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ATTO QUARTO Scena Prima (Re Egeo ed Arcane) 40. Recitativo ▼ARCANE▲ Sire come t’imponesti Ad Agilea portai l’alto comando Ma in quest’istante, a noi Medea venendo Piena d’ira e di sdegno Impedì che Agilea risposta desse. ▼EGEO▲ Chi di sdegno l’accese? ▼ARCANE▲ Offesa d’Agilea, ella si mostra. ▼EGEO▲ Qual ne fu la cagion? ▼ARCANE▲ Dirti ciò non posso Ma qui dalle Arti sue Vidi i campi fioriti Cangiati in un asprissimo deserto ▼EGEO▲ Ciò contro l’idol mio? ▼ARCANE▲ Si; che io stesso vidi Sortir dal cupo Baratro Infernale Molte Furie a’ suoi danni, e tormentarla. ▼EGEO▲ Empia, cruda Medea Così dunque di me tu ti deridi? Truciderò l’Indegna Porterò Morte e Stragi, e’ già nel seno Sento dell’Ira, sparso il rio Veleno. 41. Aria Egeo Voglio Stragi, e Voglio morte, Vuo’ vendetta, e Vuo’ rigor Ho nel petto un’alma forte, Che di sdegno accende il cor. Voglio… etc. 42. Recitativo ▼ARCANE▲ Amor per Agilea Nel Regio petto accende Contro l’Empia Medea, d’Ira la face Ed io per Clizia bella L’Alma accender mi sento Hor che scaccia pietosa, il mio tormento. 43. Aria Arcane Benchè tuoni, e L’etra avampi Pur di folgori e di Lampi, Non paventa un core amante. Ma se Amor si mostra irato In un seno Idolatrato L’Alma in petto, è ognor tremante. Benchè tuoni… (bis). Scena Seconda (Agilea e Medea) 44. Recitativo ▼AGILEA▲ Cruda, ed ancor non vuoi Mitigar le mie pene? Già che pietà non senti, dammi almeno la morte. ▼MEDEA▲ Un Re compiaci, e il mio desio contenta, Se vuoi dar fine al tuo tormento atroce. ▼AGILEA▲ Dhe fa che la mia sorte Habbia Libero il core E abbandono la vita al tuo rigore. ▼MEDEA▲ Se Cessa il Viver tuo, cessa il tuo affanno. ▼AGILEA▲ S’armi pure a mio danno, La spietata Medea Non posso non amar, se vita io spiro. ▼MEDEA▲ Peggio che morte attendi ▼AGILEA▲ Degna dunque di pena è la costanza? ▼MEDEA▲ Sciolgasi contro di te la Mia possanza. (Medea fa i suoi scongiuri) Scena Terza (Teseo dormendo discende, condotto da Spettri che Volano, e detti) ▼AGILEA▲ E che mai veggio oh Dio! Dormendo è qui condotto l’idol mio. 45. Aria Agilea Deh v’aprite, o Luci belle, e destatevi all’amor; Se con essere eclissate voi piagate, Che farete, o vaghe stelle Quando in voi torn’il fulgor. Deh v’aprite… etc. 46. Recitativo ▼MEDEA▲ E ancor su’ gli occhi miei Tanto ardisce Agilea? Ora saprà qual sia Nel petto di Medea la gelosia. 47. Aria Medea Dal cupo Baratro, Venite o Furie, Qui le mie ingiurie a vendicar; Più non tardate, a voi s’aspetta Di far Vendetta Di chi persiste a m’oltraggiar. Dal cupo… etc. (Le Furie sortono, tenendo da una mano un face; e dall’altra un coltello) 48. Recitativo ▼AGILEA▲ S’arma contro di me tutto l’Inferno? ▼MEDEA▲ Trema in veder la pena tua, spietata. Teseo, a’ morte destino, E tu’ la colpa sei del suo morire. ▼AGILEA▲ Perché dici che l’ami, Se poi morto lo brami? ▼MEDEA▲ Ora vedrem’ chi di noi più l’adora, Pria che cederti, vuo ch’il suo martire, Adempia la mia brama; Che più forte è l’amore, Quando cangia in furore. (Parla alle Furie) Finite l’opra olà, più non si tardi. ▼AGILEA▲ Arresta, arresta il colpo; Ai reali Immenei già mi preparo. Il tuo desio s’adempia Di Teseo il cor sia tuo Null’ a grado m’è più, ch’il viver suo. ▼MEDEA▲ Ciò pur anco non basta devi per contentarmi Mostrarti a Teseo Infida; Digli ch’è solo il genio, Non la necessità ch’a lui ti toglie Che col tuo aiuto appagar vuò mie voglie. ▼AGILEA▲ Cruda necessità ▼MEDEA▲ Ciò far tu devi, oppure ▼AGILEA▲ No. Voglio la vita sua, voglio il suo bene Dolce per lui l’affanno, è a questo petto; sì sia; tradir me stessa, io ti prometto. ▼MEDEA▲ Cessi dunque il timore, è in un momento Sia da nuovo portento Tutto da se diviso Quest’Inferno cangiato in Paradiso. (Le Furie rientrano nell’Inferno, ed il Teatro rappresenta un’Isola Incantata) Scena Quarta (Medea, Teseo e Agilea. Medea toccandoTeseo, con la Verga Incantata fa ch’Ei si risvegli) 49. Aria Teseo ▼TESEO▲ Chi ritorna alla mia mente La perduta rimembranza Chi mi rende, a’ i Lumi il dì? Io nol’ so! Ma già consente Il pensiero, alla Speranza, Di mirar chi lo ferì. Chi ritorna… (bis). 50. Recitativo ▼MEDEA▲ Mira qual cura prendo O Teseo per giovarti; Nulla Temer tu dei, Sempre sarà per te mia possanza. ▼TESEO▲ Troppo Medea ti deggio Ma dov’è il brando? ▼MEDEA▲ Reso ti sia fra poco Contro l’odio Reale, io ti difendo ▼TESEO▲ Sì, si… (Vede Agilea) deh quale appare Nuova luce in quest’occhi? Tu qui bella Agilea? Ma non rispondi? ▼MEDEA▲ (Ad Agilea) Né pur mirar tu degni Un eroe sì pregiato? ▼TESEO▲ (Ad Agilea) E che mai feci o bella, che così mi disprezzi? ▼MEDEA▲ (Ad Agilea) Che si vendichi un dì, forse non temi? ▼TESEO▲ No che m’oltraggi pur che m’abbandoni Sempre per lei sarà questo cor mio ▼MEDEA▲ (Ad Agilea) Non ti move a pietà sì fido amore? Ah che d’un re nel trono, il dorato Diadema, I Lumi abbaglia Ma un Re benchè possente Deve temer la mia vendetta ultrice. Per riaver questo core, a lui men’ vado; E tu qui resta intanto; ahi lasso Per ammollir col pianto, un cor di Sasso. (parte) Scena Quinta ▼TESEO▲ Agilea più non m’ama! Ed in un giorno o Dio, Ha l’affetto e l’amor posto in oblio? ▼AGILEA▲ Cessa, deh’ cessa omai Di seguire un’infida Il brando tuo glorioso Ti farà strada, a un più sincero amore. ▼TESEO▲ Io non l’adoprerò, che in darmi morte. Se la bella Agilea così si lascia, Di nulla più mi cale; Che perdendo colei, che m’è gradita, Non curo più di conservar la Vita. ▼AGILEA▲ Oh Dio?! ▼TESEO▲ Ah tu sospiri? A’ tuoi confusi accenti, mio cor si confonde. ▼AGILEA▲ No, più amarti non deggio, Sempre farò per te Vie più crudeli. 51. Aria Teseo Qual Tigre o qual Megera T’impresse alma sì fiera Entro del seno? Qual aspe ti nutrì Chi per latte ti diè Tanto Veleno? Qual Tigre… etc. (Agilea piange ascosamente) 52. Recitativo ▼TESEO▲ Tu piangi, e a me l’ascondi? Deh, lascia, lascia o cara Ch’abbia parte al tuo duolo. ▼AGILEA▲ (a parte) Ah che strugger mi sento. Oh Teseo, Oh Dio, Vanne lungi da me; Lascia un’Infida O punito sarai d’un tanto ardire. 