約 7,114,078 件
https://w.atwiki.jp/skyrimparma/pages/23.html
Alteration 変性 StudiesNoviceAlteration 学問 素人の変性術 1 --- You ve decided to study the basics of Alteration. Let other mages dally with the flash of fire and ice - you ll show them what magical control truly is.素人レベルの変性魔法の呪文をランダムで修得する。また変性魔法の持続時間が延びる StudiesApprenticeAlteration 学習 見習いの変性術 20 ↑ While still only an aspiring student of magical theory, you ve begun to manipulate pure magical energy in unique ways.見習いレベルの変性魔法の呪文をランダムで修得する。また攻撃を受けるごとにマジカが少し回復する StudiesAdeptAlteration 学問 精鋭の変性術 40 ↑ As a skilled transmuter, magic protects you, empowers your swordarm and even carries you through the aether, abilities that no mere fire mage could hope to replicate.精鋭レベルの変性魔法の呪文をランダムで修得する。またフレッシュ系呪文の防御値が上昇する StudiesExpertAlteration 学問 熟練者の変性術 65 ↑ Your control of magical forces baffles lesser mages, rendering you nearly unassailable by force of magic or arms, but true mastery still eludes you.熟練者レベルの変性魔法の呪文をランダムで修得する。また物理移動系と瞬間移動系呪文の攻撃力と移動速度が上昇する StudiesMasterAlteration 学問 達人の変性術 90 ↑ Some of the highest forms of magical manipulation are yours to command, with foes simply banished from your sight at your will - but the very energies of creation beckon you further still...達人レベルの変性魔法の呪文をランダムで修得する。通常はデュアルキャストで詠唱する呪文の全てを片手で詠唱できるようになる MagesToolbox 魔術師の道具箱 25 StudiesNoviceAlteration 学問 素人の変性術 While not as powerful as a bolt of lightning or intimidating as a conjured daedra, mastery of functional magics might save your life just as quickly.実用系呪文のマジカ消費量が半分に軽減される MageArmor0 魔術師の鎧 30 StudiesApprenticeAlteration 学習 見習いの変性術 Only a fool would travel unarmored in dangerous lands, but you smirk at such small-minded fears. The fool is the one that thinks a mage like you is ever defenseless.標準的な胴具を身に付けていない場合、フレッシュ系呪文の性能が上昇する MageArmor1 魔術師の鎧 50 ↑ A warrior is nothing without their armor, but a true mage is armored even with nothing, with impenetrable magical protection a mere gesture away.標準的な胴具を身に付けていない場合、フレッシュ系呪文の性能が大幅に上昇する Spellweaver0 スペルウェーバー 25 StudiesApprenticeAlteration 学習 見習いの変性術 Alteration isn t just about projecting magical energy; the study of magic itself allows you to better manipulate magicka for all manner of effects.全ての魔法スキルの全呪文のマジカ消費量が軽減される Spellweaver1 スペルウェーバー 45 ↑ Guided by your will, magical energy flows easily through you, efficiently powering your spells and giving you magical endurance most casters only dream of.全ての魔法スキルの全呪文のマジカ消費量が更に軽減される Spellbinder スペルバインダー 40 Spellweaver0 スペルウェーバー The signature skill of the spellblade, you no longer need to compromise on your choice of spell or blade, instead channeling magic directly through the weapon.切換可能な力、スペルバインダーを使えるようになる。右手の武器を振ると左手の呪文が発動する Blink0 瞬き 45 StudiesAdeptAlteration 学問 精鋭の変性術 Not content to defy the rules of nature by moving yourself through space, your focus and reach extends even further.瞬間移動系呪文の距離が伸びる Blink1 瞬き 75 ↑ Compared to lesser mages, you are like a god, capable of stepping through the aether anywhere you wish to be with but a single thought and gesture.瞬間移動系呪文の距離が更に伸びる KineticCrush キネティッククラッシュ 50 StudiesAdeptAlteration 学問 精鋭の変性術 While magicka can easily create elemental energy, nothing is purer than force itself. With concentration, you project unstoppable kinetic power to batter foes.物理移動系呪文がデュアルキャストで増強される。またブロックされなくなる SecondSkin 第二の皮 60 MageArmor0 "魔術師の鎧 In discovering the true nature of protection spells, each empowers your body with powerful conjunctive magical boons and enhanced fortification.フレッシュ系呪文の性能が上昇し、標準的な胴具を身に付けていない場合に、フレッシュ系の各呪文で2つ目の効果が発現する Arcana Body 95 SecondSkin 第二の皮 Second Skin Your skill in skin transmogrification has reached its final level of expertise; all conjured spell armor now matches the highest grade of arcane craftsmanship. SacrificialCasting 生け贄の詠唱 45 StudiesAdeptAlteration 学問 精鋭の変性術 A dangerous path tread by only the strong, you transmute your body directly into shapeable energy. While painful, this sacrifice fuels your magical power.切換可能な力、"生け贄の詠唱"を使えるようになる。あらゆる呪文の詠唱に要するマジカを体力とマジカで均等に分けて消費される Lifelink ライフリンク 65 SacrificialCasting 生け贄の詠唱 Some nefarious mages use darker magics to continue fueling their powerful spells, tapping into their devotees to stave off the risk of magical enervation.ライフリンクの呪文を使えるようになる。ライフリンクは、生け贄の詠唱が効果中にしか使えない。召喚生物やフォロワーなりを犠牲にして治癒を図る FleshToPower フレッシュトゥパワー 85 Lifelink ライフリンク As a master medium between life and magical energy, you create a destructive localized backlash when coming down from your magical rages.生け贄の詠唱の効果切れの際、半径30フィート内にいる全員を麻痺させ、かつ体力を吸収する FocusTheCreator フォーカス 創造者 95 StudiesMasterAlteration 学問 達人の変性術 スペルプリズムの呪文を使えるようになる。放たれた呪文の方向へ反応する装置を地面に設置する Mindforge マインドフォージ 30 Studies Apprentice Alteration Combining magic and melee combat equally, a dedicated swordmage walks a delicate path of martial and mystical balance, spending his Magicka wisely.武器に追加効果付与する呪文の持続時間が倍になる Mindcutter マインドカッター 60 Mindforge Unlike lesser swordmages, with crudely bound combat magics, you gracefully sheathe your weapons in energies that slice through foes as easily as the keenest blades.武器に追加効果付与する呪文の攻撃対象の防御値上昇効果を発生させなくする Chronokinesis0 時間操作 80 Blink0 瞬き KineticCrush キネティッククラッシュ As your control over matter intensifies, you ve begun to manipulate time itself with every magical shift you make and blast of force you create.物理移動系と瞬間移動系呪文で時間の流れが遅くなる Chronokinesis1 時間操作 95 ↑ The petty rules of space and time begin to bow to your will, as your powerful teleports and blasts of force alter reality with every casting.物理移動系と瞬間移動系呪文で時間の流れが遅くなる Architect of Magic魔法の創造者 100 Studies Master Alteration 学問 達人の変性術 Something draws you, pulls at you. You feel as if this loose thread might help you unravel even greater magical secrets... 何かに引きずられるような、いや引っ張られているのか。まるで中空を漂う長細い糸が導こうとしているのか。摩訶不思議で謎に満ちている秘密を暴こうと言うのか。この糸を辿って行った先ある秘密を... ArchitectOfMagic1 魔法の創造者 100 ↑ The highest masters of magic are right to fear you, as your mastery of the very source of magic itself gives you dominion over yet another epic focus of magical skill.通常1つしか取得できないFocusのPerkを変性魔法に限りもう1つ取得できる Focus The Creator フォーカス 創造者 95 StudiesMasterAlteration 学問 達人の変性術 The highest art of the mage that focuses on creation. You ve mastered the very essence of Magicka itself, creating a universal device that manipulates and amplifies any spells cast at it.スペルプリズムの呪文を使えるようになる。放たれた呪文の方向へ反応する装置を地面に設置する Focus TheSpherebender フォーカス スペルバインダー 95 StudiesMasterAlteration 学問 達人の変性術 The highest art of the alteration mage. Physical reality quickly warps at your beck and call, and you ve mastered magic that hurls foes aside like leaves in the wind.物理移動系と瞬間移動系呪文のクールダウンが短縮される。またキネティックシフトの呪文を使えるようになる。キネティックシフトは物理移動と瞬間移動の2つの特性を併せ持つ超強力な呪文
https://w.atwiki.jp/saigai_ota/pages/24.html
I-100 Introduction to Incident Command System Self-Paced Student Workbook https //extranet.gov.ab.ca/srd/HTC/documents/ICS%20Docs/2011%20ICS%20I-100%20Self-Paced%20Student%20Workbook.pdf FEMA http //emilms.fema.gov/IS100b/indexMenu.htm ICS ORIENTATION http //www.cdsoutdoor.com/docs/ICS%20I-100.pdf
https://w.atwiki.jp/oblivion1/pages/75.html
The Charwich-Koniinge Letters, Book III 13 Last Seed, 3E 411 Wayrest, High Rock My Dear Koniinge, Please forgive the quality of the handwriting on this note, but I have not long to live. I can only reply in detail to one part of your letter, and that is that I fear Baliasir, contrary to what you ve heard, is very much real. Had he been but a figment of that caretaker s imagination, I would not be feeling life ebb from me as I write this. Lady Moorling has sent for healers, but I know they won t arrive in time. I just need to explain what happened so that you ll understand, and then all my affairs in this world will be ended. The one advantage of my condition is that I must be brief, without my habitually ornamental descriptions of people and places. I know that you will appreciate that at least. It started when I came to Wayrest, and through my friend Lady Moorling and her court connections was introduced to Baliasir himself. I had to proceed carefully, not wanting him to know of our designs on Azura s Star which I presumed he possessed, given to him by his servant Hadwaf Neithwyr. His function in Queen Elysana s court seemed to be decorative, like so many of her courtiers, and it was not hard to differentiate myself from the others when we began conversing on the school of mysticism. Many of the other hangers-on at the palace can speak eloquently on the subject of the magickal arts, but it seemed that only he and I had deep knowledge of the craft. Many a nobleman or adventurer who aren t mages by profession learn a spell or two from the useful schools of restoration or destruction. I told Baliasir quite truthfully that I had never learned any of that (oh, but I wish I knew some healing spells of the school of restoration now), but that I had developed some small skill in mysticism. Not enough to be a Psijic, of course, but in telekinesis, password, and spell reflection I had some amateur ability. He responded with compliments, which allowed me to segue into the topic of another spell of mysticism, the soul trap. I told him I was unlearned but curious about that spell. And very naturally and comfortably, I was able to bring up the subject of Azura s Star, the endless well of souls. Imagine how I had to hold back my excitement when he leaned in and whispered to me, 的f that interests you, come to Klythic s Cairn west of the city tomorrow night.