約 7,110,158 件
https://w.atwiki.jp/touhoukashi/pages/4689.html
【登録タグ Compilation CD-BOOK 東方玉手箱 G IRON ATTACK! まいなすいょん 曲 運河を行き交う人妖】 【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 }; 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https://w.atwiki.jp/tljtrans/pages/194.html
April 14th, 2209. A Friday. 2209年4月14日 金曜日 Happy Birthday to me! The big one-eight! Joyness, right? Well...not to sound like a complete spoilsport, but 18 feels kinda like 17, only I can buy a gun and pilot a hovercraft. I d kinda figured that the number 18 would cast light into the deep dark chasm of my soul and reveal some grand truth about the universe. Like the meaning of life, or at least some explanation as to why all guys are complete idiots. But...no. Nothing. I m the same person today that I was yesterday. No different. Same old boring April, stuck in the same old boring life. お誕生日おめでとう、私! 18才バンザイ! 嬉しいわよね? でも…シラケてるわけじゃないけど、銃を買ったりホバークラフトを操縦しない限り、18なんて17の頃と大して変わらない。18という数字が魂の奥底に光を投げかけて、宇宙のとてつもない真実が明らかになるような気がしてた。人生の意義、あるいは少なくともすべての男が完全なバカである理由ぐらいは明らかに。でも…違った。何もない。今日の私は昨日と同じ人間だわ。何も変わらない。古ぼけたAprilのまま、古ぼけた人生のまま。 Which of course does make me realize something important I just HAVE to get outta here soon. I have to leave. There s nothing here for me, no future, and a past I d prefer to forget. And I know where I wanna go. The Venice Academy of the Visual Arts, in Newport. それは同時に、私に大切なことを悟らせてくれた。私はすぐにここを出て行かなければならない。去らなくてはならない。ここには何もない、未来も、あるのは忘れたい過去だけ。それに、私には行きたいところがある。ニューポートのヴェニス美術学校。 God knows if they ll accept me into their fall program, but I HAVE to try. Sarah went out there last year, and she s agreed to let me stay at her place for a short while, until I can get a job and an apartment. 入学試験に受かるかどうかは神のみぞ知る、けれど私は挑まなきゃならない。去年向こうに行ったSarahがしばらく泊めてくれるから、仕事とアパートはその間に探せばいい。 Writing about leaving is both scary and exciting. It s scary because I ve never really been on my own before, and I ve never been to Newport. And of course I m scared that "good, old Daddy" will find out and force me to stay. Not that he can, but he will certainly try. On the other hand, it s really exciting too! I can t imagine anything that beats starting my own life in a place like Venice! From what I ve seen and heard, it looks GREAT - there are lots of little caf駸 and criss-crossing canals just like in the "real" Venice, in Italy, and most of the people who live there are young and creative and not afraid to look or sound or be different. Which will make a nice change from this place. 独立について書くことは怖くて刺激的。本当の自活なんてしたことないし、ニューポートにも行ったことがないから心細い。なにより怖いのは「善良な、年老いたパパ」が私を見つけて無理矢理連れ戻すこと。見つかるとは思わないけれど、必ず捜そうとするはず。だけど、そういうのも刺激的ね! ヴェニスで生活を始める以上のことなんて考えつかないわ! 私が見聞きした限り素晴らしいところよ―小さなカフェや十字運河がイタリアの、「本物の」ヴェニスみたいにたくさんあって、ほとんどの住人は若くて創造的で見た目や印象や違いを気にしない。私だってきっと変われるはず。 April 22nd 4月22日 Today I called the Academy and asked them about their admission requirements, and they told me to bring some of my work in "when you arrive". They don t really have any specific requirements, only that you re talented and dedicated and hard working. The lady I spoke to sounded nice, but she didn t make any promises. She told me there are a lot of applicants and only a limited amount of spaces. I know my work s good, even though I haven t had much training. And I m definitely dedicated and hard working. So why am I still nervous??? 今日、学校に電話して入学条件を尋ねたら、「あなたが到着するとき」作品の一部を持ち込むよう言われた。具体的な要求は何もなく、ただ才能と努力とひたむきさとが問われることになる。相手の女性はいい感じの人だったけど、何も約束してくれなかった。たくさんの入学希望者と限られた枠があることだけを教えてくれた。たとえ未熟でも、私は自分の作品に自信を持っている。私にとって難しいのは努力とひたむきさ。けれどなぜまだ神経質になってるのかしら??? May 1st. 5月1日 I m sorry I haven t kept up with events in this diary, but with my exams and everything else going on right before graduation, I haven t had the time. I know, I know, BAD excuse. I ll just have to take time out to, and I ll definitely keep my diary up to date from now on! 済んだ出来事を後から日記に書くのは嫌だけど、試験や何かが卒業式の直前に詰まっていて、書いている暇がなかった。そうよ、わかってるわ、言い訳よ。しばらく間が開くだろうけど、その後はちゃんと日記をつけることにしよう! May 25th. 5月22日 AAAAARGH! Three weeks of complete silence! I look back at my previous diaries and I wonder; where the hell did I find the time to write so much, so often? Oh well, I ll try to remember what s been going on these past few weeks... ああああ! 三週間もの完全な沈黙! 以前の日記帳を振り返ると不思議だわ。一体全体どうやって、私はたびたび書く時間を見つけてたのかしら? とにかく、ここ数週間の出来事は憶えておくことにしよう…。 I passed all my exams with straight A s (of course J), and tomorrow morning I m leaving home. Yes, I m making the leap into the great unknown, and I m never coming back here. I withdrew all my money from the bank--$2190--and I ve packed a suitcase and a bag with my clothes and work-samples and books and anything else I can t do without. Unfortunately, I have to leave so much--my old toys, some of the bigger canvases, my screen. And it s not like I can have Mom ship them or anything. I m leaving a letter for my family, but I m not telling them where I m going. 18 years under constant scrutiny is enough, I really don t want to carry any of that CRAP with me into my new life. すべての試験をオールA(もちろんJ)で合格した私は、明日の朝家を出る。そう、私は未知へと羽ばたき、ここに戻ることはない。全財産―2190ドル―を銀行から降ろして、手提げと旅行鞄に服と作品と本だけを詰め込んで、それ以外は諦めることにした。残念だけど、昔のおもちゃや大きなカンバス、衝立は持っていけない。ママに荷送りを頼むわけにもいかない。家族に手紙を残して行くけど、行き先は伝えないから。煩わしい干渉は18年でたくさん、新しい人生に余計なしがらみを持ち込みたくない。 Strangely enough, when I was packing this morning, I suddenly remembered something I d forgotten a long time ago. When I was a kid, I kept all my drawings in a box under the floorboards so my Dad wouldn t find them and berate me for wasting my time. The box was right where I put it, more than six years ago. I didn t feel like looking at any of the drawings right away, so I wrapped the box up and stuck it in my bag. I ll open it when I get to Venice. I don t think this is the right time for nostalgic reminiscence about my childhood, but I m glad I remembered to pack the box. So, tonight s the night. I m sneaking out of here at 4 AM to catch the train to Greenvale, and from there on to the BIG CITY itself--Newport. At dinner tonight, I ll see Mom, Dad, Daniel and Owen for the last time in a long while. I don t really care if I ever see Dad again, but I feel sorry for Mom. She doesn t seem to care much for 不思議なことに、今朝荷物をまとめていたとき、私は大昔の記憶を突然思い出した。子供の頃、パパに見つかって時間の無駄と叱られないよう、私は自分の絵を箱に入れて床下に隠したんだった。箱は6年以上もそのままだった。絵をすぐに見たいとは思わなかったから、私は箱を包んで鞄に入れた。ヴェニスに着いたら開けようと。幼い頃のノスタルジックな回想なんて興味ないけど、箱のことを思い出したのは嬉しい。いよいよ今夜。私はグリーンヴェール行きの列車に間に合うよう午前4時に抜け出して、そこから大都会―ニューポートへと向かう。今日の夕食で、ママ、パパ、DanielとOwenの顔をじっくり見届けるつもり。パパには二度と会えなくてもいけど、ママには気の毒だと思う。 me, but I know she ll miss me, and I know she ll feel very guilty for turning a blind eye to the way he treated me throughout all those years. As for Danny and Owen, I don t really know. Danny s an asshole--he could (theoretically) improve, though I doubt he wants to. As for Owen--he s still a kid, he might turn out okay, but as long as Dad s in control I m not too optimistic... ママはあまり気に掛けていないようでも、私がいなくなれば寂しいはずだし、私に対するパパの振る舞いを見て見ぬふりをすることにも心を痛めていたはず。DannyとOwenのことは別にいい。Dannyはただの間抜けだし―自分でそうしたいかは別として、(理論的には)マシになる可能性はある。Owenは―まだ子供だし、問題ないかもしれないけど、パパのもとにいる限りあまり楽観はできないわ…。 I m going to the pond tonight, to say goodbye. I haven t been there in a long while, not since that CRAZY day. Well, I have to see it one last time, or I ll never get it out of my head. As for my friends, I don t really want to say anything. I ll mail them when I get to Newport. To Venice. 今夜は池に行こう、さよならを言いに。あの狂った日からじゃなく、長い間ご無沙汰してたから。そうよ、最後にもう一度見ておかないと、頭からあのことが離れない。友人たちについては本当に何とも言えないわ。ニューポート、ヴェニスに着いたらメールしよう。 So, this is the last entry I write here in this house, in this room. In some strange way I can t really understand, I ll miss it. Not much, but I did grow up here, I did spend 18 YEARS ...oh my god... in this place, and that s not soon forgotten or ignored. I don t want to feel bad for what I m doing, but I can t help it; I do feel bad, a little. But more than anything I m excited about what tomorrow will bring. I think--yeah, I believe I might actually be happy! ...imagine that... そう、これはこの家で、この部屋で記す最後のページ。