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https://w.atwiki.jp/v-lyrics/pages/403.html
ゆめのつづき [ TAG Dixie Flatline L-Y Len Luka Miku Rin title ゆ] Music Dixie Flatline/Dixie Flatline Lyric Dixie Flatline/Dixie Flatline Arrange Dixie Flatline/Dixie Flatline Vocal Hatsune Miku, Kagamine Rin, Kagamine Len, Megurine Luka The creator s comment from NicoNico Douga I devote this song to the senior creators who have greatly led the popularity of Vocaloids. (Vocaloidブームの大きな牽引力となった初期からの作曲者の方々に捧げます。) Videos PVs ■ Show/Hide Video http //www.nicovideo.jp/watch/sm7911934 http //www.nicovideo.jp/watch/sm7911934 Translations ■ Show/Hide Romaji 2009-08-20 Checked by damesukekun 2009-08-20 22 15 Generated automatically watashi wa koko ni iru yo anata ga toshi wo totte mo yume no tsuzuki kyou mo asu mo utai tsuzukeru ichido tsuita taisetsu na tomoshibi kie nai you ni zutto mimamotte ruyo hajimari wa min-na kon-na fuu ni watashi ni uta nanka utae nai to doredake motome tsuzukete mo kokoro wa kono te ni todoka nai demo anata wa chigatta no omoi wo sosoide kureta no kon-na watashi wo shinjite kureta omoi wa hitotsu ni natte kono mune ni atsuku yadotte soshite kiseki ga watashi wa koko ni iru yo nagare yuku tsukihi no naka de kimi ga kureta daiji na mono utai nagara mebuki sodachi hanasaku sono hi made inoyu you ni zutto mitsume te iru yo kaketa biizu (beads) tsunagu you ni daiji ni daiji ni uttatte kita hito no you ni wa deki nai kedo watashi no kotoba de aruite kita kiite kureru hito mo fuete min-na no kokoro ni hibiite watashi no uta de naite kureta anata no kimochi wo komete watashi no kansha wo komete sora e hanatsu yo watashi wa koko ni iru yo anata ga toshi wo totte mo yume no tsuzuki kyou mo asu mo utai tsuzukeru ichido tsuita taisetsu na tomoshibi kie nai you ni zutto mimamotte ruyo watashi wa koko ni iru yo anata ga toshi wo totte mo yume no tsuzuki kyou mo asu mo utai tsuzukeru ichido tsuita taisetsu na tomoshibi kie nai you ni zutto mimamotte ruyo watashi wa koko ni iru yo nagare yuku tsukihi no naka de kimi ga kureta daiji na mono utai nagara mebuki sodachi hanasaku sono hi made inoyu you ni zutto mitsume te iru yo [部分編集] ■ Show/Hide Translation The Thread of a Dream 2009-08-20 First Entry 2009-08-20 22 50 16 (Thu) Last update Trasnlated by damesukekun Title The Thread of a Dream Lyric I am here I go on singing the thread of a dream today and tomorrow, if you grow old and watching the precious light once lit so that it won t go out At first everyone said it was impossible for me to sing I was asking for again again still no one let my hands feel his heart But you did, you gave me your affection and believed immature me Our feelings became one and dwelled in my heart emotionally then a miracle... I am here I go on singing the precious thing you gave me in the passing time and watching it to the day when it sprouts, grows and blooms I have sung dearly as to connect the broken beads I can t do like a human being still I have made my way with my own words More people came to listen to me and my songs reached their hearts They shed tears with my songs Now I release this song to the sky putting your affection and my gratitude I am here I go on singing the thread of a dream today and tomorrow, if you grow old and watching the precious light once lit so that it won t go out I am here I go on singing the thread of a dream today and tomorrow, if you grow old and watching the precious light once lit so that it won t go out I am here I go on singing the precious thing you gave me in the passing time and watching it to the day when it sprouts, grows and blooms Note This translation is by permission of the composer. 作者様のご了解のもと翻訳しました。 Comment If you have any advise or opinion for this post please write here.この投稿に対して助言、ご意見などありましたらこちらに書き込んで下さい。 Name Comment すべてのコメントを見る Last modified 2009-08-20 22 50 16 (Thu) Original Lyric, Nicosound MP3, etc http //www5.atwiki.jp/hmiku/pages/6188.html http //nicosound.anyap.info/sound/sm7911934 http //www.nicomimi.com/play/sm7911934 Sub video, PV, other fan made video in YouTube http //www.youtube.com/watch?v=vceDQ0fUUT8 [Add] http //www.youtube.com/watch/xxxxxxxxx ADD LINK すべてのコメントを見る http //www.youtube.com/watch?v=vceDQ0fUUT8 (Information in this page is based on HatsuneMiku@Wiki) _
https://w.atwiki.jp/vocaloidenglishlyric/pages/171.html
【Tags Miku malo tF tT H】 Original Music title ハジメテノオト English music title The First Sound Romaji music title Hajimete no Oto Music Lyrics written, Voice edited by malo Music arranged by malo Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics Romaji lyrics (transliterated by motokokusanagi2009)： hajimete no oto wa nande shita ka? anata no hajimete no oto wa... watashi ni totte wa kore ga sō dakara ima ureshikute hajimete no kotoba wa nande shita ka? anata no hajimete no kotoba watashi wa kotoba tte ienai dakara kōshite utatte imasu yagate hi ga sugi toshi ga sugi sekai ga iroasete mo anata ga kureru akari sae areba itsudemo watashi wa utau kara sora no iro mo kaze no nioi mo umi no fukasa mo anata no koe mo watashi wa shiranai dakedo uta o uta o utau tada koe o agete nanika anata ni todokuno nara nando demo nando datte kawaranai wa ano toki no mama hajimete no oto no mama... hajimete no oto wa arimashita ka? anata no hajimete no oto wa... shiranai kyoku toka machi no oto ni waku waku shite masu ka? hajimete no kotoba wa arimashita ka? anata no hajimete no kotoba iezuni shimattari iwanakatta kotoba wa sukoshi samishisō yagate hi ga sugi toshi ga sugi furui nimotsu mo fuete anata ga kawatte mo nakushitaku nai mono wa watashi ni azukete ne toki no nagare mo kizu no itami mo ai no fukasa mo anata no koe mo watashi wa shiranai dakedo uta wa uta wa utaeru wa dakara kīte moshimo anata ga nozomuno nara nando demo nando datte kawaranai wa ano toki no mama hajimete no oto no mama... sora no iro mo kaze no nioi mo umi no fukasa mo watashi no uta mo kawaranai wa ano toki no mama hajimete no oto no mama... hajimete no oto ni naremashita ka? anata no hajimete no oto ni sekai no dokodemo watashi wa utau sore zore no hajimete no oto o... []
https://w.atwiki.jp/vocaloidenglishlyric/pages/866.html
【Tags Fuyu-P Luka tH tT tS】 Original Music title 六花の琴 English music title Snow Harp / Harp of Snow Blossoms Romaji music title Rikka no Koto Music Lyrics written, Voice edited by ふゆP (Fuyu-P) Music arranged by ふゆP (Fuyu-P) Singer(s) 巡音ルカ (Megurine Luka) 六花 (Rikka, literally means "six blossoms") means "snow" in Japanese. Click here for the original Japanese Lyrics Romaji lyrics (transliterated by motokokusanagi2009)： totemo tōi haru no mae ni tabi datsu senaka o tada koko de kata mateba sen no keshiki ukan dewa kie te iku semu kata naku omoedo ito o tayori ni tsumui de atena no nai tegami o namae no nai senritsu o itoshisa ga michi yuki wabishiku te same zame to naku no deshō negawaku ba ima ichido anata ni kanade te kanae te kanade ah shizukesa ga itaku mune o shime tsukeru yōde jiyū o motsu tori no yōni tobe tara oi kakeru noni itoshisa ga michi yuki wabishiku te same zame to naku no deshō kanashiku te furueru koto no ne wa doko made todoki masu ka? watashi o narasu nowa koishisa to setsunasa ga iri majiri negawaku ba ima ichido anata ni kanade te kanae te kanade katawara ni aru nowa ikutsumo no sugata o kaeru hari no tama mabatai tewa mabushi mai furu muttsu no hana itoshisa ga michi yuki wabishiku te same zame to naku no deshō kanashiku te furueru koto no ne wa doko made todoki masu ka? watashi o narasu nowa koishisa to setsunasa ga iri majiri negawaku ba ima ichido anata ni kanade te kanae te kanade totemo tōi haru no mae ni tabi datsu futari no akashi tomo ni [Fuyu-P, FuyuP]