・BR I couldn t sleep at all. The only thing I could think of was how I would get the Star when he showed it to me. I still knew so little about Baliasir, his past and his power, but the opportunity was too great to let pass. Still, I must admit that I held hopes that you would arrive, as you threatened you might in your letter, so I might have someone of physical strength to aid me in my adventure. I am growing weaker and weaker as I write this, so I must proceed with the basic facts. I went to the crypt the following night, and Baliasir led me through the maze of it to the repository where he kept the Star. We were talking quite casually, and as you ve so often said, it seemed an excellent time for an ambush. I grabbed the Star and unsheathed my blade in what I felt was amazing speed. He turned to me and I suddenly felt that I was moving like a snail. In a flash, Baliasir changed his form and became his true self, not man or mer, but daedra. A colossal daedra lord who swiped back the Star from my grasp and laughed at my sword as it thudded against his impenetrable hide. I knew I had been beaten, and I threw myself towards the corridor. A blue flash of energy coursed through me, flung by Baliasir s claws. At once, I began to feel death. He could have smote me with a thousand spells, but he chose the one where I could lie down, and suffer, and hear him laugh. At the very least, I did not give him that pleasure. Already struck, it was too late for me to cast a counterspell of mysticism, one to dispel the magicka, reflect it or absorb it as my own. But I did still know how to teleport myself, what mystics term Recall, to whatever place I d last set a spiritual anchor. I confess that at the time, I didn t remember where that would be. Perhaps in Bhoriane when I arrived in the Iliac Bay, or in Kambria, or in Grimtry Garden where I met the caretaker, or my hostess s palace in Wayrest. I prayed that I had not set the anchor last when I was with you in Morrowind, for it said that if the distance is too great, one can be caught between dimensions. Still, I was willing to take that chance, rather than being the plaything of Baliasir. I cast the spell and found myself back on the doorstep of Lady Moorling s palace. To be out of the crypt and away from the daedra was a relief, but I had so hoped that I had been smart enough to cast an anchor near a Mages Guild or a temple where I could find a healer. Instead, knowing I was too weak to walk far, I beat on the door and was taken here, where I write this letter, lying in my bed. As I wrote those words, dear Elysbetta, Lady Moorling, came in, quite tearfully and frantic, to tell me the healers should be hre withn but a few minute. But I wil be ded ere they arrve. I know thes are m last wors. Der frend, stay away frm this cursd place. Yr Frend, Charwich
https://w.atwiki.jp/warband/pages/400.html
ip_morale|Morale ip_morale_text|Morale represents the ability and willingness of the troops in a party to summon up the endurancebraveryand discipline they need to face the stresses of battle and the march. It is not the same thing as the troops' happiness. Elite troops may grumble and whine about the hardships of campaigning -- but then stand together as one when the arrows start to fly. On the other handa commander who gives his men everything they want may find that they grow softand waiver before the enemy's charge.^^ Morale's greatest impact is on a party's behavior in battledetermining how aggressively troops engage the enemyand how likely they are to break and run if they perceive the tide of battle turning against them. Morale also affects a party's march speedas a less motivated party will move more slowlyas the men are not pushing themselves to their physical limitand pause more frequentlyas it waits for stragglers to catch up. Finallya party with very low morale will start to suffer desertions.^^ Some factors that affect morale are intuitive. For examplea charismatic commander with a reputation for winning battles can infuse his or her men with a sense of confidence. Leaders who give their men well ample and varied supplies of foodand pay them on time demonstrate that they care about their troops' welfareand are less likely to lead them into disaster.^^ Other factors are less intuitive -- particularly those related to a party's sense of group cohesion. In a small tight-knit partyfor examplemen will often fight hard against daunting odds to avoid showing cowardice before their comrades-in-arms. A large party on the other hand may see its cohesion strainedas the commander has less time to supervise the menlisten to their grievancesand resolve their disputes. Frequent battles will strengthen the bonds between menwhile long periods without combat will see the troops become bored and quarrelsome.^^ The morale reportaccessibly by hitting the 'reports' button will give the player a sense of the factors affecting his or her men's morale. ip_economy|Economy ip_economy_text|Towns and villages in Calradia need a wide variety of goods for their populations to remain healthy and productive. First in importance is food. Grain is the staple crop of Calradiabut people also need fat and protein in the form of meatfishor cheese. It takes almost as much work to preserve meat as to produce it in the first placeso salt is also in high demand. After food comes clothing heavy woollighter linens or luxurious velvet. Finallypeople need the tools of their trade ironwarepotteryleatherwareandof course armsarmorand horses for war.^^Most agricultural products are produced in the villageswhile artisans in the towns specialize in manufactured or artisanal goods like fabrics or ironware. Alsodifferent resources can be found in different parts of the country. Consequentlythe key to prosperity in Calradia is trade -- both between the villages and the townsand between the major towns themselves.^^When trade flowsgoods will be available and affordablethe population of a center will be healthy and energeticand migrants will flock from the nearby regions. The center will produce moreconsume moreand be able to contribute more in taxes to their lords. When trade dries uptowns and villages will see their workers flee to seek work elsewhereand economic activity will drift to a stand-still. Thusit is in the interests of rulers to protect trade routes from the hazards of war and banditry. A smart merchanthowevermay want to seek out towns which have become isolated from the rest of the landas he or she may be able to turn a tidy profit from the resulting price imbalances.^^Because villagers usually plan to take their goods to market in townsvillage markets will be rather quiet placesand villagers will buy cheap and sell dear. Serious merchants will stick to the towns to make a profitalthough some parties may decide to make a quick stop in a village to acquire supplies.^^A player who wants to know about the factors affecting a region's prosperity can speak to the guildmaster of the local town. Other information can be gleaned from passers-byalthough they might not know very much outside of their own particular trade. ip_courtship|Courtship ip_courtship_text|Players may wish to marry into one of Calradia's noble families. Marriage is not necessary for a player to rise in power and staturebut it does provide players with an opportunity to improve their relation with lords and establish a claim to the throne.^^Marriage requirements will be different for males and females. A male character will usually need to pursue a traditional path of courtship. He should establish a reputation in Calradian aristocratic societyget on good terms with his bride's parents or guardiansand then woo the lady according to local custom. If a player grows impatienthe may attempt to take a shortcut -- but there will be consequences in his relations with other lords.^^A male character should keep in mind that other lords will be competing with him for the affections of the kingdom's ladies. Alsoa lady's tastes are unpredictableand a player may also find that the object of his love does not love him in return. Romancein Calradia as elsewheredoes not always prosper. Of coursea player may resort to otherless gentlemanly means of winning a lady's heartbut againthat will have a serious impact on his reputation.^^To get started on the path of courtshipa male player should try to get involved in the social life of the Calradian aristocracy attending feasts and tournaments. Alsowandering troubadours and poets can serve as a useful repository of information on courtshipand keep the player up to date about the latest gossip.