約 6,084,562 件
https://w.atwiki.jp/cwcwiki/pages/242.html
cheat.db 自分のcheat.dbやWikiの内容等をまとめた物を張っていきましょう。 ※2010年以前の更新履歴は「cheat.db 過去ログ」にまとめました。 cheat.dbcheat.db編集・アップロード時の注意点 ゲームが登録されているはずなのに表示されない場合 要望の注意点 DBファイル一覧 まとめ更新履歴 cheat.db編集・アップロード時の注意点 wikiに存在しないコードは入れないようにしましょう。 ファイル名は080221_1800.zipのように、日付と大体の時間を入れて貼ってください。(大体の時間がわからない場合はタイムスタンプを見ましょう。) 必ず最新のDBを編集しましょう。 Prometheus環境でサーチしたコードはズレが生じてPrometheus環境でしか使えません。分かる範囲で修正・タイトル追記・注意表記をしましょう。 圧縮形式はZIPで統一しましょう。 削除・追加・修正各種の更新履歴を忘れずに記載してください。 「更新履歴.txt」の追記も忘れずに行いましょう。 「readme.txt」及び「更新履歴.txt」は必ず同梱しましょう。 ゲームが登録されているはずなのに表示されない場合 先ずは自分でDBを開き、ちゃんと登録されているか確認しましょう。 Best版やバージョン違いでIDが異なっている場合があります。 編集ミスなどでIDが欠損していたり、間違っている場合があります。 ※コードが表示されないからと言って、直ぐに質問しないようにしましょう。 要望の注意点 DBは自分でも編集可能です。追加要望は控えましょう。 wikiに存在しないゲームの追加要望は止めましょう。 他人に頼らず自分のDBは自分で編集するようにしましょう ※発売直後のタイトルは、コードが出揃うまでの数週間くらいは待ちましょう。 DBファイル一覧 ファイル 作成日時 Cheat.dbの容量 詳細・コメント 140305_1845.zip 2014 03/05 18 45 978,944byte 140302_1450.zipにコード追加 140302_1450.zip 2014 03/02 14 50 978,944byte 140228_1810.zipにコード追加 140228_1810.zip 2014 02/28 18 10 970,752byte 140121_2130.zipにコード追加 140121_2130.zip 2014 01/21 21 30 937,984byte 140111_2023.zipにコード追加 140111_2023.zip 2014 01/11 20 23 929,792byte 131230_2000.zipにコード追加 131230_2000.zip 2013 12/30 20 00 929,792byte 131219_1545.zipにコード追加 131219_1545.zip 2013 12/19 15 45 925,696byte 131201_1640.zipにコード追加 131201_1640.zip 2013 12/01 16 40 913,408byte 131129_1607.zipにコード追加 131129_1607.zip 2013 11/29 17 20 913,408byte 131127_1813.zipにコード追加 131127_1813.zip 2013 11/27 17 20 913,408byte 131126_1844.zipにコード追加 131126_1844.zip 2013 11/22 17 20 913,408byte 131122_1843.zipにコード追加 131122_1843.zip 2013 06/29 13 42 909,312byte 130729_1310.zipにコード追加 130729_1310.zip 2013 06/29 13 42 857,333byte 130630_1518.zipにコード追加 130629_1342.zip 2013 06/29 13 42 857,333byte 121111_1630.zipにコード追加 121111_1630.zip 2012 11/11 16 30 814,967byte 120810_2120.zipにコード追加 120810_2120.zip 2012 08/10 21 20 814,967byte 120801_1730.zipにコード追加 120801_1730.zip 2012 07/31 18 10 786,265byte 120731_2055.zipを修正 120729_1810.zip 2012 07/29 18 10 786,265byte 120728_0230.zipにコード追加 120728_0230.zip 2012 07/28 02 30 786,432kbyte 120616_1115.zipにコード追加 120616_1115.zip 2012 06/16 11 15 781,955kbyte 120603_1640.zipにコード追加 120603_1640.zip 2012 06/03 16 40 814,164kbyte 120507_1640.zipにコード追加 120507_1640.zip 2012 05/07 16 40 812,982kbyte 120430_0940.zipにコード追加 120430_0940.zip 2012 04/30 09 40 812,730byte 120409_2200.zipにコード追加 120409_2200.zip 2012 04/09 22 00 776,525byte 120408_0300.zipにコード追加、修正 120408_0300.zip 2012 04/08 03 00 776,386byte 120405_1730.zipにコード追加 120405_1730.zip 2012 04/05 17 30 775,512byte 120331_1200.zipにコード追加 120331_1200.zip 2012 03/31 12 00 773,663byte 120326_1315.zipにコード修正 120326_1315.zip 2012 03/26 13 15 772,732byte 120321_1300.zipにコード修正 120321_1300.zip 2012 03/21 13 00 770,493byte 120317_0040.zipにコード追加 120317_0040.zip 2012 03/17 00 40 769,968byte 120309_1650.zipにコード追加 120309_1650.zip 2012 03/09 16 50 769,060byte 120306_0300.zipにコード追加、修正 120306_0300.zip 2012 03/06 03 00 798,897byte 120304_0130.zipにコード追加 120304_0130.zip 2012 03/04 01 30 766,264byte 120303_0200.zipにコード追加 120303_0200.zip 2012 03/03 02 00 761,246byte 120225_1500.zipにコード追加 120225_1500.zip 2012 02/25 15 00 760,976byte 120222_1300.zipにコード追加 120222_1300.zip 2012 02/22 13 00 757,161byte 120217_1545.zipにコード追加、修正 120217_1545.zip 2012 02/17 15 45 754,181byte 120130_1430.zipにコード追加 120130_1430.zip 2012 01/30 14 30 745,514byte 120114 2320.rarにコード追加 120114 2320.zip 2012 01/14 23 20 773,297byte 120114_2200.zipにコード追加 120114_2200.zip 2012 01/14 22 00 735,771byte 120113_1100.zipにコード追加 120113_1100.zip 2012 01/13 11 00 735,771byte 111230_1100.zipにコード追加 +2011年 DBファイル一覧 ファイル 作成日時 Cheat.dbの容量 詳細・コメント 111230_1100.zip 2011 12/30 11 00 735,015byte 111224_0900.zipにコード追加 111224_0900.zip 2011 12/24 09 00 731,805byte 111220_0900.zipにコード追加 111220_0900.zip 2011 12/20 09 00 730,163byte 111217_1230.zipにコード追加 111217_1230.zip 2011 12/17 12 30 729,541byte 111202_1450.zipにコード追加、修正 111202_1450.zip 2011 11/26 23 30 725,490byte 111126_2330.zipにコード追加 111126_2330.zip 2011 11/26 23 30 771,545byte 111126_2130.zipにコード追加 111126_2130.zip 2011 11/26 21 30 747,289byte 111121_1930.zipにコード追加 111121_1930.zip 2011 11/21 19 30 715,609byte 111119_1054.zipにコード追加、修正 111119_1054.zip 2011 11/19 10 54 715,609byte 111118_1845.zipにコード修正 111118_1845.zip 2011 11/18 18 45 715,609byte 111113_1210.zipにコード追加 111113_1210.zip 2011 11/13 12 10 715,402byte 111110_0050.zipにコード追加 111110_0050.zip 2011 11/10 00 50 767,845byte 111107_1945.zipにコード追加 111107_1945.zip 2011 11/07 19 45 744,308byte 111102_1650.zipにコード追加、修正 111102_1650.zip 2011 11/02 16 50 708,233byte 111028_1330.zipにコード追加、修正 111028_1330.zip 2011 10/28 13 30 708,233byte 111024_2215.zipにコード追加、修正 111024_2215.zip 2011 10/24 22 15 704,707byte 111024_1350.zipを修正 111024_1350.zip 2011 10/24 13 50 758,869byte 111018_0530.rarにコード追加 111018_0530.rar 2011 10/18 05 30 733,390byte 111005_1115.zipにコード追加 111005_1115.zip 2011 10/05 11 15 729,448byte 111002_2155.zipにコード追加 111002_2155.zip 2011 10/02 21 55 729,448byte 111002_0030.zipにコード追加 111002_0030.zip 2011 10/02 00 30 729,044byte 111001_1400.zipにコード追加 111001_1400.zip 2011 10/01 14 00 728,543byte 110925_1346.zipにコード追加 110925_1346.zip 2011 9/25 725,082byte 110923_1249.zipにコード追加 110923_1249.zip 2011 9/23 12 49 724,848byte 110923_1000.zipにコード追加 110923_1000.zip 2011 9/23 10 05 693,921byte 110923_0914.zipにコード修正 110923_0914.zip 2011 9/23 9 14 693,920byte 110913_2355/zipにコード追加 110913_2355.zip 2011 09/13 23 55 723,393byte 110910_1030.zipにコード追加・修正 110910_1030.zip 2011 09/10 10 30 689,305byte 110907_2120.zipにコード追加・修正 110907_2120.zip 2011 09/07 21 20 687,878byte 110906_1700.zipにコード追加・修正 110906_1700.zip 2011 09/06 06 30 712,813byte 110906_0630.zipにコード追加・修正 110906_0630.zip 2011 09/06 06 30 712,813byte 110905_2300.zipにコード追加・修正 110905_2300.zip 2011 09/03 10 30 708,012byte 110903_1030.zipにコード追加 110903_1030.zip 2011 09/03 10 30 708,012byte 110828_1000.zipにコード追加 110902_2235.zip 2011 09/02 22 35 707,274byte 110828_1000.zipにコード追加・修正 110828_1000.zip 2011 08/28 10 00 727,075byte 110826_2300.zipにコード追加 110826_2300.zip 2011 08/26 22 52 705,444 byte 110826_2200.zipにコード追加・修正 110826_2200.zip 2011 08/26 22 00 676,851 byte 110826_1900.zipにコード追加 110826_1900.zip 2011 08/26 19 00 704,512 byte 110824_1851.zipにコード追加 110824_1851.zip 2011 08/24 18 51 670,639 byte 110824_1726.zipにコード追加 110824_1726.zip 2011 08/24 17 26 670,156 byte 110823_1138.zipを修正 110823_1138.zip 2011 08/23 11 38 670,156 byte 110822_1555.zipを修正 110822_1555.zip 2011 08/22 15 55 699,107 byte 110810_1735.zipにコード追加 110810_1735.zip 2011 08/10 17 35 670,534 byte 110805_2212.zipにコード追加 110805_2212.zip 2011 08/05 22 12 669,497 byte 110804_0938.zipにコード追加 110804_0938.zip 2011 08/04 09 38 696,459 byte 110804_0800.zipにコード追加 110804_0800.zip 2011 08/04 07 54 665,198 byte 110731_1345.zipにコード追加 110731_1345.zip 2011 07/23 09 55 660,185 byte 110723_0955.zipにコード追加、修正 110723_0955.zip 2011 07/23 09 55 647,724 byte 110721_00458.zipにコード追加 110721_00458.zip 2011 07/21 05 04 643,072 byte 110717_0853.zipにコード追加 110717_0853.zip 2011 07/17 08 53 664,816 byte 110629_2345.zipにコード追加 110629_2345.zip 2011 06/29 23 45 666,512 byte 110614_1946.zipにコード追加 110614_1946.zip 2011 06/14 19 46 663,281 byte 110612_0040.zipにコード追加 110612_0040.zip 2011 06/12 00 40 663,077 byte 110609_2230.zipにコード追加 110609_2230.zip 2011 06/09 22 30 662,456 byte 110609_1830.zipにコード追加 110609_1830.zip 2011 06/09 18 30 659,956 byte 110605_1620.zipにコード追加 110605_1620.zip 2011 06/05 16 20 610,480 byte 110605_1540.rarにコード追加 110605_1540.rar 2011 06/05 15 40 610,480 byte 110601_1756.zipにコード追加 110601_1756.zip 2011 06/01 17 56 610,480 byte 110530_0930.zipにコード追加,修正 110530_0930.zip 2011 05/30 09 30 611,207 byte 110523_1107.zipにコード追加 110523_1107.zip 2011 05/23 11 07 604,221 byte 110507_1110.zipにコード追加 110507_1110.zip 2011 05/07 11 10 628,935 byte 110506_2030.zipにコード追加 110506_2030.zip 2011 05/06 20 30 606,026 byte 110429_1530.zipにコード追加 110429_1530.zip 2011 04/28 15 30 606,026 byte 110422_1500.zipにコード追加 110425_2030.zip 2011 04/22 15 03 625,234 byte 110422_1500.zipを修正 110422_1500.zip 2011 04/22 15 03 625,230 byte 110414_2100.zipにコード追加 110414_2100.zip 2011 04/14 21 00 596,239 byte 110410_1130.zipにコード追加 110410_1130.zip 2011 04/10 11 30 618,496 byte 110404_2230.zipにコード追加 110404_2230.zip 2011 04/04 22 30 618,496 byte 110403_1002.zipにコード追加 110403_1002.zip 2011 04/03 10 02 616,025 byte 110312_1705.zipのコード修正 110312_1705.zip 2011 03/12 17 05 615,202 byte 110312_1640.zipのコード修正 110312_1640.zip 2011 03/12 16 40 614,863 byte 110312_1630.zipのコード修正 110312_1630.zip 2011 03/12 16 30 614,856 byte 110310_1930.zipにコード追加 110310_1930.zip 2011 03/10 19 30 610,208 byte 110309_0900.zipにコード追加・修正 110309_0902.zip 2011 03/09 09 02 609,857 byte 110305_0800.zipにコード追加・修正 110305_0800.zip 2011 03/05 08 00 585,052 byte 110228_2030.zipにコード追加 110228_2030.zip 2011 02/28 20 30 581,820 byte 110228_2015.zipを訂正 110228_2015.zip 2011 02/28 20 15 581,815 byte 110226_1400.zipにコード追加 110226_1400.zip 2011 02/26 14 00 580,019 byte 110223_1700.zipにコード追加 110223_1700.zip 2011 02/23 17 00 578,068 byte 110214_1500.zipにコード追加 110214_1500.zip 2011 02/14 15 00 576,152 byte 110212_0000.zipにコード追加 110212_0000.zip 2011 02/12 00 00 573,349 byte 110211_2130.zipを修正、追加 110211_2130.zip 2011 02/11 21 30 597,086 byte 110206_1430.zipを修正 110206_1430.zip 2011 02/06 14 30 597,086 byte 110205_1330.zipにコード追加 110205_1330.zip 2011 02/05 13 30 572,639 byte 110204_2340.zipにコード追加 110204_2340.zip 2011 02/04 23 40 593,291 byte 110203_1730.zipを修正 110203_1730.zip 2011 02/03 17 30 566,485 byte 110202_2220.zipにコードを追加 110202_2220.zip 2011 01/31 18 17 560,816 byte 110131_1817.zipにコードを追加 110131_1817.zip 2011 01/31 18 17 560,816 byte 110127_0951.zipにコードを追加 110127_0951.zip 2011 01/27 09 51 560,816 byte 110125_2126.zipを修正(各所小修正&重複コード削除) 110125_2126.zip 2011 01/20 21 26 561,059 byte 110120_1510.zipにコードを追加 110120_1510.zip 2011 01/20 15 10 560,274 byte 110113_2030.zipにコードを追加 110113_2030.zip 2011 01/13 20 30 584,039 byte 110113_2015.zipにコードを追加、修正 110113_2015.zip 2011 01/13 20 15 578,476 byte 110114_1805.zipにコードを追加 110114_1805.zip 2011 01/14 18 05 554,521 byte 110104_2041.zipにコードを追加 110104_2041.zip 2011 01/01 01 08 554,521 byte 101231_0315.zipにコードを追加 110101_0108.zip 2011 01/01 01 08 554,456 byte 101231_0315.zipのコードを修正 まとめ更新履歴 ※現段階の最新版に追加する形で編集してください。 140305 1845 ■コード追加 pspメタルファイトベイブレードポータブル超絶転生バルカンホルセウス グランツーリスモ [追加] 140302 1450 ■コード追加 7thDRAGON 2020-II 140228 1810 ■コード追加 実況パワフルプロ野球2013 プロ野球スピリッツ2011 fate/extra ccc ゴッドイーター2 ver1.30 ウィニングポスト7 2013 ダービータイム 140121 2130 ■コード追加 ゴッドイーター2 ver1.20 140111 2023 ■コード追加 ワールドネバーランドククリア王国 131230 2000 ■コード追加 メタルギアソリッドピースウォーカー cheat追加 131219 1545 ■コード追加 ゴッドイーター2 ver1.1 131201 1640 ■コード追加 ワンピース ROMANCE DAWN 冒険の夜明け 131129 1607 ■コード追加 ゴッドイーター2 cheat追加 131127 1813 ■コード追加 実況パワフルプロ野球2013 131126 1820 ■コード追加 ファンタシースターポータブル 131122 1843 ■コード追加 ゴッドイーター2 130729 1310 ■コード追加 討鬼伝のcheatを大量更新 130629 1342 ■コード追加 ウイニングイレブン2013 ジージェネレーションオーバーワールド 討鬼伝 120810 2120 ■コード追加 アガレスト戦記 Mariage 那由多の軌跡 オール仮面ライダー ライダージェネレーション2 120731 1930 ■コード追加 テイルズ オブ ファンタジア なりきりダンジョン X 120729 1810 ■コード追加 スーパーダンガンロンパ2 さよなら絶望学園 無双OROCHI2 Special 120728 0230 ■コード追加 デジモンワールド リ:デジタイズ 120616 1115 ■コード追加 AKIBA S TRIP PLUS テイルズ オブ ザ ヒーローズ ツインブレイヴ 120603 1640 ■コード追加 Blazblue Continuum Shift Extend 120507 1640 ■コード追加 FINAL FANTASY IV Complete Collection -FINAL FANTASY IV THE AFTER YEARS- 120430 0940 ■コード追加 CONCEPTION 俺の子供を産んでくれ! 機動戦士ガンダム 木馬の軌跡 SPLIT SECOND 120409 2200 ■コード追加、修正 プロ野球スピリッツ2012 120408 0300 ■コード追加 プロ野球スピリッツ2012 120405 1730 ■コード追加 第2次スーパーロボット大戦Z 再世篇 ペルソナ3ポータブル 120331 1200 ■コード追加 DJ MAX PORTABLE BLACK SQUARE Monster Hunter Portable クロヒョウ2 龍が如く 阿修羅編 リトルウィッチ パルフェ ~黒猫魔法店物語~ 120326 1315 ■コード修正 スーパーロボット大戦OGサーガ 魔装機神II REVELATION OF EVIL GOD 120321 1300 ■コード追加 みんなのスッキリ 120317 0040 ■コード追加 魔法少女まどか☆マギカ ポータブル 120309 1650 ■コード追加 グレイトバトル フルブラスト バトルドッジボール3 ■コード修正 戦国無双3 Z Special 120306 0300 ■コード追加 武装神姫 BATTLE MASTERS 120304 0130 ■コード追加 ねんどろいど じぇねれ~しょん 120303 0200 ■コード追加 第2次スーパーロボット大戦Z 破界篇 120225 1500 ■コード追加 とある魔術の禁書目録 120222 1300 ■コード追加 戦国無双3 Z Special NARUTO疾風伝 キズナドライブ ■コード修正 マクロストライアングルフロンティア 120217 1545 ■コード追加 テイルズ オブ リバース フォトカノ 120130 1430 ■コード追加 ガチトラ! ~暴れん坊教師 in High School~ 電車でGO! ポケット 東海道線編 ヒーローズファンタジア ロウきゅーぶ! ■コード修正 スーパーロボット大戦OGサーガ 魔装機神 THE LORD OF ELEMENTAL スーパーロボット大戦OGサーガ 魔装機神II REVELATION OF EVIL GOD 120114 2200 ■コード追加 ナルト疾風伝ナルティメットインパクト 120113 1100 ■コード追加 英雄伝説 碧の軌跡 スーパーロボット大戦OGサーガ 魔装機神 THE LORD OF ELEMENTAL スーパーロボット大戦OGサーガ 魔装機神II REVELATION OF EVIL GOD ダンボール戦機 ブースト ロード オブ アポカリプス ■コード修正 余分な空白の削除 コード名のみで中身のないコードの削除 書式異常コード修正 +2011年 更新履歴一覧 111230 1100 ■コード追加 俺の屍を越えてゆけ ダンボール戦機 ブースト 魔法少女リリカルなのはA s PORTABLE-THE GEARS OF DESTINY- 遊戯王デュエルモンスターズ5D s タッグフォース6 111224 0900 ■コード追加 仮面ライダー クライマックスヒーローズ フォーゼ 武装神姫 BATTLE MASTERS Mk.2 111220 0900 ■コード追加 喧嘩番長3 111217 1230 ■コード追加 ダンボール戦機ブースト ■コード修正 喧嘩番長4 喧嘩番長5 111126 2330 ■コード追加 ヴァイスシュヴァルツポータブル セブンスドラゴン2020 111126 2330 ■コード追加 ファイナルファンタジー零式 111126 2130 ■コード追加 喧嘩番長4 111121 1930 ■コード追加/修正 ファイナルファンタジー零式 111118 1845 ■コード追加 俺の屍を越えてゆけ 111113 1210 ■コード追加 俺の屍を越えてゆけ 初音ミク -project DIVA- extend 111110 0050 ■コード追加 俺の屍を越えてゆけ 111107 1945 ■コード追加・修正 ファイナルファンタジー零式 111102 1650 ■コード追加 ファイナルファンタジー零式 111028 1330 ■コード追加 ファイナルファンタジー零式 戦律のストラタス ラグナロク ~光と闇の皇女~ AKB1/48 アイドルとグアムで恋したら・・・ ■コード修正 タクティクスオウガ 運命の輪 111024 2210 ■コード修正 いくつかのコードが自動起動となっていたため修正 遊戯王 5Ds タッグフォース6 111024 1340 ■コード追加 剣と魔法と学園モノ。FINAL 遊戯王 5Ds タッグフォース6 シークレットゲームポータブル 侍道2ポータブル 111018 0530 ■コード追加 ファントム・キングダム PORTABLE クイーンズゲイト スパイラルカオス 111005 1115 ■コード追加・修正 ゴッドイーターバースト 武装神姫 バトルマスターズ mk.2 111002 2155 ■コード追加・修正 遊戯王 5Ds タッグフォース6 111002 0030 ■コード追加 遊戯王 5Ds タッグフォース6 111001 1400 ■コード追加 グランナイツヒストリー 110925 1346 ■コード追加 遊戯王 5Ds タッグフォース6 110923 1249 ■コード追加 遊戯王 5Ds タッグフォース6 110923 1000 ■コード修正 AKIBA S TRIP グランドセフトオート バイスシティストーリーズ 喧嘩番長5 ~漢の法則~ 110923 0914 ■コード追加 遊戯王 5Ds タッグフォース6 110913 2355 ■コード追加 ソウルキャリバー Broken Destiny 110910 1030 ■コード追加 信長の野望・蒼天録 with パワーアップキット ■コード修正 グローランサーIV オーバーリローデッド 110907 2120 ■コード追加 グローランサーIV オーバーリローデッド ■コード修正 萌え萌え大戦争☆げんだいばーん +(ぷらす) 110906 1700■コード追加 ファンタシースターポータブル2インフィニティ 110906 0630 ■コード追加 ナノダイバー 萌え萌え大戦争☆げんだいばーん +(ぷらす) ■コード修正 SDガンダム GGENERATION WORLD 110905 2300 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PORTABLE 110422 1500 ■コード追加 クラシックダンジョンX2 ファイナルファンタジー4コンプリートコレクション 110414 2100 ■コード追加 ペルソナ2 罪 第2次スーパーロボット大戦Z 破界篇 110410 1130 ■コード追加 地球防衛軍2 PORTABLE 110404 2230 ■コード並び替え ■コード追加 PATAPON3体験版 BLAZBLUE CONTINUUM SHIFT II 110403 0911 ■コード追加 お姉チャンバラSPECIAL 110312 17 05 ■コード追加 モンスターハンターポータブル2ndG 110312 16 40 ■コード修正 モンスターハンターポータブル3rd 110312 16 30 ■コード追加 グランド・セフト・オート バイス・シティ・ストーリーズ 110310 19 30 ■コード修正 ファンタシースターポータブル2インフィニティ 110309 09 00 ■コード修正 ファンタシースターポータブル2インフィニティ ■コード追加 ファンタシースターポータブル2インフィニティ 110305 08 00 ■コード追加 家庭教師ヒットマンREBORN!バトルアリーナ2 スピリットバースト DISSIDIA 012 FINAL FANTASY SDガンダム GGENERATION WORLD 110228 20 30 ■名称訂正 Monster Hunter Portable 110228 20 15 ■コード追加 ファンタシースターポータブル2インフィニティ 110226 14 00 ■コード追加 SDガンダム GGENERATION WORLD 遊戯王デュエルモンスターズ5D s タッグフォース5 110223 17 00 ■コード追加 メタルギアソリッド ポータブルオプス(プレミアムパック) ↑通常版のコードのみだったので、プレミアムパックにも対応させた 110214 15 00 ■コード追加 ブレスオブファイア3 テイルズ オブ ザ ワールド レディアント マイソロジー3 110212 00 00 ■コード追加 テイルズ オブ ザ ワールド レディアント マイソロジー3 110211 21 30 ■コード修正 The 3rd Birthday Quick Liberation と LINKAGE Gauge MAX at Once がひとつのコードになっていた。 110206 14 30 ■コード追加 Monster Hunter Portable 3rd ■コード修正 各所小修正 110205 13 30 ■コード追加 ヴィオラートのアトリエ ~グラムナートの錬金術士2~ 群青の思い出 マクロストライアングルフロンティア 戦場のヴァルキュリア3 110204 23 40 ■コード修正 各所小修正 110203 17 30 ■コード追加 白騎士物語-episode portable-ドグマ・ウォーズ キングダムハーツ バースバイスリープ ファイナルミックス マクロストライアングルフロンティア 110202 22 20 ■コード追加 ヴィーナス&ブレイブス ~魔女と女神と滅びの予言~ 白騎士物語-episode portable-ドグマ・ウォーズ 喧嘩番長5 110125 21 26 ■コード追加 BLAZE UNION 110120 15 10 ■コード追加 バイトヘル2000 110113 20 28 ■コード追加 Monster Hunter Portable 3rd 110113 20 13 ■コード追加 Monster Hunter Portable 3rd 110104 20 41 ■コード追加 Another Century s Episode Portable 110104 20 41 ■コード追加 タクティクスオウガ 運命の輪 110101 01 08 ■コード修正 The 3rd Birthday ポップンミュージック ポータブルチートのオートプレイをお願いします -- 颯太 (2016-04-19 16 41 02) 太鼓の達人 ぽ~たぶる2チートのオートプレイ(極限スコア版)をお願いします -- 颯太 (2016-06-12 20 50 55) ポップンミュージック ポータブル チート更新をお願いします -- 颯太 (2016-08-26 17 11 55) 太鼓の達人 ぽ~たぶる2チートのオートプレイ(極限スコア版)をお願いします -- 颯太 (2016-10-27 20 27 14) DJMAX PORTABLE Black Square チートのオートプレイをお願いします -- 颯太 (2016-12-19 20 41 23) Megpoid the music♯ チートをお願いします -- 颯太 (2016-12-30 21 34 28) スプラトゥ―ン -- 名無しさん (2017-01-14 19 24 34) スプラトゥ―ンチートお願いします -- ユリート (2017-01-14 19 25 42) 早くしてください -- 颯太 (2017-02-09 13 42 20) マイクラ作って -- 颯太 (2017-02-09 13 42 53) 太鼓の達人 ぽ~たぶるdxチートのオートプレイ(極限スコア版)をお願いします -- 名無しさん (2017-03-04 16 48 55) BLEACH~ソウル・カーニバルチートの経験値n倍をお願いします -- 名無しさん (2017-04-02 21 00 01) 2017迄の全コードをcheat dbにしてください. -- H.H (2017-10-04 01 18 21) モンハンサードの日本語版cheat.dbお願いします(できるだけいろんなチート詰めてください) -- tiramisu (2018-02-05 19 29 30) 名前 コメント