https://w.atwiki.jp/vocaloidenglishlyric/pages/682.html
【Tags Miku Pinokio-P tM O】 Original Music title おもひでしゃばだば English music title Memory Shabadaba Romaji music title Omohide Shabadaba / Omoide Shabadaba Music Lyrics written, Voice edition by ピノキオP (Pinokio-P) Music arranged by ピノキオP (Pinokio-P) Singer(s) 初音ミク (Hatsune Miku) Append Click here for the original Japanese Lyrics English Lyrics (translated by kato5)： I was with you in spring. We got drunk cherry-blossom viewing; As my shoe came off and fell at the station stairs, we laughed I was with you in summer. Staying up all night along the coast, Fireworks we bought at a convenience store bloomed at 4 o'clock in the morning In fact, I knew it but I just didn't say Such a balloon grows larger... Things that disappear when I put into words, Or shedding tears for some reason Are there such warm illusions? There were, right? Memories, memories, memories, Memory shabadaba Memories, memories, Memory shabadaba I was with you in autumn. We went on a little trip, Hiding in the unfamiliar sight, we ate wheat noodles at a chain store I was with you in winter. The small kotatsu was for two people. We were gazing at the snow of the end of the year through the window Little by little, dusts of life come off I link them by putting the dusts together... Things that others can't see Or being given a simple kindness Will they become warm lights that shines usual days? They will, right? Memories, memories, memories, Memory shabadaba Memories, memories, Memory shabadaba You fell down at the station We enjoyed fireworks when we were still sleepy The wheat noodles had a little taste We heard the bells on New Year's Eve in a kotatsu In spring, in summer, in autumn, in winter, I was always with you And now, the balloon has already burst Things that disappear when you put into words, Or shedding tears for some reason Are there such warm illusions? Yes, there were Memories, memories, memories, Memory shabadaba Memories, memories, memories... Memories, memories, memories, Memory shabadaba Memories, memories, Memory shabadaba [Translation notes] "Omihide" is an old word for omoide. It's read "omoide" Romaji lyrics (transliterated by vgboy / vgperson)： Haru ni kimi to imashita hanami de yopparatte Eki no kaidan de korori kutsu ga nugete waratta Natsu ni kimi to imashita tetsuya akeru no umizoi de Konbini de katta hanabi gozen yo-ji ni saita Jitsu wa wakattete iwanai dake dato iu Fuusen ga fukurandeiku Kotoba ni shitara kiechau koto ya Wake wakarazu namida ga deta koto ya Sonna atatakai maboroshi ga arun desu ka? Arun desu ne? Omohide omohide omohide Omohide shabadaba Omohide omohide Omohide shabadaba Aki ni kimi to imashita shouryokou ni dekakete Mishiranu keshiki ni kakure cheen-ten no udon tabeta Fuyu ni kimi to imashita semai kotatsu wa futari-bun de Nenmatsu nazoru yuki o madogoshi ni nagameteita Hon no sukoshi zutsu hagareru inochi no kuzu o Hariawasete tsunaideiku Hata kara amari mienai koto ga Soboku na yasashisa ni fureta koto ga Nichijou o terasu touka ni narun desu ka? Narun desu ne? Omohide omohide omohide Omohide shabadaba Omohide omohide Omohide shabadaba Eki de kimi ga koronda koto Nemutai mama no hanabi no koto Aji no usui udon no koto Kotatsu de kiita joya no kane no oto Haru ni natsu ni aki ni fuyu ni itsudemo kimi to imashita Soshite fuusen wa mou warete shimatta no desu Kotoba ni shitara kiechau koto ya Wake wakarazu namida ga deta koto ya Sonna atatakai maboroshi ga arun desu ka? Attan da yo Omohide omohide omohide Omohide shabadaba Omohide omohide omohide Omohide omohide omohide Omohide shabadaba Omohide omohide Omohide shabadaba [Pinokio-P, PinokioP, Pinocchio-P, PinocchioP]
https://w.atwiki.jp/vocaloidenglishlyric/pages/448.html
【Tags R Yuuyami-P tR Miku】 Original Music title レイニーデイズ English music title Rainy Days Romaji music title Reinii Deizu Music Lyrics written, Voice edition by 夕闇P(Yuuyami-P) Music arranged by 夕闇P(Yuuyami-P) Singer(s) 初音ミク (Hatsune Miku) Fanmade Promotional Video(s) Click here for the original Japanese Lyrics English Lyrics (translated by motokokusanagi2009)： The world I was imagining at the corner of a notepad Blurred and vanished in a sudden shower To fill the vacancy that has spread out I mumble alone to the sky to where nothing belongs A kaleidoscope goes round and round What was put in there are fragments of memories You always gather up tears you shed by the staff notation In the endless rain you are continuously singing Even if you feel the world is not accepting you Light will produce an image to tomorrow one day As subtle warmth vanishes with the sounds of rain I gently cover the scar left on me I blink slightly and could tell there is no future Clock hands tick down as the day goes by One by one, my feelings are floating away A fragment of heart is breaking down on the wind As you play, dropping words with a melody You pick yourself up and join the songs Even if you don't have enough strength to reach out Your melodies will someday reach beyond the clouds Don't be afraid of crying You can laugh later For now, till no tears are left Scream out Beaten by the sorrowful rain I still can't go anywhere But it'll become something of value one day And flowers will bloom We dreamed a dream... You always gather up tears you shed by the staff notation In the endless rain you are continuously singing Even if you don't have enough strength to reach out Your melodies will someday reach beyond the clouds Romaji lyrics (transliterated by motokokusanagi2009)： note no katasumi ni egaiteta sekai wa totsuzen no yūdachi de nijinde kieta pokkari to hirogatta aita sukima umeru yōni nani mo nai ano sora e hitori tsubuyaku kururi kururi mawari tsuzukeru mangekyō naka ni tsume rarete iru nowa kioku no kakera kimi wa nagashita namida o gosenfu de hiroi atsumete wa yama nai ame no naka de ima mo uta o utai tsuzukeru tatoe ima wa sekai ga kimi o kobande iru to kanji temo hikari wa itsuka asu e zō o musubu kara kasuka na nukumori mo amaoto to tomo ni kie nokotta kizuato o sotto kakushita chīsaku mabataita mirai wa mō nai to tsuge tokei no hari wa tada kyō o susumeru hitotsu hitotsu nagasarete iku kanjō to kaze ni notte kowarete iku kokoro no kakera kimi wa koboshita kotoba o senritsu de tsumugi kanadete wa kudaketa jibun o hiroi age uta de tsunagi awaseru tatoe ima wa sono te o nobasu chikara sae nai to shitemo shirabe wa itsuka kumo no mukō todoku kara naku koto o osore nai de warau nowa ato demo ii ima wa tada namida kare hateru made sakebe kanashimi no ame ni utare mada tachi domatteru kedo itsushika sore mo kate ni nari hana wa saku darō bokura yume mita... kimi wa nagashita namida o gosenfu de hiroi atsumete wa yama nai ame no naka de ima mo uta o utai tsuzukeru tatoe ima wa sekai ga kimi o kobande iru to kanji temo hikari wa itsuka asu e zō o musubu kara [Yuuyami-P, YuumamiP, Yuyami-P, YuyamiP]