^^Female characters can also marry -- but they should keep in mind that Calradian society is very traditionalandas adventurersthey have chosen a very unconventional path for a woman. A female character may have to look for a while to find a lord who is open-minded enough to marry her.^^On the bright sidea female character does not have to go through the elaborate rituals of courtshipand she also may gain more from a marriage than her male counterpart. For a woman adventurermarriage can be a quick path to power -- and an unscrupulous character may be able to use her husband as a tool of her political ambitions. ip_politics|Politics ip_politics_text|The realms of Calradiaalthough they represent different culturesall adhere to the same basic political system feudalism. Feudalism is based on the relationships between individuals the oaths of loyalty given by a vassal to his or her liege. In exchange for this oaththe vassal will usually receive a fiefa parcel of land whose income will be used by the vassal to raise troops to support the liege in time of war. A liege also has an obligation to protect his vassalsand to treat them justly.^^This is how it works in theoryanyway. In practicevassals will not always work in their factions' interestsparticular as they are often quarreling with one another. Nobles have different personalitiesand sometimes those personalities clash. Orperhaps two nobles were once friendsbut fell out over in the aftermath of a setback or a defeat -- or because they both were wooing the same lady. Jealousies will also surface as they vie for the favor of the king -- perhaps over newly conquered landsor over who will be given the coveted office of marshalthe lord in charge of organizing large-scale campaigns.^^When one realm in Calradia makes war on anotherthe political unity of the each kingdom is as important as the quality or number of its soldiers in determining the outcome. In a cohesive kingdom nobles will join together in a large force to sweep their opponents before them. In a kingdom divided by petty quarrelslords will fail to respond to the marshal's summonsor drift away to attend to their own business if a campaign is not going well. A faction's political cohesion will also impact warfare when campaigns are not in progress. In a divided factionlords will be less likely to join together on raids and patrolsand come to each other's defense.^^If it seems self-defeating for nobles to bicker and quarrel when the enemy is just over the horizonkeep this in mind -- ultimatelya noble's loyalty goes not to a particular faction or culturebut to himself and to his family. If a noble fears that his faction is collapsingor if he is being neglected by his liege he can usually find a reason to withdraw his oath of allegianceand change sides. Players should keep this in mindas they may find that there are opportunities to turn discontented former enemies into allies. ip_character_backgrounds|Character Backgrounds ip_character_backgrounds_text|A player character in Calradia may choose to come from a variety of social backgrounds. This choice will affect not just his or her starting skills and equipmentbut also the course of his or her career as an adventurer.^^War and politics in Calradia are traditionally dominated by male aristocrats. A nobleman player character may find that he is invited into this 'old boys' club' fairly quicklybut women and commoners may face a few extra hurdles on the way. If you choose to start the game as a male nobleman you can think of it as the 'easy' setting. Starting as a noblewoman or a male commoner is somewhat more difficultand starting as a female commoner is probably the most challenging way to begin a game.^^Howeverwomen have some starting advantages. Simply by taking up armsa female warrior will draw attention to herselfand she may find that she can build up her reputation faster than a male. Alsoit is traditionally easier for a woman to marry up the social ladder than it is for a manand a woman may find she can gain more from a strategic marital alliance than her male counterpart.^^Finallykeep in mind that the game does not place any limits on the upward mobility of characters based on their background. Noble or commonmale or femalemarried or unmarried -- anyone can rise to become ruler of all Calradiaif they are sufficiently braveluckyor resourceful. ip_military_campaigns|Military Campaigns ip_military_campaigns_text|When kingdoms in Calradia go to wartheir armies have two basic offensive options. They can try to attack villages and lay waste to the countrysidedamaging their enemy's prestige and economy. Orthey can try to seize and hold castles or townstaking territory This second option can involve longbloody siegesbut will yield more decisive results.^^It is important to note that the realms of Calradia do not field standing armieswhich remain in the field as long as the ruler desires. RatherCalradian realms are protected by feudal levies comprised of the major nobles and their individual retinues. Sometimesthese nobles launch their own private attacks into enemy territorybut the most decisive events will usually take place when the great hosts are assembled. The kingdom's marshala noble appointed by the kingwill summon the host before the campaign and lead them out to battle. Howeverhe should be careful not to keep them in the field too long. Otherwisethe host will begin to disintegrateas the vassals drift off to pursue their own businessand the army will be vulnerable to a counter-attack.^^For this reasonthe rhythm of wars in Calradia often resemble the rhythm of a duel between two individual combatants. One side will gather its strength and seek to land a blow against the enemy's territory. If the marshal spends too little time gathering the vassals he may not be able to do any real damage. If he spends too much timethen the campaign may end before it has even begun. A large realm will have an advantage over a smaller onejust as a brawny combatant has an edge over a smaller foebut a realm's political cohesion can also be a factorjust as a fighter with great stamina can outlast her opponent. Sometimesthe armies of two realms will meet head onresulting in a major battle in which both numbers and morale will decide the outcome.^^Kingdoms will have imperfect intelligence about their enemies. Attacking lords will need to frequently scout enemy territory to determine which fortresses may be vulnerable. An army defending its homeland will benefit from the alarms raised by castles and townswhich broadcast intelligence about enemy movements in the area. Such intelligence will be imprecisehoweverparticularly when it comes to numbers. A defending force which sets out to raise a siege or rescue a village may be able to overwhelm an unprepared attacker -- or it may miscalculateand find that it is the one to be overwhelmed. Attackersin turnmust be careful how far they advance into enemy territorywith aggressive marshals venturing further than cautious ones.^^Players will be expected to join in their faction's military campaigneither by joining the hostor by scouting ahead into enemy territory. Some players may find that their realm's marshal is too cautiousor too aggressivefor their tastes. In this casethey can intrigue with other lords to try to replace the marshalor build support to become the marshal themselves.^^Most wars are of limited duration. A king who goes to war willfor the sake of honorfeel obligated to pursue the conflict for a short while. Howeverunless he is soundly beating his enemy. he may soon start looking for a way out of the conflictlest he leave himself vulnerable to an attack by a third party. Calradia's rulers are keenly aware that today's ally may be tomorrow's enemyand vice versa. ip_crap|Crap ip_crap_text|A player character in Calradia may choose to come from a variety of social backgrounds. This choice will affect not just his or her starting skills and equipmentbut also the course of his or her career as an adventurer.^^War and politics in Calradia are traditionally dominated by male aristocrats. A nobleman player character may find that he is invited into this 'old boys' club' fairly quicklybut women and commoners may face a few extra hurdles on the way. If you choose to start the game as a male noblemanyou can think of it as the 'easy' setting. Starting as a noblewoman or a male commoner is somewhat more difficultand starting as a female commoner is probably the most challenging way to begin a game.^^Howeverwomen have some starting advantages. Simply by taking up armsa female warrior will draw attention to herselfand she may find that she can build up her reputation faster than a male. Alsoit is traditionally easier for a woman to marry up the social ladder than it is for a manand a woman may find she can gain more from a strategic marital alliance than her male counterpart.^^Finallykeep in mind that the game does not place any limits on the upward mobility of characters based on their background. Noble or commonmale or femalemarried or unmarried -- anyone can rise to become ruler of all Calradiaif they are sufficiently braveluckyor resourceful.