https://w.atwiki.jp/fallout_jp/pages/159.html
# (266) Heather, a spy for the Children {1099}{}{?} {1199}{}{[この人が教えられることはない]} # Heather is a female. She has a sweet, yet discerning quality about her. # She acts as though she is trying to hide something and does a really good # job of confusing the matter for people. Elusive and evasive. She will play # on anything that you give her to work with. #{100}{}{You see Heather of the Follower s Scouts.} {100}{}{ Followers の 偵 察 兵 Heather だ} #{101}{}{What are you doing here?} #{102}{}{Dis!} {101}{}{ ここで何をしているのですか。} {102}{}{ これ!} # moronic line for This #{103}{}{Go bye.} {103}{}{ かえるばいばい} # moronic line for Good Bye. # op #{104}{}{I m just looking around.} #{105}{}{I am here to kill you!} #{106}{}{Just curious as to what is going on around here.} {104}{}{ ぶらぶらしているだけです。} {105}{}{ お前を殺しに来たんだよ!} {106}{}{ この辺りが今どんな様子かちょっと気になっただけです。} #{107}{}{Really? And what might you be looking for?} #{108}{}{I think I have already found her.} #{109}{}{I am looking for a spy.} #{110}{}{Nothing really. Just looking around.} #{111}{}{Just information.} {107}{}{ 本当に?一体何をお探しかしら。} {108}{}{ どうやらその女性が見つかったようです。} {109}{}{ スパイを探している。} {110}{}{ いや、本当。ぶらついてるだけです。} {111}{}{ ちょっと知りたいことがあって。} #{112}{}{Thank you, but I am already spoken for. I think it is time for you to leave.} {112}{}{ ありがと。でも付き合ってる人がいるから。さあ、そろそろお引取り くださらない。} # "I am already spoken for" == "i am already dating someone else" #{113}{}{Yes, the spy. I have heard of that bothersome pest. I really wish we # could catch him.} ## Spy is considered male #{114}{}{I kept hearing that it was a female spy.} ## Spy is considered female #{115}{}{Have you heard anything about this spy?} ## spy is considered male #{116}{}{You are the spy!} ## spy is considered female #{117}{}{Good luck to you. Sorry I bothered you.} {113}{}{ ああ、例の厄介なスパイの話ね。話には聞いているわ。その男を捕ま えられるといいのだけれど。} # Spy is considered male {114}{}{ スパイは女だと聞いているが。} # Spy is considered female {115}{}{ スパイに関する情報は何かないか?} # spy is considered male {116}{}{ お前がスパイだ!} # spy is considered female {117}{}{ お手数かけて申し訳ない。幸運を。} #{118}{}{I bet it was the braggart Neil that said as much. I ll have to have # a talk with him later.} ## Neil is male #{119}{}{You think that Neil is the spy?} ## spy is male. Neil is male. #{120}{}{Then who do you think the spy is?} ## spy is male #{121}{}{You sound a bit defensive. Any reason why?} {118}{}{ どうせまた自慢屋のNeilがそう言ってたんでしょ。後で文句言っ てやるわ。} # Neil is male {119}{}{ Neilがスパイだと?} # spy is male. Neil is male. {120}{}{ ならば誰がスパイだと?} # spy is male {121}{}{ そこまで反応しなくても。何か理由でも?} #{122}{}{I am almost sure of it. I just need some proof.} #{123}{}{I will get you proof.} #{124}{}{He seems like a nice person. I don t know.} #{125}{}{Why do you think it is him?} {122}{}{ ほぼ間違いないわ。後は証拠が必要なの。} {123}{}{ 証拠は私が見つけてくるよ。} {124}{}{ いい人のようだが。どうなんだろうな。} {125}{}{ 彼だと思う理由は?} #{126}{}{Thank you. You don t know how much this means to me. Once you get # proof, kill him.} {126}{}{ ありがとう。感謝の言葉もないわ。証拠を見つけたらあいつを殺すの よ。} #{127}{}{What is there not to know? He has access to the Children. He works # during the night when most are asleep. It has to be him.} ## Children is short for Children of the Cathedral. Religous cult who believe in destroying ## anyone who gets in there way or acts against thier wishes. They are really bad people. ## consider Male. #{128}{}{Ok, I will check into it.} #{129}{}{Forget it. I think you are trying to divert me!} {127}{}{ 分からない?何が。Childrenと接触しているのよ。仕事をす るのは皆ほとんど寝静まった夜中だし。あいつに間違いないわ。} # Children is short for Children of the Cathedral. Religous cult who believe in destroying # anyone who gets in there way or acts against thier wishes. They are really bad people. # consider Male. {128}{}{ 分かった。調べてみるよ。} {129}{}{ 無駄だ。私の注意を逸らそうとしてるんだろ。} #{130}{}{I am truly sorry that you think that way. I cannot have someone think # I am a spy. I will remove you from service.} ## Spy is female. "I will remove you from service" == "i am going to have to kill you now" {130}{}{ そんな風に思うなんて全く残念ね。スパイだと思われるなんて耐えら れない。この場で処分してあげるわ。} # Spy is female. "I will remove you from service" == "i am going to have to kill you now" #{131}{}{He has access to the Children during the night. No one ever sees # him on duty. It must be him.} ## Children is short for Children of the Cathedral. Religous cult who believe in destroying ## anyone who gets in there way or acts against thier wishes. They are really bad people. ## consider Male. #{132}{}{Ok, I will check into it.} #{133}{}{Forget it. I think you are trying to divert me!} {131}{}{ 夜間にChildrenと接触しているのよ。仕事をしている所なん て誰も見たことがないわ。あいつに間違いない。} # Children is short for Children of the Cathedral. Religous cult who believe in destroying # anyone who gets in there way or acts against thier wishes. They are really bad people. # consider Male. {132}{}{ 分かった。調べてみるよ。} {133}{}{ 無駄だ。私の注意を逸らそうとしているんだろ。} #{134}{}{I am not certain as to who it is. I think it may either be a guard # or a scholar. They keep sneaking into the Children s Cathedral at night.} ## Guard is considered male. Scholar is considered female. ## Children is short for Children of the Cathedral. Religous cult who believe in destroying ## anyone who gets in there way or acts against thier wishes. They are really bad people. ## consider Male. #{135}{}{Any other leads that you can think of?} ## == is there any other information that you can think of? #{136}{}{But I ve heard talk that only the scouts do raids on the Children} ## scouts is male ## Children is short for Children of the Cathedral. Religous cult who believe in destroying ## anyone who gets in there way or acts against thier wishes. They are really bad people. ## consider Male. #{137}{}{Ok. Thank you for your help.} {134}{}{ 誰かまでは分からないわ。 ガードか研究員の誰かじゃないかしら。 ChildrenのCathedralに夜忍び込むことをずっと続 けているもの。} # Guard is considered male. Scholar is considered female. # Children is short for Children of the Cathedral. Religous cult who believe in destroying # anyone who gets in there way or acts against thier wishes. They are really bad people. # consider Male. {135}{}{ 他に思い当たることは?} # == is there any other information that you can think of? {136}{}{ Childrenに直接当たるのは偵察の連中だって話を聞いたけど。} # scouts is male # Children is short for Children of the Cathedral. Religous cult who believe in destroying # anyone who gets in there way or acts against thier wishes. They are really bad people. # consider Male. {137}{}{ 分かった。ご協力感謝する。} #{138}{}{Not really. Just that I think it is a male and probably a scholar or guard.} ## is is refering to a male spy. Scholar and guard are male. #{139}{}{Ok. Thank you for your help.} {138}{}{ いいえ、特には。スパイは男で、研究員かガードの中にいそうって思っただけよ。} # is is refering to a male spy. Scholar and guard are male. {139}{}{ 分かった。ご協力感謝する。} #{140}{}{True. We scouts do many raids on the Children, and to much loss lately. # This spy costs us dearly.} ## scouts is male. spy is male. ## Children is short for Children of the Cathedral. Religous cult who believe in destroying ## anyone who gets in there way or acts against thier wishes. They are really bad people. ## consider Male. #{141}{}{You seem really torn up about this. I will look for the spy and kill him.} ## "you seem really torn up about this." == "you seem emotionally distraught over this" ## spy == male #{142}{}{Could the spy be a scout?} ## spy and scout == male #{143}{}{Thank you for your help.} {140}{}{ そうね。私たち偵察隊はChildrenに何度も奇襲を仕掛けてい るわ。でも最近はこちらの被害が大きくて。スパイのせいでひどい犠 牲を払うはめになっているの。} # scouts is male. spy is male. # Children is short for Children of the Cathedral. Religous cult who believe in destroying # anyone who gets in there way or acts against thier wishes. They are really bad people. # consider Male. {141}{}{ この件で心を痛めているようだね。私がスパイを見つけて始末するよ。} # "you seem really torn up about this." == "you seem emotionally distraught over this" # spy == male {142}{}{ スパイが偵察兵である可能性は?} # spy and scout == male {143}{}{ ご協力感謝する。} #{144}{}{Why would one of us do that?} ##us referres to the scouts #{145}{}{If you kill off the scouts, then you stop the raids.} #{146}{}{I don t know. Why would you do that?} #{147}{}{Don t know. Just wondering.} {144}{}{ 偵察の中に?どうして。} #us referres to the scouts {145}{}{ 偵察隊を全滅させれば襲撃もなくなるじゃないか。} {146}{}{ さあね。どうしてだい。} {147}{}{ さあ。ただ何となくね。} #{148}{}{Sounds like a good thought. I ve noticed Peter never gets attacked much # in the raids. I think he may be the one.} ## Peter is male. She thinks that Peter may be the male spy. #{149}{}{Ok, I will check into it.} #{150}{}{Forget it. I think you are trying to divert me!} {148}{}{ なかなかいい思いつきじゃない。戦闘になってもPeterがほとん ど攻撃を受けないのが気になっていたのよ。あいつがスパイなのかも しれないわね。} # Peter is male. She thinks that Peter may be the male spy. {149}{}{ 分かった。調べてみるよ。} {150}{}{ 無駄だ。私の注意を逸らそうというんだろう。} #{151}{}{You think that it is me?} ## it referring to the female spy. #{152}{}{I m sorry. I m just a bit jumpy.} ## under a bit of stress. #{153}{}{Yes! Now you will die!} {151}{}{ 私がスパイだと思ってるのね。} # it referring to the female spy. {152}{}{ すまない。その場のノリでつい。} # under a bit of stress. {153}{}{ そうだ。では死ね!} #{154}{}{Then wonder somewhere else. I must get back to work.} ## then think about it somewhere else {154}{}{ 何となくなら他でやってちょうだい。仕事にもどらないと。} # then think about it somewhere else #{155}{}{I think he thinks I am the spy. But I m not.} ## spy is female #{156}{}{Maybe he is right.} #{157}{}{Why would he think that?} {155}{}{ あいつは私がスパイだと思っているのよ、多分。でも違うわ。} # spy is female {156}{}{ 彼が正しいのかもな。} {157}{}{ なぜ彼がそう考えると?} #{158}{}{Because I am the new scout. I ve only been here for about a year # and the trouble started about five months ago.} ## scout is female #{159}{}{I think Neil may be right.} ## Neil is male. right == correct. #{160}{}{I think Neil might be the spy. I ll go check into it.} ## spy is male. {158}{}{ 私が新人だからよ。私がここに来たのはほんの1年ほど前。そしてお かしなことになってきたのは5ヶ月ほど前なの。} # scout is female {159}{}{ まあ、Neilが正しいんだろうね。} # Neil is male. right == correct. {160}{}{ Neilがスパイかもしれないな。調べてくるよ。} # spy is male. #{161}{}{Then look elsewhere. This is no place for you.} {161}{}{ では他を当たることね。ここはあなたの来る所じゃないわ。} #{162}{}{If you need information, look to Nicole. She thinks she knows everything.} ## Nicole is female. said in a snotty manner. {162}{}{ 知りたいことがあるのならNicoleを頼りなさいな。本人は何で も知っているつもりだから。} # Nicole is female. said in a snotty manner. #{163}{}{I can be persuaded to tell you something that s going on. For a price.} #{164}{}{How much?} #{165}{}{You would sell secrets?} #{166}{}{Forget it. I have no money.} {163}{}{ 今どんな状況か教えてあげてもいいわよ。出すもの出してくれれば。} {164}{}{ いくらだ。} {165}{}{ 秘密を金で売ると?} {166}{}{ やはり結構だ。金がない。} #{167}{}{Three hundred caps and the information is yours.} ## caps are a form of money. equivalant to a dollar each #{168}{}{Sure.} #{169}{}{No way.} {167}{}{ 300ドル。それで情報はあなたのものよ。} # caps are a form of money. equivalant to a dollar each {168}{}{ いいだろう。} {169}{}{ お断りだ。} #{170}{}{There will be a raid on the south end of the Children s stronghold. Now go.} {170}{}{ Childrenの砦の南端で襲撃があるわ。さあ、もう行って。} #{171}{}{Trying to cheat me? I ll show you!} {171}{}{ 騙すつもりだったの?こん畜生!} #{172}{}{I m sorry you feel that way. But, good day to you.} {172}{}{ それは残念。では失礼するわ。} #{173}{}{I need to get by somehow. Now, do you want in or not?} ## do you want me to give you the information? #{174}{}{Sure.} #{175}{}{No way.} {173}{}{ 私にも生活があるのよ。で、いるのいらないの?} # do you want me to give you the information? {174}{}{ いる。} {175}{}{ いらない。} #{176}{}{Nothing. Now leave.} {176}{}{ 何もないわよ。さあ、帰って。} # float #{177}{}{Leave me. I am trying to get some rest.} {177}{}{ 帰って。これから休む所なの。}
https://w.atwiki.jp/dooronron/pages/15.html
One of the central themes in W. J. Bate’s definitive John Keats is the “large, often paralyzing embarrassment ... that the rich accumulation of past poetry, as the eighteenth century had seen so realistically, can curse as well as bless.” As Mr. Bate remarks, this embarrassment haunted Romantic and haunts post-Romantic poetry, and was felt by Keats with a particular intensity. Somewhere in the heart of each new poet there is hidden the dark wish that the libraries be burned in some new Alexandrian conflagration, that the imagination might be liberated from the greatness and oppressive power of its own dead champions. Something of this must be involved in the Romantics’ loving struggle with their ghostly father, Milton. The role of wrestling Jacob is taken on by Blake in his “brief epic” Milton, by Wordsworth in The Recluse fragment, and in more concealed form by Shelley in Prometheus Unbound and Keats in the first Hyperion. The strength of poetical life in Milton seems always to have appalled as much as it delighted; in the fearful vigor of his unmatched exuberance the English master of the sublime has threatened not only poets, but the values once held to transcend poetry ... the Argument Held me a while misdoubting his Intent, HAROLD BLOOM Introduction 2 Harold Bloom That he would ruin (for I saw him strong) The sacred Truths to Fable and old Song (So Sampson grop’d the Temple’s Posts in spite) The World O’erwhelming to revenge his sight. The older Romantics at least thought that the struggle with Milton had bestowed a blessing without a crippling; to the younger ones a consciousness of gain and loss came together. Blake’s audacity gave him a Milton altogether fitted to his great need, a visionary prototype who could be dramatized as rising up, “unhappy tho’ in heav’n,” taking off the robe of the promise, and ungirding himself from the oath of God, and then descending into Blake’s world to save the later poet and every man “from his Chain of Jealousy.” Wordsworth’s equal audacity allowed him, after praising Milton’s invocatory power, to call on a greater Muse than Urania, to assist him in exploring regions more awful than Milton ever visited. The prophetic Spirit called down in The Recluse is itself a child of Milton’s Spirit that preferred, before all temples, the upright and pure heart of the Protestant poet. But the child is greater than the father, and inspires, in a fine Shakespearean reminiscence The human Soul of universal earth, Dreaming on things to come. Out of that capable