53. Aria Agilea Amarti io sì vorrei Il Cielo, il Ciel lo sa; Ma più non deggio amarti, Oh Dei che crudeltà La dura sorte mia Vuò ch’Infedel ti sia E solo per salvarti, Nascondo pietà. Amarti, etc. ▼TESEO▲ Troppo un Re che t’adora Ti fa temere o bella Sappi dunque che io sono Figlio d’Egeo. ▼AGILEA▲ Prole del Re tu Sei! ▼TESEO▲ Sì, ma celato il tenni, Perch’il solo valer, bramai che fosse Scopo dell’Amor mio. ▼AGILEA▲ Ah ch’al nodo Reale Medea vuol che mi porti; Ne per salvarti, o caro, Ma più non mi resta; E per salvarti a forza Per gli odiosi immenei già mi preparo. ▼TESEO▲ Deh, no; pria che ‘ ciò segua Lascia che s’armi pur contr’il mio petto Tutto l’Inferno irato Per te morro, e allor’ morrò beato. Scena Sesta (Medea e detti. Medea sorte in un subito da una nube con la spada di Teseo in pugno) 54. Recitativo ▼MEDEA▲ Non vi lagnate più fidi amatori; Sol lungi il tutto intesi Finger non è più tempo. ▼AGILEA▲ Medea perdona, ad un amor sincero Che osservar non potè quanto promise ▼TESEO▲ Sopra di me sol cada il Vostro sdegno ▼AGILEA▲ Disunirai col mio morire i cori. ▼TESEO▲ Altro che il viver suo non ti domando. ▼MEDEA▲ Teseo, io t’amo, e lo vedrai fra poco. Stanca de falli miei Nodo si grato apprezzo; Se vana è l’ira mia. Contro tanta virtù ch’in voi risplende, felice almen farò d’un’altra il core, già che felice non mi vuole amore. ▼TESEO▲ La gioia opprime i sensi ▼MEDEA▲ Ecco il brando godete (rende il brando a Teseo) Le destre unite a vostri cori avrete. Scena Settima (Agilea e Teseo) ▼TESEO▲ Chi di noi più beato? ▼AGILEA▲ E’ giunto pur di quello tanto bramato. 55. Duetto ▼AGILEA E TESEO▲ Cara, / Caro, Ti dono in pegno il cor, D’un puro e fido amor Che mi consola Fugato ogni martir Non resta che a gioir E sempre nel tuo, / Mio, sen Tu sarai sola Voglio esser sola… (bis). ATTO QUARTO Scena Prima (Re Egeo ed Arcane) 40. Recitativo ARCANE Sire come t’imponesti Ad Agilea portai l’alto comando Ma in quest’istante, a noi Medea venendo Piena d’ira e di sdegno Impedì che Agilea risposta desse. EGEO Chi di sdegno l’accese? ARCANE Offesa d’Agilea, ella si mostra. EGEO Qual ne fu la cagion? ARCANE Dirti ciò non posso Ma qui dalle Arti sue Vidi i campi fioriti Cangiati in un asprissimo deserto EGEO Ciò contro l’idol mio? ARCANE Si; che io stesso vidi Sortir dal cupo Baratro Infernale Molte Furie a’ suoi danni, e tormentarla. EGEO Empia, cruda Medea Così dunque di me tu ti deridi? Truciderò l’Indegna Porterò Morte e Stragi, e’ già nel seno Sento dell’Ira, sparso il rio Veleno. 41. Aria Egeo Voglio Stragi, e Voglio morte, Vuo’ vendetta, e Vuo’ rigor Ho nel petto un’alma forte, Che di sdegno accende il cor. Voglio… etc. 42. Recitativo ARCANE Amor per Agilea Nel Regio petto accende Contro l’Empia Medea, d’Ira la face Ed io per Clizia bella L’Alma accender mi sento Hor che scaccia pietosa, il mio tormento. 43. Aria Arcane Benchè tuoni, e L’etra avampi Pur di folgori e di Lampi, Non paventa un core amante. Ma se Amor si mostra irato In un seno Idolatrato L’Alma in petto, è ognor tremante. Benchè tuoni… (bis). Scena Seconda (Agilea e Medea) 44. Recitativo AGILEA Cruda, ed ancor non vuoi Mitigar le mie pene? Già che pietà non senti, dammi almeno la morte. MEDEA Un Re compiaci, e il mio desio contenta, Se vuoi dar fine al tuo tormento atroce. AGILEA Dhe fa che la mia sorte Habbia Libero il core E abbandono la vita al tuo rigore. MEDEA Se Cessa il Viver tuo, cessa il tuo affanno. AGILEA S’armi pure a mio danno, La spietata Medea Non posso non amar, se vita io spiro. MEDEA Peggio che morte attendi AGILEA Degna dunque di pena è la costanza? MEDEA Sciolgasi contro di te la Mia possanza. (Medea fa i suoi scongiuri) Scena Terza (Teseo dormendo discende, condotto da Spettri che Volano, e detti) AGILEA E che mai veggio oh Dio! Dormendo è qui condotto l’idol mio. 45. Aria Agilea Deh v’aprite, o Luci belle, e destatevi all’amor; Se con essere eclissate voi piagate, Che farete, o vaghe stelle Quando in voi torn’il fulgor. Deh v’aprite… etc. 46. Recitativo MEDEA E ancor su’ gli occhi miei Tanto ardisce Agilea? Ora saprà qual sia Nel petto di Medea la gelosia. 47. Aria Medea Dal cupo Baratro, Venite o Furie, Qui le mie ingiurie a vendicar; Più non tardate, a voi s’aspetta Di far Vendetta Di chi persiste a m’oltraggiar. Dal cupo… etc. (Le Furie sortono, tenendo da una mano un face; e dall’altra un coltello) 48. Recitativo AGILEA S’arma contro di me tutto l’Inferno? MEDEA Trema in veder la pena tua, spietata. Teseo, a’ morte destino, E tu’ la colpa sei del suo morire. AGILEA Perché dici che l’ami, Se poi morto lo brami? MEDEA Ora vedrem’ chi di noi più l’adora, Pria che cederti, vuo ch’il suo martire, Adempia la mia brama; Che più forte è l’amore, Quando cangia in furore. (Parla alle Furie) Finite l’opra olà, più non si tardi. AGILEA Arresta, arresta il colpo; Ai reali Immenei già mi preparo. Il tuo desio s’adempia Di Teseo il cor sia tuo Null’ a grado m’è più, ch’il viver suo. MEDEA Ciò pur anco non basta devi per contentarmi Mostrarti a Teseo Infida; Digli ch’è solo il genio, Non la necessità ch’a lui ti toglie Che col tuo aiuto appagar vuò mie voglie. AGILEA Cruda necessità MEDEA Ciò far tu devi, oppure AGILEA No. Voglio la vita sua, voglio il suo bene Dolce per lui l’affanno, è a questo petto; sì sia; tradir me stessa, io ti prometto. MEDEA Cessi dunque il timore, è in un momento Sia da nuovo portento Tutto da se diviso Quest’Inferno cangiato in Paradiso. (Le Furie rientrano nell’Inferno, ed il Teatro rappresenta un’Isola Incantata) Scena Quarta (Medea, Teseo e Agilea. Medea toccandoTeseo, con la Verga Incantata fa ch’Ei si risvegli) 49. Aria Teseo TESEO Chi ritorna alla mia mente La perduta rimembranza Chi mi rende, a’ i Lumi il dì? Io nol’ so! Ma già consente Il pensiero, alla Speranza, Di mirar chi lo ferì. Chi ritorna… (bis). 50. Recitativo MEDEA Mira qual cura prendo O Teseo per giovarti; Nulla Temer tu dei, Sempre sarà per te mia possanza. TESEO Troppo Medea ti deggio Ma dov’è il brando? MEDEA Reso ti sia fra poco Contro l’odio Reale, io ti difendo TESEO Sì, si… (Vede Agilea) deh quale appare Nuova luce in quest’occhi? Tu qui bella Agilea? Ma non rispondi? MEDEA (Ad Agilea) Né pur mirar tu degni Un eroe sì pregiato? TESEO (Ad Agilea) E che mai feci o bella, che così mi disprezzi? MEDEA (Ad Agilea) Che si vendichi un dì, forse non temi? TESEO No che m’oltraggi pur che m’abbandoni Sempre per lei sarà questo cor mio MEDEA (Ad Agilea) Non ti move a pietà sì fido amore? Ah che d’un re nel trono, il dorato Diadema, I Lumi abbaglia Ma un Re benchè possente Deve temer la mia vendetta ultrice. Per riaver questo core, a lui men’ vado; E tu qui resta intanto; ahi lasso Per ammollir col pianto, un cor di Sasso. (parte) Scena Quinta TESEO Agilea più non m’ama! Ed in un giorno o Dio, Ha l’affetto e l’amor posto in oblio? AGILEA Cessa, deh’ cessa omai Di seguire un’infida Il brando tuo glorioso Ti farà strada, a un più sincero amore. TESEO Io non l’adoprerò, che in darmi morte. Se la bella Agilea così si lascia, Di nulla più mi cale; Che perdendo colei, che m’è gradita, Non curo più di conservar la Vita. AGILEA Oh Dio?! TESEO Ah tu sospiri? A’ tuoi confusi accenti, mio cor si confonde. AGILEA No, più amarti non deggio, Sempre farò per te Vie più crudeli. 