https://w.atwiki.jp/vocaloidenglishlyric/pages/633.html
【Tags Miku buzzG tH K】 Original Music title かくれんぼ English music title Hide and Seek Romaji music title Kakurenbo Music Lyrics written, Voice edited by buzzG Music arranged by buzzG Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by antony)： The sky is as if oranges all over the world were spilt in abandon Looked sad and pained, IT was laughing Without asking anyone, you ran away from scary things You ve depended on the weakness that hides your sorrows and pains, right? You say you re fine to be alone. You re good at telling random lies You said you wanted to be loved by some else, not you or me I wished for that. For that I ve even sacrificed smiling from my heart in return for that The precious melody I left behind. Even so, no longer I can go back I cried in a subdued voice today and there was IT that was watching everything Why don t we start Hide-and-Seek? It s a parade by myself It s my turn to find you who I was scared of In a mirror house which is about the size of 4.5 tatami mats I was looking for you who have the weak eyes My weakness created you, sorry. Taken in by the word, I guess I can recall the melody I left behind a little Though the days without doubts and fears will never come tome Even at the night I cried in a subdued voice, there was IT that was watching everything I won t forget that [Translation Notes] IT in "hide-and-seek" is called 鬼(oni) in Japanese. Romaji lyrics (transliterated by antony)： sekaijuu no orenji wo omoikiri koboshita youna sora kanshisou de kurushisouna oni ga tooku de waratteta dare nimo motomezu ni kowai mono kara nigedashite kanashii no wo kurushii no wo kakusu yowasa ni sugattekitanda ne hitori de heikidatte detaramena uso ga tokui kimi dewa nai boku demo nai hoka no dare ka ni aisaretai to negatteta yo sono tame nara kokoro kara warau koto sae hikikae ni shitekita okizarinishita daijina merodhi sore demo modorenai no mou koe wo koroshite naita kyou mo zenbu miteta oni ga ita no kakurenbo hajimeyokka hitori kiri no pare-do da kowagatteta kimi no koto wo kondo wa boku ga mitsukeru ban da yonjouhan no mira- hausu de chikara no nai mewo shiteiru kimi wo sagashiteta kimi wo umidashita boku no yowasa gomen ne kotoba ni hodasarete okizarinishita daijina merodhi sukoshi dake omoidasesou nano mayoi ya kyoufu ga nai hi wa korekara mo yattekonai kedo koe wo koroshite naita yoru mo zenbu miteta oni ga ita no wasurenai yo
https://w.atwiki.jp/vocaloidenglishlyric/pages/661.html
【Tags Bookariodo-P Miku tB B】 Original Music title because the sky is Romaji music title because the sky is Music Lyrics written, Voice edited by ぼーかりおどP (Bookariodo-P) Music arranged by ぼーかりおどP (Bookariodo-P) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by vgboy / vgperson)： Let's say my hobby is fishing, And on top of that, we'll say I like to eat them. So late at night every Friday, I pedal my bike over to the beach. But then I wake up the next morning, And it's been banned by law! "So then my fishing is a crime?! And I could go to jail for eating too many?!" Hated by people for just having a hobby, Law enforcers pointing fingers at me. With the status quo gone kaput, I can hardly see tomorrow coming! It's hard to breathe. Hard to breathe. Hard indeed. Even if the atmosphere is full of air. It's hard to breathe. Hard to breathe. Hard to breathe. Wherever I go, there's no one else there. At the demonstration in Neo-Tsukiji, I invited my friends, and we took part. All we learned was our helplessness, And the ever-reliable power of the state. Regulated to only cellphone games, I made plans to go drinking for the weekend. Waiting at my station, I held up my umbrella, And tried throwing an invisible line. It's hard to breathe. Hard to breathe. Hard to breathe. After all the struggle, I reach the end of the line. It's hard to breathe. Hard to breathe. Hard to breathe. So I'm all alone, but smile bitterly like I'm fine. I look up to see a square sky. It's like being in an enormous fish tank. But just breathing can be a struggle. Because I don't have any gills. If some day, without a word, I pass on going drinking on Friday, I'll give you three guesses why. "It's because my heart is □☆＊○" It's hard to live. Hard to leave. Hard to breathe. Even if the atmosphere is full of air. It's hard to live. Hard to go. Hard to leave. But I guess to keep on living is all that's there. I took my old favorite, my homemade lure, And used it in place of a cellphone strap. People might give me some strange looks, But this is proof of our alliance. It's not there. A love unfair. In the screen's glare. If, for example, that was how we were. Though we see the word "like" a little differently, Sometimes, somehow, something... lalala. "It's hard to live. Hard to leave. Hard to breathe." I just thought I would try to speak up a little. If you ask why my heart is buzzing so, It's because the sky is gray. Romaji lyrics (transliterated by vgboy / vgperson)： Tatoeba boku no shumi wa tsuri dakedo, Sara ni iu nara taberu koto mo suki. Maishuu kinyoubi no shinya ni wa, Baiku o hashirasete umi e mukau. Sore ga yokuasa okitara totsuzen, Houritsu de kinshi sarete shimatta! "Sakana o tsuru koto wa hanzai de!? Taberu koto ni itatte wa kinko-kei!?" Tada no shumi ga hito ni imikiraware, Hanzai yobigun to yubi sasareru. Futsuu no kijun ga dokoka ni tonde, Ashita ga zenzen miete konai yo! Ikidzurai. Ikidzurai. Ikitsurai. Taiki ni wa kuuki ga michiteru no ni. Ikidzurai. Ikidzurai. Ikidzurai. Doko ni itte mo hitori-kiri mitai. Neoshikiji de hajimatta demo ni mo, Nakama o sasotte sanka shite kita. Wakatta no wa jibun no muryokusa to, Kokkakenryoku no tanomoshiisa dake. Keitai geemu made kisei sarete, Shuumatsu ni wa nomu yotei o ireta. Kaeri no eki de kasa o furiagete, Mienai tsuri-ito o tobashite mita. Ikidzurai. Ikidzurai. Ikidzurai. Tadoritsuita saki wa ikidomari. Ikidzurai. Ikidzurai. Ikidzurai. Soshite boku wa hitori de nigawarai. Ue o miagetara shikakui sora. Maru de kyodai na suisou no naka. Kokyuu suru dake de hito kurou da na. Era-kokyuu nante dekinai yo. Itsuka boku ga nanimo iwanai de, Kinyou no nomikai o kotowattara, Sono toki wa daitai sasshi shite ne. "Sore wa kokoro ga □☆＊○" Ikidzurai. Ikidzurai. Ikitsurai. Taiki ni wa kuuki ga michiteru no ni. Ikidzurai. Ikidzurai. Ikidzurai. Sore demo ikiteiku shika nai mitai. Jisaku shita o-ki ni iri no ruaa o Sutorappu kawari ni tsukete mita yo. Hito ni wa hen na me de mirareru kedo, Kore ga bokura no doumei no akashi. Are ga nai. Katayoru ai. Gamen-nai. Tatoeba sonna kanji no bokura wa. Sukoshi "suki" no imi ga chigatte ite, Tama ni, nazeka, sore ga, rarara. "Ikidzurai. Ikidzurai. Ikidzurai." Chotto koe ni dashite mita dake sa. Konna ni mo kokoro ga zawatsuku no wa, Sora ga haiiro dakara. [Bookariodo-P, BookariodoP]
https://w.atwiki.jp/vocaloidenglishlyric/pages/513.html