はっきりしない奇妙な先行き、私はこれを恋しく思うだろう。大したことじゃないけど、ここで育ち、ここで過ごした…なんて長い…18年間は、忘れることも無視することもできない。自分のしていることに引け目を感じたくはないけれど、どうしようもない。ちょっぴり、後ろめたさを感じる。でも、私は何より明日がもたらしてくれるであろうことに興奮している。私は―実際、幸せ者かも! …考えてもみてよ…。 Friday, July 28 2209. 2209年6月28日 金曜日 Way too early in the morning...and I won t even TRY to describe the dream I had last night. Like, enough with the fairy-tales already! I need to start dreaming about boys and shopping...you know, the important things in life. あまりに早い朝…昨夜の夢は説明する気にもならない。おとぎ話はもうたくさんよ! 男の子やショッピングの夢を見るべきだわ…そうでしょ、人生で重要なのはそれよ。 It just dawned on me that the student exhibition opens in less than two weeks! My "painting" - and I mean that in the broadest sense of the word - is not even close to being presentable. Even that s an overstatement. All I have is a blank canvas, and while that may fool SOME people (like in "whoa, what an expressive statement of NOTHINGNESS"), it won t fool my teachers. 学生展覧会まで2週間もないんだった! 私の「ペインティング」―私が意図するのは最も広義のそれ―は体裁すら整ってない。これでも誇張してるわね。カンバスはみんな白紙で、一部のお客はごまかされるかもしれないけど(「おお、なんて豊かな無の表現だろう」ってね)、先生たちの目はごまかせないわ。 So today I have to put in a solid six hours of work at the studio, and just hope that inspiration will strike me like lightning from the sky. It could happen. だから、今日はスタジオでたっぷり6時間は費やして、空から稲妻のようなインスピレーションが降ってくることを祈るしかない。きっと大丈夫。 Main Menu 戻る
https://w.atwiki.jp/touhoukashi/pages/5055.html
【登録タグ GET IN THE RING R みぃ 厄神様の通り道 ~ Dark Road 曲 東方幻奏響UROBOROS弐 ~fAIRYtAILoVERdRIVE~ 運命のダークサイド】 【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/mac_kai/pages/22.html
Total - (Today - Yesterday - ) LastUpdate 2010/02/20 23 57 This page is a place in which it reports on the result of operating verifying "XLink Kai" with Mac . The game used for the verification is chiefly Monster Hunter(PSP) . XLink Kai with Mac,Operation verification page Explanation of table Result (E) Excellent It operates without trouble. (G) Good There is no obstacle. However, there is room about the verification. (I) Instability Operation is not steady. (X) Impossibility It doesn t operate. Verification result list Result My verification environment Other party s environment Number of players Verification day Comment (X) GW-US54GXS OSX10.5(Intel) - - 2008/09 "XLink kai mode" doesn t correspond. (E) GW-US54Mini2 OSX10.5(Intel) Win/Mac 2~4 2008/09 OSX10.4(Intel) (G) GW-US54Mini2 OSX10.5(PPC) Win/Mac 2~4 2008/09 ※3 OSX10.4(PPC) (I) AirPort OSX10.5(PPC) Win/Mac 2 2008/09 The number of people is limited. OSX10.4(PPC) OSX,AirPort 2~3 2008/09 ※1 The number of people is limited. (X) AirPort OSX10.4(PPC) Win/Mac Mini2 - 2008/09 ※2 (E) GW-USMicroN OSX10.5(Intel) Win/Mac 2~4 2009/01 OSX10.6(Intel) Win*3people 4 2009/11 (G) LAN-WN11/U2PSP OSX10.5(Intel) Win/Mac 2~4 2009/?? (G) GW-US300MiniS OSX10.5(Intel) Win/Mac 2~4 2009/10 (G) GW-USMini2N OSX10.6(Intel) Win/Mac 2~4 2009/10 (G) GW-USNano-G OSX10.4(Intel) Win/Mac 2~4 2010/07 ※1 If it is the same environment, and AirPort, it has confirmed it up to three people or less. ※2 Synchronization cannot be taken with AirPort and the adaptor.The network cuts it immediately after beginning of the game. ※3 The Intel Mac "PLANEX USB driver utility" can be used with PPC. The verification outcome will be added in the future.
https://w.atwiki.jp/touhoukashi/pages/2464.html
【登録タグ 3L M NEVER TOUCH YOU NJK Record Shihori TOHO EURO FLASH Vol.1 曲 東方妖恋談】 【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/mopsprogramming/pages/173.html
There are some arguments against NEON OO Model on which Mops and Win32Forth are based. Most of those arguments stands on some implicit presuppositions that lead to the conclusionthat NEON OO Model is bad. I hate to participate in political debates disdaining something. But I will try here to defend NEON OO Model against tricky arguments. By the way, I never try to refute other OO models than that of Mops. Simply I want to free Mops OO Model from wrong images. An Object should be passed via parameter stack in Forth dialects? In Object Orientation Semantics, Object is a receiver of messages and an actor. It is not considered as a Data or Parameter or other thing to be passed to a procedure via parameter stack. Surely, an object is internally some data in Mops and Win32Forth, too. But the fact belongs to the implementation details. Implementation detail is another problem than the syntax and semantics of a language. If one says objects must be data so that they must be passed via parameter stack as parameters, the one is losing sight of OO semantics and sticking to the second class or pseudo OO, say, "Data Orientation". Of course, it is never wrong in itself for objects to be able to be passed as parameters. The objectID (normally pointer) of an object is surely a datum. But at the same time it could not be called a defect of the system if an object would not be passed as a parameter in normal message sending. So "selector object" syntax is never worse than "object selector" syntax from the view of OO semantics (human interpretation). Or rather "selector object" syntax is better in message sending appearance in my opinion because it distiguishes the actor (object) from parameters to be processed by it. The fact that Selector cannot be ticked hinders extensibility. By the way, why can Selector always be ticked? Tick pushes xt of the word ticked to data stack. Which xt? Selector is not a word in that its execution semantics is undefined without combining witha class or object. Surely, after defining a way of binding a selector can be ticked. That is, we can do in NEON Model AMETHOD SELECTOR [] ; AMETHOD But it is because by defining the selector as being late bound, looking for the appropriate method of a passed object through class linkage becomes a part of contents of SELECTOR s execution semantics.The opinion that a selecor should always be tickable is based on a presupposition thatselector always has its definite execution semantics.But the presupposition itself is false in NEON Model.In OO semantics of NEON Model it is object, not selector that looks for method in its class on gentting message. Normal selector in NEON model is a part of message but not a name of a procedure by itself. Still you need early bound method xt? If so you can do in PowerMops ref ACLASS AnObjRef no_subclasses \ ossia ObjPtr AnObjRef class_is ACLASS AMETHOD ( param1 param2 ... ^obj -- ? ) - AnObjRef SELECTOR AnObjRef ; AMETHOD Or you need faster late bound method xt using a methods table? If so you can do in PowerMops ref ACLASS AnObjRef AMETHOD ( param1 param2 ... ^obj -- ? ) - AnObjRef SELECTOR AnObjRef ; AMETHOD AnObjRef can be a temporary (that is, local) object when it is declared with "ref". Addition (8/3/06) An object could be seen as an actor or data+index to method. parameters selector object syntax shows the object as an actor and parameters+selector=message as Input to the object. That is, selector is a part of input to object.It is default OO syntax of NEON model, so we cannot reproduce the process or function from selector via tick. Why could we know from a part of the input, the process in which it will be thrown? On the other hand, Mops allows also to see an object as data+index to method.Index to method is a pointer to the class or to the method table in PowerMops.Other optional arrangements for method binding represent this consideration. Smalltalk-like late bind is slow. Yes, it is slow compared with early bind. Late bind is about 20 times slower than early bind in some bench mark code in PowerMops.But early bound method is very fast in PowerMops. Although it can not be generalized, early bound method of PowerMops on PPC seems to be about 5 times faster than equivalent non-OO code in GForth native on x86 machine in CPU clock base from some data. Anyway, PowerMops early bound method is