51. Aria Teseo Qual Tigre o qual Megera T’impresse alma sì fiera Entro del seno? Qual aspe ti nutrì Chi per latte ti diè Tanto Veleno? Qual Tigre… etc. (Agilea piange ascosamente) 52. Recitativo TESEO Tu piangi, e a me l’ascondi? Deh, lascia, lascia o cara Ch’abbia parte al tuo duolo. AGILEA (a parte) Ah che strugger mi sento. Oh Teseo, Oh Dio, Vanne lungi da me; Lascia un’Infida O punito sarai d’un tanto ardire. 53. Aria Agilea Amarti io sì vorrei Il Cielo, il Ciel lo sa; Ma più non deggio amarti, Oh Dei che crudeltà La dura sorte mia Vuò ch’Infedel ti sia E solo per salvarti, Nascondo pietà. Amarti, etc. TESEO Troppo un Re che t’adora Ti fa temere o bella Sappi dunque che io sono Figlio d’Egeo. AGILEA Prole del Re tu Sei! TESEO Sì, ma celato il tenni, Perch’il solo valer, bramai che fosse Scopo dell’Amor mio. AGILEA Ah ch’al nodo Reale Medea vuol che mi porti; Ne per salvarti, o caro, Ma più non mi resta; E per salvarti a forza Per gli odiosi immenei già mi preparo. TESEO Deh, no; pria che ‘ ciò segua Lascia che s’armi pur contr’il mio petto Tutto l’Inferno irato Per te morro, e allor’ morrò beato. Scena Sesta (Medea e detti. Medea sorte in un subito da una nube con la spada di Teseo in pugno) 54. Recitativo MEDEA Non vi lagnate più fidi amatori; Sol lungi il tutto intesi Finger non è più tempo. AGILEA Medea perdona, ad un amor sincero Che osservar non potè quanto promise TESEO Sopra di me sol cada il Vostro sdegno AGILEA Disunirai col mio morire i cori. TESEO Altro che il viver suo non ti domando. MEDEA Teseo, io t’amo, e lo vedrai fra poco. Stanca de falli miei Nodo si grato apprezzo; Se vana è l’ira mia. Contro tanta virtù ch’in voi risplende, felice almen farò d’un’altra il core, già che felice non mi vuole amore. TESEO La gioia opprime i sensi MEDEA Ecco il brando godete (rende il brando a Teseo) Le destre unite a vostri cori avrete. Scena Settima (Agilea e Teseo) TESEO Chi di noi più beato? AGILEA E’ giunto pur di quello tanto bramato. 55. Duetto AGILEA E TESEO Cara, / Caro, Ti dono in pegno il cor, D’un puro e fido amor Che mi consola Fugato ogni martir Non resta che a gioir E sempre nel tuo, / Mio, sen Tu sarai sola Voglio esser sola… (bis). Handel,George Frideric/Teseo/V
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W3C Multimodal Application Developer Feedback W3C Working Group Note 14 April 2006 This version http //www.w3.org/TR/2006/NOTE-mmi-dev-feedback-20060414/ Latest version http //www.w3.org/TR/mmi-dev-feedback/ Previous version This is the first publication. Editors Andrew Wahbe, VoiceGenie Technologies Gerald McCobb, IBM Klaus Reifenrath, Nuance Raj Tumuluri, Openstream Sunil Kumar, V-Enable Copyright © 2006 W3C® (MIT, ERCIM, Keio), All Rights Reserved. W3C liability, trademark and document use rules apply. Abstract Several years of multimodal application development in various business areas and on various device platforms has provided developers enough experience to provide detailed feedback about what they like, dislike, and want to see improve and continue. This experience is provided here as an input to the specifications under development in the W3C Multimodal Interaction and Voice Browser Activities. Status of this Document This section describes the status of this document at the time of its publication. Other documents may supersede this document. A list of current W3C publications and the latest revision of this technical report can be found in the W3C technical reports index at http //www.w3.org/TR/. This document is a W3C Working Group Note. It represents the views of the W3C Multimidal Interaction Working Group at the time of publication. The document may be updated as new technologies emerge or mature. Publication as a Working Group Note does not imply endorsement by the W3C Membership. This is a draft document and may be updated, replaced or obsoleted by other documents at any time. It is inappropriate to cite this document as other than work in progress. This document is one of a series produced by the Multimodal Interaction Working Group (Member Only Link), part of the W3C Multimodal Interaction Activity. The MMI activity statement can be seen at http //www.w3.org/2002/mmi/Activity. Comments on this document can be sent to www-multimodal@w3.org, the public forum for discussion of the W3C s work on Multimodal Interaction. To subscribe, send an email to www-multimodal-request@w3.org with the word subscribe in the subject line (include the word unsubscribe if you want to unsubscribe). The archive for the list is accessible online. This document was produced by a group operating under the 5 February 2004 W3C Patent Policy. This document is informative only. W3C maintains a public list of any patent disclosures made in connection with the deliverables of the group; that page also includes instructions for disclosing a patent. An individual who has actual knowledge of a patent which the individual believes contains Essential Claim(s) must disclose the information in accordance with section 6 of the W3C Patent Policy. Table of Contents * 1 Introduction * 2 What developers liked o 2.1 Reusable and pluggable modality components o 2.2 Modular modality components o 2.3 Declarative synchronization between modalities o 2.4 Scripting and semantic interpretation o 2.5 Styling * 3 What developers would like to see o 3.1 Global grammars o 3.2 Speech grammars for HTML links and controls o 3.3 Speech prompts for voice-enabled HTML links and controls o 3.4 Speech-enabled widgets o 3.5 Use speech to activate links and change focus o 3.6 Back functionality * 4 What developers would like to see continue and improve o 4.1 Support for both off-line and on-line multimodal interaction o 4.2 Support for events distributed over the network o 4.3 Support for implicit events o 4.4 VoiceXML tag and feature support o 4.5 Support for both directed and user-initiated