dreaming came the poetic aspirations of Shelley and of Keats, who inherited the embarrassment of Wordsworth’s greatness to add to the burden of Milton’s. Yielding to few in my admiration for Shelley’s blank verse in Prometheus, I am still made uneasy by Milton’s ghost hovering in it. At times Shelley’s power of irony rescues him from Milton’s presence by the argument’s dissonance with the steady Miltonic music of the lyrical drama, but the ironies pass and the Miltonic sublime remains, testifying to the unyielding strength of an order Shelley hoped to overturn. In the lyrics of Prometheus Shelley is free, and they rather than the speeches foretold his own poetic future, the sequence of The Witch of Atlas, Epipsychidion and Adonais. Perhaps the turn to Dante, hinted in Epipsychidion and emergent in The Triumph of Life, was in part caused by the necessity of finding a sublime antithesis to Milton. With Keats, we need not surmise. The poet himself claimed to have abandoned the first Hyperion because it was too Miltonic, and his critics have agreed in not wanting him to have made a poem “that might have been written by John Milton, but one that was unmistakably by no other than John Keats.” In the Great Odes and The Fall of Hyperion Keats was to write poems unmistakably his own, as Endymion in another way had been his own. Introduction 3 Individuality of style, and still more of conception, no critic would now deny to the odes, Keats’s supreme poems, or to The Fall of Hyperion, which was his testament, and is the work future poets may use as Tennyson, Arnold and Yeats used the odes in the past. That Keats, in his handful of great poems, surpassed the Miltonhaunted poets of the second half of the eighteenth century is obvious to a critical age like our own, which tends to prefer Keats, in those poems, to even the best work of Blake, Wordsworth and Shelley, and indeed to most if not all poetry in the language since the mid-seventeenth century. Perhaps the basis for that preference can be explored afresh through a consideration of precisely how Keats’s freedom of the negative weight of poetic tradition is manifested in some of his central poems. Keats lost and gained, as each of the major Romantics did, in the struggle with the greatness of Milton. Keats was perhaps too generous and perceptive a critic, too wonderfully balanced a humanist, not to have lost some values of a cultural legacy that both stimulated and inhibited the nurture of fresh values. Mr. Bate finely says, commenting on Keats’s dedication sonnet to Leigh Hunt, that “when the imagination looks to any past, of course, including one’s own individual past, it blends memories and images into a denser, more massive unit than ever existed in actuality.” Keats’s confrontation with this idealized past is most direct from the Ode to Psyche on, as Mr. Bate emphasizes. Without repeating him on that ode, or what I myself have written elsewhere, I want to examine it again in the specific context of Keats’s fight against the too-satisfying enrichments with which tradition threatens the poet who seeks his own self-recognition and expressive fulfillment. Most readers recalling the Ode to Psyche think of the last stanza, which is the poem’s glory, and indeed its sole but sufficient claim to stand near the poet’s four principal odes. The stanza expresses a wary confidence that the true poet’s imagination cannot be impoverished. More wonderfully, the poet ends the stanza by opening the hard-won consciousness of his own creative powers to a visitation of love. The paradise within is barely formed, but the poet does not hesitate to make it vulnerable, though he may be condemned in consequence to the fate of the famished knight of his own faery ballad. There is triumph in the closing tone of To Psyche, but a consciousness also I think of the danger that is being courted. The poet has given Psyche the enclosed bower nature no longer affords her, but he does not pause to be content in that poet’s paradise. It is not Byzantium which Keats has built in the heretofore untrodden regions of his mind but rather a realm that is precisely not far above all breathing human passion. He has not assumed the responsibility of an expanded consciousness for the rewards of self4 Harold Bloom communing and solitary musing, in the manner of the poet-hero of Alastor, and of Prince Athanase in his lonely tower. He seeks “love” rather than “wisdom,” distrusting a reality that must be approached apart from men. And he has written his poem, in however light a spirit, as an act of self-dedication and of freedom from the wealth of the past. He will be Psyche’s priest and rhapsode in the proud conviction that she has had no others before him, or none at least so naked of external pieties. The wealth of tradition is great not only in its fused massiveness, but in its own subtleties of internalization. One does poor service by sandbagging this profoundly moving poem, yet even the heroic innovators but tread the shadowy ground their ancestors found before them. Wordsworth had stood on that ground, as Keats well knew, and perhaps had chosen a different opening from it, neither toward love nor toward wisdom, but toward a plain recognition of natural reality and a more sublime recognition-by-starts of a final reality that seemed to contain nature. Wordsworth never quite named that finality as imagination, though Blake had done so and the young Coleridge felt (and resisted) the demonic temptation to do so. Behind all these were the fine collapses of the Age of Sensibility, the raptures of Jubilate Agno and the Ode on the Poetical Character, and the more forced but highly impressive tumults of The Bard and The Progress of Poesy. Farther back was the ancestor of all such moments of poetic incarnation, the Milton of the great invocations, whose spirit I think haunts the Ode to Psyche and the Ode to a Nightingale, and does not vanish until The Fall of Hyperion and To Autumn. Hazlitt, with his usual penetration, praises Milton for his power to absorb vast poetic traditions with no embarrassment whatsoever “In reading his works, we feel ourselves under the influence of a mighty intellect, that the nearer it approaches to others, becomes more distinct from them.” This observation, which comes in a lecture Keats heard, is soon joined by the excellent remark that “Milton’s learning has the effect of intuition.” The same lecture, in its treatment of Shakespeare, influenced Keats’s conception of the Poetical Character, as Mr. Bate notes. Whether Keats speculated sadly on the inimitable power of Milton’s positive capability for converting the splendor of the past into a private expressiveness we do not know. But the literary archetype of Psyche’s rosy sanctuary is the poet’s paradise, strikingly developed by Spenser and Drayton, and brought to a perfection by Milton. I am not suggesting Milton as a “source” for Keats’s Ode to Psyche. Poets influence poets in ways more profound than verbal echoings. The paradise of poets is a recurrent element in English mythopoeic poetry, and it is perhaps part of the critic’s burden never to allow himself to yield to embarrassment when the riches of poetic tradition come crowding in upon him. Poets need to be selective; critics need the humility of a bad conscience when they Introduction 5 exclude any part of the poetic past from “tradition,” though humility is never much in critical fashion. Rimbaud put these matters right in one outburst “On n’a jamais bien jugé le romantisme. Qui l’aurait jugé? Les Critiques!!” Milton, “escap’t the Stygian pool,” hails the light he cannot see, and reaffirms his ceaseless wanderings “where the Muses haunt / clear Spring, or shady Grove,” and his nightly visits to “Sion and the flow’ry Brooks beneath.” Like Keats’s nightingale, he “sings darkling,” but invokes a light that can “shine inward, and the mind through all her powers / Irradiate.” The light shone inward, the mind’s powers were triumphant, and all the sanctities of heaven yielded to Milton’s vision. For the sanctuary of Milton’s psyche is his vast heterocosm, the worlds he makes and ruins. His shrine is built, not to the human soul in love, but to the human soul glorious in its solitude, sufficient, with God’s aid, to seek and find its own salvation. If Keats had closed the casement, and turned inward, seeking the principle that could sustain his own soul in the darkness, perhaps he could have gone on with the first Hyperion, and become a very different kind of poet. He would then have courted the fate of Collins, and pursued the guiding steps of Milton only to discover the quest was In vain—such bliss to one alone Of all the sons of soul was known, And Heav’n and Fancy, kindred pow’rs, Have now o’erturned th’inspiring bow’rs, Or curtain’d close such scene from ev’ry future view. Yeats, in the eloquent simplicities of Per Amica Silentia Lunae, saw Keats as having “been born with that thirst for luxury common to many at the outsetting of the Romantic Movement,” and thought therefore that the poet of To Autumn “but gave us his dream of luxury.” Yeats’s poets were Blake and Shelley; Keats and Wordsworth he refused to understand, for their way was not his own. His art, from The Wanderings of Oisin through the Last Poems and Plays, is founded on a rage against growing old, and a rejection of nature. The poet, he thought, could find his art only by giving way to an anti-self, which “comes but to those who are no longer deceived, whose passion is reality.” Yeats was repelled by Milton, and found no place for him in A Vision, and certainly no poet cared so little as Milton to express himself through an anti-self. In Blake’s strife of spectre and emanation, in Shelley’s sense of being shadowed by the alastor while seeking the epipsyche, Yeats found precedent for his own quest towards Unity of Being, the poet as daimonic man taking his mask from. a phase opposite to that of his own will. Like Blake and Shelley, Yeats sought certainty, but being of Shelley’s phase rather than 6 Harold Bloom Blake’s, he did not find it. The way of Negative Capability, as an answer to Milton, Yeats did not take into account; he did not conceive of a poet “certain of nothing but of the holiness of the Heart’s affections and the truth of Imagination.” (There is, of course, no irritable reaching after mere fact and reason in Yeats he reached instead for everything the occult sub-imagination had knocked together in place of fact and reason. But his motive was his incapability “of being in uncertainties, mysteries, doubts,” and the results are more mixed than most recent criticism will admit.) Keats followed Wordsworth by internalizing the quest toward finding a world that answered the poet’s desires, and he hoped to follow Shakespeare by making that world more than a sublime projection of his own ego. Shakespeare’s greatness was not an embarrassment to Keats, but the hard victories of poetry had to be won against the more menacing values of poetic tradition. The advance beyond the Ode to Psyche was taken in the Ode to a Nightingale, where the high world within the bird’s song is an expansion of the rosy sanctuary of Psyche. In this world our sense of actuality is heightened simultaneously with the widening of what Mr. Bate terms “the realm of possibility.” The fear of losing actuality does not encourage the dull soil of mundane experience to quarrel with the proud forests it has fed, the nightingale’s high requiem. But to be the breathing garden in which Fancy breeds his flowers is a delightful fate; to become a sod is to suffer what Belial dreaded in that moving speech Milton himself and the late C. S. Lewis have taught too many to despise. Milton, invoking the light, made himself at one with the nightingale; Keats is deliberate in knowing constantly his own separation from the bird. What is fresh in this ode is not I think a sense of the poet’s dialogue with himself; it is surprising how often the English lyric has provided such an undersong, from Spenser’s Prothalamion to Wordsworth’s Resolution and Independence. Keats wins freedom from tradition here by claiming so very little for the imagination in its intoxicating but harsh encounter with the reality of natural song. The poet does not accept what is as good, and he does not exile desire for what is not. Yet, for him, what is possible replaces what is not. There is no earthly paradise for poets, but there is a time of all-but-final satisfaction, the fullness of lines 35 to 58 of this ode. I do not think that there is, before Keats, so individual a setting-forth of such a time, anywhere in poetic tradition since the Bible. The elevation of Wordsworth in Tintern Abbey still trembles at the border of a theophany, and so derives from a universe centered upon religious experience. The vatic gift of Shelley’s self to the elements, from Alastor on, has its remote but genuine ancestors in the sibylline frenzies of traditions as ancient as Orphism. Blake’s moments of delight come as hard-won intervals of rest from an intellectual Introduction 7 warfare that differs little if at all from the struggles towards a revelatory awareness in Ezekiel or Isaiah, and there is no contentment in them. What Keats so greatly gives to the Romantic tradition in the Nightingale ode is what no poet before him had the capability of giving—the sense of the human making choice of a human self, aware of its deathly nature, and yet having the will to celebrate the imaginative richness of mortality. The Ode to a Nightingale is the first poem to know and declare, wholeheartedly, that death is the mother of beauty. The Ode to Psyche still glanced, with high good humor, at the haunted rituals of the already-written poems of heaven; the Ode to a Nightingale turns, almost casually, to the unwritten great poem of earth. There is nothing casual about the poem’s tone, but there is a wonderful lack of self-consciousness at the poem’s freedom from the past, in the poem’s knowing that death, our death, is absolute and without memorial. The same freedom from the massive beliefs and poetic stances of the past is manifested in the Ode on a Grecian Urn, where the consolations of the spirit are afforded merely by an artifice of eternity, and not by evidences of an order of reality wholly other than our own. Part of this poem’s strength is in the deliberate vulnerability of its speaker, who contemplates a world of values he cannot appropriate for his own, although nothing in that world is antithetical to his own nature as an aspiring poet. Mr. Bate states the poem’s awareness of this vulnerability “In attempting to approach the urn in its own terms, the imagination has been led at the same time to separate itself—or the situation of man generally—still further from the urn.” One is not certain that the imagination is not also separating itself from the essential poverty of man’s situation in the poem’s closing lines. Mr. Bate thinks we underestimate Keats’s humor in the Great Odes, and he is probably right, but the humor that apparently ends the Grecian Urn is a grim one. The truth of art may be all of the truth our condition can apprehend, but it is not a saving truth. If this is