https://w.atwiki.jp/vocaloidenglishlyric/pages/140.html
【Tags Hachi Miku tP P】 Original Music Title Persona Alice Music Lyrics written, Voice edited by ハチ(Hachi) Music arranged by ハチ(Hachi) Singer 初音ミク (Hatsune Miku) Fanmade Promotional Videos Click here for the Japanese Lyrics English Lyrics (translated by otomo1983): The one reflecting in the water surface is the face of persona(me) who had eyes with a blue glass gem. The sinking lighthouse swings lightly, and a secret voice is heard. Because no one knows me, I don t know everyone. The hands of a round clock points to 15, and becomes upside down. SHOUT. There s no answer or I don t hear anything. LAUGH. Even if I have a smile, no one can see. o o p\a 4 i ka mM dzi 4a 4o m i 4a Ji ka It s likes the girl who fell into a hole running after the rabbit in the dream. ECILA ECILA become upside down. I don t know why, persona(I) in the water surface seems very sad. Blue bell-like balloon is floating. I doze in oil colors. Cracked frog changes into the stone, and I think someone laughs. I m not sad. That s because I m feelings lighter than the balloon. Sewn image in the water surface asks to me "Are you really so ?" CRYING for a long time is branches of trees that stagnate in the bottom of the water. HEAR the brilliant sound of the bell from nowhere. a a wa do 4a p\M dzi 4a mM Ji 4a mi ka It s like the rabbit which laughs busily and consults the watch constantly while running around. ECILA ECILA "Who cries ?" The persona(I) in the water surface slily whispered. You says cheap words. I laugh, Persona(I) derides. You don t know nothing about me. I already know you ll forget me. I soak my feet in the dark water surface. Persona(I) let out a whoop of joy. "HELLO ! HELLO ! I ve been waiting for you !" She calls together waves and was laughing. The warm hand take hold of my hand, and it separates the persona from me. I look for light in the warm, but I can t see anything. It is very wonderful, and I m like the girl who awoke from a frightening judgment. ECILA ECILA no longer exists. She dreams with the sunken lighthouse in the bottom of water. Instead of losing all the distorted colors and image, I received a warm one in my hand. ran rō zi ra ge ryu ji ra become upside down. Perhaps, the one reflects in the water surface is only me. English Lyrics (by vgboy / vgperson): This is the tale of a faraway world. There lived a girl who had been cursed by a witch to bring death to those she saw. After she was cursed, she lived every day in gloom and loneliness. She had not met her parents or friends in years. However, there was but one person to keep her company. Her own reflection in the water. The surface of the water makes a looking-glass, showing a blue-eyed mask s face A sunken lighthouse faintly wavering, and a mysterious voice Since no one knows anything of me, I don t know anything of anyone The clock s hands strike 15 and flip upside-down SHOUT, and there is no reply; no one heard LAUGH, and I see no one coming to join me p\a 4 i ka mM dzi 4a 4o m i 4a Ji ka (pa ri ka mu di ra ro mi ra ni ka)*** It is entirely out of a dream Like the one who chased a rabbit and fell down a hole, the girl Ecila, Ecila, flipped-upside down The face on the water s surface somehow seems so sad Blue, floating, a bell on a balloon In the fading oil-paint colors, A broken frog turned to stone, And someone laughed, or so it seemed But it isn t sad, so hey, I feel even lighter than a balloon! I see the figure on the water s surface, And I ask, "Is it really true?" CRYING, the tears reach the branches left at the bottoms LISTENING, and from somewhere, there s the bright sound of bells wa do 4a p\M dzi 4a mM Ji 4a mi ka (wa do ra fyu di ra mu ni ra mi ka)*** It was a very busy kind of laugh, Like the one eagerly looking at his watch and running around, the rabbit Ecila, Ecila, who is that crying? The face on the water s surface uselessly, softly whispered "Why do you cry?" "Because you re there." "I shouldn t be here?" "Yes, so disappear." "No." "..." "I ll go with you." "I said NO!" "..." "Please, let us be together." You said thoughtless words I laughed - the face sneered Though I didn t know a thing, or had at least forgotten, I set foot into the dark surface of the water The face spoke with a voice of delight "Hello! Hello! I ve been waiting!" the waves shouted and laughed I was grabbed by a warm hand The face and I were separated * In the warmth, I tried to search for the light, but... I saw nothing... You said thoughtless words I laughed - the face sneered Though I didn t know a thing, or had at least forgotten, I set foot into the dark surface of the water The face spoke with a voice of delight "Hello! Hello! Don t you remember?" When you came, you pulled me apart * In the warmth, I tried to search for the light, but... I saw nothing... "Hey... is this the base of the lighthouse?" "Huh?" "It s very dark... but somehow comforting." "...Really?" "Your eyes..." It was a very beautiful thing Like the one waking up from the terrible trial, the girl Ecila, Ecila is no more Sunk to the bottom of the sea with the lighthouse, left dreaming Distorted colors, shapes, everything For all I had lost, I took this hand, in all its warmth Ran row zui la ge ryu zi la*** It s completely inverted Perhaps the image on the surface of the water... Is just me (Goodbye) Perhaps she was having a long, long dream. Or perhaps she is yet in a dream. She let one tear upon the water, and walked along a puzzling road. [Translation note] the "Hello! Hello!" part is different on Bouquet and Burial at Sea. (Since I don t have transcribed lyrics, though, it might be a little off.) Excepting the line about them being separated, where the video shows the word "mask" (I mostly replaced it with "face"), Miku actually says "I/me/my/etc." The last one is likely meant to sound like "Alice in Wonderland" (or something similar) backwards. The prior ones are probably a similar deal. However, as it s an attempt to make forward-played syllables sound that way when reversed, they don t really sound right. Hachi used the more common way of reversing things for Qualia. (Oh, and the gray syllables in parentheses are what it is in Katakana, according to MikuWiki.) Romaji lyrics (transliterated by motokokusanagi2009): sore wa tōi sekai deno ohanashi aru tokoro ni majo ni "tanin no kao o miru to shinde shimau noroi" o kake rareta onnanoko ga imashita kanojo wa noroi no kakatta hi kara zutto hitori de usugurai hibi o kurashite ori oya nimo tomodachi nimo mō nannen mo atte imasen nanode kanojo no hanashi aite wa tatta hitori minamo ni utsuru jibun no sugata dake deshita minamo ni utsuru nowa garasu dama no aoi hitomi o shita kamen no kao shizunda tōdai wa awaku yuragi hisoyaka na koe dare mo watashi no koto shiranai kara watashi wa dare no koto mo shira nai no marui tokei hari wa jūgo o sashi sakasama ni naru sakebu wa henji wa nai noka nani mo kikoe nai warau wa ukabeta tokoro de dare nimo mie nai no p\a 4 i ka mM dzi 4a 4o m i 4a Ji ka sore wa marude yume no naka de usagi o oi kakete ana ni ochita ano shōjo no yōda eshira eshira massaka sama ni naru minamo no kamen wa dōshite ka totemo kanashi sōde ao iro ukabu kane no fūsen madoromi abura e no gu no naka kudaketa kaeru ishi ni kawari dareka ga wratta yōna ki ga kanashiku nai wa datte