dialogs o 4.6 Mixed-initiative interaction o 4.7 Access to speech confidence scores and n-best list by the application o 4.8 Access to device details o 4.9 Choice of ASR o 4.10 Controlling N-Best choice of ASR 1 Introduction IBM, VoiceGenie Technologies, Nuance, V-Enable, and OpenStream customers have been developing multimodal applications in a broad range of business areas, including Field-Force Productivity, Health Care and Life Sciences, Warehouse and Distribution, Industrial Plant Floor, Financial and Information Services, Directory Assistance, and the Mobile Web. Customer device platforms have included PC s (desktops, laptops, and tablets), PDA s, kiosks, appliances, equipment consoles, and web browser-based smart phones. The multimodal applications primarily extended the traditional GUI mode of interaction with speech, with the location of the speech services either local on the device or distributed on a remote server. Several XML markup languages were used to develop these applications, including XHTML+Voice (X+V) and xHMI. During the process of developing these applications, developers found features they liked about the development environment they were using and found features they thought were lacking. Their experiences were collected and are summarized here as feedback for the W3C Multimodal Interaction and Voice Browser Working Groups to consider when specifying future multimodal and voice authoring capabilities. We also solicit comments from the wider multimodal development community on the extent to which these observations are consistent with their own development experiences. The developers surveyed were expert in various programming languages and application environments. Developers expert in C/C++ and Java generally speech enabled native applications on small devices. Device platforms included Windows Mobile, BREW, embedded Linux, Symbian, and J2ME. Developers expert in the Web generally speech enabled browser based applications. Web browser platforms included Opera, Access NetFront, Windows Mobile Internet Explorer, and the Nokia Series 60. Web developers understood the web programming model very well but generally were new to speech. They liked XHTML, XML namespaces, XML Events, CSS, JavaScript, and VoiceXML with its ability to hide platform details. Developers expert in VoiceXML and dictation had backgrounds in speech and telephony and generally worked on adding GUI to voice and dictation applications. 2 What developers liked 2.1 Reusable and pluggable modality components Developers preferred to develop modality components that are reusable and pluggable. Use Case VoiceXML modality component A VoiceXML modality component is reused without modification in different multimodal applications. 2.2 Modular modality components Modular modality components are preferred because they can be authored separately by the modality experts. Use Case XHTML and VoiceXML modality components A VoiceXML expert authors the voice modality component and an XHTML expert authors the GUI component. Modality component coordination is handled independently, for example, by X+V sync and cancel elements. 2.3 Declarative synchronization between modalities Implicit event support includes both implicit event generation and implicit event handling. At different stages in the operation of the modality component, there will be either event generation or event handling by the component itself. Use Case X+V sync element The X+V sync element provides a declarative synchronization of XHTML form control elements and the VoiceXML field element. The sync element allows input from one speech or visual modality to set the field in the other modality. Also, setting the focus of an input element that is synchronized with a VoiceXML field updates the FIA to visit that VoiceXML field. 2.4 Scripting and semantic interpretation Developers liked support for modality component integration via scripting and semantic interpretation. Use Case Timed notifications of an operating room medical procedure A timed notification changes dynamically as time progresses. The notification depends on the current state of the application as well as the notification state. For a GUI+speech multimodal application a notification may be a TTS output and a new GUI page, corresponding to the next step of an operating room medical procedure. Use Case Integrated pen and speech interaction with a map The user says "zoom in here" while drawing an area on a map. The application responds by enlarging the detail of the area within the boundary drawn by the user. 2.5 Styling Developers liked CSS for styling each modality. For example, the CSS3 module for styling speech based on SSML was useful for styling the voice modality. Use Case TTS rendering of a news article on the web The news article is read by the computer in a realistic voice that uses a different sounding voices for headlines, section headings, and text. There are also a pauses between paragraphs and before article headlines. 3 What developers would like to see 3.1 Global grammars Developers would like support for top-level ("global") grammars that are active across multiple windows (e.g., HTML frames or portlets) of the application. Use Case Top-level menus An application has top level menus "buy", "sell", and "trade". At any time while involved in the "buy" dialog, a user can say "trade" and be switched to the "trade" multimodal dialog. 3.2 Speech grammars for HTML links and controls Developers would like support for explicitly adding speech grammars to activate HTML links and controls. An automatically created speech grammar may not capture everything the user may say. Use Case Hotel booking application get list of hotels Before booking a hotel reservation the user looks up a list of available hotels. On the page along with the reservation is a link labeled "Available Hotels." The developer anticipates that besides "available hotels", the user may say "show me the available hotels" or ask "what hotels are available", and adds these two phrases to the grammar for activating the link. Use Case Hotel booking application submit reservation The reservation form s submit button says "submit reservation", but the developer anticipates that a user might say "submit booking" instead, and adds "submit booking" to the grammar for activating the button. 