really fast.Late bind is slower than _it_. On PowerPC, PowerMops late bound method is about 10 % faster than non-OO equivalent codein GForth 0.6.2. Damn slow? Definitely NO. In reality, iterative late binding (polymorphism) happens often on a heavy task in itself like "DRAW".In such a case over head concerning method binding is almost negligible. Besides. Who can say NEON Model is incompatible with a vtable like late bind?PowerMops class does build a methods table. It is not the matter of OO model.Again, an implementation detail!PowerMops doesn t require something like VIRTUAL declarations of methods, unlike C++.Quite handy. To tell the truth, PowerMops normal (wihout vtable) late binding implementation has a special search optimization (acceleration) mechanism. As the result, it becomes fast as it is.System implementer can and should elaborate one s implementation in order to make the system fit with the preference, unless the implementation details should be controlled by others. Conclusion An argument such that using such and such technique internally is bad will come typically from the view of language system implementers, not from that of users of the language. We could see the OO feature of a language as one of the tools to write application in the language. Implementation details could be left to the ingenuity of system implementers.Then we could concentrate the syntax-semantics relation of OO constructs.In this respect NEON model is not bad. If you have your own (favorite) Forth with OO extension different from NEON model,NEON model may look bad and ununderstandable. So what?From my experience Mops OO feature is very good for application programming.But if you don t understand and never have done programming in Mops, Mops code will look like unreadable. That would hold for any languages.The strength of OO syntax of PowerMops may be best realized when you are writing some application in PowerMops. -- Maybe not when you are trying to implement the OO model for your system. Theories concerning OO generally look like bound by (negatively or positively) the world view of Algol family (C, C++, Java). But Forth is flexible and extensible language, instead of inflexible and fixed language, like C.Why do we need to worry about OO theories build (aversively) on (procedural or sometimes even including hybrid type) Algol family languages?Java model may be good (the best? how about Objective-C? you stick to the (a bit old) industry and/or scholastic standard? It may be ok. But unfortunately we are free from such a credo.) OO construct in context of C. But its OO syntax and semantics look still in half way. "When an object is passed as a parameter to a procedure,the procedure checks the class and ..." This sounds like always-virtualized C++. But we really need it on Forth?Surely NEON model didn t look like (reversed) Java. But so what? Is it a bad signal in itself? In my opinion, the thought that an object is data is a quite low level idea.Even if such a thought is allowable, taking an object quite the same as other parameters is wrong according to the standard OO way of thinking. It might be better to push object IDs onto another stack than normal parameter stack in that such a thought, at least, is not confusing objects with data parameters.But once we suppose a special object stack to which objects are dynamically pushed at runtime, default late binding begins to look very natural in order to send messages consecutively to anonymous objects in the object stack. This thought seems to treat objects as a group of data.This grouping is realized as class-structures in Java or C++. Late binding loosens tight and narrow restrictions of class-as-type mechanism in Java or C++,and virtual method utilize this looser grouping. So late binding (sometimes identified with polymorphism) is seen as the true establishment of OO for Java or C++. In this philosophy, an instance (individual) is derived from its group (whole or class structure). Building the structure (set-subset grouping) is more important than individual objects. Objects (instances) are processed by something (method) according to the group they belongs to. Methods are the first class entities in this view, so each of them should have the independent meaning inspite of naming collisions.This is quite different from the philosophy of NEON model where the property of an individual object is more important than class structure, and the structure is a mere result of the similarity of properties among objects. Objects (instances) process some data as processors using their methods.Objects are the first class entities and methods are secondary (ancillary) to the object that knows them. Surely, PowerMops uses systemcall functions. Those are written in C++ so that a system object is a data -- low level object -- to be passed as a parameter to a function.But we know our OO model can cohabit with it because ours lives at higher level. In NEON OO model we don t need to stick to the lower level to keep low level accessibility because our moving to the higer level never sacrifice the lower level constructs. Such a cohabitation of low level and high level is Forth, I think. In my humble opinion, C++ or Java looks like taking a side road to OO. In Smalltalk or NEON model we think that an object has its ability (functionality) and propertiesand shares those with other objects by inheritance. While in C++ or Java all such things seem to be treated in view of accessibility. It is not, of course, illogical. But at the same time such accessibility definitions can be so much complicated thatan object cannot be recognizable as a semantically definite entity. I suspect that this growing tendency of the complication of rules to define wether to allow/prohibit accessing may cause, so to speak, concentration of abstract class structure and thought that an object is a mere data because such a complication is very likely to break the unity of an object as an actor. Of course, such way of thinking or programming habit comming from the C++ or Java situation is neither bad nor good in and by itself. My point is that different presuppositions will lead to different ways of thinking or programming habits. Terribly bad design fom one point of view may not be so bad from another point of view, vice versa. We should reflect on which presupposition we are putting in evaluating something. That s all. Mops default method binding is said to be Early Binding. But it is programming-default or a kind of standard, not interpreter and/or compiler default. Mops allows plural ways of message sending. But the way of binding is always explicit in code. Mops doesn t try to force programmers to take one certain way. It simply leaves many possibility to the programmers.It may be considered bad in the world of standard programming. But if they were true, Forth itself would be bad.Additionally we never confuse normal words with messages to invoke corresponding methodsin Mops code because they obey distinguishable syntax rules. Word and selector are different entities in NEON model, so they look different in Mops code. It is natural, I think. NEON OO model is said to be based on Smalltalk model.It is true that Smalltalk is too different from Forth since it is pure OO language. But we should be able to learn from Smalltalk (or other pure OO language) a natural and straightforward OO syntax-semantics correspondence, and think about its realization in Forth. From this point of view, NEON model has a excellent mesage sending appearance in my opinion. Moreover, advantages of NEON model are more in practical aspects of programming than in theoretical ones.This achivement is surely an evidence of Forth s tremendous expressive power since whole the OO construct has been written in Forth. Or you insist we should keep Forth pure? Well, but we never lose the pure Forth by adding OO constructs. Supplying NEON OO feature will never prevent us from programming in pure Forth.It is the strength of Forth we are referring to. You may need a simplicity. But there is no THE simplicity. Simple doesn t always mean short code.Fortunately, everything is already simple in Forth -- aren t you confused by your implicit suppositions?You may say "we should wipe it hour by hour and let no dust alight".But we will reply "it is always clean so where can the dust alight?"