horara fūsen yoi migaru na kibun dawa nui tsuke rareta minamo no sugata "honto ni sōka?" to toi tadasu naiteru suitei yodomu kigi no eda zutto kikoeru doko kara tomo naku kirameku suzu no oto ga wa do 4a p\M dzi 4a mM Ji 4a mi ka sore wa totemo isogashiku warai shikiri ni tokei o mite hashiri mawaru ano usagi no yōda eshira eshira naiteru nowa dare da? minamo no kamen ga itazura ni sotto sasayaita "kimi wa dōshite naite iru nda?" "anata ga soko ni iru kara yo" "boku wa koko ni icha ike nai noka?" "sō dakara kiete" "iya da" "..." "kimi mo issho ni ikō" "iya yo" "..." "onegai dakara futari kiri ni shite" yasui kotoba o anata wa iu watashi wa warau kamen wa aza warau nani hitotsu shiranai kuse ni dōse wasurete shimau kuse ni kurai minamo ni ashi o tsukeru kamen wa kanki no koe de iu "hello" hello" matte imashita!" nami o yonde waratte ita atatakai te ga watashi o tori watashi to kamen o hiki saita nukumori no naka hikari o sagashita kedo nanimo mie nai "nē...koko wa tōdai no fumoto?" "e?" "totemo kurakute...dōshite ka kokochi yoi no" "...sōka" "kimi no me wa mō..." sore wa totemo suteki na mono osoroshī saiban kara me ga sameta ano shōjo no yōda eshira eshira wa mō inai noyo suitei shizumu tōdai to tomo ni yume o miru yugami mo iro mo katachi mo subete nakushita kawari ni uke totta kono te no nukumori o ran rou zui ra ge ryu ji ra massaka sama ni naru minamo ni utsuru nowa osoraku mō watashi dake nagai nagai yume o mite itano kamo shirenai moshiku wa ima masa ni yume no tochū nano kamo shire nai shōjo wa hito tsubu no namida o sono minamo ni otoshi tohō ni kureru yōna michi o aruite iki mashita
https://w.atwiki.jp/vocaloidenglishlyric/pages/284.html
【Tags Hitoshizuku-P Len Rin Yamasankaku tC tI tT H】 Original Music Title 背徳の花 English music title Corrupted Flower / Immoral Flower Romaji music title Haitoku no Hana Lyrics written by ひとしずくP (Hitoshizuku-P) Music written by ひとしずくP (Hitoshizuku-P) and やま△ (Yamasankaku) Music arranged by やま△ (Yamasankaku) Singers 鏡音リン (Kagamine Rin) , 鏡音レン (Kagamine Len) Click here for the original Japanese Lyrics English Lyrics (translated by motokokusanagi2009): The officer was taken to the red-light district by his commanding officer to see the popular dancer. What intoxicated him was either the alcohol or... With curiosity, he plucked the flower of love from a lark. Before he knew it, it became a corrupted flower and bloomed out of season- Intoxicated by a flower falling like a teardrop, My love bloomed out of season The scent of dripping honey was sweet Invaded by its poison I couldn t stop myself from falling From a lark I plucked the corrupted flower The scent of the flower being colored was sweet The hazy moon illuminated the darkness The dancing girl like a falling teardrop was A flower fairy roaming through the night Lured by the sweet scented nectar, The defined butterfly flutteringly landed With gallant and fevered eyes She smiled softly, gracefully The moment our eyes met, I fell in love My heart started racing All we did was look at each other, I called your name And we shared smiles; As I was seduced, From a lark I plucked the flower Intoxicated by a flower falling like a teardrop, My love bloomed out of season The scent of dripping honey was sweet Invaded by its poison I couldn t stop myself falling Even corruption turned into passion The flower thieves whispered untrue love To make up for their sins Rin "If you want to know me better, Len "I want to know you better. Rin expose me." Len I m going to expose you." Gradually we fell into a chain of sins If only I hadn t met you- If only I hadn t noticed you- My anxiety was released into the darkness I tried to pretend I didn t regret us being together But your eyes made me unable to suppress myself The moment our eyes met, a shadow was cast And you turned your eyes away from me Len "If yearning for you is Rin "If wanting you is Len fake..." Rin sinful..." I don t need my heart Intoxicated by a flower falling like a teardrop My love bloomed out of season Despite my love, I couldn t tell you that I didn t even touch you, All I did was smile at you My true feelings couldn t reach you The flower thieves whispered untrue love To make up for their sins Rin "You re aware of my feelings. Len "If you want me to, Rin So I beg you..." Len I ll snatch you away." Our playful words vanished into thin air Intoxicated by a flower falling like a teardrop, My love bloomed out of season This forbidden love, This hopeless wish The two of us were divided by an unchangeable destiny I buried my true feelings The flower thieves whispered undying love To make up for their sins Rin "If you really love me, Len "Oh my fleeting dream, Rin I hope you never look back." Len Let me put an end to this." Till the day we meet again Sayonara Singable English Lyrics (by Dreambelieva): Falling like a tear is the flower that intoxicates So premature...My love bloomed out of season The scent of dripping honey (was so sweet, enticing me) Invaded by its poison (couldn t stop from falling in) From a lark I plucked the tainted flower of corrupted love The scent of the flower was sweetly coloured everywhere in the hazy moon illuminating the darkness She is dancing in the night In the moonlight she becomes a flower fairy roaming beneath the dark sky Following the sweet scent of the alluring nectar I found a beautiful, butterfly landing before me With gallant, fevered eyes she looks into my eyes gracefully, she softly smiled...I was enchanted At that very moment when both of our eyes met, I fell in love with you (I felt my heart starting to race) All it took was one glance (I called out for you, entranced) And a shared smile from you (as I was seduced by you) From the lark I plucked the flower of forbidden love Falling like a tear is the flower that intoxicates So premature...My love bloomed out of season The scent of dripping honey (was so sweet, enticing me) Invaded by its poison (couldn t stop from falling in) I can t help myself as corruption turns into passion The two flower thieves whispered their untrue, undying love To make up for the sins that they ve committed If you want to know me more (I want to know you better) ...then uncover my true core (I ll expose you through this blur) Gradually we fell into a trap enchained by our sins If only I hadn t met you or notice you at all... All of my anxiety released into the dark I tried to forget, but I don t regret a thing cause your eyes made me unable to suppress myself At that very moment when our eyes met a shadow was casted (You turned your eyes away from me) If my yearning for you was (if wanting you is just) all along a false belief (too sinful for you then I..) Then I do not need this heart that is beating for you Falling like a tear is the flower that intoxicates So premature...My love bloomed out of season But despite my love for you (overwhelmingly speechless) I m too afraid to touch you (so I gave you a smile) My true feelings could not reach you at all Can t you see? The two flower thieves whispered their untrue, undying love To make up for the sins that they committed You re aware of my feelings (if you truly want me to) so I beg you pretty please (I will take you far away) Our exchanges of words will soon disappear into thin air Falling like a tear is the flower that intoxicates So premature...My love