3.3 Speech prompts for voice-enabled HTML links and controls Developers would like support for explicitly adding speech prompts to voice-enabled HTML hyperlinks and controls. The prompts can provide more information than the visual labels attached to the HTML hyperlinks and input fields. Use Case Hotel booking application enter Hotel name The user is prompted to enter a hotel name with the following TTS "please enter a hotel name. You can get a list of available hotels by saying show me available hotels. " 3.4 Speech-enabled widgets Developers would like to see speech enabled UI widgets which contain a simple dialog flow (e.g. widgets which contain confirmation or disambiguation steps). This allows an author to configure the dialog properties (prompts, grammars, confirmation-mode, confidence thresholds, etc.) of an HTML control or hyperlink. Use Case Hotel booking application confirm hotel The user says the name of one of the available hotels. The application repeats the name of the hotel back to the user and asks if it is correct. If the user says yes then the application fills in the HTML field with the user s input. 3.5 Use speech to activate links and change focus It should be easy to use speech to do more than fill in HTML form controls. For example, there should be declarative support for activating an HTML link or changing focus within an HTML page. Use Case Speech enabled bookmark page A page that displays the user s bookmarks is speech-enabled such that each bookmark has an associated grammar for moving the browser to the bookmarked page. 3.6 Back functionality Developers like to see support for a consistent and intuitive "back" handling across modalities. The browser "Back" multimodal functionality should be built-in and not require custom code. Use Case Browser "back" button The user can either press the browser back button or say "browser go back" to return to the previous multimodal page. All spoken commands which control the browser are preceded by "browser" so there is no collision with an application grammar. 4 What developers would like to see continue and improve 4.1 Support for both off-line and on-line multimodal interaction Multimodal interaction should be supported both for applications that are on-line, that is, are connected to the network, as well as for off-line applications. If the multimodal application goes from an on-line to an off-line state, multimodal interaction should still be supported by the modality components that run locally on the device. Use Case Access of medical information while walking down a hallway A doctor carrying a wireless tablet accesses patient medical information while walking down a hallway. Loss of wireless connectivity does not prevent the multimodal application from interacting with the doctor or presenting information it has stored on the doctor s tablet. Use Case Multimodal application in hospital operating room An off-line multimodal application in an operating room delivers timely instructions to the doctor. 4.2 Support for events distributed over the network Because a modality may be distributed on a remote server, there must be support for distributed events between a modality and the interaction manager. Use Case Driving directions A user accesses a multimodal driving directions application using a cell-phone. The application tells the user to turn right at the next intersection. An arrow pointing right pops up over a map. The application had received an event to display an arrow from the server. 4.3 Support for implicit events Implicit event support includes both implicit event generation and implicit event handling. At different stages in the operation of the modality component, there will be either event generation or event handling by the component itself. For example, the VoiceXML modality component could implicitly generate a focus event when the FIA selects a new form input item. Use Case Hotel booking application name, address, phone number A hotel booking application has a form with separate HTML input fields for entering name, street address, city, state and phone number. When the user selects one of the fields the user hears a prompt for entering the correction information into the field. The visual input focus is coordinated with the speech input focus. 4.4 VoiceXML tag and feature support VoiceXML support should include, for example, the object and mark tags and the "record while recognition is in progress" feature. Use case Windows program for calculating stock purchase totals The object element can be used to load a reusable platform-specific plug-in. For example, the application would load a Windows program which calculates stock purchase totals using the object element. Use case Read part of an e-mail message The mark tag can be used to mark how much of the text was actually read before the user left the page. When the user returns to the page the rest of the text can be read beginning where the user left off. Use case Unrecognized user input The recording of an unrecognized user input can be logged by the speech recognizer. 4.5 Support for both directed and user-initiated dialogs There must be arbitrary as well as procedural speech access to the visual application. For a dialog mechanism used in conjunction with a visual form there should be support for user-initiated dialogs. For example, the user should be able to jump to arbitrary points in the dialog by changing the visual focus (e.g., by clicking on a text box). Use Case Form filling for air travel reservation The air travel reservation application takes the user step by step through making a reservation, beginning with the origin and destination of the flight. After the user has been given a selection of flights, the user clicks on the visual departure date field to change the departure date. Use Case Application with two HTML forms The user is taken step-by-step through filling out a set of HTML fields in a form. Before all the fields have been filled, the user clicks on a field belonging to the other form. 4.6 Mixed-initiative interaction Dialog mechanisms that combine speech and text input must support mixed-initiative interaction. Use Case Flight reservation application A flight reservation application has separate HTML input fields for entering destination airport, date of travel and seating class. With a single utterance "I d like