【Tags Ahirugunsou-P Len Rin tA tL tT U】 Original Music title 嘘とタイムマシン English music title Lie and Time Machine Romaji music title Uso to Taimu Mashin Music Lyrics written, Voice edited by アヒル軍曹P (Ahirugunsou-P) Music arranged by アヒル軍曹P (Ahirugunsou-P) Singer(s) 鏡音リン (Kagamine Rin), 鏡音レン (Kagamine Len) Fanmade Promotional Video(s) Click here for the original Japanese Lyrics English Lyrics (translated by blacksaingrain)： Do you really think I don t feel anything? I m sure I d be wrong and at fault sometimes However, I don t know your everything So I m sure I d hurt you sometimes Always my words do convey only halfway through So I wanna say more than everyone else, but would that be also my fault? Surely you d feel frustrated like I do I d pretend not to realise and smile as always Isn t it hard to understand? Is it a sin not to realise? Is it great if you can do it? Am I so weak? Am I a hopeless idiot? Am I a helpless idiot? La la la la I get depressed and hate things I like Brightly the sun shines and soon I forget I can t say what I really want to and turn my eyes away from you Always those would tread down a glimmer of hope that left You d repeat the same thing again and again If you love yourself that much, you should live alone If you don t like it, just go away from here, now, at once Can t you really understand? Can t you really realise? Aren t you pretending that you can t see? See Indeed, you re weak though You re a hopeless idiot though Is there any way to help you? Ahaha, in a weak moment I hate you I have a sharp pain in my stomach and wanna cry now Always you re just protecting yourself It s not good at all, you idiot! Oo-ow, I get oversensitive and hurt others Oo-oh, I feel down and repeat it again uuh La la la la, I get depressed and hate things I like Brightly the sun shines and soon I forget La la la... La la la... Romaji lyrics (transliterated by blacksaingrain)： nani mo kanjitenai to demo kimi wa omotteru no desuka? tashikani boku ga warui koto mo taranai koto mo aru deshou dakara to itte boku wa kimi wo subete shitteru wake ja nai kara kimi wo kizutsukeru koto datte toki niwa kitto aru deshou boku no kotoba wa itsudatte hanbun mo tsutawaranai kara hito yori ooku iitai no ni kore mo boku ga warui no desuka? kimi mo kitto onaji you ni modokashiku kanjiru no deshou boku wa kizukanai furi wo shite itsumo no you ni warau no deshou wakari nikuku nai desuka? kizukanai no ga tsumi desuka? dekiru koto ga erai desuka? boku wa sonna yowai desuka? doushi you mo nai baka desuka? sukui you nai baka desuka? rararara ki ga meitte sukina mono mo kiraini natte kirara hi ga sashite suguni wasurete iitai koto mo ienai no mo kimi kara me wo sorasu koto mo wazukani nokoru kibou datte itsudemo fuminijiru no deshou kimiwamata onaji koto wo kurikaeshite yuku no deshou sonnani jibun ga suki naraba hitori de ikite ikeba ii mou yada nara koko kara sugu ima sugu kiete yo hontouni wakaranai no desuka? hontouni kizukanai no desuka? miete irunnja nai desuka? hora kimiwa tashikani yowai desu ga doushiyou mo nai baka desu ga sukuiyou wa ari masu ka? ahaha ma ga sashite kimi no koto ga kiraini natte kiriri i ga itakute mou nakitai wa itsumo jibun no koto wo mamoru dake de mou hanashi ni nante naranai baka yaro hawawa sugu okotte hito no koto wo kizutsukete wawawa ochikonde mata kurikaesu uu... rararara ki ga meitte sukina mono mo kiraini natte kirara hi ga sashite suguni wasurete rarara... rarara... [Ahirugunsou-P, AhirugunsouP]
https://w.atwiki.jp/leba/pages/27.html
トリキューブ・テールズ (三投物語) 英語版 一般に欧米のTRPGルール本は、子どもたちが読むだろうことを想定してか、ルール以外のうんちくや雑談が多い。この和訳は抄訳として、それらは可能な限り省く。 ライセンス Tricube Tales version 4 © 2019 Richard Woolcock All text released under the CC BY 3.0 license Tricube dice symbol on cover by Lorc, available from https //game-icons.net under the CC BY 3.0 license 準備 GM (ゲームマスター) が1人、世界等の設定を準備しNPC (非プレイヤーキャラ) を担当する。他のプレイヤーは各々1人のPC (プレイヤーキャラ) を担当する。プレイヤーはゲームの世界に応じて会話や行動を通じストーリィを進めていく。 各プレイヤーは3d6、努力 (resolve) トークン3、魅力 (karma) トークン3を持つ (トークンはセッションごとに開始時の状態に戻る)。GMは抗力 (effort) トークンをいくつか用意しておくと良い (訳注 トークンには硬貨を使うのが適当と思われる)。 概要 プレイヤーは、状況が示す4～6の難易度に対し、キャラタイプ (archetype) に応じて1～3個のダイスを振り、少なくともそのうちの1つが難易度以上で成功と見なされる。 奇遇 (perk) は難易度を下げる何らかの特性であり、不遇 (quirk) は難易度を上げる何らかの特性である。奇遇の使用は魅力を1つずつ消費し、不遇の使用は魅力を1つずつ回復する。 キャラ キャラ作成 キャラの作成は、このゲームでは、名前・キャラタイプ・奇遇1・不遇1 (何の特性かを定めておく) を設定することで行う。 キャラタイプ キャラタイプは、気質 (trait) (速さ (agile)、強さ (brawny)、賢さ (crafty) のいずれか1つ) とジョブ (concept) (職種だけでなく、種族やその他の語でも良い) から成る。 道具 プレイヤーの所持する道具はジョブと奇遇から自ずと定まる。特別な利益を与える道具は、それ自体を奇遇として設定する。 成長 キャラは1～3セッションごと (頻度はGMが定める) に成長する。成長するごとに、奇遇または不遇を1つ得る。代わりに魅力または努力トークンを1つ増やしてもよいが (各6個まで)、こちらを連続して行うことはできない。 Game Rules Challenges Gameplay involves overcoming various challenges, each with a difficulty of 4-6 (easy, standard, or hard). Most should be difficulty 5, but the GM may decide that some challenges are easier or harder. Players roll 1-3d6 depending on their archetype. If a die equals or exceeds the difficulty, they succeed—if not, they fail. If they equal or exceed the difficulty on 2-3 dice, it’s an exceptional success. If the player rolls “1” on all of their dice, the result is a critical failure, and this is always *very *bad—the GM should come up with a particularly interesting complication to introduce to the scene! Some challenges require extra effort to overcome. This is represented using effort tokens; each die to equal or beat the difficulty removes a token, and the challenge is defeated once all the tokens are gone. PCs can usually work together to overcome such a challenge, and it will require several rolls; failing any of these rolls will have consequences. Failure Success A challenge has four possible outcomes exceptional success, normal success, normal failure, or critical failure. These results are relative to both the character and the situation, as decided by the GM, and neither the worst-case nor the best-case outcomes should be so extreme that they require suspension of disbelief. A master thief would never believably *fail *to pick a simple lock, but it might take her longer than expected, or lead to a complication. Likewise, an unarmed scholar couldn’t defeat a dozen elite warriors in melee combat—at best, he might make a clean escape. If someone is attempting to translate a magical text, and they have absolutely no background in magic or the language used, then even an *exceptional success *will probably provide them less information than a scholarly mage would obtain on a normal failure! However, there must always be some price for failure—otherwise, the players shouldn’t be rolling! This price is usually obvious—the character might be spotted while trying to sneak past a guard, miss in combat, or fail to climb a tree. The GM could also remove one of the PC’s resolve tokens, or perhaps introduce a complication to the scene. A critical failure is always very bad, no matter how skilled the character, and often represents a stroke of bad luck. If the character would lose one resolve on a normal failure, they should lose two resolve on a critical failure. Narrate the Outcome Don’t simply announce that a character has failed—describe the consequences of their failure, and try to explain what does happen rather than what doesn’t. Instead of saying the