all we need to know, it may be that no knowledge can help us. Shelley was very much a child of Miltonic tradition in affirming the moral instrumentality of the imagination; Keats is grimly free of tradition in his subtle implication of a truth that most of us learn. Poetry is not a means of good; it is, as Wallace Stevens implied, like the honey of earth that comes and goes at once, while we wait vainly for the honey of heaven. Blake, Wordsworth, and Shelley knew in their different ways that human splendors had no sources but in the human imagination, but each of these great innovators had a religious temperament, however heterodox, and Keats had not. Keats had a clarity in his knowledge of the uniqueness and finality of human life and death that caused him a particular anguish on his own death-bed, but gave him, before that, the imagination’s gift of an absolute originality. The power of Keats’s imagination could never be 8 Harold Bloom identified by him with an apocalyptic energy that might hope to transform nature. It is not that he lacked the confidence of Blake and of Shelley, or of the momentary Wordsworth of The Recluse. He felt the imagination’s desire for a revelation that would redeem the inadequacies of our condition, but he felt also a humorous skepticism toward such desire. He would have read the prose testament of Wallace Stevens, Two Or Three Ideas, with the wry approval so splendid a lecture deserves. The gods are dispelled in mid-air, and leave “no texts either of the soil or of the soul.” The poet does not cry out for their return, since it remains his work to resolve life in his own terms, for in the poet is “the increasingly human self.” Part of Keats’s achievement is due then to his being perhaps the only genuine forerunner of the representative post-Romantic sensibility. Another part is centered in the Ode on Melancholy and The Fall of Hyperion, for in these poems consciousness becomes its own purgatory, and the poet learns the cost of living in an excitement of which he affirms “that it is the only state for the best sort of Poetry—that is all I care for, all I live for.” From this declaration it is a direct way to the generally misunderstood rigor of Pater, when he insists that “a counted number of pulses only is given to us of a variegated, dramatic life,” and asks “How may we see in them all that is to be seen in them by the finest senses?” Moneta, Keats’s veiled Melancholy, counted those pulses, while the poet waited, rapt in an apprehension attainable only by the finest senses, nearly betrayed by those senses to an even more premature doom than his destined one. What links together The Fall of Hyperion and its modern descendants like Stevens’s Notes toward a Supreme Fiction is the movement of impressions set forth by Pater, when analysis of the self yields to the poet’s recognition of how dangerously fine the sells existence has become. “It is with this movement, with the passage and dissolution of impressions, images, sensations, that analysis leaves off—that continual vanishing away, that strange, perpetual weaving and unweaving of ourselves.” Though there is a proud laughter implicit in the Ode on Melancholy, the poem courts tragedy, and again makes death the mother of beauty. Modern criticism has confounded Pater with his weaker disciples, and has failed to realize how truly Yeats and Stevens are in his tradition. The Ode on Melancholy is ancestor to what is strongest in Pater, and to what came after in his tradition of aesthetic humanism. Pater’s “Conclusion” to The Renaissance lives in the world of the Ode on Melancholy Great passions may give us this quickened sense of life, ecstasy and sorrow of love, the various forms of enthusiastic activity, disinterested or otherwise, which come naturally to many of us. Introduction 9 Only be sure it is passion—that it does yield you this fruit of a quickened, multiplied consciousness. The wakeful anguish of the soul comes to the courter of grief in the very shrine of pleasure, and the renovating powers of art yield the tragedy of their might only to a strenuous and joyful seeker. Keats’s problem in The Fall of Hyperion was to find again the confidence of Milton as to the oneness of his self and them, but with nothing of the Miltonic conviction that God had worked to fit that self and theme together. The shrines of pleasure and of melancholy become one shrine in the second Hyperion, and in that ruin the poet must meet the imaginative values of tradition without their attendant credences, for Moneta guards the temple of all the dead faiths. Moneta humanizes her sayings to our ears, but not until a poet’s courteous dialectic has driven her to question her own categories for mankind. When she softens, and parts the veils for Keats, she reveals his freedom from the greatness of poetic tradition, for the vision granted has the quality of a new universe, and a tragedy different in kind from the tragedy of the past Then saw I a wan face, Not pined by human sorrows, but bright-blanch’d By an immortal sickness which kills not; It works a constant change, which happy death Can put no end to; deathwards progressing To no death was that visage; it had pass’d The lily and the snow; and beyond these I must not think now, though I saw that face. But for her eyes I should have fled away. They held me back with a benignant light, Soft mitigated by divinest lids Half closed, and visionless entire they seem’d Of all external things— Frank Kermode finds this passage a prime instance of his “Romantic Image,” and believes Moneta’s face to be “alive only in a chill and inhuman way,” yet Keats is held back from such a judgment by the eyes of his Titaness, for they give forth “a benignant light,” as close to the saving light Milton invokes as Keats can ever get. Moneta has little to do with the Yeatsian concept of the poetic vision, for she does not address herself to the alienation of the poet. M. H. Abrams, criticizing Mr. Kermode, points to her emphasis on the poet as humanist, made restless by the miseries of mankind. Shelley’s 10 Harold Bloom Witch of Atlas, for all her playfulness, has more to do with Yeats’s formulation of the coldness of the Muse. Moneta is the Muse of mythopoeia, like Shelley’s Witch, but she contains the poetic and religious past, as Shelley’s capricious Witch does not. Taking her in a limited sense (since she incarnates so much more than this), Moneta does represent the embarrassments of poetic tradition, a greatness it is death to approach. Moneta’s perspective is close to that of the Rilkean Angel, and for Keats to share that perspective he would have to cease to depend on the visible. Moneta’s is a perfect consciousness; Keats is committed still to the oxymoronic intensities of experience, and cannot unperplex joy from pain. Moneta’s is a world beyond tragedy; Keats needs to be a tragic poet. Rilke dedicated himself to the task of describing a world regarded no longer from a human point of view, but as it is within the angel. Moneta, like this angel, does not regard external things, and again like Rilke’s angel she both comforts and terrifies. Keats, like Stevens, fears the angelic imposition of any order upon reality, and hopes to discover a possible order in the human and the natural, even if that order be only the cyclic rhythm of tragedy. Stevens’s definitive discovery is in the final sections of Notes toward a Supreme Fiction; Keats’s similar fulfillment is in his perfect poem, To Autumn. The achievement of definitive vision in To Autumn is more remarkable for the faint presence of the shadows of the poet’s hell that the poem tries to exclude. Mr. Bate calls the Lines to Fanny (written, like To Autumn, in October 1819) “somewhat jumbled as well as tired and flat,” but its nightmare projection of the imagination’s inferno has a singular intensity, and I think considerable importance Where shall I learn to get my peace again? To banish thoughts of that most hateful land, Dungeoner of my friends, that wicked strand Where they were wrecked and live a wrecked life; That monstrous region, whose dull rivers pour, Ever from their sordid urns unto the shore, Unown’d of any weedy-haired gods; Whose winds, all zephyrless, hold scourging rods, Iced in the great lakes, to afflict mankind; Whose rank-grown forests, frosted, black, and blind, Would fright a Dryad; whose harsh herbag’d meads Make lean and lank the starv’d ox while he feeds; There flowers have no scent, birds no sweet song, And great unerring Nature once seems wrong. Introduction 11 This may have begun as a fanciful depiction of an unknown America, where Keats’s brother and sister-in-law were suffering, yet it develops into a vision akin to Blake’s of the world of experience, with its lakes of menace and its forests of error. The moss-lain Dryads lulled to sleep in the forests of the poet’s mind in his Ode to Psyche, can find no home in this natural world. This is Keats’s version of the winter vision, the more powerful for being so unexpected, and clearly a torment to its seer, who imputes error to Nature even as he pays it his sincere and accustomed homage. It is this waste land that the auroras of Keats’s To Autumn transform into a landscape of perfection process. Does another lyric in the language meditate more humanly “the full of fortune and the full of fate”? The question is the attentive reader’s necessary and generous tribute; the critical answer may be allowed to rest with Mr. Bate, who is moved to make the finest of claims for the poem “Here at last is something of a genuine paradise.” The paradise of poets bequeathed to Keats by tradition is gone; a tragic paradise of naturalistic completion and mortal acceptance has taken its place. There are other Romantic freedoms won from the embarrassments of poetic tradition, usually through the creation of new myth, as in Blake and Shelley, or in the thematic struggle not to create a myth, as in the earlier work of Wordsworth and Coleridge. Keats found his dangerous freedom by pursuing the naturalistic implications of the poet’s relation to his own poem, and nothing is more refreshing in an art so haunted by aspirations to surpass or negate nature. Shelley, still joined to Keats in the popular though not the critical consciousness, remains the best poet to read in counterpoint to the Great Odes and The Fall of Hyperion. There is no acceptance in Shelley, no tolerance for the limits of reality, but only the outrageous desire never to cease desiring, the unflagging intensity that goes on until it is stopped, and never is stopped. Keats did what Milton might have done but was not concerned to do; he perfected an image in which stasis and process are reconciled, and made of autumn the most human of seasons in consequence. Shelley’s ode to autumn is his paean to the West Wind, where a selfdestroying swiftness is invoked for the sake of dissolving all stasis permanently, and for hastening process past merely natural fulfillment into apocalyptic renewal. Whether the great winter of the world can be relieved by any ode Keats tended to doubt, and we are right to doubt with him, but there is a hope wholly natural in us that no doubt dispels, and it is of this hope that Shelley is the unique and indispensable poet. 13 The total shape of the Ode on Indolence is, as I have said, a dialectical one of advance and refusal, advance and refusal, advance and refusal—the shape of a stalemate. At the moment represented by the ode, both the reverie of gestating vision and the regressive choice of preconscious insensibility are being jealously protected from the claims of the heart, of fame, and even of art itself. To think of constructing anything at all—a love affair, a place in the world of ambition, a poem—threatens the slumbering embryonic self. Keats finally remains obdurate, the dreamer of the dim dream, the viewer of the faint vision. But the strain evident in the disparate and parallel languages of Indolence, as well as in the inherent instability of the condition of spiritual stalemate, predicts a tipping of the balance as we know, it tips away from immobility toward love and art.1 The odes that follow Indolence investigate creativity by taking up various attitudes toward the senses, almost as though the odes were invented as a series of controlled experiments in the suppression or permission of sense-experience. Keats’s deliberate interest in sense-response has usually been cited as proof of his love of luxury or his minute apprehension of sensual fluctuation. It has not been generally realized that Keats’s search for “intensity” led him as much to a deliberate limiting of sense-variety as to a broadening of sensation, and led him as well to a search for an “intensity” of HELEN VENDLER Tuneless Numbers The Ode to Psyche From The Odes of John Keats. © 1983 by the President and Fellows of Harvard College. 14 Helen Vendler intellect that would rival the intensity of sense. In fact, the intensity to be found in the mind attracted Keats at least as much as, if not more than, the apparently easier intensity of sense; and the lapse of intensity following sexual climax seems to have been only an instance, for Keats, of a curious failure intrinsic to physical sensation itself. He described this eventual ennui of the senses at length in Fancy, contrasting it there with the associative powers of mental Fancy, which is able to assemble hybrid seasons and hybrid mistresses that combine all beauties and can never fade. Imaginative intellectual ecstasy seemed to Keats, at this point (Fancy was composed a few months before the odes), a more promising source of sustained intensity than physical sensation, and the second of the odes, the Ode to Psyche, is in this respect the most “puritanical” of the group in its intent (if not in its effect). It aims, whatever its sensual metaphors (and these will demand their own recognition later), at a complete, exclusive, and lasting annihilation of the senses in favor of the brain. The locus of reality in the ode passes from the world of myth to the world of mind, and the firm four-part structure emphasizes the wish to reproduce earlier sensual and cultic reality in a later interiorized form. The implicit boast of Psyche is that the “working brain” can produce a flawless virtual object, indistinguishable from the “real” object in the mythological or historical world. “O for a life of Thoughts,” says this ode, “instead of Sensations!” In Psyche Keats emerges from the chrysalis of indolence, permits his soul to become a winged spirit, and takes the smallest possible step toward the construction of a work of art. He concedes that he will shape his reverie toward some end (that reverie which had remained floating and inchoate in Indolence), but decides that it will prescind from the bodily senses, and will remain an internal making, as in Fancy, contained entirely within his own mind. The shape of the Ode to Psyche is, in its essence, the shape of that initial constructive act, and so is a very simple one. It is a reduplication-shape; we might compare it to the shape made by a Rorschach blot. Everything that appears on the left must reappear, in mirror image, on the right; or, in terms