to go to San Francisco on April 20th, business class" the user fills in all the fields at one time. 4.7 Access to speech confidence scores and n-best list by the application Confidence scores and n-best lists are useful for example to allow the user to pick from a set of results supplied by an input recognizer. Use Case Select a football player A user says the name of a favorite football player. A number of players matched the user s input with the same low confidence score. Instead of asking the user to repeat the name, the application displays a visual list of player names that was matched. The user selects a name from the list. 4.8 Access to device details The developer would like access to device information such as, for example, the cell phone number, phone model, and display screen size. Typically in any mobile application the content is very specific to the device and at times personalized for the user. Access to device specific details such device model (e.g., Nokia 6680) helps the application reduce the grammar size and render device specific content. Access to user information such as the phone number allows the application to personalize the content for the user. Use Case Mobile appointment application When user George accesses the appointment application the application says "Welcome George " and presents a list of appointments for the day. The user can select any of his appointments by saying an appointment label shown on his phone. Each label is short enough to fit entirely on George s display. 4.9 Choice of ASR The developer would like to have more control over ASR. An example is the capability of a multimodal application to choose between a local ASR or network based ASR depending on the location of the grammar. The developer should be allowed to pick the ASR depending on the application logic. Use Case Music search mobile application In a music search mobile application the application uses network-based ASR to perform a search for a particular Artist/Album such as Green Day , 50 Cent etc. In case of network-based recognition the grammar is changing dynamically and is large in size. The same music application may use local ASR for the purpose navigating through the application using commands such as Home , Next Page etc. 4.10 Controlling N-Best choice of ASR The application should be able to control the number of results it wants from ASR based on either a number N (say return top 5 matches) or confidence score (say return 0.8 score). The developer should be able to author this N-Best list control. Use Case Select a football player mobile application As with the previous football player selection use case, the list of players is visually displayed for the user to select. The user can make a selection from the visual presentation. The ASR may return more than 10 results as part of its N-Best response mechanism. However, the application depending on the screen size may choose to display only the top 5 entries on the screen. The application requests only the top 5 players in the N-best result instead of receiving 10 results and then ignoring the last 5 results.
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BAD STANDING 参考動画 冒頭ムービー ミッション分岐突入編 応援編 ミッション終了 参考動画 GTA4未クリアだけどLost and Damnedできるもん!16 冒頭ムービー ～Manzano Rd.（マンザノ・ロード）とFranklyn St.（フランクリン・ストリート）の交差点付近～ Ray Gentlemen. 皆さんお揃いで。 Jim Johnny. You remember Ray, right? ジョニー、レイを覚えてるか？ Johnny Yeah. How you doing? ああ。調子はどうだい？ Ray How m I doin ? I got the feds all over me, I got a boss who s a paranoid wreck, 調子はどうかだって？FBIどもに張り付かれ、神経のイカれたボスにこき使われ、 Ray and I got a guy above me in the food chain with a brain like an over-cooked artichoke. オマケに、俺より評価されてるのは焦げ付いた芋みてぇな野郎と来たもんだ。 （テリーが笑う） Ray Things are great. 最高だよ。 Johnny Yeah? Sounds like shit to me but whatever. そうかい？その話じゃとても最高には聞こえねぇが、まぁいい。 Johnny So uh why are you here? んで何でアンタがここにいる？ Ray I heard you boys was having a little internal dispute. お前らがちょっとした会合をやるって聞いたからな。 Johnny Where d you hear that from? どこで聞いたんだ？ Ray From Ashley. アシュレーから。 Johnny You friends with Ashley? アシュレーと知り合いなのか？ Ray Everybody s friends with Ashley, tough guy... お前さんたちのお友達も皆アシュレーと知り合いだろ、タフガイ… （レイが笑う） Ray Ah you know... she s a good kid and all. あぁ…アイツは良い娘だ、最高だよ。 Ray A little messed up, but, you know she needed a friend. 少し取り乱しちまう時もあるが、でも、まぁアイツには支える人間が必要だったんだ。 Jim Ray told us where Brian is. レイがブライアンの居場所を教えてくれた。 Johnny Oh yeah where? あぁそうかい、どこだ？ Johnny And how the hell does he know? それにコイツはどうやって居場所なんかわかったんだ？ Ray Alright... don t go breakin my balls, alright? わかった…これ以上話をややこしくするな、わかったな？ Ray I talked to Brian a half an hour ago. 俺は30分前にブライアンと話したんだ。 Ray And listen, I understand where you guys are coming from - よしいいか、お前らが何でここに集まってるのかは俺にもわかってる、 Ray and on one hand, I don t give a shit. 普通なら、俺にはそんなことどうだっていい。 Ray Bunch of grease monkeys want to have an all out gangbang, オイルまみれのメカニック集団がやりあうってんだろ、 Ray be my guest. どうぞご勝手に。 Ray You re all adults. Sort of. 皆もう大人だ。そうだろ。 Ray But, right now, I need calm. だが、今は、落ち着く必要がある。 Ray Billy s on the inside now, ビリーはムショの中だが、 Ray I need a steady flow of merchandise, 俺は商品の流通を安定させたい。 Ray So it s in my interest to see that you boys calm things down. だからお前らが事を収拾をつけてくれれば、俺のためにもなるんだ。 Ray End this little squabble and get back to work. このつまらないケンカを終わらせろ、そして仕事に戻れ。 Ray See yous later. じゃあな。 Jim Yeah, see ya later Ray... ああ、じゃあなレイ… （テリーが立ち去るレイに向かって中指を立てる） Jim So what da you think Johnny? んでどうすんだジョニー？ Johnny I think that guy makes my skin crawl, あの男、見るだけで血ヘドが出そうだぜ、 Johnny but now that you mention it so does Brian, and right now he s our problem. だがそれはブライアンにも言える、今はブライアンの方が問題だ。 Terry God dammit, Brian was my brother. マジかよ、ブライアンは元兄弟だったんだぜ。 Johnny Yeah he was, but so were a lot of people. ああそうだな、だがそれは他の皆も同じだ。 Johnny I don t feel like that shit means too much anymore. アイツだけ特別扱いする気はねぇぜ。 Terry So? だから？ Johnny So I m going to go pay Brian a visit, だから俺はブライアンに挨拶に行ってくるぜ、 Johnny see just what that fat fucker s problem is. あのデブ野郎の問題点をあぶりだしてやる。 Johnny See y all later. じゃあまたな。 （ジムとテリーが心配そうに顔を見合わせる） ・指示 Go to Brian s safehouse. ・ブライアンの隠れ家に行け。 ～Tinderbox Ave.（ティンダーボックス・アベニュー）とEmery St.（エメリー・ストリート）の交差点近くにあるブライアンの隠れ家～ ・指示 Brian is protected in his safehouse. ・ブライアンは隠れ家に立てこもっている。 （携帯電話で話すブライアン） Brian I mean I wouldn t want to be in prison or anything, but I, you know, I d take it. 囚われの身みたいな状況はもうイヤだってことだよ、だがな、あのな、そうするしかないんだ。 Brian Fucking Johnny the rat. ジョニーの野郎め。 ・指示 Take out Brian. ・ブライアンを始末しろ。 （ジムからメールが届く） These are fucked up times, dude. Remember to get T and C to help you if shit gets tough. ・最近苦難の連続だな。もしキツいようだったらT（テリー）とC（クレイ）に援護を頼めよ。 ミッション分岐 仲間に電話せず、単独でブライアンの隠れ家に突入する。 突入編へ クレイに電話して（テリーは留守電）、ブライアンの隠れ家には入らずに攻撃する。 応援編へ 突入編 （ブライアンの隠れ家に突入する：以下台詞ランダム） Brian s faction （ジョニーとはち合う）Shit, Johnny s here. クソっ、ジョニーだ。 Johnny We were your brothers, Brian. 俺たちはお前らの兄弟だったんだぜ、ブライアン。 Brian s faction This is civil war now, get Johnny. これは市民革命だ、ジョニーを殺れ。 Johnny Time to say goodnight, Brian. おねんねの時間だぜ、ブライアン。 Johnny Brian, you little bitch, come out to play. ブライアン、弱虫野郎め、出てこいよ。 Brian s faction I don t care if he s a brother, get Johnny. 兄弟なんて関係ねぇ、ジョニーを殺っちまえ。 Johnny You re mine, you weasel. お前は俺の獲物だぜ、チクリ野郎。 Johnny Where are you, little girl? どこだい、弱虫ちゃん？ Brian s faction Someone kill Klebitz. 誰かクレビッツを殺せ。 Brian s faction Help Brian, will you? ブライアンを援護だ、できるか？ Johnny Brian, brother, it s time. ブライアン、兄弟、時間だぜ。 Johnny Oh Brian. Johnny s here. おーいブライアン。ジョニーだよ。 Brian s faction Protect that little guy! チビを守れ！ Brian s faction Get on Brian, he can t look after himself. ブライアンを逃がせ、アイツは自力じゃムリだ。 Johnny Billy s not here to protect you, Brian. お守り役のビリーはここにはいないぜ、ブライアン。 Johnny Brian! Brian! ブライアン！ブライアン！ Brian s faction Shit, someone look after Brian. クソっ、誰かブライアンの援護にまわってくれ。 Brian s faction Look after Brian! ブライアンをまかせたぞ！ Johnny I always knew you were a chump, you little fuck. 前からお前はバカだってわかってたんだよ、このチビ野郎。 Johnny You ripped this gang apart, assholes. お前らが仲間をバラバラにしたんだ、クソ野郎どもめ。 Brian s faction Take out Johnny. ジョニーを始末しろ。 Brian s faction Why isn t Klebitz dead yet? どうしてクレビッツはまだ死んでねぇんだ？ Johnny Where are you, you anti-Semitic cocksucker? どこだ、ユダヤ嫌いのカス野郎？ （ブライアンがいる部屋に着く） ・説明 When locked-on while equipped with a pistol, you can perform an execution on certain characters. ・このような場面の時ピストルでロックオンすることによって、それぞれ場面に適したキャラクターに対し、処刑の実行シーンを見ることができる。 （ブライアンに銃を突きつける：以下台詞ランダム） Brian Please, Johnny, please. I ll be good. I ll leave and never come back. 頼む、ジョニー、おねがいだ。おとなしくするから。姿も消すし、二度と現れない。 Brian Johnny, man, Billy put me up to it. I ll get out of town. ジョニー、なぁ、ビリーがこうさせたんだ。俺は街を出るよ。 Brian You swore an oath, Johnny. Don t do this to your brother, man. I ll get out of town. あのとき兄弟って誓っただろ、ジョニー。兄弟にそんなことしないでくれよ、なぁ。俺は街を出るからさ。 Brian Billy put me up to it, please. I ll disappear. ビリーがこうさせたんだ、頼む。俺は姿を消すから。 Brian You wouldn t kill a brother, you wouldn t. I ll be a ghost man, gone! お前だって兄弟は殺さないだろ、そうだろ？俺は消える、消え失せるからさ！ Brian Lost MC forever, my brother. Don t do it. I ll leave the city, I promise you man. ロストMCよ永遠にだろ、兄弟。やめてくれ。俺は街を出る、誓うからさ。 （パターン1：ブライアンを殺す） Brian I m sorry! Please! 本当にすまない！頼む！ Johnny Come on. For once, do not be a bitch. いいかげんにしやがれ。最後ぐらい小娘みてぇになるのはやめやがれ。 Johnny You ve got to take it like a man. 一人の男としてドンと構えろやぁ！ （ジョニーがブライアンを撃ち殺す） Johnny Fuck you, Brian. クソったれめ、ブライアン。 『～ミッション終了～』へ （パターン2：ブライアンを見逃してやる） （ブライアンが逃げる） Johnny I couldn t do it to a brother, even him. He s dead inside anyway. 兄弟にはできなかった、アイツでさえ。まぁ奴はもう終わってるがな。 『～ミッション終了～』へ 応援編 （クレイに電話する） Clay Johnny. ジョニー。 Johnny Clay, I m at Brian s place. You guys want to come here and help me with him? クレイ、今ブライアンの家の前だ。お前らこっちに来て援護してくれる気とかあるか？ Clay Right on, Brother. Me and Terry can go round the back and wait for him. もちろんだぜ、兄弟。俺とテリーが裏口でアイツを待ち構える。 Clay If you send a grenade in the window, that should smoke him right out to us. 窓からグレネードを投げ込んでくれれば、奴らあぶりだされて、外に出てくるだろうぜ。 Johnny Sounds good. 良い考えだ。 （テリーとクレイが到着する。） Terry Me and Clay gonna go round back. Smoke out Brian. 俺とクレイは裏に回る。ブライアンをあぶりだしてくれ。 Johnny Knock em dead brothers. 奴らを血祭りにあげてくれよ、兄弟。 ・説明 Terry and Clay will cover the rear exit of the house. ・テリーとクレイが隠れ家の裏口をカバーしてくれる。 ・説明 If you launch a grenade through a window into the house, the occupants will flee. ・グレネードを家の窓から投げ込めば、中にいる敵をあぶりだしてくれるだろう。 （グレネードを投げ込む） ・指示 Brian is trying to escape out the back entrance. ・ブライアンが裏口から逃げようとしている。 （ブライアンがバイクで逃げる） （以下台詞ランダム） Johnny We were your brothers, Brian. 俺たちはお前らの兄弟だったんだぜ、ブライアン。 Johnny You re mine, you weasel. お前は俺の獲物だぜ、チクリ野郎。 Johnny Brian, brother, it s time. ブライアン、兄弟、時間だぜ。 Johnny Oh Brian. Johnny s here. おーいブライアン。ジョニーだよ。 Johnny Billy s not here to protect you, Brian. お守り役のビリーはここにはいないぜ、ブライアン。 Johnny Brian! Brian! ブライアン！ブライアン！ （ブライアンを始末する） 『～ミッション終了～』へ ミッション終了 報酬：$2000 ～ミッション終了後電話I～ （パターン1：ブライアンを殺した後） Jim Jonathan, where s Brian? ジョナサン、ブライアンは？ Johnny Halfway to Hell, my brother. 地獄行きだ、兄弟。 Johnny We don t need to worry about that little fucker pulling nothing. あの後ろ盾もないチビカス野郎を気にする必要はもうなくなったぜ。 Jim Good to know, I ll stop looking over my shoulder. そりゃよかった、俺もいちいち後ろを警戒する必要はなくなったわけだな。 Jim Well, until Billy gets out of prison, at least. Stay in touch. まぁ、少なくともビリーがムショを出るまでの話だがな。じゃあな。 （パターン2：ブライアンを見逃してやった後） Jim Johnny? ジョニー？ Johnny James, I couldn t do it, man. He s getting out of town. ジェイムズ、できなかったぜ。アイツは街から出て行った。 Johnny It s hard to kill a man when he isn t behaving like one. いつもと違うアイツを見るとどうしても引き金が引けなくてよ。 Jim I know what you mean. Let s just get hope he s not planning anything else. Later on, man. 気持ちわかるぜ。あの野郎がもう何も企んでないことを祈ろうぜ。じゃあな。 ～ミッション終了後、ジムからメールが届く～ パターン1：ブライアンの家をグレネードで燃やさなかった場合 You should sleep in Brian s old apartment - he won t be turning up there again. Sure beats that old bed at the clubhouse. ・ブライアンのウチを寝床に使ってもらってかまわねぇぜ、奴もそこには二度と現れないだろうからな。もちろんクラブハウスのボロベッドでも大歓迎だ。 パターン2：ブライアンの家をグレネードで燃やした場合 Me and the boys have fixed up Brian s apartment after the fire. You should sleep there. It s still a shithole, but might be better than that old bed at the clubhouse. ・あの火事の後、俺と仲間でブライアンの家を修理した。お前さんが使ってもらってもかまわねぇぜ。つってもまだ豚小屋みたいだが、クラブハウスのボロベッドよりはいくらかマシだろ。 ～ミッション終了後電話II～ Johnny Ashley? What is it this time? アシュレー？今度はなんだ？ Ashley Hey, Johnny boy. It s nothing. I mean it s something, but, but, it ain t like you think. ねぇ、ジョニーボーイ。特別用事ってワケじゃないの。あのねつまり、ね、ね、あなたの思ってるようなことじゃない。 Ashley I need you to meet a friend of mine - Ray Boccino. アタシの友達に会ってほしいの、レイ・ボッチーノっていう。 Johnny That guinea? Jesus, what you doing with him? あのイタリア野郎と？マジかよ、アイツと何やらかしてんだ？ Ashley We re not doing nothing, Johnny. Nothing we ain t supposed to. I need you to meet him, is all. 何もしてないわ、ジョニー。何もやらなきゃいけないことはないの。ただあなたにその人と会ってほしいだけ。 Ashley We re over at Drusilla s in Little Italy. Can t wait to see you, baby. リトル・イタリーのドルシーラズで待ってるわ。あぁあなたと会えるなんて待ちきれないわ。 ～ミッション終了後電話III～ Billy Mr Klebitz. How re things? クレビッツさん。調子はどうですか？ Johnny Fuck off, man. 失せろ。 Billy You know, Johnny, you should have thought about being more forthcoming earlier in our relationship. あのな、ジョニー、俺たちもっと腹割って話し合うべきだったよな。 Billy As it happens, others in your fraternity are not as loyal as you. たまたま、兄弟たちの何人かはお前ほど忠実じゃないようだし。 Johnny I don t know what the fuck you re talking about. 何を言ってるかさっぱりだな。 Billy You re about to see a close friend on the witness stand. もうすぐ親友が証言台に立つのを見ることになるぜ。 Billy Time s up, Johnny. 時間切れだ、ジョニー。 Johnny I ll believe it when I see it, you tight-ass prick. Adios. じゃあ実際にそれを見たらアンタの言うこと信じてやるよ、頑固オヤジめ。じゃあな。