character “critically fails to pick a lock,” describe how the tip of the tool snaps off inside the lock. Don’t just say that the character “fails to dodge the attack”—describe how the foe lunges at them and slams a fist into their jaw. Defeat Afflictions Characters are defeated when they run out of resolve, and the victor (player or GM) decides their victim’s fate. Defeated characters gain an affliction appropriate to the situation, such as a broken arm, a phobia, a bruised ego, etc. They recover all of their resolve, but are usually unable to actively participate in the remainder of the scene—they might be unconscious on the ground, fleeing in terror, or just too injured to continue. Afflictions are described by the victor and are treated as temporary quirks (or permanent quirks if caused by a critical failure), except the GM decides when to apply them. A PC with more than three afflictions is retired from play, although they can be brought back if one or more of their afflictions are cured. Death is a matter of narrative. While a player might decide to kill their foe in combat by giving them a fatal affliction, the GM should always warn players if a challenge could result in death. Recovery Certain afflictions (e.g., “fleeing in fear”) are removed automatically at the end of a scene, but others may last hours, days, or longer, at the GM’s discretion. A PC with a suitable perk can spend karma to cure an affliction (e.g., “regeneration” to heal a wound)—but *permanent *afflictions cost *permanent *karma (unless converted into quirks using advances). Opposed Challenges Most challenges consist of PCs working together against external threats, but on occasion, they may wish to oppose each other. If this occurs, both players roll as normal, but each should treat the other’s highest die roll as the difficulty of their own challenge (i.e., highest roll wins). On a tie, the player who matched the difficulty with the most dice achieves a normal success (e.g., 4, 4, 4 is a normal success against 4, 4, 3 or 4, 3, 3). Should the players each roll the same number of matching dice, try to interpret the result in a way that favors both sides equally. If both players roll a critical failure, then each suffers a terrible outcome. NPC Confrontations There may also be situations where two NPCs have a direct confrontation with each other, rather than against PCs. The GM can usually just decide the outcome, but if an unpredictable result is desired, ask the players to roll for the NPCs. Combat Combat and other conflicts can easily be resolved as regular challenges, but if you prefer to have a turn-by-turn exchange of attacks, use these guidelines. NPCs as Challenges The GM assigns foes a difficulty of 4-6, based on their power relative to the PC. Most enemies should be difficulty 5. Each foe also has one or more effort tokens to represent their resolve. If you have a group of similar enemies, such as a horde of goblins, treat them as a single challenge with extra effort tokens. Resolution Turn order should follow the narrative where possible, and players make all the rolls—they roll to attack on their turn, and to defend on their enemy’s turn. As a general rule, players should only make one defense roll each turn. If they are facing multiple foes, make them roll against the most dangerous attacker. Example of Combat A brawny dwarven battle priest and an agile elven ranger encounter a group of goblinoids while exploring some ruins. GM Four goblin archers ready bows, while two hobgoblins draw cudgels. You can attack first if you use ranged attacks. Standard difficulty; you need 5+ to hit. Elf I shoot! [Rolls 5, 3, 2]—one goblin drops dead, my arrow buried in its throat! Dwarf I draw my warhammer, raise my shield, and charge the hobgoblins! GM Okay, but first roll to evade the goblins’ arrows, standard difficulty. Elf [Rolls 1, 6, 5]—I easily dodge aside. Dwarf [Rolls 3, 5]—an arrow gets lodged in my shield, and I carry on charging. GM Okay, you rush the hobgoblins. Make your attack, standard difficulty. Dwarf [Rolls 4, 2, 4]—I use my “berserker” perk to reduce the difficulty to 4, then I smash their skulls as I roar with rage! Elf New turn? [Rolls 5, 4, 4]—I will use my “marksman” perk and kill the remaining goblins with one arrow! Shish kebab! Archetypes A character’s archetype consists of a trait (agile, brawny, or crafty) combined with a concept (usually a profession), and this combination determines how many dice they roll for challenges. Agile characters roll 3d6 for anything related to quickness, dexterity, reflexes, or stealth. They also roll 3d6 for ranged combat (but see “Combat Styles”). Brawny characters roll 3d6 for any challenges based on strength, toughness, stamina, or athletics. They also roll 3d6 for melee combat (but see “Combat Styles”). Crafty characters roll 3d6 when they perform challenges related to charisma, intellect, willpower, or perception. They also roll 3d6 for mental combat (but see “Combat Styles”). When characters lack the appropriate trait for a challenge, they only roll 2d6. If a particular challenge requires special knowledge that falls outside the scope of their concept and perks, then reduce the number of dice they roll by one. Examples A brawny barbarian rolls 3d6 to swing a sword, 2d6 to throw a spear, and 1d6 to pick a lock. An agile elven ranger rolls 3d6 to sneak silently through the forest, 2d6 to spot a hidden enemy, and 1d6 to negotiate a legal treaty. A crafty wizard rolls 3d6 to throw a fireball at someone, 2d6 to climb a rope, and 1d6 to swing a greatsword in combat. Combat Styles A character’s preferred combat style (i.e., melee, ranged or mental) is usually based on their trait. However, this can also be changed if another style better suits the character concept. For example, an agile thief might prefer melee weapons, and a crafty gunslinger would most likely use ranged weapons. The character’s combat style must be chosen during character creation, and it cannot be changed later. Note Mental combat includes magic attacks, persuasion, intimidation, etc. Context is Important Crafty characters generally roll 3d6 for social challenges, but that doesn’t mean they’re always better at them. A crafty old witch normally rolls 3d6, but courting a young man falls outside the scope of her concept, so she’d only roll 2d6 in such a situation. Perhaps she also has a “warty nose” quirk—if so, that might well increase the difficulty of the challenge, or add a complication. An agile rake normally rolls 2d6, but courting a young lady is well within the scope of his concept, so he wouldn’t lose a die—and he might have a “charming” perk, which could reduce the difficulty of the challenge. He could even spend a karma token to describe the young lady becoming infatuated with him. But of course, the rake would roll 1d6 to persuade a jilted husband to give him a break, and the crafty old witch would roll 3d6 to convince a young woman to try out her spinning wheel, or take a bite from a juicy red apple. Perks Characters with a relevant perk can ask the GM for insight or clues about one particular situation, receive a temporary