of the aesthetic of the ode, whatever has existed in “life” must be, and can be, restored in art. The notion of art which underlies Keats’s continual use of the trope of reduplication in the ode is a strictly mimetic one. The internal world of the artist’s brain can attain by the agency of Fancy—so the trope implies—a point-for-point correspondence with the external worlds of history, mythology, and the senses. The task of the poet is defined in excessively simple terms he is, in this instance, first to sketch the full presence of Psyche and her cult as they existed in the pagan past—that is, to show the locus of loss—and then to create by his art a new ritual and a new environment for Tuneless Numbers The Ode to Pysche 15 the restored divinity.2 Of course Psyche is incomplete without her other half, the god Cupid. Dissatisfied with the thinness of his allegorical and emblematic urn-figures in Indolence, and economically reducing his figures from three to two, Keats writes a hymn to the goddess traditionally representing the soul, but the soul under one aspect—the soul in love.3 Each of the subsequent odes worships a single divinity; each, like Psyche, is female; after Psyche, all are unpartnered. In the view of the Ode to Psyche, a pursuit of the most minute verisimilitude becomes the task of art, since divinity will not grace art with her presence if she lacks an exact interior re-creation of her former sensual and cultic world. In the fiction of this ode, art does not objectify the natural world in an external medium such as music or sculpture or even language. In the ode, Keats’s art is the insubstantial one of Fancy, the inner activity of the working brain, not even, as yet, the art of poetry embodied in words. The art in Psyche is the pre-art of purposeful, constructive, and scenic or architectural imaginings, not the art of writing; and the entire locus of this art is a mental domain, within the artist’s brain, where Fancy, engaging in a perpetual rivalry with nature, remains forever in a competitive (but apparently victorious) relation to an external world. In brief, in the Ode to Psyche Keats defines art as the purposeful imaginative and conceptualizing activity of the artist—entirely internal, fertile, competitive with nature, and successful insofar as it mimics nature, myth, and history with a painstaking spiritual verisimilitude. It is art without artifact. The artist is both worshiper of a divinity and its possessor the possession is envisaged here in mental, if erotic, terms, terms of invitation and entreaty rather than of domination or mastery. The shape of the poem pairs the opening tableau of the mythological Cupid and Psyche embowered in the forest with the closing envisaged tableau of the unpartnered Psyche awaiting Cupid in the bower of the artist’s brain; and, in the center, it juxtaposes the absent historical cult of Psyche with her imagined mental cult. I believe that the later odes demonstrate how unsatisfactory, on further reflection, Keats found this reduplicative mirrorimage conception of art—art as a wholly internalized, mimetic, imaginative activity. The ode declares, by its words and by its shape, that the creation of art requires the complete replacement of all memory and sense-experience by an entire duplication of the external world within the artist’s brain (a process we have seen, in its undirected and simply pastoral sense, in Indolence, where the soul, had itself become a lawn of flowers, complete with weather, light, and shade). Psyche asserts that by the constructive activity of the mind we can assert a victory, complete and permanent, over loss 4 16 Helen Vendler And there shall be for thee all soft delight That shadowy thought can win, A bright torch, and a casement ope at night, To let the warm Love in! The reparatory plot of the poem—the restoration of the proper cult and bower of Psyche—necessitates its mirror-shape, in which the second imaginative half of the poem reduplicates the first nostalgic portion, the replication in diction being most exact at the center of the poem. Psyche, because a late-born goddess, has, says Keats, no virgin choir to make delicious moan Upon the midnight hours; No voice, no lute, no pipe, no incense sweet From chain-swung censer teeming; No shrine, no grove, no oracle, no heat Of pale-mouth’d prophet dreaming. Keats will heal, one by one, with exact restitution, each of these lacks So let me be thy choir, and make a moan Upon the midnight hours; Thy voice, thy lute, thy pipe, thy incense sweet From swinged censer teeming; Thy shrine, thy grove, thy oracle, thy heat Of pale-mouth’d prophet dreaming. Yes, I will be thy priest. This nearly exact repetition (within a relatively short poem) of identical words, the earlier ones describing precise lacks, the later precise reparations, is adapted from Wordsworth’s reparatory technique of repetition in his Ode Intimations of Immortality.5 This strategy, unobtrusive in Wordsworth, is here verbally insisted on by Keats, so that the curative and restorative intent of this structure cannot be overlooked. At “So let me be thy choir,” the Ode to Psyche folds over upon itself and by repetition of diction intends to heal its wounds of loss. What is the wound that is being healed? It is, in Keats’s view, a wound to poetry itself, inflicted by Christianity. Because Christianity banished the pagan divinities, good and bad alike, the body of poetry inherited from the ancient world was, by Christian poets, mutilated. It was in Milton’s Nativity Tuneless Numbers The Ode to Pysche 17 Ode that Keats found the amplest description of the banishing of the pagan gods, and he borrows his vocabulary for Psyche from Milton’s equivocal and beautiful account of the effect of the nativity of Jesus on pagan religions. I quote Milton’s ode, italicizing Keats’s borrowings for Psyche The oracles are dumb, No voice or hideous hum Runs thro’ the arched roof in words deceiving. Apollo from his shrine Can no more divine, With hollow shriek the steep of Delphos leaving. No nightly trance, or breathed spell Inspires the pale-eyed priest from the prophetic cell. The lonely mountains o’er And the resounding shore; A voice of weeping heard and loud lament; From haunted spring, and dale Edg’d with poplar pale, The parting genius is with sighing sent; With flow’r-inwoven tresses torn The Nymphs in twilight shade of tangled thickets mourn. In consecrated earth, And on the holy hearth, The Lars, and lemures moan with midnight plaint; In urns, and altars round, A drear and dying sound Affrights the Flamens at their service quaint ... Peor and Baälim Forsake their temples dim; ... And mooned Ashtaroth, Heav’n’s queen and mother both, Now sits not girt with tapers’ holy shine. All of Keats’s Miltonic words in Psyche are drawn from Milton’s banishing of the gentler and more civilized pagan divinities; none is drawn from Milton’s subsequent stanzas on the defeat of the more “brutish” gods.6 It is not to Keats’s purpose here to suggest the darker side of the pagan pantheon. For 18 Helen Vendler him, the classical world (even in its latest manifestation, Psyche) represented a repository of truth-giving mythology, and not, as it did for Milton, “error” or “fable.” Therefore Keats’s description of Psyche echoes the superlatives of Spenser’s Hymn to Heavenly Beauty These thus in faire each other farre excelling, As to the Highest they approach more near, Yet is that Highest farre beyond all telling, Fairer than all the rest which there appear. Psyche, says Keats (recalling as well Shakespeare’s glow-worm), is the latest born and loveliest vision far Of all Olympus’ faded hierarchy! Fairer than Phoebe’s sapphire-region’d star, Or Vesper, amorous glow-worm of the sky; Fairer than these. Keats’s ode, then, is a hymn to pagan heavenly beauty which, in despite of Milton’s ritual banishing, he will restore to sovereignty and will duly worship, thereby replenishing an impoverished poetic world where, imagination lacks proper deities to worship.7 The goddess who has captured his veneration is Psyche, the soul in love, and the problem the poet sets himself is to find a spell powerful enough to conjure Psyche back into existence. In one sense, of course, Psyche exists eternally, forever entwined with Cupid, in the realm of mythic forms.8 Keats must find a liturgical language suitable for her eternal mythical being, and then a language seductive enough to woo her into an allegorical being, within his mind. Everyone has noticed the revelatory change in language which takes place in the poem the first two stanzas are written, as one critic put it, in “early Keats,” while the last stanza exhibits in part the language of “late Keats.”9 In this ode, the early language of erotic experience disputes the later language of aesthetic experience, as Psyche is embowered first with her lover Cupid in the forest of myth, but lastly with her poet-priest in his internalized shrine. Cupid and Psyche, though drawn, as Keats said in his letter sending the poem to his brother, from Apuleius, are described in terms Keats had gleaned from Lemprière. Keats’s decision to take up this material at this time, material which he had long known, is explained in part by his evolving notion of the world as a vale of soul-making, unfolded in the same letter as the poem. But Cupid and Psyche remind us too of Love and Poesy in the Ode on Indolence, Tuneless Numbers The Ode to Pysche 19 though they have exchanged sexes, with Love now a masculine Cupid, Poesy a Muse called Psyche. Ambition (which vanishes entirely from the later odes) is here still present in the vow, with something of a boast in it “Yes, I will be thy priest.” The motives of Love, Poesy, and Ambition are still intertwined, but Keats has decided to modify allegory as, a way of exemplifying them, and has turned to mythology instead—not entirely seriously, as he had in Endymion, but in a more playful and self-conscious way “I am more orthodox than to let a hethen Goddess be so neglected” (Letters, II, 106). Keats’s perplexity on the subject of mythology arose from his severe notion of what it was to tell the truth. Though he had (as I stood tip-toe reveals) adopted Wordsworth’s theory in The Excursion about the allegorical source of mythology—that it originated from an attempt to adorn natural sights with the charm of story (a narcissus drooping over a pool, the moon alone in the sky)—Keats had expressed, as early as Sleep and Poetry, a suspicion that the proper subject of poetry was not only “the realm ... / Of Flora, and old Pan” (101–102; that is, the realm of allegorized natural beauty like that of the narcissus or the moon), but also human life. In the realm of Flora he could read allegorically “a lovely tale of human life” (110), but he would have to bid those joys farewell, in leaving them for “a nobler life, / Where I may find the agonies, the strife / Of human hearts” (123–125). It is not clear to Keats whether he can write about those agonies in mythological terms at all. One of his reproaches of the Augustan poets seems to be their neglect of nature and mythology at once; and yet, when in Sleep and Poetry he begins to enumerate his own possible subjects, he does not come to mythology until he enters, in memory, the house of Leigh Hunt, and recalls looking with him at a portfolio including a picture of Bacchus and Ariadne. After that, there follows a confusion of subjects—nature, mythology, past poets, ancient heroes, and modern revolutionaries, not excepting the allegorical figure of “Sleep, quiet with his poppy coronet.” In turning in a “modern” and “worldly” way to the tale of Cupid and Psyche, a topic already the subject for sophisticated, even decadent, interpretation, both in literature and in the fine arts, Keats hoped, we may surmise, to enjoy the benefits of mythology without seeming to engage in a false archaism. His struggle with mythological material was not, as we shall see in the subsequent odes, to be so easily resolved, if only because he connected it so strongly with the pictorial and sensuous representational arts, rather than with thought and truth. Keats’s first sophisticating of mythology is evident in his assumption that it exists not so much in the pagan past as in an eternal region where, by purifying himself of skeptical modernity of thought (the dull brain that perplexes and retards), he may once again find himself. There is a formal 20 Helen Vendler liturgical beginning to this ode (to which I shall return), but its beginning in narrative time retells Keats’s penetration to that eternal region, as, by wandering “thoughtlessly” in a pastoral realm, he comes as spectator upon two winged creatures Their arms embraced, and their pinions too; Their lips touch’d not, but had not bade adieu, As if disjoined by soft-handed slumber, And ready still past kisses to outnumber At tender eye-dawn of aurorean love. We recognize this couple—this “happy, happy dove” and her “winged boy”—as sentimental adumbrations of the youth and maiden on the Grecian urn, warm in their “more happy love! more happy, happy love!” shaded by their happy, happy boughs which cannot “ever bid the spring adieu.” However, by the time Keats writes the Urn, though he is still using the Psyche language of double happiness and no need to bid adieu, he has recognized that the blissful stasis can only precede consummation, not, as in the more innocent Psyche, outlast it. (By “recognize” of course, I mean, “realize in language and structure”—there was no time in which Keats did not recognize these plain truths in life.) To present erotic desire unlessened by recent consummation, as Keats does here in the figures of Cupid and Psyche, is to imagine an eroticism without any share in the human cycle of desire and satiation. (Mythology thus becomes here the world of heart’s desire, which puts into question its capacity as a literary vehicle for the agonies of human hearts.) The symbolic landscape in which Cupid and Psyche lie avoids the passionate and unequilibrated; the flowers are hushed, their roots are cool, they are even cool-colored “blue, silver-white, and budded syrian” (corrected from the blushing eroticism of “freckle-pink”)—though no one knows what Keats intended “syrian” to convey. (His publishers changed it to “Tyrian.”) The lovers themselves lie calm-breathing. In short, the divine couple are the pure idealization of an eternal erotic desire for unsated and recurrent sexual experience with the same partner.10 In this fantasy, love and beauty are served, but truth of human experience is not. The poet-spectator, having had a vision of the eternal Psyche, decides, against Milton’s proscription of pagan gods, to restore her cult, and to that end addresses her liturgically with the words which formally open the ode. He hails her in terms deliberately borrowed from Lycidas (as indeed the flower-catalogue of Psyche’s forest bower is also partially so borrowed) just as “bitter constraint, and sad occasion dear” compel the uncouth swain, so Tuneless Numbers The Ode to Pysche 21 Keats’s “tuneless numbers” are wrung by “sweet enforcement and remembrance dear,” in piety and pity for the banished goddess. Keats’s numbers must be “tuneless” (that is, silent, offering no audible tones) because the audible lyre of the ancients has fallen into disuse, but also because his own song will be only a silent inward one, an unheard melody. Keats’s only audience, in the internal theater of his working brain, is Psyche herself, the soul, bereft of all other devotees. Keats’s pious memory of her existence, and his sense of obligation in re-creating, however late, her cult, explain his “remembrance dear” and “sweet enforcement” to this piety. Yet the echo of Lycidas also tells us that this poem is, like its Miltonic predecessor, an elegy for a vanished presence. The restoration of the forgotten Psyche is the real subject of the poet’s endeavor, and two forms of re-creation are attempted in the ode. In the first, which opens the ode, the beloved divinity is represented as existing eternally in a world accessible by dream or vision when the conscious mind is suppressed, a world exterior to the poetic self. Had she been only within, the poet’s vision of her could with propriety only be called a dream; but if she were without, he could genuinely affirm that he had seen her with awakened eyes. (Once again, I interrupt to say that I do not mean that Keats, in life, is uncertain whether or not he had had a dream or seen a vision. The diction of dream and waking is for Keats a way of making truth-claims; when he wishes to insist that poetry has something to offer us which is more than fanciful entertainment, he turns, as in his description of Adam’s dream, to the metaphor of awakening and finding it truth.) The early rhetorical question in this ode—“Surely I dreamt to-day, or did I see / The winged Psyche with awakened eyes?”