(Zen of Forth). Appendix a defect of some of Object-Method syntax (unfinished) My argument was(is) supposing PowerMops as a typical example of NEON OO model. And I treated only standard OO syntax of PowerMops. PowerMops has some OO related features that were not mentioned above.For example PowerMops allows also object-method(+class information) syntax for binding. We can select one way according to the situation. PowerMops class can have a method whose content may be different object-wise, and, when needed, can be changed dynamically. But this feature is achived by xt-variable functionality, which is already in standard Forth.That is, PowerMops solves this problem via instance variables, not inheritance. Since standard Forth already has the solution, NEON model doesn t need additional theoretically sophisticated late binding mechanism or other OO functionality to solve it. (I don t know what OO features Win32Forth has. But I think what features PowerMops has could be implemented in Win32Forth.) This article was written as a reaction agaist the claim "message-object syntax is bad or simply wrong". So, this article doesn t contain all features of PowerMops OO. I used an OO semantics to support message-object syntax. But I am not a Dogmatiker. I never insist that this semantics is one only theoretical foundation for PowerMops OO coding.I have never imagined that every PowerMops user should first be taken by this semantics to understand the OO code in PowerMops. My intention was simply that since one simple and understandable semantics can support message-object syntax, this syntax should have some reason. So I think that a claim "message-object syntax is bad or simply wrong" was shown to be baseless. I like PowerMops OO syntax by practical reason, not by dogmatical one. I have been thinking about philosophy to support PowerMops language including pure Forth part.But the motivation comes from experience of real coding on PowerMops.I have realized PowerMops is very powerful. Moreover PowerMops, which is optimizing native Forth compiler for PowerPC with OO feature based on NEON model, is wholly written in Mops.That means, PowerMops itself is an example software of NEON type OOP. And its syntax and semantics make communication with other programmers by codequite easy.I have been trying to undestand what in PowerMops language makes it so (in my opinion) great. I found Dogmatikers tend to hate NEON OO model, or even Forth ideas.Perhaps, because those ideas doesn t fit for their dogma.It is true, theory may help to simplfy the grammar of programming language. But excessive simplification could cause practical confusion. What I call practical reason to favour PowerMops, is the fact that what we are doing is clear from the code in PowerMops. Selectors have a bit different appearance from normal words.By that, we can easily realize whether certain part of the code is written in OO or in normal Forth. In all cases of OO coding, selector supposes object near by and may be followed by class name or certain token, which are context elements used to define appropriate method. (I tend to think such a combination of words as a "phrase", which is an extension of concept ‘word’.)The context is very local. It is consumed with one selector. (Well, now PowerMops has a syntax to extend the context in a case. But the ends of the context can be made clear in code.) Locality of information for interpretation of code is important factor for readble code. I realized that in some OO Forth using object-method syntax, object and method cannot be distinguished from normal Forth word in the names.And according to object-method synax theory, object (or class name) switches the contexts.Since we cannot see whether a word is an object or a normal forth word from its name,object can be said to cause implicit context change.Introducing implicit context change in a language is a really bad idea, I believe.OO system of such type will be, sooner or later, unable to live without some naming convention,such as, Begin Object name by a capital letter, etc.. But setting conventions will be too weak to avoid all possible problems coming from implicit context change. For example aFile dup may duplicate ‘aFile’ (File duplication when dup is a mothod of file). Or ‘aFile’ may do something and ‘dup’ duplicate a stack item. How could you know which is the case from this line?If you know aFile is an object and has a method ‘dup’, the definition of dup will be found in method implementation (definitioin). But the method operating code above doesn t contain the information. That is, introducing implicit context change may break the reliability of normal forth words in the meaning of the actions when reading code(especially when debugging the code other programmers wrote). In Reality, syntactical details are trivial. Implementing some features or flavors is also trivial in Forth based environment. Anything isn t very difficult to implement in Forth environment compared with some other languages. But I think confusing syntax should be avoided, even if that might be a result of exact mapping of OO to standard Forth syntax. Surely, good programmers could avoid all such troubles by some coding conventions or goood memory.Some may say, "I have no problem with that. So it is perfect."OK. I could believe it is true for you. But how about anyone other than you? Forth should be only for good programmers?But no one is born as a good programmer, andnot every person will begin programming as a good programmer. Such an elitism might kill the language. However I myself don t care about what floavors will be adopted as the future OO standard of Forth. Once the specification becomes clear, PowerMops surely can support it by an optional library. Top Page
https://w.atwiki.jp/orange_sherbet/pages/37.html
This is Masumi. I am sorry for making a new page without any permission... if anyone thinks this is inappropriate, please delete the page. If interested you may take a look ( ) also I hope this relieves you from stress. ? lol Doing this project, I figured out how there are so many funny expressions in Japanese that does not exist in English. Like what we talked randomly during discussion, we talked about how "doki-doki" "sara-sara" does not really exist. Onomatopoeia, right? Then how can people express the feelings in English?! If you were to explain "doki-doki" in English, wouldn t it be so hard? It may sound like saying it roundabout. whatshouldmacallit. Expression - Japanese people might be shy in expressing something, so they have these very useful expression words. In contrast, American people do not need them because they are not shy! I am sorry for making random analysis. I know this has nothing to do with the project... Just out of curiosity, does Tagalog have any onomatopoeias? Some Asian language such as Japanese and Korean has them. Or does anyone know any other language that has onomatopoeias? -- Jin (2008-02-20 00 58 32) where is the edit this page button? or am i just going crazy? -- courtney (2008-02-20 01 41 35) cause actually i just wanted to say that there is nothing wrong with having a random discussion page. we re just cool like that. also i wanted to say....out project was the best. no offense