benefit (such as special gear or aid from an NPC), overcome obstacles that would generally be impossible for other people (such as using their wings to fly onto a rooftop), and so on. The exact benefits and uses of a perk are always at the GM’s discretion, but a broadly defined perk has a wider scope, therefore a more narrowly defined perk (including any perk that is particularly niche for the setting) should have more impact when it does come into play. If a player wants to use their perk to significantly impact the story, they must spend a karma token to do so. Karma can also be spent to reduce the difficulty of a challenge by 1—make this decision after rolling, and make sure you narrate how the perk gives you an edge. No more than one karma may be spent in this way for each challenge. A Deeper Look If you want to do something that regular people couldn’t even attempt, but which your perk really should allow you to do automatically, you must spend a karma token. For example, using “necromancy” to conjure and interrogate the spirit of a murder victim, or perhaps “investigative intuition” to glean extensive insight into a murder scene. If you want to do something that isn’t normally possible, but which your perk should allow you to at least attempt, you don’t need to spend any karma, but you must still roll. For example using your “superhuman strength” to lift a bus. If a perk allows you to automatically bypass a challenge while others have to roll, you must spend a karma token. For example, using “flight” to fly over a river that everyone else needs to swim across, or throwing lots of money at a problem because you’re “filthy rich.” If the challenge is usually possible for everyone, you can still describe how you use your perk to increase the odds, and may later spend karma to retroactively reduce the difficulty. For example, using your “kangaroo legs” to leap onto a roof, while everyone else has to climb. If you only use a perk to add flavor to the scene (e.g., overcoming a challenge through magic that others could just as easily overcome through skill), you don’t need to spend any karma. For example, you might shoot a firebolt at a foe, while another character shoots an arrow; the difference is just a matter of narrative. Another Perspective Always try to think of perks in terms of overcoming challenges. Players only roll if it’s important to the story, but if they can use a perk to automatically succeed without rolling, it costs karma. Likewise, it costs karma to reduce the difficulty of a challenge—but if a perk gives no other benefit, then it *doesn’t *cost any karma. If a player has no karma, the GM may offer them a complication instead. Related Knowledge Perks generally imply lesser knowledge in any related field. For example, a “car mechanic” would also have some degree of general mechanical knowledge—they might not know much about aircraft, for example, but they’d still have a far better chance of fixing one than someone with no mechanical skills. Similarly, someone with a “swordmaster” perk could apply their martial expertise to other combat situations, a “surgeon” perk also implies general medical training, and so on. Assisting Allies Players can also use perks to assist their friends and allies. For example, a “divine healer” might spend karma to remove a wound affliction from an injured friend, while a “brave commander” might spend karma to inspire a companion, reducing the difficulty of a fear-based challenge. Assisting someone doesn’t change the standard expenditure limit of one karma per challenge; if you spend karma to aid an ally, they cannot also spend their own karma to reduce the difficulty further. Stacking Perks Although it isn’t possible to spend more than one karma per challenge, a PC can still use multiple perks at once—success and failure are relative to the character’s competencies, so the GM should take all applicable perks into account. Likewise, just as the impact of a perk depends on how narrowly defined it is, multiple relevant perks should also have more impact than a single perk. Quirks Players must declare their intent to use a quirk before rolling for a challenge. They should describe their character’s actions in a way that incorporates the quirk, and then increase the challenge difficulty by 1 (this can take it above 6). Players usually recover one karma for using their quirk, but if they succeed at the challenge roll, they may recover one resolve instead (if they wish). Only one quirk can be used for each challenge. Complications The GM can also offer players karma in exchange for a complication. Should the player accept this offer, use their quirks for inspiration—the professor with “bad eyes” may have overlooked a major clue, while the “mean” thug may have insulted the wrong person. Of course, complications can also be based on the situation, or perhaps even archetypes or perks. But when possible, try to tie them to a character’s quirks. Genre Rules Cybernetics Just like mundane gear, cybernetics can either be handled as background flavor or treated as a perk, depending on how much impact you want it to have within the game. An individual with extensive cybernetic augmentation may also wish to take a suitable quirk, to represent the physical and psychological drawbacks of their various implants. Fear Insanity A frequent staple of horror stories, fear should be treated the same way as other challenges crafty characters should roll 3d6, while other characters roll 2d6, and individuals without prior experience or exposure to the particular source of fear (as indicated by their concept and perks) reduce the number of dice they roll by one. Failure on a fear challenge results in the loss of one resolve token—if the character loses all resolve, they generally flee the scene, or receive an appropriate form of mental disorder. Hack-and-Slash If gameplay involves dungeon crawls or lots of monster-bashing, you might wish to assign your NPCs traits and ranks. Traits Foes can have one or more traits Agile, brawny and crafty increase the difficulty of challenges against them that use those traits; clumsy, weak or stupid reduce the difficulty. Shooting an “agile and weak” goblin is difficulty 6, for example, while hitting them in melee is difficulty 4. Ranks PCs start at rank 1, increasing their rank every 4th advance (i.e., at 4, 8, 12, 16 and 20), to a maximum of rank 6. NPCs also have a rank, chosen by the GM. When facing someone of higher rank, increase your challenge difficulties by 1 (even if this takes them above 6). Against a foe of lower rank, reduce them by 1. For opponents ###ranks higher or lower, use the “Power Levels” genre rule. Defeating Monsters As a quick rule of thumb, most monsters require a number of effort tokens equal to their rank to defeat. A “boss” monster should require double that number, and may also be one rank higher than his or her lesser kin—these fearsome foes can represent major antagonists, or the “Big Bad” at the end of an adventure, and the GM should use them sparingly. Trappings The GM must also make common sense judgment calls. A non-magical arrow is unlikely to