—is clearly, as I will conclude later, meant to be answered, “With awakened eyes.” This, then, is the first restoration, a pastoral, “thoughtless” waking vision; the second is the restoration by consciously inward architectural reduplication, where Psyche will lie not in the forest grass but in the shrine of the working brain. The first restoration requires of the poet a mythological doubling of the self as a visible Cupid; in the second, the poet in his own person becomes the allegorical Love. In the drama of these parallel experiments—the poet in the first so passive, a thoughtless, wandering spectator, in the other so active, a creator with a working brain— lies the interest of the ode, and the proof of its evolution out of Indolence. The meaning of divinity changes in the two restorations in the first, divinity is conceived of as an idealized presence revealed in a past vision; in the second, divinity is conceived of as a presence which the poet must actively invoke, and create a repository for; and the intent of the poem in its latter part is consequently couched in the future tense of hope and will. The earlier part sees revelation as casual and easy 22 Helen Vendler So did he feel, who pull’d the boughs aside, That we might look into a forest wide, To catch a glimpse of Fauns and Dryades. That had been Keats’s earlier description, in I stood tip-toe (151–153), of the poet’s activity, in his writing motivated by “the fair paradise of Nature’s light” (126). Such a poet, Keats continues, would have been the one who wrote the tale of Cupid and Psyche, writing of them as if they were fauns and dryads, inhabitants of an unallegorized natural paradise, their tale one of charming adventure, happily ended (147–150) The silver lamp,—the ravishment,—the wonder— The darkness,—loneliness,—the fearful thunder; Their woes gone by, and both to heaven upflown, To bow for gratitude before Jove’s throne. But this facile parting of forest boughs to show us a tale of love lost and won is no longer Keats’s idea of art, nor of the use to which it can put mythology. Poetry is no longer entertaining tale-telling, or even seeing; it is active doing, the poet’s human work, here seen, however, as a private task rather than as a service to society. The Ode to Psyche intends a wresting away of Psyche from the past, and a seduction of her into the present. Though Keats’s first tones to the goddess are those of elegiac religious observance (“O Goddess! hear these tuneless numbers”), he ends with wooing And there shall be for thee all soft delight That shadowy thought can win, A bright torch, and a casement ope at night, To let the warm Love in! Though Psyche is originally said to lack a cult and prayers, what she is offered in the last stanza is a landscape and a chamber for love, all in the theater of the mind (which will become eventually Moneta’s hollow skull). The elements of erotic bower and sacred temple, which will fatefully lose their unison in The Fall of Hyperion, are still peacefully conjoined in the Ode to Psyche. The poet promises a “rosy sanctuary” (an erotic version of the Urn’s “green altar”), dressed “with the wreathed trellis of a working brain, / With buds, and bells, and stars without a name,” in a landscape where “the moss-lain Dryads” sleep there Psyche will find a fane that will be a bower for her and Cupid. These materials—wreath, trellis, bells, and moss in an Tuneless Numbers The Ode to Pysche 23 architectural setting—are also found (as Bloom early noted, in The Visionary Company, p. 394) in the beautiful “arbour” with its roof and doorway, placed near the opening of The Fall of Hyperion (25–29) I saw an arbour with a drooping roof Of trellis vines, and bells, and larger blooms Like floral-censers swinging light in air; Before its wreathed doorway, on a mound Of moss, was spread a feast of summer fruits. But on closer view the feast is seen to be over, and the arbor is littered with empty shells and half-bare grape stalks. When the poet consumes some of the remaining feast and drinks a draught of “transparent juice, / Sipp’d by the wander’d bee” (the nectar, we may suppose, of the gods), he sinks into a swoon, mastered by “the domineering potion.” When he awakes, he finds the landscape changed (60–62) The mossy mound and arbour were no more; I look’d around upon the carved sides Of an old sanctuary with roof august. In this fairy-tale substitution, the “drooping roof” of the trellised arbor has become the “roof august” of a sanctuary no longer rosy, like that of Psyche, but carved, as the later Keats fully accepts the separation of nature and art. Keats’s symbols in the epic imply his grand theme that while the first, youthful, perception of the world is erotic, the second, adult, one is sacrificial. As he wrote to Reynolds after completing, so far as we can judge, all the odes but Autumn, “I have of late been moulting not for fresh feathers wings they are gone, and in their stead I hope to have a pair of patient sublunary legs” (Letters, II, 128). In Indolence, Keats had ached, within his chrysalis, for wings; in Psyche, both Cupid and Psyche are winged creatures though not yet shown in flight; in Nightingale, Keats at last wills to fly, if not on actual wings, then on the viewless wings of Poesy. The erotic dream died only with difficulty; in Psyche Keats is still in the realm of wings and arbors, not steps and sanctuaries. But though in Psyche bower and sanctuary are still one, a strain is evident in the fabric of writing. The ode attains its greatest writing not in its description of the rosy sanctuary-bower at the close, but in the slightly earlier description of the landscape surrounding that fane, the landscape of the as yet untrodden region of the mind that lies beyond the Chamber of Maiden Thought. Keats had been in what he called “the infant or 24 Helen Vendler thoughtless Chamber” when the ode began, as he wandered in the forest “thoughtlessly.” When the working brain enters, he is no longer thoughtless we are, he says, “at length imperceptibly impelled by the awakening of the thinking principle—within us” into the second Chamber, that of Maiden Thought, and it is there that the working brain operates, as it does through most of Psyche, “intoxicated with the light and the atmosphere, seeing nothing but pleasant wonders.” That realm is still pastoral, but beyond it lie the “precipices” which show “untrodden green,” as Keats had said in his sonnet to Homer (Bate mentions the analogy in John Keats, p. 493) those steeps and cliffs are not barren, but green with a new, if more alpine, verdure. As one breathes in the atmosphere of the Chamber of Maiden Thought, Keats adds, in the famous letter I have been quoting (Letters, I, 280–281), that “among the effects this breathing is father of is that tremendous one of sharpening one’s vision into the heart and nature of Man—of convincing ones nerves that the World is full of Misery and Heartbreak, Pain, Sickness and oppression—whereby This Chamber of Maiden Thought becomes gradually darken’d and at the same time on all sides of it many doors are set open—but all dark—all leading to dark passages.” Keats had written this passage a year before writing the Ode to Psyche, and we sense a positive effort, at the close of the ode, to stave off the encroaching dark passages Yes, I will be thy priest, and build a fane In some untrodden region of my mind, Where branched thoughts, new grown with pleasant pain, Instead of pines shall murmur in the wind Far, far around shall those dark-cluster’d trees Fledge the wild-ridged mountains steep by steep. So the passage begins, opening into untrodden heights, and acceding to both the pain and the pleasure of thought as work which Indolence, refusing pain’s sting and pleasure’s wreath alike, had forbidden. But, as we recall, the rosy sanctuary finally seems to lie within a cultivated garden, “with buds, and bells, and stars without a name, / With all the gardener Fancy e’er could feign.” It is not, however, the “gardener” Fancy who created the wild-ridged mountains and the dark-clustered trees they are the creations rather of unconfined imagination, and they represent the sublime, as the garden represents the beautiful. Many parallels in sublimity have been cited for these lines, parallels from Milton and Shakespeare especially, but their effect in the poem—given their Miltonic origins in the setting of Paradise (Paradise Lost, IV) and in the mountains and steep of the Nativity Ode—resembles the effect in Wordsworth’s Immortality Ode of corresponding lines Tuneless Numbers The Ode to Pysche 25 The cataracts blow their trumpets from the steep; I hear the echoes from the mountains throng; The winds come to me from the fields of sleep. The winds, the mountains, and the steep form a characteristic Wordsworthian configuration of the sublime. The new dark-clustered thoughts this region will require will, Keats knows, give him pain, even though a pain which, because it calls up new creations, is compounded with pleasure. The new domain seems limitless “Far, far around shall those darkclustered trees / Fledge the wild-ridged mountains steep by steep.” The farreaching and arduous sublimity of soul here envisaged is not maintained; the poem returns to the delicate, the beautiful, and the sensuous. It is hardly accidental that Keats should appropriate to himself, in a poem about two winged creatures, new pinions of his own by using the word “fledge” of his mountain-thoughts;11 but the pinions, and the hope of steeps and mountains, show that Keats’s notion of the pursuit of sublimity here flies on eagle wings. The patient sublunary legs are still to come. The earthly paradise described in the last stanza of the ode is entirely nonseasonal, nonagricultural, and nonbucolic (there are no crops, no flocks); it is a paradise within the working brain. Keats uses the paradisal index—the “there” or là-bas or dahin of that “other country”—but he has abandoned the dream of a passively received revelatory vision with which he began. The chance sight of Cupid and Psyche is not one simply recoverable by a glimpse through forest boughs. Yet his new, allegorical, later paradise reduplicates the earlier, mythological one. There are, in the interior world, sleeping Dryads lain on moss, just as the sleeping Cupid and Psyche had been couched in grass; there are dark-clustered trees where there had been a forest; there is a murmur of pines where there had been a whispering roof of leaves, streams where there had been a brooklet, stars to replace Phoebe’s sapphire-regioned star, mental flowers where there had been mythological ones, soft delight where there had been soft-handed slumber, wide quietness where there had been calm breathing, a bright torch to substitute for the aurorean light, and a “warm Love” in place of the winged boy. In all of these ways, the internalized closing scene of the poem is a copy, in its imagery, of the opening forest scene, just as the second of the two central Miltonic stanzas of the ode is a copy, in its catalogue of reparation, of the first, with its catalogue of loss. The imperative of reduplication is as clear in the matching of bowers as in the matching of cultic pieties. However, what is missing in the tableau of the last stanza is of course crucial we miss the figural center of the opening tableau, the “two fair creatures” embracing. “Let me prepare toward thee,” Keats might be saying at the end of the poem, as he lavishes all 26 Helen Vendler his profusion of imagery on the prospective interior world to be inhabited by Psyche. But she is not yet visible there, nor is Cupid the close of the poem is an entreaty and a promise, as Keats writes the archetypal poem of an absent center. If the Ode to Psyche were simply a restitution of what Milton’s Nativity Ode had extirpated from English poetry, it would end with its restitutive fourth stanza of restored cultic practice. Milton’s ode is far grander, in poetic success, than Keats’s; but even in this novice effort Keats sees that what is life to Milton is death to him. It is not enough to restore Psyche’s cult with a twin stanza written in Milton’s religious vocabulary; Keats must reinvent Psyche’s cult in his own language, the vocabulary of the luxuriant eroticism of his initial vision.12 Milton’s pagan deities, as they are seen in the Nativity Ode, are in no way erotic even those who might have been are not so presented— Ashtaroth sits alone as heaven’s queen and mother, and Thammuz is dead. Psyche’s restoration, for Keats, must be not only the restoration of her cultvoice, lute, pipe, incense, shrine, grove, oracle, and prophet—but also the restoration of her atmosphere and presence. Milton’s austere language permits itself nostalgia but no more; Keats, as Psyche’s worshiper, requires the radiance of present conjuration. The radiant eroticizing of the interior landscape of the mind, as it is decked and adorned and decorated, is Keats’s chief intent, as he makes himself a mind seductive to Psyche. When Psyche will have been won, and Love will have entered, the initial tableau will have been reproduced entire—but this last tableau will be a wholly mental one, in which the mind has been furnished by Fancy for the amorous soul, and Love is a welcome guest. Keats’s characteristic erotic adjectives—soft, bright, warm, rosy—together with the activity of Fancy, his presiding genius loci, engaged in perpetual breeding of flowers, transform the mind from a place