to the other groups or anything... -- 名無しさん (2008-02-20 01 42 25) also....all lanugages have onomatop.... yeah. they all have them. but japanese is DEFNITELY one of the languages with the most. in english if we wanted to express doki doki, it woudl just be like....." i was sooo nervous that my hands were sweating!" or soemthing like that. basically we would use other phenomenon to *explain* the feeling rather than rely on the connotation of an onomatopea word! -- 名無しさん (2008-02-20 01 45 33) lol, thanx~!! I thought some ppl might be "donbiki"ed (translation "uhh, what the hell") and yeah! our project IS awesome!!! -- masumi (2008-02-20 16 04 34) oops, I meant, by making random page, I thought ppl would be donbikied by me lolz. btw, I made the edit button just for courtney! yeah, too bad you have to explain the feeling, which is pretty time consuming... dokidoki ("my heart is twinkling and twirling along with the heartpump, with or with no hope of something coming up...") ahh dunno-- -- masumi (2008-02-20 16 10 50) 名前 コメント extra I ve found some pages related to onomatopoeia issues. http //blog.livedoor.jp/fairypot/archives/51312664.html "Should Onomatopoeias in Japanese comics be translated?" http //www.howtodrawmanga.com/kdms1/kdms1000.html こんなものまであるのか!(笑) extra pointless thing I thought this was funny. http //www.youtube.com/watch?v=AJSTj9e9MQ0 How do you ... translate TOKIMEKI!!! note I am not a fan of wat don t worry lol Masumi Moto courtney, feb 20 21 30 hahaha thank you so much!! im lost without the "edit page" button... but dont you think its more fun to describe your feelings like that?? you can be more creative!! Edit this page whee
https://w.atwiki.jp/bioshock_bigdaddy/pages/39.html
Atlas Now you ve met Andrew Ryan, the bloody King of Rapture. Now find your way to Emergency Access. Atlas 顔合わせは済んだな, Raptureの暴君, Andrew Ryanだ. さあEmergency Accessに向かえ. Diane McClintock Dr. Steinman said he d release me today. Ryan didn t come to see me since the New Year s attack. Not once. But Dr. Steinman was very attentive. He told me that Diane McClintock Dr.Steinmanは 今日私を退院させると言った. Ryanは 新年のあの暴動以来, 私には会いに来てくれなかった. ただの一度も. ただ Dr.Steinmanは とても気遣ってくれたわ. Diane McClintock once the scar tissue was gone, he was going to fix me right up. Make me prettier than any girl I ve ever seen. He s sweet all right...and so interested in my case! Diane McClintock 傷ついた組織を取り除いたら, すぐに元通りにしてくれるとドクターは言ってくれたわ. これまで私が見たことも無いほどの美人にしてくれるって. なんて素敵な人なんだろう. こんなにも関心を持ってくれるなんて. Doctor Steinman Ryan and Adam, Adam and Ryan...all those years of study, and was I ever truly a surgeon before I met them? How we plinked away with our scalpels and toy morality. Yes, we could lop a boil here, and shave down a beak there, Doctor Steinman RyanなくしてAdamなし, AdamなくしてRyanなし... 何年も医学を学んできたが, Ryan達に会うまでの私は 果たして外科医と呼ぶに値する存在だっただろうか? つまらぬ道徳心で メスを存分に振るうことも出来ずに. いかにも, 腫れ物を切除したり カギ鼻を低くする程度なら何度もやった・・・ Doctor Steinman but... but could we really change anything? No. But Adam gives us the means to do it. And Ryan frees us from the phony ethics that held us back. Change your look, change your sex, change your race. It s yours to change, nobody else s. Doctor Steinman だが, 真に何かを変えることが出来ただろうか? 否, だ. だが, Adamがそれを可能にしてくれた. Ryanは我々を押さえつけていた下らぬ道徳心から解放してくれたのだ. 外見を変えることも, 性別を変えることも, 人種を変えることも自由だ. 誰のものでもない, 自分の意思のままに. Atlas If you want to use the Emergency Access, you ll be needing Doctor Steinman s key. He s the one what runs this place. But I don t Atlas Emergency Accessを使いたければ, Dr.Steinmanの鍵が要る. この辺りを仕切ってる男だ. Atlas expect him to hand it to you out of the milk of human kindness. Steinman ain t that kind, and frankly, I m not even sure he s still human. Atlas だが, 奴が人情でそれをあんたに渡すとは思えない. Steinmanにそんな情けはないし, はっきり言いって 今もって人なのかすら怪しい. Atlas Now you ve rattled the monkey cage. Here they come. Atlas 猿の檻を揺り起こしたちまったな. 来るぞ. Ghost Two You promised me pretty, Steinman, you promised me pretty...Now look at me...LOOK AT ME!!! Ghost Two あなたは私に約束したのよ, Steinman, 綺麗にするって約束した... ほら見てよ...私を見なさいよ!!! Atlas You keep an eye peeled for Steinman. The daft bastard s set up shop in the surgery wing. You wanna find him, just follow the blood. Atlas 目を皿にして Steinmanを探すんだ. あのイカレ野郎が 店を構えてるのは外科手術棟だな. 奴を見付けるなら簡単だ. 血を辿って行くだけで良い. Doctor Steinman Adam presents new problems for the professional. As your tools improve, so do your standards. There was a time, I was happy enough to take off a wart or two, or turn a real circus freak into something Doctor Steinman Adamは専門家達に 新たな課題を示した. 技術が向上すれば, それは同時に 成果の基準も押し上げてしまう, ということだ. かつての私は いぼを1つ2つ取り除けるだけで満足だった. あるいは, サーカスの見世物のような奇形の人間を 白昼人目に耐えられるくらいにするだけでも充足感があった. Doctor Steinman you can show in the daylight. But that was then, when we took what we got, but with Adam... the flesh becomes clay. What excuse do we have not to sculpt, and sculpt, and sculpt, until the job is done? Doctor Steinman だがそのときは, 技術に限界があったのだ. しかしAdamを手に入れてからは... 肉体は単なる粘土となった. 存分にメスを振るうのに 最早躊躇いはいらぬ. 満足のいくまで, ひたすらメスを振るって, 振るって, 振るうのみだ. Andrew Ryan On the surface, the Parasite expects the doctor to heal them for free, the farmer to feed them out of charity. How little they differ from the pervert, who prowls the streets, looking for a victim he can ravish for his grotesque amusement. Andrew Ryan 地上の寄生虫たちは, 医家は無償で療病をなし, 百姓が飲食を施してくれるものと思っている. それは変質者が, その下劣な悦びを満たすため, 陵辱の餌食を求めて 通りをうろつくのと さして変わりない. Atlas Remember, all them machines will short out right and proper if you hit them with Electro Bolt! Atlas 忘れるな. Electro Boltを当てれば, どんな機械もショートさせることができる! Doctor Steinman I am beautiful, yes. Look at me, what could I do to make my features finer? With Adam and my scalpel, I have been transformed. But is there not something better? What if now it is not my skill that fails me... but my imagination? Doctor Steinman 私は美しい. そうさ. 私を見てくれ. これ以上, 見栄えを良くする余地が私にあるかね? Adamとわがメスによって, 私は変身した. だが, 何かもっと良く出来るものがありはしまいか? 技術が私の足を引っ張っているのではないとしたら ...私の想像力の問題なのか? Tenenbaum I was at German prison camp only of sixteen years old when I realize I have love for science. German doctor, he make experiment. Sometime, he make scientific error. I tell him of this error, and this make him angry. Tenenbaum ドイツ軍の捕虜収容所で 科学への愛を自覚した時, 私はまだ十六歳だった. あるドイツ人医師がいて, 彼は実験をしていた. 時には 科学的に誤りを犯したりもしていたわ. 私がそれを指摘すると, 彼は怒った. Tenenbaum But then he asks, how can a child know such a thing? I tell him, Sometimes, I just know. He screams at me, Then why tell me? Well, I said, if you re going to do such things, at least you should do them properly. Tenenbaum でもそのあとでこう言うの, 「子供にこんなことがわかるものか」「わかることもあるわ」 私は答えた. すると彼は 「ではなぜそれを私に教える?」 と怒鳴った. 私は答えた.「そうね. そんなことをするなら, せめて正しく行うべきだわ」 Doctor Steinman When Picasso became bored of painting people, he started representing them as cubes and other abstract forms. The world called him a genius! I ve spent my entire surgical career creating Doctor Steinman ピカソは人々を描くことに飽いた. 立方体や 他の抽象的な姿に 彼は再表現をし始めたのだ. 世界は彼を天才と呼んだ! --- 私は 外科医としての経験の大部分を 同じ退屈な形を 幾度も形作ることに費やした. Doctor Steinman the same tired shapes, over and over again the upturned nose, the cleft chin, the ample bosom. Wouldn t it be wonderful if I could do with a knife what that old Spaniard did with a brush? Doctor Steinman 上を向いた鼻, 割れたあご, 豊かな胸... 私がナイフでもって あの年老いたスペイン人が 絵筆でしたようにできるなら 素晴らしくはないかね? Atlas Security cameras. I can hear the infernal things all around you. Ryan s eyes and ears. Atlas 防犯カメラだ. 君が阿鼻叫喚に包まれているのが聞こえるようだよ. この機械はRyanの目と耳になってるんだ. Andrew Ryan A parasite wanders the halls. We rebuild our city, and the doubters send a fly to spoil our ointment. One thousand Adam to the man or woman who pins its wings. Andrew Ryan 寄生虫が広間をうろついている. 我々が 都市を再興すると見るや, 不信を抱いて 香油に蝿 (玉にきず, の意) を一匹忍ばせ, これを損なわんとするのだ. その羽を刺し留めた者に 一千Adamを進呈しよう. Atlas All roads in Rapture lead to Ryan. The security, the splicers, the Big Daddies, the Little Sisters he pumps some kind of chemical scent in the air, pheromones they call it, makes them all dance to his tune. Atlas Raptureの全てはRyanに行き着く. セキュリティ, splicer, Big Daddy, Little Sister. 