bloomed out of season This forbidden love of ours (My foolish and hopeless wish) will soon separate us two (we cannot cheat destiny) so I buried my true feelings deep within myself The two flower thieves finally whispered their true love to make up for the sins that they committed If you truly love me then (oh my wretched fleeting dream) I hope you never look back (Let me put an end to this) Till the day the two of us can meet again.. For now.. "Farewell" Romaji lyrics (transliterated by motokokusanagi2009): mai chiru hana ni yoi mida sare te kurui zaita koi gokoro shitataru mitsu no kaori wa amaku doku ni oka sare tada ochi te iku tawamure ni taoru haitoku no hana iro zuku hana no kaori wa amaku oboro no tsuki wa yami o terasu mai chiru yōni odoru musume wa tokoyo o samayou hana no sei amai kaori no mitsu no saso ware hirari to tomaru kedakaki hane ririshī hitomi ni netsu tomoshi te fuwari to yūga ni hohoe nda shisen ga karamu shunkan koi ni ochita taka naru shinzō tada mitsume ai namae o yon de hohoemi kawasu saso wareru mama tawamure ni sore o tsumi totta mai chiru hana ni yoi mida sare te kurui zaita koi gokoro shitataru mitsu no kaori wa amaku doku ni oka sare tada ochi te iku haitoku sae netsujō ni kawaru hana nusubito wa tsumi horoboshi ni kyozō no ai o sasaya ita Rin "Shiri tai no nara Len "Shiri tai no desu Rin Abai te mise te" Len Abai te miseru" yukkuri to tsumi no rensa ni ochiru de awana kereba- kizu kana kereba- ureu kimochi wa yami ni toke te kōkai nante shite nai furi wa me ga attara mō kakuse nai shisen ga karamu shunkan kage ga ochi te sora sareta hitomi Len "Koga reru koto ga Rin "Moto meru koto ga Len itsuwari naraba..." Rin Ayamachi naraba..." kokoro goto sute te shimai mai chiru hana ni yoi mida sare te kurui zaita koi gokoro aishi te itemo kotoba ni deki zu fure sae shinai tada hohoen de hontō no omoi wa todoka nai hana nusubito wa tsumi horoboshi ni kyozō no ai o sasaya ita Rin "Kizuite run deshō Len "O nozomi naraba Rin o negai dakara..." Len saratte iku yo" tawamure no kotoba wa sora ni mai chiru hana ni yoi mida sare te kurui zaita koi gokoro yuru sare nu koi kanawa nu negai futari o wakatsu kese nai sadame hontō no omoi wa hōmutta hana nusubito wa tsumi horoboshi ni towa no ai o sasaya ita Rin "Ai shiteru nara Len "Hakanai yume yo Rin furi kaera nai de" Len owari ni shiyō" futari mata deau hi sayonara [Hitoshizuku-P, HitoshizukuP, Yamasankaku]
https://w.atwiki.jp/mediasenterenglish/pages/15.html
Information literacy education If it is the purpose to bring up those who live in this time when computerization is progressing, information literacy education is required. Capability of information literacy is made into the capability "which can recognize it, can discover required information effectively, and can be evaluated and used when information is required" in the report of American Library Association (ALA). In order to perform information literacy education, the present school library considers me first that it is required to perform environmental management for it. It is various substantial media. In enriching various media, taking in the media suitable for the juvenile student s curriculum and the actual condition thinks that it is asked. It is important to choose media and to enrich them, taking the needs of a juvenile student or a teacher into consideration. First of all, it is necessary to grasp how the juvenile student s curriculum is constituted. It is important to choose the data which can compensate the contents with on top of that, and can be developed on top of that. That is, it is required to make it substantial, discerning the characteristic of not only a pencil press but audiovisual media and electronic media. And it is important to stand the prediction about being what catches analytically what [ not a passive posture but ] is used how, and is asked for what in it. Moreover, probably about the information as a flow, it seems that there is nothing exceeding the Internet. As a place which performs investigation study and information literacy education, it is also important for the Internet to improve the equipment environment which can be accessed easily. The environmental management which can respond to digitization of information is called for. It can be said that the education of old our country was a knowledge transfer type. The blackboard was copied for the note, and though only the information which a teacher emits was counted on, it was not troubled by the entrance examination of a high school or a university. Greater importance has been attached than to studying something spontaneously to the study for acquiring knowledge required for taking an examination. the academic ability for me to be asked for a high school entrance examination or a university entrance examination even now changed a lot, even if some change was in the situation of being the quantity of knowledge -- as -- I cannot consider. In order for oneself to select what is studied how, choosing, comparing information, and also collecting, evaluating to it is called for. And various media are fixed in a school library and backing up a juvenile student s study simultaneously with it thinks that it is asked. Business solution study "Business solution capability" is positioned as "power of living" by the present school education, and the training has become one of the problems of the utmost importance involving the education of our country. With the passive study form of memorizing the knowledge transmitted from a teacher who mentioned previously, or the textbook, acquisition and improvement are difficult for "business solution capability." For acquisition or improvement, a subject may be found itself, it may be solved, it works, and it will be got blocked and "business solution study" will say that it is important. In the present school education, many of "business solution study" is performed in hours of comprehensive learning. And I think that "business solution study" is able to carry out almost simultaneously with information literacy education. It is because it can expect using a school library when collecting information. Then, performing use instruction and the capability to process information appropriately while actually searching for information and discovering and using information cultivate. Moreover, therefore, it is needless to say that a school library teacher-librarian s skill is needed. The above thing shows that information literacy education and business solution study are closely related. Maintenance for a learning information center to function as a place which learns these thinks that it is asked in the present school library. It is not that a teacher and a textbook supply a target information on the other hand, and future education needs to be performed under the circumstances where required knowledge and information can be acquired from a student s active volition according to a student s capability. Therefore, it is necessary to improve the future school library to be able to utilize knowledge and information to the extent that it exceeds a student s volition. And irrespective of a lesson, it is important as a future school library media center to become a place which will be utilized if there are a juvenile student s wanting to know some and anything to investigate.