conventionally reserved for philosophical thought to a place where all possible thoughts and fancies (conceived after the manner of the poem Fancy) are eroticized by the goddess’s imagined arrival. Worship, work, and embrace will be one in the mind-garden, in which the more literal Miltonic cult of swinging censers and moaning choir gives way to a new cult of tuneless numbers, in which Psyche’s priest becomes himself her lyricist, her bower, and her Cupid. Nonetheless, in spite of this amorous and sensual redefinition of religion and of the functions of the creative mind, the deepest energies of the Ode to Psyche lie in two nonamorous places—in the sublime, uncultivated periphery, lying outside the bower, of new-grown thoughts, and in the bold claim not for amorousness but for independent divining power, outstripping the soft dimness of dreaming “I see, and sing, by my own eyes inspired.”13 These high and solitary sublimities—almost sequestered in this poem of Tuneless Numbers The Ode to Pysche 27 amorous contact and decorative luxuriance—predict the more solitary Keats of Urn, Autumn, and The Fall of Hyperion. And it must be remembered that the cost of the bower in Psyche is the total yielding up of the temporally bound senses for a wholly spiritual world, the consequent singing of numbers that must be tuneless (since they are embodied in no outward melody), and the absence of all audience for this song, except one’s own soul. These sacrifices of sense for mind, of melody for tunelessness, and of audience for a putative, though scarcely realized, solipsism, coexist uneasily with Keats’s sensually opulent style in the ode, a nonascetic style developed for the happier embraces, both spiritual and physical, of Endymion. The tension between the amorous mythological style and the desolate sacrificial implications of Psyche will not be solved conceptually until Keats writes the Ode on Melancholy, and not solved stylistically until he writes the ode To Autumn. But in the internalizing of divinity, Keats has already advanced, conceptually, beyond Endymion’s awkward doubling of the Indian Maid and Cynthia and beyond Indolence’s three self-projections. The wholly internalized Psyche—one’s own soul as interior paramour, as Stevens would call it—is one solution (but by no means a finally satisfactory one for Keats) to the question of the proper representation of divinity in art; and the internalized atemporal and nonagricultural bower is a solution (but again, for Keats, not an eventually satisfying one) to the problem of the modern representation of the locus amoenus, or beautiful place. Keats wished (as he says in his famous journal-letter immediately contemporary with the odes) to sketch this world as a “vale of Soul-making,” “a system of Salvation which does not affront our reason and humanity” It is pretty generally suspected that the christian scheme has been copied from the ancient Persian and greek Philosophers. Why may they not have made this simple thing even more simple for common apprehension by introducing Mediators and Personages in the same manner as in the hethen mythology abstractions are personified— (Letters, II, 103) Abstractions, Mediators, and Personages are the means of making moral truths “simple for common apprehension.” Keats’s own mythological and allegorical personages, whether Psyche or Moneta or Autumn, represent his groping after a method he thought common to all “systems of salvation,” and therefore true in a way beyond fancifulness. If Psyche, a “happy, happy dove,” seems to us understandably insufficient as a personage aiding in salvation, she is nonetheless proof of the immense if circumscribed faith Keats placed, at this time, in the active soul emerged from its chrysalis, in the 28 Helen Vendler strength of love in the soul, and in the imaginative force of the mind in finding constructive forms. The Ode to Psyche was of course inspired at least in part by the presence of Fanny Brawne next door in Wentworth Place, and Keats may not at first have been aware, as his ode took on its final dimensions, of the social, moral, and aesthetic restrictiveness of its wholly internalized, timeless, and tuneless cult. Psyche, his only audience for his tuneless numbers, both is and is not a mythological being, both is and is not an allegorical form. The ode does not solve the equivocal nature of her being, just as it does not solve the relation between beautiful Fancy and truthful Thought—the one concentrated in a small garden-fane full of happy spontaneity of erotic invention, the other mysteriously far-ranging, sublime, and connected with pain as with eagleaspiration. Cupid and Psyche together make up the actual joint divinity of the poem, and they stand for a unity of being through spiritualized eroticism, for flesh and soul in one couple—at the beginning not quite fused but not quite separate, at the end both invisible in darkness. It is a divinity Keats will forsake all his subsequent divinities in the odes, as I have said, are unpartnered females—the light-winged Dryad-nightingale, the unravished bride-Urn, veiled Melancholy, and the goddess Autumn.14 Psyche’s exact reduplicative pairing of the outside world (whether of myth or of cult) with the inside world (of mind or Fancy) enacts the erotic pairing of the sensual Cupid with the spiritual Psyche celebrated in the matter of the ode. This is Keats’s most hopeful ode, and yet his narrowest one. The willed pairing of flesh and soul in a perpetual and immortal embrace, the studied equivalence of the flowery bower of Nature and the architectural bower of Fancy, the total reconstitution of past religion in the present—the perfect “fit” of these competing realities is the dream embodied in the reduplicative shape of the Ode to Psyche. In the collapse of Keats’s hopes for a spiritual art exactly mimetic of the sensual vision there collapsed as well the erotic joint divinity, the happy coexistence of Fancy with Thought, the notion of art as idyllic verisimilitude, the concept of aesthetic activity as a purely interior working, the valuing of decorative, atemporal Beauty over austere, evolving Truth, and the pure idealization of the immortal soul rescued, by the agency of the poet, from the attrition of time. Psyche originally thought to find its distinctive language in the realm of religion mediated through Milton—as though the clear religion of heaven, as Keats wished to announce it, could borrow its diction from the religions of the past, Christian and pagan alike. Keats’s wish, expressed in the letter I have quoted, to find something to substitute for Christianity explains his first notion of a deity’s appropriate “numbers” as vows, voiced in piety, and culminating in a sanctuary. He will not cease to struggle for a religious Tuneless Numbers The Ode to Pysche 29 diction appropriate to his purposes, as The Fall of Hyperion testifies. But in mute confrontation with the religious language in Psyche there stand two other languages—that of pastoral eroticism and that of pastoral allegory, the first in the opening description of the forest bower, the second in the closing description of the cerebral fane. Each of these is contaminated, so to speak, by traces of the diction of religion; the diction of religion is contaminated, in its turn, by traces of them. The latter case is more quickly made Psyche is a vision, as a devotee might say, of a religious goddess, but she is addressed in the diction of physical love. She is the “loveliest” of visions, “fairer,” in this lover’s comparison, than Venus or Vesper, that “amorous glow-worm of the sky”; her choir is a virgin one making delicious moan (a detail not borrowed from Milton, but inserted by Keats), and her pale-mouthed prophet dreams in a fever of heat. She is brightest or bloomiest, and possessed of “lucent” fans (the adjective later repossessed for Fanny Brawne’s “warm, white, lucent, million-pleasured breast”). The religious, Miltonic edge is softened, warmed, coaxed into pastoral bloom. But that very bloom and heat is itself chilled or chastened by the religious use to which it is to be assimilated, into the formality of “O Goddess” and the austerity of “tuneless numbers.” With the introduction of Psyche’s “soft-conched ear” the earliest lines begin their modulation into sensuality, and yet a restraint put on sexual warmth causes the introduction into the forest embrace of the clear note of the brooklet, the cool note of the roots, and the denial of rosiness to the flowers. The suspension of the lovers’ lips checks the double embrace of arms and pinions (the latter the warmest, and most boyish, imagining in the poem—“Their arms embraced, and their pinions too,” a dream of an embrace doubled beyond merely human powers). The “trembled blossoms” and “tender eye-dawn” bear out the fragile and near virginal nature of this aurorean love; Keats is uneasy, given his purportedly religious aims, about the extent of the erotic that he can allow into his devotions. The governing question of the opening of the ode—“Who wast thou, O happy, happy dove?”—is, strictly speaking, epistemological rather than devotional, and springs, I think, from the opening of Indolence (already conceived even if not yet written down) “How is it, shadows, that I knew ye not?” Keats had asked that question in self-reproach, and then had exclaimed, in self-release, after seeing the three figures full-face, “I knew the three.” To know them is also, as Keats admits in wishing to banish them, to know “how change the moons.” In Psyche, “the winged boy I knew,” says Keats, but Psyche is at first strange, as the urn-figures in Indolence had been; she, like them, is eventually recognized.15 Keats here raises the question of what he knows when he knows these personages, and though he briefly considers that his glimpse might have been a dream, he decides, as I have 30 Helen Vendler said, that he saw them with awakened eyes I “saw” two fair creatures, he announces, and later adds, “I see, and sing, by my own eyes inspired”; Psyche is the loveliest seen thing, the loveliest “vision.” There is no further mention of dreaming, after Keats’s first wondering question; everything else in the text supports those “awakened eyes” in their seeing. Seeing, and knowing who it is that one sees, and seeing truly, not in dream, is the first condition of Keats’s clear religion, the opened eyes precluding any surrender to the drowsiness Keats strove to maintain in Indolence. For all the resemblance between Indolence and Psyche in what we might call their use of the diction of bedded grass, it is, we must recall, Keats who drowses, in Indolence, amid stirring shades and baffled beams, his head cool-bedded in the flowery grass; but in Psyche it is the sleeping lovers who lie calm-breathing on the bedded grass, and Keats has become the clear-sighted observer with awakened eyes. Therefore, “not seeled, but with open eyes” (Herbert), Keats sees his own former bower; like Ribh at the tomb of Baile and Aillinn, he has eyes by “solitary prayer / Made aquiline,” which see what they could not have seen when he drowsed in indolence. Keats as yet scarcely realizes whither his newly aquiline gaze will lead. Eventually, as we know, it will disclose to him, behind a parted veil, Moneta’s face. But for the moment Keats yearningly believes that he can, while lifting his own head from the grass, maintain a heavenly couple there in his place. The diction appropriate to their eroticism grows the chaster for his separated gaze, but it preserves enough warmth for knowledge and passion alike to be entertained in the hospitality of the poem. The curb Keats has put on erotic fever in this passage is clear when we glance back to the passage on Cupid and Psyche in I stood tip-toe (143–46) What Psyche felt, and Love, when their full lips First touch’d; what amorous, and fondling nips They gave each other’s cheeks; with all their sighs, And how they kist each other’s tremulous eyes. The balance of warm and cool is, in the ode, delicately kept in all the “stationing” of the first long stanza—the couple, though side by side, are nonetheless calm; embraced, they are disjoined; not bidding adieu, they are nevertheless not touching; they lie ready for a dawn that has not yet broken. The imagery of erotic pastoral is cooled not only by Keats’s detached seeing and knowing but also by his deliberately “tuneless” singing. Keats’s diction for the embracing couple here is far more secure than his diction with respect to himself. Though he begins in high seriousness, the Byronic irony fitfully evident in Indolence has its say here too, though shrunken to the brief double condescending to the “fond believing lyre” and Tuneless Numbers The Ode to Pysche 31 to “these days so far retir’d / From happy pieties.” This tone, never a successful one in Keats, marks an instability in his enterprise, and a doubt of the very possibility of ode-writing. How believing is his own lyre in this hymn; how remote can he be, in truth, from his own skeptical epoch? The irony in his joking tone about the neglected goddess in the letter to George does not survive very well its translation into verse. And of all the language in the poem, the language of religious cult, borrowed from Milton, is most derivative, and least Keatsian. The last diction invented in the poem is the diction for Psyche’s fane. It is at once the best and the feeblest in the poem, showing, as I have said earlier, the strain under which Keats is working. The feebleness is seen in two places in the random enumerative arabesque of “zephyrs, streams, and birds, and bees, / ... buds, and bells, and stars without a name,”16 and in the unselective amassing of Keatsian erotic words—rosy, soft, delight, bright, warm. But the diction of Psyche’s fane also possesses a strength; the fane is Keats’s first portrait of himself as artificer, as he becomes for the first time not the youth in love, the ambitious man, or even the votary of the demon Poesy (as he was in Indolence) but a maker of an object, here the goddess’s sanctuary. Emerged from his embryonic indolence, Keats is born into work; but his indecision about a proper diction for creativity disturbs him here. The diction of “the gardener Fancy” is still the diction of pastoral eroticism, that of “breeding”; and it issues (as in Fancy) in buds and flowerlike “stars” and “bells.” These Spenserian breedings take place in the realm of the Dryads, amid moss and streams and birds and bees, where lulling sleep is (as it was in Indolence) the governing mode of being. In conflict with this soft, mythic pastoral is the Shakespearean and Miltonic strenuousness of the fane’s mountain landscape; and yet the sublime landscape is itself vegetative, “grown” from that pain and pleasure which, though two separate things when refused in Indolence, grow to one paradoxical single thing, “pleasant pain,” when admitted to the precincts of mind. The phrase is of course a blemish on the poem; but like so many of Keats’s blemishes it stands for an intellectual insight for which he has not yet found the proper style in poetic language. Keats, at this moment, can only note, baldly, that pleasure and pain