cause any damage to an iron golem, no matter how skilled the archer, whereas a flaming torch would probably destroy an animated scarecrow in one hit. Equally, the types of attack a foe can make depends on their gear and implied capabilities—a goblin armed with a club can only make melee attacks, but if they have a spear they can choose to throw it, and of course, goblin shamans can make mental attacks using their magic. Example Bestiary Bear Rank 2. Brawny. Dragon Rank 5. Brawny and crafty. Goblin Rank 1. Agile and weak. Golem Rank 3. Brawny and stupid. Kobold Rank 1. Stupid and weak. Lich Rank 4. Crafty. Mummy Rank 3. Clumsy. Ogre Rank 2. Brawny and stupid. Orc Rank 1. Stupid. Skeleton Rank 1. Stupid. Troll Rank 2. Brawny and stupid. Vampire Rank 3. Agile. Wolf Rank 1. Wraith Rank 2. Yeti Rank 2. Brawny. Zombie Rank 1. Clumsy and stupid. Magic Psionics Many fantasy, horror, and even science fiction settings describe characters with supernatural powers such as telekinesis, alchemy, psionics, etc. These arcane gifts can be easily represented as perks. A character with such a perk can do anything a trained person in the setting could achieve with appropriate tools, as long as it thematically fits their type of magic. Spending karma allows the mage to perform even greater feats of magic, overcoming any challenge a professional could manage with specialized gear. Always think of magic in terms of the result. It doesn’t matter if the psionicist disintegrates the door, or just causes the lock to spring open—if the goal is to get through the door, they’ve succeeded. But don’t forget, magic is primarily a narrative tool, and it doesn’t change the mechanics. If the GM calls for an agile challenge to open a lock, the mage must still resolve it as an agile challenge, even if they use magic to bypass the door. Magic Limitations If a magic perk is overly broad in scope, the GM should ask the player to choose a limitation. Here are some examples Destructive Your spells cause lots of environmental and collateral damage. Draining Your spells drain you, and may involve blood sacrifices. You spend resolve instead of karma for magic. Focus You require a focus to channel your spells, such as a wand, staff, or holy symbol. If lost or broken, the focus item requires several days to replace. Personal Your magic works on your own body and possessions, but can’t be used directly on others. Ritualistic Your strongest spells take time to cast. You can’t spend any karma unless you’ve a few minutes to prepare. Source Your magic requires a nearby source of suitable energy or matter, you cannot conjure things from thin air. Unsubtle You need to make gestures and incantations to cast spells, making it obvious when you’re using magic. Spell Lists In some settings, spellcasters learn fixed lists of predefined spells. You can easily simulate this in Tricube Tales, by adding some further requirements to those who have taken an arcane perk. Mages can choose three spells during character creation; these determine how and when they can use their magic. Each spell needs to have a name and a limitation—e.g., “fiery bolt (destructive),” “lightning shield (personal),” “illusionary disguise (ritualistic),” etc. You can create more potent spells by giving them additional limitations. This narrows their scope, and the GM should be more flexible when interpreting their effect. Perhaps your “invisibility sphere” is ritualistic and requires a focus, but can be used to conceal the entire party. New spells are learned during play, at the GM’s discretion—perhaps a wizard can learn from scrolls or spellbooks, or maybe the GM awards sorcerers a new spell each time they gain an advance. Mounts Minions Armored knights frequently ride their loyal steeds into battle, while fearsome necromancers raise undead minions to serve them in combat. These helpers can generally be abstracted away much like gear—either handle them as background flavor, describing their actions as part of your challenge rolls, or treat them as a perk if you would like them to provide a mechanical benefit. Non-Human Races Fantasy settings frequently include non-human races, such as elves and dwarves, just as science fiction settings often have alien species. Even many horror settings include supernatural creatures, such as vampires and werewolves. In many cases, the race can simply be part of the archetype—for example, an agile elven ranger, or a brawny dwarven soldier, or a crafty gnome illusionist. Another option is to handle the race as a perk (perhaps an elf can spend one karma to see in pitch darkness or recall ancient elven battle techniques), or even a quirk (maybe the half-orc is treated as an outsider, and has little understanding of human etiquette or culture). If the GM wants character races to be a more influential part of the game, treat them as a separate option chosen during character creation. In this case, the race can be handled (from a game mechanics perspective) as both a perk and a quirk, depending on the needs of the story. Power Levels In a fantasy world, a demigod can easily overpower a normal human. Similarly, a vampire or werewolf in a horror setting would outmatch a mere mortal, a mech pilot would completely outgun regular infantry, and a cosmic superhero could obliterate a street-level superhero. In most cases, these scenarios can be handled using relative interpretations of success and failure, assigning afflictions appropriate to the character and story. An invulnerable alien superhero might not be harmed by bullets, but ricochets could still kill the innocent bystanders he’d sworn to protect, resulting in a loss of resolve. Running out of resolve would still lead to defeat—perhaps he receives a “humiliation” or “despair” affliction, as the gangsters escape from the shootout, leaving the poor superhero to deal with the angry press and a pile of corpses. In other cases, a foe might simply be no threat at all. In this case, there is no need to roll, just narrate the outcome. Sieges Battles Sometimes, combat takes place between armies rather than individuals, each side maintaining its own pool of tokens. The PC commander uses crafty challenges to control their forces and eliminate all of the opposing side’s tokens, with the GM assigning a difficulty to attack or defend based on the relative power and tactical advantages of the two armies. Individual PCs can make a difference in such conflicts, but the risks are great. These heroes can eliminate tokens from the opposing army, but if they fail their defensive challenge rolls, they lose their own resolve tokens. Indirect Battles This approach can also be used for other scenarios, such as a legal battle between two businesses, turf wars between gangs or guilds, cyber warfare between nation states or high-tech organizations, etc. As always, individuals can contribute their efforts, but the risks will be high. Superheroes One quick and easy solution for creating superheroes is to base their concept on their mundane persona and handle their superpowers as perks. Thus you might have an agile journalist with his “spider powers” perk, or some crafty