https://w.atwiki.jp/touhoukashi/pages/3921.html
【登録タグ 709sec. H NANA HOLIC III Nana Takahashi SOUND HOLIC 恋色マスタースパーク 曲】 【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/sentokun/pages/48.html
Warhammer Online - Melee Combat Mechanics こちら INTRODUCTION Based on my experiences in WoW, I developed a passion for simulating combat, especially melee combat. Finding the gear combinations for attaining my character’s maximum Damage Per Second (DPS) was the foundation of those exercises on both my rogue Discoepfeand and my shaman Disquette. The information in this post is intended to be the foundation for those people who wish to do the same in Warhammer Age of Reckoning (WAR). DPS AND THEORYCRAFTING IN WAR WAR, for better or worse, is primarily a PvP (or RvR, actually) game at heart. As a result, sustained DPS is often not going to be the concern of the players, who will instead be focused on burst damage as much as sustained damage. There are, however, some high-end PvE aspects that the developer (Mythic Entertainment) has alluded to. I don’t particularly care how useful this information is to the “average RvR player”, to be quite frank. My desire in this game isn’t to gain knowledge for the purpose of using it as Mythic intended, but simply to know and explain it for those who might care about the PvE portions of the game. As might be evident from my writing style, I’m getting older and am finding happiness in different things than I used to. As such, this blog is here for my own edification, and if you don’t like it or my motivations, feel free to stop reading - I’ll never know the difference ;-) So, with that all out of the way… BASIC STATS TO KNOW 1. Strength - this increases your auto-attack melee dps, all other things remaining the same, by 0.1 dps per strength. 2. Toughness - this stat, which both players and mobs have as a characteristic, is the inverse of strength (with respect to damage - your strength also effects your target’s chance to parry your attacks. That’s irrelevant for this post). Explicitly, it reduces the dps done to you by 0.1 dps / toughness. 3. Weapon DPS - the damage per second inherent in every weapon. It’s interesting to note that WAR is not like WoW - there is no variability from hit to hit. It’s all a mathematical formula with no randomness to the outcome of each hit. Crits may be an exception (I haven’t started work on them yet). 4. Weapon Speed - how many seconds it takes for each auto-attack swing of your weapon. OTHER BASICS TO KNOW Your combat log will show not only the damage you did, but also how much was mitigated by armor. As an example, you might see the following Your attack hits Evil Ogre for 80 damage. (20 mitigated) Very Important Disclaimer!!! So far the formulas I’m comfortable sharing in this post have proved to be accurate within 1 point of damage in all the testing I’ve done. I cannot, however, say without a doubt that these are the formulas being used. The best thing we can do is test for ourselves and draw our own conclusions. Having other people confirm these formulas via in-game testing would be nifty, so drop me a line if you do so. ON TO THE SHOW! Basic Attack Damage when single-wielding Your auto-attack damage is calculated by a fairly simple formula. We’ll use some of those stats we covered earlier. I’ll use the following variable names Strength Str Target’s Tougness Tou Strength Bonus StrBon (I’m going to use this so as to simplify the way the formulas look. So far I haven’t found any damage calculations which use Str but not Tou, or vice versa, and when they’re used together, so far they’ve always been seen in the form Str-Tou). Weapon DPS Wdps Weapon Speed Wspeed Armor Mitigation % Armor Please note - throughout this whole post I’ll just be using a single term for armor. Weapon Skill affects armor penetration. That’s a very uninteresting stat for me, as it’s essentially a linear effect. A fully accurate formula would use (ArmorMitigation = TargetArmor%*(1-WeaponSkillArmorPenetration%). If you’re writing a calculator, be sure to include that term, but this thing is complicated enough without that uninteresting term to further expand these large formulas. Thanks to Wodin and Hermit for pointing out that I shouldn’t leave this out all together without and explanation! Damage per Attack Dmg (I’m specifying this so that it’s not confused with Damage per Second). Dmg = ((StrBon/10) + Wdps)*(Wspeed)*(1-Armor) Let’s do an example! Let’s say you’re a White Lion, fighting a Vicious Spider (made up name) and the actors have the following stats White Lion Str 350 Spider Tou 250 White Lion Wdps 25 White Lion Wspeed 2.0 seconds / swing (thanks for catching this labeling error, DPS_squared) Spider Armor Mitigation 15% (Incidentally, this is about half of what is typical for even con’d mobs) Using our formula above, each melee auto-attack will do… Dmg = (((Str - Tou)/10) + Wdps)*(Wspeed)*(1-Armor) Dmg = (((350-250)/10) + 25)*2.0*(1-15%) Dmg = ((100/10) + 25)*2.0*85% Dmg = (10+25)*2*0.85 Dmg = 59.5 This will appear in your combat log as Your attack hits Vicious Spider for 59 damage. (11 mitigated) Ok, so what’s happening here? Lots of interesting things! To wit 1. Rounding - It should come as no surprise that WAR, like other MMOs, rounds abilities to whole numbers for display purposes. This does not mean that the game doesn’t process fractions - I’ve seen one of my HoTs tick for varying amounts, sometimes 268, sometimes 267, which I can only imagine is the game keeping track of the fractions internally in the server (or perhaps the client, I don’t know). 2. There are two forms of damage mitigation, but you’re only seeing one explicitly - Only the armor mitigation shows up in the display window, but remember that the target’s toughness is also factoring in to reduce the damage. Calculating Mob Damage Reduction You might ask how to figure out the opponent’s armor and toughness values. I sure needed to know that in order to reverse-engineer the more complicated attack types. Let’s go through that process (Hey, I spent the hours to figure out how to calculate these, so you’re gonna read about it p ) Armor - this was the easy one. For every auto attack, on every character, it was pretty straightforward to see that comparing the amount mitigated in the combat log to the damage done always had the same ratio when all else remained the same (target mob, your str, weapon, etc). And that’s that! Ok, except for crits, which I keep coming back to as being special. Other blogs or articles will probably cover how that is working in game at the moment. Toughness - this was the harder one. The first thing is to realize that mobs have this! Coming from WoW where the only mitigation stat against physical attacks was armor, I had to expand my horizons a bit to understand that this was not only present, but was *invisible* (ooooh, ahhhhh). What I mean by that is that it doesn’t show in the mitigation portion of the combat log. However, if you do a few tests on mobs, you find that regardless of your weapon dps, your strenght, your weapon speed, etc, you are constantly hitting the mob for a consistent amount less than you would expect if you used just strength in a simple calculation.You might find it helpful, if you want to do dps testing for yourself, to have a set of guidelines to follow for calculating a mob’s toughness. Here’s what you do - look at your stats, auto attack a mob, and back into the toughness using the following procedure 1. Record your Str, Wdps, and Wspeed 2. Auto attack the mob, and add the mitigated and non-mitigated portions together. For instance, for the combat log entry Your attack hits Vicious Spider for 59 damage. (11 mitigated), The number you would want to record is 59+11 = 70. We’ll call this number TDmg (for Total Damage, including armor mitigation) 3. Use the formula below, which you can re-create yourself by undoing the process we used above if you like to prove things out to yourself tou = 10*((((0.1*Str + Wdps)*Wspeed)-TDmg)/Wspeed) That might need an example to make sure I got my parentheses right! Let’s use the spider example from above. Remember from before, that White Lion Str 350 White Lion Wdps 25 White Lion Wspeed 2.0 seconds / swing Spider Armor Mitigation 15% (this is completely unnecessary information for this calculation) Add to that our two new data points Mitigated Damage 11 Final Actual Damage to Mob 59 TDmg = 70 (the 2 lines above added together) Let’s calculate it out using the formulas shown above tou = 10*((((0.1*Str + Wdps)*Wspeed)-TDmg)/Wspeed) tou = 10*(*1)/Wspeed) tou = 10*((((35+25)*2.0)-70)/2) tou = 10*((120-70)/2) tou = 250 Yay, it works! It matches the toughness we had in the assumptions used for the first example. If you’re theorycrafting/testing dps on mobs, build this formula into a spreadsheet - you’re going to use it a lot ;-) Calculation Damage of Special Attacks (Note I haven’t looked at