空気中に ある種の合成香料を送っているんだ, フェロモンと呼んでいるが, それで 全てを意のままに動かしている. Andrew Ryan It has been brought to my attention that some citizens have discovered ways to...hack the vending machines. I should not need to remind each Andrew Ryan 一部の市民が 自動販売機を "不正に" 用いる方途を 探り当てたことには留意している... Andrew Ryan and every citizen of Rapture that free enterprise is the foundation upon which our society has been established. Parasites will be punished. Andrew Ryan 自由な企業活動が 我らが社会の基盤たると, 市民の一人一人に 重ねて指導せねばならないとは 思いもしなかった. 寄生虫には 罰が下されるだろう. McDonagh Steinman, I know Medical Pavilion is your manor, but you might want to cogitate on this ocean water is colder than a witch s tit. You don t heat the pipes, the pipes freeze. Pipes freeze, pipes burst. Then Rapture leaks. Now, McDonagh Steinmanよ, Medical Pavilionが あんたの縄張りなのは重々承知している. だが 「海水は魔女の乳首より冷たし」 ということは良く考えて欲しい. 配管は加熱しないと凍る. 凍った配管は破裂する. そしてRaptureは漏水する. McDonagh I realize you re a posh sort of geezer, and, frankly, I don t give a toss if you piss or go fishing. But once Rapture starts leaking, the old girl s never gonna stop. And then I ll be sure to tell Ryan he s got you to thank. McDonagh あんたが変人の類なのはもう分かってる. 正直なところ, あんたが小便をしようが釣りに出かけようが 知ったこっちゃ無い. だが一旦Raptureが漏水を始めたら, 年増女みたいにそいつは 誰にも止められやしないんだ. ああ, それから Ryanにもあんたのことは 言っとかざるを得んな. Tenenbaum At the German prison camp they put me to work on genetic experiments on other prisoners. They call me Das Wunderkind , the wonder child. Germans, all they can talk about is blue eyes, and shape of Tenenbaum 収容所で, ドイツ人は他の捕虜の遺伝実験に私を従事させたわ. 私はヴンダーキント, "神童"と呼ばれた. 彼らにとって 気になるのは 青い瞳とか 額の形とか, そんなことばかり. Tenenbaum forehead. All I care about is why is this one born strong, and that one weak? This one smart, that one stupid? All that killing, you think the Germans could have been interested in something useful? Tenenbaum 私が気に掛けたのは, なぜある者は生まれつき強く また別のものは弱いのかということだけ. 賢い人間が居る一方で鈍い人間が居るのはどうして? それなのに, 何につけても 殺人, 殺人. ドイツ人は何か他に実のあることに 目を向けることだってできたのに. Suchong Clinical Trial Lot 23 Dr. Suchong/Client Fontaine Futuristics. Work on telekinesis plasmid proceeding well. Lifting objects at distance present no problem. Moving objects through Suchong 医療実験 第23号 Dr. Suchong / 検体 Fontaine Futuristics. Telekinesis plasmidの経過は良好. 距離の離れた物体の持ち上げ, 問題無し. 宙での物体の移動, 問題無し. Suchong space, no problem. Cannot stop speeding bullet, but can catch and throw fast moving object. Problem not with plasmid. Problem with reaction time. ...Suchong just get new idea for plasmid. Suchong 加速のついた弾丸は停止できないが 高速で飛来する物体を受け止めることができる. これはplasmidの問題ではなく, 人間の反応速度の問題だ. ...私 Suchongは plasmidの新たなアイディアを得た. Suchong Clinical Trial Lot 44 Dr. Suchong/Client Fontaine Futuristics. Subject is white male, one Roland Wallace. Can you hear me, Mr. Wallace? Yes sir, Mr. Suchong 医療実験 第44号 Dr. Suchong / 検体 Fontaine Futuristics. 対象は白人男性 Roland Wallace. Mr.Wallace 私の声が聞こえるかい? 「はい. Suchong博士」 Suchong Suchong, sir Very well. Right, I m introducing Lot 44 now...We ve codenamed Lot 44 Enrage because of its tendency to... Nurse, hold him down...nurse! Nurse!!! Suchong よろしい. 今 直ちに第44号を投入する... 我々が44号と呼んでいる "Enrage"は その傾向によって... ナース, 彼を押さえて! ナース! ナース!!! Suchong Tenenbaum...sometimes I pity the little freak. Such a tiny imagination... Content to sit there with her tanks of Adam, tweaking and optimizing. I need to create... Adam is a canvas of genetic modification...but plasmids are the paint. Suchong Tenenbaum... 時々あの若い変人女には哀れみを感じる. あまりに想像力が貧困だ... Adamのタンクの隣に座って, 調整と最適化で満足している. 私は創り出すことを欲しているというのに. 確かにAdamは 遺伝子操作のキャンバスだ... だがplasmidは絵画なのだ. Doctor Steinman With genetic modifications, beauty is no longer a goal, or even a virtue. It is a moral obligation. Do we force the healthy to Doctor Steinman 遺伝子改変をもってすれば, 美はもはや目標にも, 美徳にすらならない. それはもはや倫理の足かせだ. Doctor Steinman live with the contagious? Do we mix the criminal with the law-abiding? Then why are the plain allowed to mingle with the fair? Doctor Steinman 健康な者を 疫病患者と一緒に押し込んでおくか? 犯罪者を 遵法者と取り違えるか? ならばなぜ十人並みの者が 麗人と同室を許されるというのか? Atlas You ll have to find some way to get through to surgery...and Steinman. Chin up, now. The Lord hates a quitter. Atlas 手術室に抜ける道を見付けないと... Steinmanもそこだ. 顔を上げろ, ほら. 主, 匙投ぐを憎む (初志貫徹せよ,の意) だ. Atlas I can hear that splicer sounding off like it s the 4th of July. Explosives are hard to come by down here...if only you could get your hands on some of them bombs he s tossing... Things like that could help you turn the tables, or clear a path. Atlas そこの splicerが 独立記念日並みに ぶっ放してるのが聞こえるよ. 下で受け止めるには 爆発物ってのは厳しいが, Telekinesis plasmidが手に入れば, クソ火炎瓶も掴めるし, そのまま 奴の大口目掛けて投げ返したりできる... あれがありゃ戦闘を有利に進められるし, 邪魔になりそうものをどけたりも出来る. Doctor Steinman Today I had lunch with the Goddess. Steinman, she said... I m here to free you from the tyranny of the commonplace. I m here to show Doctor Steinman 今日は女神と食事をした. 「Steinman」 彼女は言った... 「私は貴方を 俗世の抑圧から 解放しに来たのです. 私は貴方に 美の新たな本質を 見せに来たのです」 Doctor Steinman you a new kind of beauty. I asked her, What do you mean, goddess? Symmetry, dear Steinman. It s time we did something about symmetry... Doctor Steinman 私は尋ねた. 「女神よ どういう事ですか?」 「左右の調和です. かわいいSteinman. もう私達は 左右の調和に対して 何らかの手を加える時に来ています...」 Doctor Steinman Aphrodite is walking the halls - shimmering, like a scalpel... Steinman, she calls, Steinman! I have what you re looking for! Just open your eyes! And when I see her, she cuts me into a thousand beautiful pieces. Doctor Steinman 美の女神アフロディテはホールを歩いた - その光のきらめきは まるでメスの刃ようだった... 「Steinman」 と私を呼ぶ. 「Steinman! 貴方が探しているものは私の手の内に有ります! ただ目を開くのです!」 そして 私が彼女を見た時, 女神は私を 美しい千のかけらに切り刻んだ. Doctor Steinman What can I do with this one, Aphrodite? She WON T. STAY. STILL! I want to make them beautiful, but they always turn out wrong! That Doctor Steinman こいつをどうしろと言うのだ, アフロディテ? じっと して くれないんだ! 美しくしてやりたいのに, いつだってうまくいかない! Doctor Steinman one...too fat! This one...too tall! This one...too symmetrical! And now- What s this, goddess? An intruder! He s ugly! Ugly ugly UGLY! Doctor Steinman あれは...太り過ぎ! これは... 背が高すぎる! こっちは... 余りに左右整っている! こうなったら--- 何事だ? 侵入者か! なんと醜悪な奴! 醜い醜い醜い! Atlas You all right? It was time somebody took care of that sick bastard. Make sure you get the key off Steinman and head back to Emergency Access. I m working my way to the back side of Port Neptune meself. We ll get there soon enough. Atlas 大丈夫か? そのビョーキ野郎も 誰かに始末されるのには いい頃合だった. Steinmanから 忘れず鍵を取って Emergency Accessに戻ってくれ. 俺は Port Neptuneの裏に向かっている. もうすぐ着くだろう. Doctor Steinman Steinman Four-oh silk and ...done. Nurse The nose looks terrific, Doctor Steinman ...Doctor? Steinman You know, looking at it now...I didn t realize how much her face sags...Scalpel... Nurse Excuse me? Steinman Doctor Steinman 40番の糸と... 完了. 看護婦 「鼻が酷いようですが Steinman先生... 先生?」 Steinman 君はわかってる, これから見てろ... 私は彼女の顔が どれほどたわむのか解っていない... メスだ... 看護婦 「どうされたんです?」 Doctor Steinman Scalpel! Nurse Uh, doctor, she s not booked for a face lift... Steinman Let s just come in here and... Nurse Doctor... Stop cutting... Doctor, stop cutting... Get me the chief of surgery! Get me the chief of surgery NOW!!! Doctor Steinman メスだ! 看護婦 「ああ, 先生, 彼女は顔のしわ取りは希望していません...」 Steinman いいからこっちへ来るんだ. あと... 看護婦 「先生... 切るのを止めてください... 先生, 切らないで... 手術主任を呼んで!! はやく主任を呼んで, 今すぐ!!」 Atlas Sounds like another tunnel collapse. Welcome to Rapture, the world s fastest growing pile of junk. Atlas その音は, また 通路が崩落したみたいだな. Rapture, 世界一の速さで肥大する がれきの山へようこそ. Atlas It s a Little One... Here s your chance to get some Adam. Atlas 例の子供だ... Adamを手に入れるチャンスが やって来たな. Male Splicer ...it s just you, me, and all of the tasty Adam I can drink... Male Splicer ...ここに居るのはお前と, 俺と, 腹いっぱいのAdamだけというわけだ, お嬢ちゃん... Tenenbaum Stay away from her or it is you who will be shot next... Tenenbaum その子から離れないと 次はあんたに一発入れるわよ. Atlas Easy now, Doctor...He s just looking for a wee bit of Adam, just enough to get by... Atlas 落ち着け博士. この男はほんの少しのAdamが欲しいだけだ, どうにかしのげるだけの量を. Tenenbaum I ll not have him hurt my Little Ones... Tenenbaum 私の子たちを 傷付けさせはしないわ. Atlas It s okay, lad. That s not a child, not anymore it ain t. Dr. Tenenbaum saw to that. Atlas 大丈夫だ. そいつは人の子じゃない, というか今はもう違う. 