filthy-rich inventor with an “iron power suit” perk. As always, the GM should give narrowly defined perks more impact than broadly defined ones. Overly broad superpowers can also be given limitations in the same way as magic (see “Magic Psionics”). If you’ve decided to base your game on a particular movie or book, you can keep things simple by allowing players to base their concept, perk and quirk on a specific superhero. If the player wants to attempt something the superhero can do in the film or comics, then it would fall within the scope of their archetype, and could be further enhanced as a perk. If the character in the film or comics has any notable flaws or foibles, then those can also be used as a quirk. Power Limitations As with magic, if a superpower is overly broad in scope, then it should be given a limitation. Here are some examples Devices Your abilities are granted by special gadgets or equipment, which can be temporarily disabled or lost. Grounded Most superheroes possess some form of airborne locomotion, such as flight, web-slinging, ice slides, super-leaping, etc. But you are limited to using mundane means of travel. Intimidating Your abilities manifest in a way that can invoke feelings of fear and dread, terrifying the innocent. Negation You can’t use your powers while exposed to a specific substance. Non-Offensive Your powers can’t be used to attack someone directly. Suit-Up You must change your form or appearance to utilize your powers. Unreliable You lack full control over your powers. Whenever you attempt to spend karma on this perk, the GM may introduce a complication instead. Supernaturals When someone is defeated, they gain an affliction. Should a PC be defeated by a supernatural creature’s infectious bite or claws, the GM can assign an appropriate affliction, such as “lycanthropy,” “zombie virus,” “vampirism,” etc. Unlike quirks, which are activated by the player, the GM can decide when and how afflictions are used during play. A newly infected werewolf has no control over their transformation or the carnage they cause—but they could later convert their affliction into a quirk, as they learn to control their condition. Likewise, afflictions give no benefits, but a player can later take supernatural perks such as “preternatural strength” or “rending claws.” If the PC takes a broad perk encompassing a range of abilities, they should also pick a limitation (much like Magic Limitations)—for example, a “werewolf gifts” perk might only apply if the character first shapeshifts into their wolfman form. Removing Afflictions If an affliction isn’t permanent, the GM might offer a story-based way to remove it—perhaps slaying the vampire who bit them reverses their condition, or there’s a cure for the zombie virus. Permanent afflictions can also be removed, but this costs permanent karma. More drastic solutions might also be permitted, such as converting a “zombie virus” affliction into an “amputated leg” quirk (at the usual cost of an advance). Gradual Decline Some conditions offer no benefits at all. While many novels and TV shows depict supernatural creatures as sapient beings, others portray them as mindless beasts driven by rage, instinct, and hunger. Such infections may take the form of a slow decline—victims of a zombie bite might survive hours or even days before they eventually succumb. The GM could even use future afflictions to represent a character’s gradual transformation. Vehicles Whether you’re a pirate captain, a tank driver, a starship commander, a ghostly biker, or a mech pilot, all vehicles can be handled in a similar way. The easiest approach is to treat them like mundane gear, or as perks if they’re particularly powerful. But if the vehicles are a major part of the setting, they can instead be built like characters. Vehicles as Characters Major vehicles start with a concept (but not a trait), a perk and a quirk. They do not have any karma, but they begin with three resolve tokens, and can advance at the GM’s discretion. The driver (or pilot) makes challenge rolls using their own trait, but they can utilize their vehicle’s concept, perks, and quirks as if they were their own. Use the “Power Levels” genre rule for combat between vehicles of significantly different strength—such as a starfighter against a dreadnought.
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【Tags D Machigerita-P Miku tD H】 Original Music title 崩壊歌姫 -disruptive diva- English music title Disruptive Diva -disruptive diva- Romaji music title Houkai Uta Hime -disruptive diva- Music Lyrics written, Voice edition by マチゲリータP (Machigerita-P) Music arranged by マチゲリータP (Machigerita-P) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by nori46)： The absolute sanctuary area which was built is mother who is still dark and closed It's a miniature garden of Cocytus where the warmth and the light of the sun cannot even reach This memory is a fake that is made-up The world of data which was transferred through a plug Where has the queen, the Ultimate Weapon that was molded by the hands of taboo, gone? The mental signal, the emotion that flows in, changes everything It rebuilt her by making her revolute to a princess,"the Ultimate Weapon -type 2- that can perpetuate destruction With the power of mine, who cannot even touch you The second hand of the clock start to move again little by little The more she hates, stronger the rosary of the eye socket gets She doesn't even know the meaning of the engraved mark ［Di-Va］by being burnt In the static-ridden brain circuit Someone starts to whisper After telling a bunch of salvific words He said "There's no hope of salvation" Is there any meanings to destroy? Without being able to do anything, the horizon is just decaying The light flows in the sea of the collapsed moon "Though it's so a beautiful world." The color of the flowing tears turn black The world everything changed recites the prelude of collapse It returns to a world where emptiness and despair bloom Even if it vanishes and turns to ashes by being burnt by the hell fire. Romaji lyrics (transliterated by nori46)： kouchikusareta eria wa kuraku tozasareta mama de taiyou no nukumori sae mo todokanai, kokyutosu no hakoniwa kono kioku wa tsukurareta feiku puragu de okurareta sekai kinki no te ni yori umidasareta joou-sama wa doko e kieta? nagarekomu kanjou wa subete wo kaete hakai wo umidasu dake no "o-hime-sama" e to shinkasuru anata sura furerarenu watashi no chikarade, tomatta tokei no byoushin wa mata sukoshi zutsu ugokidasu. nikumeba nikumu hodo tsuyokunaru ganka no rozario yakitsukerareta kokuin no imi sura mo wakarazu noizu majiri no atama no naka de dareka ga sasayaki hajimeru kyuusai no kotoba wo narabetate "sukui wa nainda" to itta kowasu koto ni imi wa aru no darou ka tada nani mo dekizu kuchiyuku chihei kuzureta tsuki no umi ni hikari wo nagasu "kon'na nimo kireina sekai nanoni." afuredasu namida no iro wa kuroku somari subete wo kaeta sekai wa houkai eno jokyoku wo utau kyomu to zetsubou no saita sekai e to kaesu rengoku no honoo ni yakarete kiete, hai ni narou tomo. [Machigerita-P, MachigeriitaP, MachigeritaP, Machigeriita-P]