.Man～あなたの宇宙に生きていたい～ 2006.06.28 2nd Single 『The Rainbow Star』 堂本剛がプロデュースするSolo Work Project「ENDLICHERI☆ENDLICHERI」の第2弾シングル。 3/19～5/21 横浜みなとみらいでのライブツアータイトルにもなったENDLIの代表曲とも云うべき曲です。イントロのブラスのフレーズが印象的なアップテンポでノリのいい楽曲です。 初回盤 JECN-0098/99 1.The Rainbow Star 2.いきてゆくことが 3.The Rainbow Star (Backing Track) 4.いきてゆくことが (Backing Track) 通常盤 JECN-0100 1.The Rainbow Star 2.いきてゆくことが 3.あなたが何処で今宵誰の腕の強さ想うか The Rainbow Star (初回限定盤)(DVD付) ▽初回限定盤 DVD『The Rainbow Star』ビデオクリップ収録 3面6Pジャケット フォトステッカー封入 The Rainbow Star (通常盤) ▽通常盤 ボーナストラック「あなたが何処で今宵誰の腕の強さ想うか」収録 2面4Pジャケット ロゴステッカー封入 （初回生産版限定） 2006.03.01 1st Album 『Coward』 堂本剛がプロデュースするSolo Work Project「ENDLICHERI☆ENDLICHERI」のアルバム発売が決定！ENDLICHERI☆ENDLICHERIが臆病な魚であることと、剛自身もそう感じていることから「Coward」（臆病者の意味）というタイトルになりました。全曲をENDLICHERI☆ENDLICHERIが手がけた渾身の作品です。 1.ENDLICHERI☆ENDLICHERI (Inst) 2.故意 3.雄 4.闇喰いWind 5.a happy love word 6.16 7.Chance Comes Knocking. (Inst) 8.御伽噺 9.Six Pack 10.ソメイヨシノ (Album version) 11.Coward (Inst) 12.これだけの日を跨いで来たのだから ※通常盤は11と12の間に「美しく在る為に」収録 Coward (初回盤DVD付) ▽初回限定盤 （１）24Ｐスペシャルブックレット／ワイドジュエルケース （２）DVD付（「ソメイヨシノ」ＰＶ収録） （３）ENDLICHERI☆ENDLICHERI（剛）がデザインしたENDLICHERI☆ENDLICHERI（魚）の紙製模型キット付（自分で組み立てる模型です） Coward (通常盤) ▽通常盤 （１）20Ｐスペシャルブックレット／ジュエルケース （２）ボーナストラック「美しく在る為に」収録（初回盤には収録されません） 一部のCDショップで、先着特典として“ENDLICHERI☆ENDLICHERIオリジナルステッカー”を配布。 HMV（MUSIC PLAYER STICKER） TOWER（NAME CARD CASE STICKER） TSUTAYA（TABLET CASE STICKER） 新星堂（TABLET CASE STICKER） その他CD店（NANDEMO STICKER） 2006.02.01 1st Single 『ソメイヨシノ』 堂本剛がプロデュースするソロ・ワーク・プロジェクト「ENDLICHERI☆ENDLICHERI」（エンドリケリー・エンドリケリー）の第1弾シングル。 今まで堂本剛のソロ作品は、アーティスト名「堂本剛」でリリースしてきましたが、今後は「ENDLICHERI☆ENDLICHERI」というアーティスト名でリリースしていきます。 収録曲全てを堂本剛が作詞・作曲し、編曲にも勢力的に携わった、力作揃いの楽曲を収録。 ▼共通収録 1.ソメイヨシノ 作詩、作曲：ENDLICHERI☆ENDLICHERI 編曲：十川知司、ENDLICHERI☆ENDLICHERI ブラスアレンジ：下神竜哉、ENDLICHERI☆ENDLICHERI 2.濡れ鼠 作詩、作曲：ENDLICHERI☆ENDLICHERI 編曲：上田ケンジ、ENDLICHERI☆ENDLICHERI ブラスアレンジ：下神竜哉、ENDLICHERI☆ENDLICHERI ▽初回 3.ソメイヨシノ (Backing Track) 4.濡れ鼠 (Backing Track) ▽通常版 3.Blue Berry 作詩、作曲：ENDLICHERI☆ENDLICHERI 編曲：十川知司、ENDLICHERI☆ENDLICHERI ブラスアレンジ：YOKAN、ENDLICHERI☆ENDLICHERI ソメイヨシノ (通常盤)