博士自身が 手を掛けたんだからな. Tenenbaum Bitte, do not hurt her! Have you no heart? Tenenbaum お願い, 傷付けないで! 人の心というものがあるでしょう? Atlas Aye, that s a pretty sermon coming from the ghoul who cooked up them creatures in the first place. Took fine little girls and turned them into that, didn t you? Listen to me, boyo you won t survive without the Adam those...things...are carrying. Are you prepared to trade your life, the lives of my wife and child for Tenenbaum s little Frankensteins? Atlas いやはや, そいつを作った 当の冷血女の口から よくもそんな説法が 出てくるもんだ. 元気な娘を攫って来て そんな風に変えたのは あんただろ? 良く聞け. そいつが運んでるAdamなしでは 生き延びられない. 自分の命と私の妻子の命を Tenenbaumの小さな化け物どもと 引き換えにする気か? Tenenbaum Here! There is another way...use this, free them from their torment...I will make it to be worth your while...somehow. Tenanbaum ねえ! 途はもう一つある. これを使って その責め苦から 解放してあげて. その分のお礼も... どうにかして返すわ. Tenenbaum The path of the righteous is not always easy, yes? The reward will become clear in time ...be patient. Tenenbaum 善き者たる道は 容易いものとは限らない, そうでしょう? この報いはその内に はっきりするわ... 待っていて. Atlas Tenenbaum s playing you for a sap. Those things may look like wee little girls, but looks don t make it so. You ll need all the Adam you can get to survive. Atlas Tenembaumに良いようにあしらわれたな. ほんの小さな女の子に 見えるからと言って, 見かけ通りってわけじゃないんだぞ. 生き残るには 手に入るだけのAdamが全部必要になる. Atlas If you cross paths with another of them Gatherer s Garden machines, make sure you pick up a new plasmid or two. That s if the price ain t too dear, of course... Atlas Gatherer s Gardenの筐体に出くわしたら, 必ず その都度 plasmidを 新しく 一つ二つ買うんだ. 勿論, そこまで 値の張らない奴をだが... Doctor Steinman Not only are those little girls veritable Adam factories, they re nearly indestructible. They regenerate any wounded flesh with stem versions of the dead cells. But their relationship with the Doctor Steinman 少女達は単なるAdam製造機ではない. あの子達は殆ど損傷不可能なのだ. どんな重症も 死んだ幹細胞を使い即座に再生する. まさにこれは 埋め込まれたスラッグ(ナメクジ状の生物)との共生関係だ. Doctor Steinman implanted slugs is symbiotic...if you harvest the slug, the host will die. So you see it s not like killing, Tenenbaum said. It s more like removing a terminal patient from life support. Doctor Steinman もし スラッグの摘出をしたら 宿主は死亡するだろう. 「殺人行為だとは思わないですって?」と Tanenbaumは言った. 「これは集中治療室で 生命維持装置を 外すことと一緒よ」 Atlas You re ready now...it s time to take on one of them Big Daddies. It won t be easy, but it s the only way to get to the Little Sisters...and the Adam they carry. Atlas 心構えはできたな... Big Daddyを一人 相手にしてみても良いだろう. 決して 易しくはないが, Little Sisterを... そして そのAdamを手に入れる方法は それしかない. Atlas Are you almost back to Emergency Access? Come through as soon as you get there. You got Ryan s eye now. You won t hear him coming...but he ll be there before you know it. Atlas そろそろ Emergency Accessに着くか? 戻り次第通過してくれ. Ryanの目を 引いてしまってる. 奴の手が伸びるのを察知するのは難しい... 気付いた時には そこにいるんだ. Announcer Security alert deactivated. Thank you for your patience! Announcer 警備警報は解除されました. お待ち頂き感謝致します! Atlas I don t know how you managed it, but you did. Come through to Port Neptune now. I m looking forward to shaking your hand. Atlas どうやって切り抜けたのか分からないが, やったんだな. Port Neptuneまで来てくれ. 君と握手できる時を楽しみにしてるよ. Atlas I can hear that splicer sounding off like it s the 4th of July. Explosives are hard to come by down here, but if you get your hands on one of them Atlas そこのsplicerが 独立記念日並に ぶっ放してるのが聞こえるよ. 爆弾を下で受け止めるってのは 難しいが, テレキネシスplasmidを 手に入れられたなら Atlas telekinesis plasmids, you could catch the damn firebombs and toss it right back in his gob...or anything else that might be standing in your way. Atlas クソ火炎瓶をキャッチして 逆に奴の大口に 突っ込んでやれる. そこらに落ちてるモノなんかも 掴んで投げられるぞ. Tenenbaum How can you do this thing? To a child? But there are other Little Ones who have need of your help... will you be as cruel to them? Tenenbaum どうして子供にそんなひどいことができるの? でもまだ他にも あなたの助けを必要としている子たちがいるわ. その子たちにも こんな残酷なことをするのかしら... Atlas That Adam should do the trick. You did the right thing. Just remember them things aren t people no more. And it s Dr. Tenenbaum they ve got to thank for it. Atlas Adamは効くぞ. 君は正しいことをしたんだ. これだけは覚えておいてくれ, やつらはもう人間じゃない. Tenenbaum博士は この行いに感謝すべきなんだ.
https://w.atwiki.jp/sparkstaision/pages/18.html
My Colage iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/SSSver.loop%20fire.zip" /iframe br / ↑SSSver.loopを聴く br / a href="http //blog-imgs-41.fc2.com/g/i/f/gifdouga/zyaket7.png" target="_blank" img src="http //blog-imgs-41.fc2.com/g/i/f/gifdouga/zyaket7s.png" alt="zyaket6" border="0" / /a br / ↑Blue Apple(txt同梱版)のジャケット(クリックで拡大) br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/BULE%20Apple.mp3" /iframe br / ↑Blue Appleを聴く br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/Blue%20Apple.zip" /iframe br / ↑Blue Apple(txt同梱版)をDLする br / a href="http //blog-imgs-41.fc2.com/g/i/f/gifdouga/zyaket5.png" target="_blank" img src="http //blog-imgs-41.fc2.com/g/i/f/gifdouga/zyaket5s.png" alt="FRINT.zyaket" border="0" / /a br / ↑FRINTのジャケット(クリックで拡大) br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/FRINT.mp3" /iframe br / ↑FRINT.mp3 br / a href="http //blog-imgs-29.fc2.com/g/i/f/gifdouga/zyaket3.png" target="_blank" img src="http //blog-imgs-29.fc2.com/g/i/f/gifdouga/zyaket3s.png" alt="さむねいるようふぁいる3" border="0" / /a br / ↑BLOCKのジャケット(クリックで拡大) br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/BLOCK.mp3" /iframe br / ↑BLOCK.mp3 br / a href="http //blog-imgs-29.fc2.com/g/i/f/gifdouga/zyaket2.png" target="_blank" img src="http //blog-imgs-29.fc2.com/g/i/f/gifdouga/zyaket2s.png" alt="クリックで拡大" border="0" / /a br / ↑county is packのジャケット(クリックで拡大) br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/Drive%20THE%20BEST.zip" /iframe br / ↑Drive THE BEST.zip br / a href="http //blog-imgs-29.fc2.com/g/i/f/gifdouga/20080724231644.png" target="_blank" img src="http //blog-imgs-29.fc2.com/g/i/f/gifdouga/20080724231644s.png" alt="クリックで拡大" border="0" / /a br / ↑Drive THE BESTのジャケット(クリックで拡大) br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/county%20is%20pack.zip" /iframe br / ↑county is pack.zip br / a href="http //blog-imgs-41.fc2.com/g/i/f/gifdouga/zyaket4.png" target="_blank" img src="http //blog-imgs-41.fc2.com/g/i/f/gifdouga/zyaket4s.png" alt="クリックで拡大" border="0" / /a br / ↑君が代3-ROMのジャケット(クリックで拡大) br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/%e5%90%9b%e3%81%8c%e4%bb%a33-ROM.zip" /iframe br / ↑君が代3-ROM.zip br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/2324.mp3" /iframe br / ↑2324.mp3 br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/22334401.mp3" /iframe br / ↑223344.mp3 br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/Mis!.mp3" /iframe br / ↑Mis!.mp3 br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/no%20name%20the%20long%e8%a8%82%e6%ad%a3ver.01.mp3" /iframe br / ↑no name the/long.mp3(訂正版) br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/no%20name.mp3" /iframe br / ↑no name.mp3 br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/%e5%90%9b%e3%81%8c%e4%bb%a32-ROM.zip" /iframe br / ↑君が代2-ROM.mp3 br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/Like%20a%20Lightning.mp3" /iframe br / ↑JAP様より、Like a Lightning br / iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/piano%20ara-ze.mp3" /iframe br / ↑piano ara-ze.mp3 br / a href="http //blog-imgs-12.fc2.com/g/i/f/gifdouga/speed.mp3" target="_blank" PEPO様の曲を少し改造、speed /a iframe scrolling="no" marginheight="0" marginwidth="0" frameborder="0" style="width 150px;height 66px;margin 3px;padding 0;border 1px solid #dde5e9;background-color #ffffff;" src="http //cid-844495c7d0a4b354.skydrive.live.com/embedrowdetail.aspx/%e5%85%ac%e9%96%8b/%c2%a7%e3%81%a4%e3%81%8d%e3%81%ae%e3%81%86%e3%81%9f%c2%a7.mp3" /iframe br / ↑マスヲ様より、つきのうた.mp3 br /
https://w.atwiki.jp/diablo3story/pages/74.html