https://w.atwiki.jp/guitarhero/pages/38.html
"Start a band, Rock the world." Developer Harmonix Music Systems Console XBOX360, PLAYSTATION3, PLAYSTATION2 ESRB Rating T OFFICIAL http //www.rockband.com/ HARMONIX http //www.harmonixmusic.com/ TV CM "The" http //youtube.com/watch?v=8G-bGTD40so TV CM "Scissor Kick" http //youtube.com/watch?v=jBZqiHx-37c TV CM "T-shirt" http //youtube.com/watch?v=NTvOniTShkg http //youtube.com/watch?v=CLUCfvJ0MxE http //youtube.com/watch?v=OIJLCImtF-E ROCK BAND FAQ V2.0? GENERAL Q) ROCK BAND(RB)ってどんなゲーム？ A) ギター、ベース、ドラム、ボーカルが手軽に楽しめるリズムゲームです オン(オフ)ラインでの4人プレイもサポートされています Q) だれが作ってるの？ A) 海外リズムゲームの老舗HARMONIX(HMX)がELECTRONIC ARTS(EA)、MTV GAMES(MTV)の協力を得て開発しました HMXは言わずと知れたGUITAR HERO(GH)シリーズを生み出した会社です(GHI,GHII,GH80s) Q) どんな曲が入ってるの？ http //en.wikipedia.org/wiki/List_of_songs_in_Rock_Band#Main_setlist Q) どこで買えるの？ A) アメリカとカナダで販売されています。 Q) 日本での発売予定は？ A) Q entertainmentから日本版RBが発売予定との噂がありましたが2010年1月現在何も続報無し。 Q) 遊ぶにはなにが必要なの？ A) 北米版XBOX360(360)本体もしくはPLAYSTATION3(PS3)本体とRBのソフトが必要です。リージョンフリーのRB1,Lego RB,Beatles RB,Track Pack Vol.2は日本本体でもプレイ可能。 （北米PLAYSTATION2版もありますが出来が悪いのでお勧めできません） Q) アジア版(日本含)の360本体じゃ遊べないの？ A) リージョン規制の掛かっているRB2は遊べません。リージョンフリーのアジア版RB、Lego等は日本本体でも遊べます。 Q) 日本のPS3本体なら遊べる？ A) 遊べます Q) 標準コントローラーで遊べる？ A) ギター、ベース、ドラムを遊ぶには各専用コントローラーが必要です 標準コントローラーはボーカルがマイク(ヘッドセット)を繋いで使用します Q) 専用コントローラーが欲しいんだけど A) RBのスペシャルエディション(SE)を買いましょう ギター(ベース兼用)コントローラー、ドラムコントローラー、マイク、その他周辺機器が入っています （2月にドラム、4月にギターコントローラーの単体発売が予定されています） Q) SEはどこで買えるの？ A) ebayまたは一部の輸入ゲームショップで購入された方が多いようです Q) GHのギターコントローラーは使える？ A) 360版RBでは問題なく使えます。PS3版RBでは残念ながら使えません Q) PS3版SEを買ったけどオフラインで4人プレイができないよ？ A) SEをもう一つ買うか、4月に発売が予定されているギターコントローラー単体を買いましょう HARDWARE Q) ギターでストラム(ピック)が出来なくなった、どうしよう A) http //forums.maxconsole.net/showthread.php?p=774206 http //youtube.com/watch?v=3fypJNFsK4E Q) ドラムのバスペダルが割れた、どうしよう A) http //search.ebay.com/search/search.dll?from=R40 _trksid=m37 satitle=rock+band+bass+pedal category0= Q) ドラムがうるさい、どうしよう A) http //www.rockbanddrumpads.com/ http //beatdownpads.com/ http //www.bryanmentock.com/Bryan%20Mentock/gumrubberdrumpads/index.html Q) ドラムの調子が悪い、どうしよう A) http //www.oxmonline.com/article/features/presses/how-fix-your-rock-band-drums Q) ドラムにテープを貼ってる動画を見たんだけど？ A) 隙間を小さくすることによりセンサーの感度を調整しています （参考 http //youtube.com/watch?v=wyF5rquKjas） MISC Q) DLCってなに？ A) DownLoad Contents(追加曲)のことです。XBOX LIVE(XBL)では毎週火曜日、PLAYSTATION NETWORK(PSN)では毎週木曜日に3曲づつ配信されています Q) どんな曲があるの？ A) http //en.wikipedia.org/wiki/List_of_songs_in_Rock_Band#Downloadable_songs Q) 有料？無料？ A) 有料です。360は1曲160MSP、3曲パックで440MSP。PS3は1曲$1.99、3曲パックで$5.49です（一部例外があります） Q) パックされてない曲があるんだけど？ A) パック売りされてない曲は単体で購入するしかないようです Q) PS3版には無い曲があるよ？ A) 一部の楽曲は360専用コンテンツです(2008年1月現在) Q) 日本のクレジットカードが使えないよ？ A) XBLならebayや輸入ゲームショップで北米MSPを購入しましょう。PSNはPSNカードが発売されていないのでDLC入手は難しいです(2008年1月現在）
https://w.atwiki.jp/langmaker/pages/98.html
概要 "The Waldzell Conlang is an artificially constructed language (or conlang) designed to provide a medium for natural-language communication in which ontological vagueness and ambiguity are minimized. The lexical items of the Waldzell Conlang are created when a game is submitted to the Waldzell Glass Bead Game Archive to represent the new terms which were introduced in the game (i.e. had never been mentioned in any previous game). In fact, the Conlang itself will remain nameless until it is mentioned in a game submitted to the Archive. "(ホームページより) ホームページ https //web.archive.org/web/20080509141913/http //www36.pair.com/waldzell/Conlang/index.html
https://w.atwiki.jp/monaring/pages/1240.html
httpビーム 1赤赤 インスタント httpビームはあなたがクリーチャーを１体以上コントロールしていないかぎり唱えられない。 クリーチャー１体かプレイヤー１人を対象とする。 httpビームはそれに５点のダメージを与える。 つまらんネタで荒らすからナ、どうだ悪だろう。 ――モララーから 1へ 第１版の 16 暫定選定リストにも収録された。 [部分編集] 後にhttpビームという良く似た名前のカードがモナリングにできたが当然別のカードとして扱われる イラスト http //======================
https://w.atwiki.jp/thunderstone/pages/215.html
Undead･Spirit/アンデッド･スピリット カードタイプ：Monster/モンスター エキスパンション：Thunderstone/サンダーストーン 英語版 Card Name Number Class Health Gold XP VP Text HAUNT 2 UNDEAD･SPIRIT 4 1 1 2 BATTLE One Hero cannot attack. SPECTRE 2 5 1 1 3 BATTLE Destroy one Militia. GHOST 2 6 1 1 4 HALF-ATTACK Without MAGIC ATTACK present.BATTLE All Heroes suffer Strength -2. WRAITH 2 6 2 2 4 BATTLE Destroy one Militia. REVENANT 2 7 2 2 5 Magic Attack Required.BATTLE All Heroes suffer Strength -4. Any heroes with Strength 0 or less are Destroyed. 日本語版 カード名 枚数 分類 ヘルス 金貨値 経験値 勝利点 テキスト ホーント 2 アンドッド･スピリット 4 1 1 2 戦闘：英雄1枚は攻撃できない。 スペクター 2 5 1 1 3 戦闘：民兵1枚を廃棄する。 ゴースト 2 6 1 1 4 魔法攻撃がなければ攻撃半分戦闘：すべての英雄は体力-2を被る。 レイス 2 6 2 2 4 戦闘：民兵1枚を廃棄する。 レヴナント 2 7 2 2 5 魔法攻撃が必要。戦闘：すべての英雄は体力-4を被る。体力0以下になった英雄は廃棄される。 カード解説/CARD GLOSSARY カード分析 平均ヘルス/金貨値/経験値/勝利点 = 5.6 / 1.4 / 1.4 / 3.6 所感 霊体のアンデッド、いわゆるお化け。民兵は恐怖に対する耐性が低いのかよく死ぬ。 最下級のホーントは意外と手ごわい。VPが低いため放置されることもしばしば。 レイスはスペクターにヘルス+1しただけなのにすべての報酬値が上がっている。非常においしい。同時に民兵廃棄もできるのがうれしい。 ゴースト、レヴナントは民兵の大量廃棄を狙える。体力0に関するルールが明確化する前はレヴナントが序盤にめくれると次の手番のプレイヤーが圧倒的有利となっていた。現在はゴーストも同様になったため不公平感は多少緩和された。 そのゴースト、レヴナントは魔法攻撃を要求する上に、体力減少能力を持つためかなり倒しにくい。魔法攻撃を持つ英雄の体力が総じて低めなのが原因。Iron Rations/保存食を残しておくのも重要になってくる。 戦士系以外だとレヴナントの能力に巻き込まれる英雄はかなりの数にのぼる。VP5と引き換えに犠牲にしていいかどうかはよく考えよう、 最上位のVPが突出していないため、中堅どころを確実に狩るのが重要。スペクターも無視できない存在である。 ヘルスがあまり高くなく、レヴナントやゴーストの体力低下もあって大重量高火力な武器カードはやや活躍しにくい。他のモンスターとの兼ね合いもあるが、優秀な呪文や傭兵があるならそちらを優先すると良いだろう。 関連カード 狩りやすいカード Bluefire Staff/ブルーファイア･スタッフ：重さ0のため、ゴースト、レヴナントへの魔法攻撃確保に使える。 苦手とするカード Highland Officer/高地の士官：民兵デッキにおいて頭数を減らされるのは致命的。 Selurin/セルーリン ゴーストにすら殺される貧弱さ。被害なしでレヴナントを倒すのは難しい。 Thunderstone Advance対応版 ※Download Thunderstone Print and Play企画版。 http //www.alderac.com/thunderstone/2012/05/26/download-thunderstone-print-and-play/ 参照。 Card Name Number Class Health Gold EXP VP Text Haunt 2 Undead･Spirit･Level2 4 1 1 2 Battle Ignore 1 hero. Spectre 2 5 1 1 3 Aftermath Destroy 1 Regular. Ghost 2 6 1 1 4 Halve Physical Attack without Magic Attack present.Battle Each hero suffers Strength –2. Wraith 2 6 2 2 4 Aftermath Destroy 1 Regular. Revenant 2 7 2 2 5 Magic Attack required.Battle Each hero suffers Strength–4.Aftermath Destroy each hero with Strength 0. ゴーストではRegularの大量廃棄ができなくなった。それによりレヴナントの出現タイミングによる格差が再び強まった。