special attack damage while dual-wielding. This only works for single wielding at the moment) (Edit for Update! Erdrick figured out the Dmg for special attacks while dual-wielding, yay!) Unlike DAoC, and like some classes in WoW, WAR intertwines special attacks with your auto attack, as opposed to having a queue’ing system. As a result of not using a queue system, Mythic did something very smart for calculating special attack damage - they treat the weapon speed for the damage calculations as if it were the speed of the ability. Most special abilities are instant. Since each instant attack invokes the global cooldown of 1.5 seconds, 1.5 is the speed value used for most specials, whether you’re using a big 2 hander or a quick dagger. This is in contrast to WoW in which weapon speeds are normalized for instant attacks by their type (2.4 for swords, 1.7 for daggers, 3.something for 2 handers). Another wrinkle thrown into the special attack calculations is that strength counts for twice as much! Above we noted that, per the character screen, each point of Str added 0.1 dps to your attacks. Also per the character screen, you will see that for special abilities, each point of Str adds 0.2 dps. What the character screen does not tell you is that your opponent’s toughness mitigation is also doubled per point. This makes things very convenient for us, as that doubling for both means that we can continue using our meta-stat StrBon (Your strength - Your target’s toughness) Now we have two facts that help us calculate the damage - weapon speed of 1.5 (usually) and StrBonus doubling - but we need more. MORE BLOOD FOR THE BLOOD GOD! First, we have the ability’s damage itself. An ability may something like “A cruel blow which does 63 damage to your target and causes it to hate you greatly”. Second, we have the special attack weapon dps modifier. This modifier, from my testing, is set to 150%. This means that if your weapon was 100dps, the damage of your special attack would be increased by 150 due to its weapon dps. As noted by EasymodeX in the comments section, that’s equal to the multiplier for strength, which is a pleasing number - it again is the swing time of an instant attack. So, let’s put that all together into a formula that captures these different facts. We’ll use the term Admg to refer to any extra damage you get from the special attack, per its tooltip, and we’ll use the term Sdmg to refer to the total damage of your special attacks after all the calculations are done. Sdmg = (((StrBon/10)*2 + Wdps)*1.5 + Admg)*(1-armor) (single wield only) (note that Wspeed doesn’t factor in here - the special ability damage calculation is completely weapon-speed-free. You’ll be seeing this fact referred to again later in this post.) As usual, let’s do an example so you can see it working. Assume the following White Lion Str 323 Spider Tou 264 White Lion Wdps 51 White Lion Admg 62 Spider Armor Mitigation 15% Sdmg = ((StrBon/10)*2*1.5 + Wdps*150% + Admg)*(1-Armor) Sdmg = (((323-264)/10)*3 + 51*150% + 62) * (1 - 15%) Sdmg = (5.9*3 + 76.5 + 62) * 0.85 Sdmg = 156.2 * 0.85 Sdmg = Your special attack hits Vicious Spider for 133 damage. (23 mitigated) Update as indicated above, big thanks to Erdrick for figuring out special damage while single *or* dual wielding. That dude has more patience than me, that’s for sure D Here it is Sdmg = ((StrBon/10)*2*1.5 + MHdps*150% + OFdps*52.5%+ Admg)*(1-Armor) (Update on 9/18/08 - OFdps coefficient may be 67.5% now. I’ll have to check when I have a reasonably high level dual-wielder. Right now I only have a WP) Alrighty, I hope that’s all clear, because the next formula (the last in this article) is the real doozy. Or maybe it’s not. But the fact is, it was horrible trying to figure it the next formula, and I had a victory beer when I finally got it working. However, even though it has so far been within 1 damage of actual tests each time I’ve done this, it looks so odd that I don’t have 100% confidence in its accuracy. I do have enough confidence in it to post it, and hopefully it stands up to further testing. If it doesn’t, so be it, and I’ll be very open to seeing a more accurate formula. So then, without further ado, let’s talk about… Off-Hand Damage, when it happens, and how it’s calculated Mythic has taken a novel (to me at least) approach to the mechanics of dual-wielding melee weapons. Instead of the off-hand weapon always swinging as it does in WoW, the chance for the off-hand weapon to swing is a simple proc from the main hand. A certain percentage of the time when the main hand hits, the offhand will also hit as an auto-attack. I don’t know what that percentage is. It’s probably documented somewhere, and if not, that’s a trivial task to empirically determine the proc chance (probably, who knows if they threw in something odd in the determination). The part that I cared about was how to calculate how much damage each off-hand swing would cause when one did happen. So then why go into the proc-chance explanation? It is because that concept is intrinsic to understanding how and why the off-hand damage is what it is. In contrast to the other sections, I’m going to start us off with the damage formula, and then explain it after the fact. First, however, we need some new terminology to add to our stable of stats Our current familiar stats Strength Str Target’s Tougness Tou Strength Bonus StrBon Armor Mitigation % Armor Off-Hand Damage per Attack OHDmg Our new stats Off-Hand Weapon DPS OHWdps Off-Hand Weapon Speed OHWspeed Main-Hand Weapon Speed MHWspeed Off-Hand Weapon DPS penalty OHWPen Off-Hand Strength penalty OHSPen Alrighty, so here’s the formula OHDmg / (1 - Armor) = (StrBon*OHSPen/10)*OHWSpeed (MHWSpeed-OHWSpeed)*OHWdps OHWdps*OHWSpeed*OHWPen) ZOMG! I thought I was going to cry figuring that out. 4 seriously. At this point, you have to take on faith that through trial and error and a few beers, I figured out the following constant values, and that they’re correct OHWPen = 0.9 OHSPen = 0.5 By now, you know what comes next - An Example! Let’s lay out the relevant stats… Str 391 Tou 291 StrBon 100 (Remember, this is just Str - Tou) Armor 15% OHWdps 38.0 OHWspeed 2.2 MHWspeed 2.6 OHWPen 0.9 OHSPen 0.5 OHDmg / (1 - Armor) = (StrBon*OHSPen/10)*OHWSpeed (MHWSpeed-OHWSpeed)*OHWdps OHWdps*OHWSpeed*OHWPen OHDmg / (1 - 0.15) = (100*0.5/10)*2.2 (2.6-2.2)*38.0 38.0*2.2*0.9 OHDmg / (1 - 0.15) = (100*0.5/10)*2.2 (2.6-2.2)*38.0 38.0*2.2*0.9 OHDmg / (0.85) = 5*2.2 + 0.4*38.0 + 38.0*2.2*0.9 OHDmg / (0.85) = 11 + 15.2 + 75.2 OHDmg = 101.4 * 0.85 OHDmg = Your special attack hits Vicious Spider for 86 damage. (15 mitigated) hey. HEY. HEY!!!!! Wake up! You still with me??? Ok, good, we’re almost done. I want to explain what’s happening with the formula above so you can have a sense of how well thought out Mythic’s offhand damage mechanic is. First, as we discovered before, note that your special attacks aren’t diminished by using a fast weapon since special attacks don’t factor weapon speed into the damage calculations. Since off-hand weapon swings are procs of main-hand attacks, Mythic wanted to make sure that people didn’t abuse this mechanic by having a really fast main-hand to proc a hard hitting slow off-hand. Thus, they prorate the damage of your off-hand attacks by the difference between it and your main-hand weapon speed. The part of the calculation where you see this is in the term (MHWSpeed-OHWSpeed)*OHWdps. The first term in the formula is also interesting in that you see Mythic halving the Strength bonus compared to a main-hand attack. Both that, and the last term of the formula (in which you see that Mythic has reduced the standard (weapon dps * weapon speed) by 10%) seem to be their attempt to tune the offhand damage to whatever internal goals they have. That’s my guess, at least, because it’s pretty damn complicated if that isn’t why they made this monstrosity of an off-hand-auto-attack-damage-calculation! Conclusion Melee DPS calculations in WAR are not nearly as simple as one might expect at first glance. While even these very primal calculations are relatively complex, there are even more complex formulas that will need to be developed to explain things such as off-hand crit damage. And finally, I must reiterate These formulas are my attempt at matching up mathematical formulas with observed results in WAR. I cannot guarantee that any of these are correct. However, they match up with my in game experiences so far. I guess this is then end of my first blog post EVAR! If you have any comments or questions, feel free to post them in the response section (assuming it works, we’ll see if i get this blog thing figured out or not) ;-) Disquette (Shaman, Disciple of Khaine, and ElitistJerks.com forum member)
https://w.atwiki.jp/touhoukashi/pages/4737.html
【登録タグ BlazeOut EastNewSound L ラクトガール ~ 少女密室 曲 柿チョコ】 【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 = /(?=^|.*