このページを編集 未分類(un-classification) 【お知らせ】 ・分類が不明のジャーナル。お分かりになる方はコメントにご記入下さい。ジャーナルでは無い可能性もあり。 ・カテゴリー人物・日誌等(People)、生態(Bestiary)、世界(World)、クエスト(Quests)のいずれかに分類されます。 ・可能なら該当箇所をコピー&ペーストで移動してください。もしくはコメントにてご連絡下さい。 ・足りていないものがあれば追加をお願いいたします。もしくはタイトル名をコメントにてご連絡下さい。 【編集の注意事項】 ・意訳を推奨しています。明らかに翻訳内容が間違っている時を除き、他者が翻訳した内容は消さないで下さい。 ・より良い翻訳を思いついた場合は、翻訳文を並べて記述してください。(既存の翻訳を削除しない)ですが、自信があれば上書きしても構いません。 ・併記された文章は折を見て管理人により1文に減少・修正され、全体の統一感を図ります。(2012/9/20追加) ・間違いや足りない会話があった場合、編集をお願いいたします。もしくは内容の一部(会話の1文)などを、下部コメントにてご連絡下さい。 +A Love Letter ■■■ From the pages of Solan, exalted poet of Kehjistan My love rises outof the oasis like a willow.Let me nourish herlike a pool of cool water.Let me wind myself up her curvesand hollows like fingers of ivy,and climb her shaded branchesto taste of her fruit. ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■ Solan ■■■ +A Servant s Journal ■■■ My little Hakan has become so cruel... so paranoid in the last few weeks. I hear that he has ordered all of his staff to leave the city, or he will have them thrown from the walls. He cannot possibly mean me. I have cared for him since he was an infant! ■■■ Caldeum_GhostServant ■■■ +A Summoner s Journal ■■■ Maghda is a fool. I will raise an army of souls from these primitives and chain them to my invincible will.Yes, with these heathens at my command, the kingdoms of the world shall bow to the might of... the Lord of Goats!I may have to work on the title a bit more. ■■■■■■■■■ TriuneCultist_A ■■■ +Ghom s Log ■■■ The human prisoners are panicking now? They must have noticed that fresh meat only comes after one of their number is dragged away, screaming... This will not hold. Slaughter the ones who starve themselves and feed them to their hungry friends. When those ones are fully stuffed... I will be ready to dine. ■■■ Gluttony ■■■ +Iron Wolf Captain s Journal ■■■ Another sunset, and Alcarnus is still safe from the sudden madness that plagues Caldeum. Though we are seeing an influx of hooded pilgrims for some Zakarum holy day, the... demons out there are keeping their distance. I will double the guard at the gate. We must not be unprepared if our luck turns. ■■■ caldeumGuard_Cleaver_A_AlcarnusCaptain ■■■ +Captain ■■■ Day 9 Young commander Calderos believes that the demonic scourge will flee before a bloody show of righteous force. He intends to lead a charge from our fortifications tomorrow. Calderos can commit suicide by stupidity if he wants, but I ll be damned if I send my lads with him. ■■■ a4_CaptainHaile ■■■ +Kala s Poem ■■■ When the desert sands silencetheir whispers in the night,and the thousand lights of the starsbleed into the darkness,I will find you in the void.My love will pour from meas words pour from my pen. ■■■■■■■■■■■■■■■■■■■■■ caldeumWealthyPoet ■■■ +Larra s Diary ■■■ About a week has passed since the cultists found us. Mama told me to hide; I was always good at hiding. No one could ever find me because I would choose the places where no one wanted to look. Then they dragged my parents away... I can still hear them screaming. ■■■ A2_UniqueVendor_Tinker ■■■ +Mira s Letter to Haedrig ■■■ My dearest Haedrig,Do not feel despair, my love. You did everything you could. Our time together meant more than words can say, but in the end, fate is a cruel mistress. Your strength is needed to end the horrors that beset this world. My final wish is that you find your path.Love always,Mira ■■■■■■■■■■■■ ●●● ■■■ +Poltahr s Notes ■■■ I never thought I d become a treasure hunter, but I also never thought my family s fortunes would sink so low. Yesterday I heard a nobleman asking about the Rygnar idol--an artifact that belonged to the great mage Zoltun Kulle. If I can retrieve it, my family will never go hungry again. ■■■ A2C2Poltahr ■■■ +Queen Asylla s Journal ■■■ Starved of the sun, I no longer know what day it is. I can hear the Warden, my husband, and that dog Lazarus discussing my fate. My life will be over soon, yet I fear more for my poor Albrecht s future in the wake of his father s madness. If only Aidan were here. ■■■ Queen_Leoric_Alive ■■■ +the Lord of Despair ■■■ In the beginning, Rakanoth served Andariel, the Maiden of Anguish, with efficient brutality, for his touch may open up many painful wounds. He was also the warden of Izual during many long years that the angel suffered in Rakanoth s own Plains of Despair, but he has quit his realm unexpectedly in recent times. ■■■ Deckard Cain デッカード・ケイン +Secret Missive ■■■ Asheara is a good woman. She has to know that the emperor isn t the same sweet child she brought to Caldeum years ago. She has to act! If Caldeum falls, so do the trade routes, and people will start starving all over the world. We must tear Hakan from his throne! ■■■ caldeumGuard_Cleaver_A ■■■ +The Ancient Portal Device ■■■ The vault door is sealed by magic means. The stone faces upon the ground seem to have some reaction to our presence. We would investigate further, but our intrusion has woken something in these halls. We should not linger. ■■■ caldeumGuard_Cleaver_A_Jarulf ■■■ +The Ancient Portal Device ■■■ We have found the key to the ancient device, but I fear that these treasures will cost us our lives. At least my brother and I have made it this far, and we are still alive. Dare we use this machine? ■■■ Adventurer_B_PortalRoulette ■■■ +The History of Bastion s Keep ■■■ Many centuries ago, King Korsikk built Bastion s Keep to "pen the barbarian threat" in the north. After years of military disasters, the frustrated king led a large army out of the fortress and into the north to conquer the barbarians once and for all. Not one of them came back. ■■■ Deckard Cain デッカード・ケイン +The Khazra Massacre ■■■ Everyone is dead. Belard, that damned fool, was killed, trying to communicate with the khazra. And then the cultists showed up. As soon as I saw them, I ran. I wanted no part of their dark magic. I heard the screams of my companions, but there was nothing I could do to help. ■■■ tristram_villager_male_C ■■■ +The Last Will of Khan Dakab ■■■ My life has been long. I have gathered much wealth around me. But gold has brought me nothing but pain, and I will not let the curse of my wealth fall on my family. This room shall hold my treasure for all eternity; none shall divine its secrets... ■■■ KhanDakab ■■■ +The Spider Queen ■■■ Rumor holds that Archbishop Lazarus loosed a silent terror in the caves near Leoric s manor before he died. He labored for weeks over a group of unusually large spiders, and many of his servants quietly disappeared during this time... The largest creature led the others into the caves. None who have ventured there have returned. ■■■ Deckard Cain デッカード・ケイン +Traveler s Journal ■■■ While exploring a cave with hopes of finding hidden treasure, I came upon a most grisly sight--a heap of dead bodies. Unbelievably, as I was searching them for any items of value, they began to rise! I must tell them of this in New Tristram before it s too late. ■■■ DescentJournalVillager ■■■ +Wandering Tinker s Diary ■■■ We should have known. The farmers left over a fortnight ago, and yet we stayed. Last night, we heard the beasts creeping closer. My husband left to investigate, and I haven t seen him since... All I have left are the things we made together. Hopefully they are of more use to someone else. ■■■ A1_GenericVendor_Tinker ■■■ +Warriv s Journal ■■■ I return to Khanduras after twenty years, the burden of countless failures and tragedies heaped upon my shoulders. Am I being punished for helping that stranger hunt the Dark Wanderer? I always thought Deckard Cain half a madman, but perhaps... he was right. Perhaps he can banish the shadow hanging over my life. ■■■ Warriv ■■■ +●●●≪不明≫ ■■■ Leoric is dead. His words haunt me even as his blood runs fresh upon my sword. What will become of Tristram in the wake of the king s madness? Albrecht is missing, the Queen is dead, and Aidan, the king s eldest, has not returned from the wars. We are lost. ■■■ ●●● ■■■ 冒険者名 コメント すべてのコメントを見る un-classificationテスト -- (管理人) 2012-05-22 21 19 59