have some intimate connection; the answerable style for painful pleasure and pleasant pain is yet to be found. The diction of the fane is, as I have said, allegorical, as the original diction of Psyche’s bower is not (being mythological, and narrative). Keats had thought of following the line “Who breeding flowers, will never breed the same” with the line “So bower’d Goddess will I worship thee,” but he deleted it, realizing that his goddess was no longer in a bower but in a fane, that bower language is not fane language, that nature is not architectural 32 Helen Vendler artifact. Catching himself up short, he put in the open casement, that casement which in Indolence had so meltingly brought the man-made and the natural into conjunction, as “the open casement press’d a new-leaved vine.” Here, the open casement will serve, so the poem hopes, to admit warm Love, the human form divine, instead of the natural bloom. But the landscape has perceptibly, in the thought-burdened allegorical moment, darkened from the erotic one presented mythologically; the new forest region, unlike the original one, is unknown, as yet untrodden; there are branches rather than buds or blossoms; they cluster darkly; mountains loom, wild-ridged; instead of feathery pinions there is a sterner fledge of trees; zephyrs are replaced by wind. The darkness persists into the indeterminacy of “shadowy thought” at the end, as Keats undertakes at one and the same time the burden of allegorical writing and the architectural objectification of self in artifact, an artifact which remains as yet internalized in thought, but which has been effectively freed of its creator and endowed with architectural presence and topographical depth. The Ode to a Nightingale, which we next approach, marks a fresh approach to all the questions raised by the odes preceding it. In it Keats takes a step beyond the creative reverie of Indolence, beyond even the first creative interior constructions of mental Fancy in Psyche, and envisages the artist’s necessary embrace of a medium—in this case music, the art of Apollo. He thus takes up, in choosing music, the idea of an art which of its nature precludes mimesis and verisimilitude, an abstract art appealing only to the sensation of the ear, an art devoted, perforce, to a beauty to which truth is irrelevant. He will, pursuing his symbol of the artist as musician, adopt a more ironic view of aesthetic experience, one in which a remote composersinger, indifferent to and unconscious of any audience, pours forth a song to a listener who is physically so passive, being pure ear, as almost to approach the condition of insentience. In Nightingale the immortal world of art, far from being an exact reduplication of the world of life, as in Psyche, is in fact in all ways its opposite. In Psyche, the embracing sculptural frieze-figures are no longer allegories of the poet’s desire for ambition, love, and poesy, but rather have taken on a separate, objectified existence of their own. This existence lapses somewhat at the end, where the poet seems to prepare to become Cupid, but Psyche retains her independence. As a pagan goddess, she preexisted her poet, and does not depend on him for her essence, as the Love, Ambition, and Poesy of Indolence do. Keats’s attraction toward a presence less contingent than his own selfhood dictates several of his other objects of worship—a bird, an urn, a season. In the later odes, after Psyche, he goes beyond an interest only in the psychology of inner reparatory creation into an interest in artifact, medium, audience, and the intrinsic will-toTuneless Numbers The Ode to Pysche 33 annihilation in art itself. But in one aspect, Nightingale represents a regression from Psyche. Though the composer-singer-bird is not “indolent,” neither does she have a “working” brain; her art is one of happy spontaneity, coming as naturally as leaves to a tree. Keats still hopes that art need not be “work” intellectually planned. But the working brain will not be absent forever; art as work reappears with the Urn. NOTES 1. [Stillinger’s notes.] Text (including heading) from 1820. Variants and other readings from Keats’s draft (D), his letter to George and Georgiana Keats, 14 February–3 May 1819 (L), and transcripts by Brown (CB) and Woodhouse (W2). Heading Ode to] Ode To (Ode added afterward) D 4 into] to into L 5 dreamt] dreamt altered to dream’d W2 6 awaken’d] awaked L 9 couched] cl couched L 10 roof] fan D, L, W2, and originally CB; fan altered to roof by Keats in CB 13 ‘Mid] interlined above In D; Near W2 14 silverwhite] freckle pink in the margin (but silver-white undeleted in the text) in D; freckle-pink L; freckled, pink W2 14 Tyrian] syrian D, L, CB, W2 15 calm] soft CB 17 bade] bid D, L, W2 20 eye] dawning eye D 22 O happy] O p happy L 23 true!] ~ ? L 24 latest] lastest L 26 Phoebe’s] successively (a) Night’s wide full, (b) Night’s orb’d (c) Phoebe’s D 28 hast] hadst L 30 delicious] melodious D, CB, W2 32–34 No and no] No r and no r in all eight places in D 36 brightest] Bloomiest D, L, CB, W2 42 among] interlined above above D 43 by my] by (corrected by Keats to by my) CB 43 own] interlined above clear D 44 So] O D, L, CB, W2 45/46 Thy Altar heap’d with flowers, (written vertically in the margin with a mark for insertion after 45, the line and the mark then deleted) D 47 From] interlined above Thy D 57 lull’d] interlined above charmd L 57 to sleep] asleep altered to to sleep CB 62 feign] interlined above frame L 63 breeding ... breed] successively (a) plucks a thousand flower and never plucks (b) plucking flowers will never pluck (c) breeding flowers will never breed pluck (never deleted by mistake instead of pluck in the third version) D 63/64 So bower’d Goddess will I worship thee D 67 the ... Love] warm Love glide altered to the warm Love D; Love W2. 2. Psyche is “restored,” not “resurrected” she was forgotten, not dead; The opening tableau shows she is ever immortal. She is not a “dying immortal” or “immortal but also fading,” as Leon Waldoff would have it (“The Theme of Mutability in the ‘Ode to Psyche,’” PMLA [1977], 412). Psyche is, as Keats said, “neglected.” On the other hand, Waldoff ’s psychoanalytic reading of the ode as a “rescue fantasy” (p. 410), a “defense against irrevocable loss” (p. 415), and, finally, an “adaptation” (p. 417) are intelligent insights into the ode as a psychological document. His concluding emphasis on will and resolution is far truer to the poem than readings which emphasize only irony or an empty center. The long and sometimes fanciful discussion of the ode by Homer Brown (Diacritics 6 [1976], 49–56) considers, following Harold Bloom in the Map of Misreading (p. 153), that “Milton’s Satan as the artist of deceit at Eve’s ear becomes the ‘gardener Fancy’ and the speaker of Keats’s Ode” (p. 54). Brown urges too strongly that “the mortality of all the gods, including art, including the Psyche of this Ode, the mortality of all cultures” is Keats’s concern (p. 56). But the poem is a restoration poem (however qualified). It is a poem about substitution, as Brown says, but not about endless substitution around and over a Derridean absence such is not its tone. Leslie Brisman argues (“Keats, Milton, and What One May ‘Very Naturally Suppose’”) that Keats is engaging in the creation of a 34 Helen Vendler “countermyth” against the decay of nature, a countermyth asserting that “inspiration [is] renewed as faithfully as are plants and seasons” (p. 4). (See Milton and the Romantics 6 [1975], 4–7.) 3. I am not unaware by how much the poem falls short of its claim of restitution, nor of the ironies (discussed most recently by Sperry and Fry) that it encounters on its way to the final fane. But these difficulties in the path—culminating in the vacancy of the final tableau—do not defeat the passionate tone of the poem. Bloom, not insensitive to the ironies, yet speaks of the poem’s “rhapsodical climax,” and sees the open casement emphasizing “the openness of the imagination toward the heart’s affections” (Visionary Company, pp. 395, 397). It should not be forgotten that for Keats, especially in his moments of prizing verisimilitude, it was important to speak the truth about his life; one of the truths behind the Ode to Psyche was that he was not yet embowered with Fanny Brawne. That he still hoped and longed for her is evident from the final entreaty, and it goes counter to the current of the poem to prize its uncertainties over its hopes, still ardent and as yet undefeated. 4. Commentators have expended a good deal of effort on making an allegorical identification of Psyche. She is “the soul of human love” (G. Wilson Knight, The Starlit Dome, p. 302); the mind rescued by Love (Bate, John Keats, p. 490); the visionary imagination (Perkins, The Quest for Permanence, p. 222 ff.); the human-soul-in-love (Bloom, The Visionary Company, p. 390); “the simple consciousness of Being” (Fry, The Poet’s Calling in the English Ode, p. 226); “the goddess of the poetic soul, the Muse” (Sperry, Keats the Poet, p. 254); the “moth-goddess, who symbolized melancholic love” (Garrod, Keats, pp. 98–99); “the intelligent ‘Spark’ struggling to become a soul ... a love-goddess with an understanding of troubled human experience ... a personification of human nature subjected to an inevitable and cruel process of growing up and growing old” (Allott, “The ‘Ode to Psyche,’” in Muir, John Keats, pp. 84, 86); “Love itself, the poetic-butterfly-moth idea” (Jones, John Keats’s Dream of Truth, p. 206); and so on. Probably some such identification is necessary if one is to write about the poem at all; but surely the point to be made is that Keats is engaged in one of his recurrent recoils against emblematic allegory; such recoils always took him in the direction of mythology. Mythology was suggestive, emblematic allegory bald. Mythology, capable of motion, hovered; emblematic allegory was frozen in a single gesture. Mythology derived from narrative and came bearing, even if lightly, the aura of its narrative around it; allegory, originating in conceptualization, had no richness of story about it. The fluidity of concept associated here with Psyche comes precisely from her mythological origins; the ode marks Keats’s resistance to the “fair Maid, and Love her name” sort of writing, to which he had resorted in Indolence. 5. I discuss this art of wounds and cures at length in “Lionel Trilling and the Immortality Ode,” Salmagundi 41 (1978), 66–86. 6. Though critics mention the derivation of this passage from Milton, they have failed to see that Keats draws only on the passage about the more acceptable pagan gods, and they have not seen Keats’s anti-Miltonic aim—to put the gods back into English poetry, when Milton had banished them as unfit and false subjects for the Christian poet. 7. Allott (p. 87) and Sperry after her (p. 254) mention that Keats recalls the banning of pagan gods in Milton, but they do not see that Keats saw the ban as a loss to poetry, or that he is defying Miltonic truth-categories. Douglas Bush’s assumption that Keats adopted echoes from Milton “simply because they fitted his idea of providing [Psyche] with proper rites” seems to take too lightly Keats’s indignation that anyone should think it Tuneless Numbers The Ode to Pysche 35 possible to do without “the beautiful mythology of Greece.” See “The Milton of Keats and Arnold,” Milton Studies 11 (1978), 103. 8. She in fact is the only one of the “faded Olympians” not to have declined; she is still properly addressed as “brightest.” It therefore seems no part of Keats’s intent to show her as careworn and acquainted with grief, as Allott would have it (Muir, pp. 84, 86). 9. I owe this formulation to Professor Patrick Keane of Le Moyne College. 10. I cannot therefore share Fry’s conviction that the couple represent “the bisexual and at least partly daylit scene of creation that chaster poets, notably Collins, had tried to represent euphemistically” (The Poet’s Calling, p. 223). Nothing is being “created” by Cupid and Psyche, whether in the myth or in Keats’s poem; they are figures for sexuality, but not for procreation. (Keats’s departure from Comus, where Milton envisages twins born from the union of Cupid and Psyche, is explicit.) Nor can the forest scene be legitimately called a “primal scene” (Fry, p. 225) if those words are to carry the shock and dismay which Freud predicated in the mind of the child witnessing such a scene. Keats does not stand to his scene as a child witnessing a parental act; the scene is a projection of his own desire, and he cannot therefore be said to be, as Fry says he is, following Bloom, “the poet as voyeur” (p. 225). If Fry means that Cupid and Psyche are to be taken as figures drawn from Adam and Eve, then there is no reason to call the scene “bisexual,” at least not in the usual sense of that word. 11. He speaks of his “half-fledged brain” in a letter of July 1819 (Letters, II, 130). 12. The chiastic structural pattern of bower-cult-cult-bower (what I have called the mirror-image shape of the ode) seems to me clear enough to bring into question Fry’s notion that the shape of the ode is one of “rondure”—“The whole poem is the shrine, couched and soft-couched. It is a shell, rounded as the mind” (The Poet’s Calling, p. 227). 13. Homer Brown notes the defiance of Milton (“blind and blindly superstitious”) in these lines. But he thinks of Psyche as too exclusively one with Keats, contrasting Keats’s ode to the traditional ode “of worship to an otherness.” Keats is not writing a hymn to himself; Psyche is, not least, Fanny Brawne. See Brown, “Creations and Destroyings Keats’s Protestant Hymn, The ‘Ode to Psyche,’” Diacritics 6 (1976), 49–56. 14. Leon Waldoff, also making the point that Keats’s divinities are female (in a paper delivered at the MLA, 1980, and entitled “Processes of Imagination and Growth in Keats’s Odes”), argues psychoanalytically that all are attempts at the (impossible) restoring of a maternal image. 15. Lawrence Kramer in “The Return of the Gods Keats to Rilke,” Studies in Romanticism 17 (Fall 1978), 483–500, places the ode into a tradition of the theophanic poem, “the genre in which the return of the gods takes place” (p. 484), and writes very interestingly on “the riddle ritual” (p. 494) of the naming of Psyche, and the subsequent withholding of her name. 16. Sperry voices the same criticism (p. 259); but he is wrong in saying (p. 257) that the “buds ... burst into thought ‘with pleasant pain.’” They do not—only thoughts, in the form of trees on the steep, do. Fancy is not painful; thought is. Keats allows in his earthly paradise in this poem only flowers, not fruits, thus restricting his gardener to the single season of spring.
https://w.atwiki.jp/dragonkiller/pages/427.html
Blenderまとめ/Blender Game Engine 作成日:2013年12月04日 更新日:2015年01月19日 概要 Blender Game Engineまとめ。 Blender Game Engineに関する情報収集。 目次 Blenderまとめ/Blender Game Engine/概要/目次特徴/現状/簡単できる内容/説明を見てできそう内容/情報不足/機能不足(Logic Brick、全般)/物理演算で表現できそう内容 公式サイト/記事カテゴリ/2.4x/2.5x/2.6x/2.7x/Game Engine Modules/ライセンス/Android/公式ゲーム/チュートリアル、ガイド Logic Editer ユーザー/サイト/ブログ/ニコニコチャンネル/出力/PhysicsContest/Blender Game Contest/チュートリアル/アドオン/ゲーム/スクリプト 免責事項 商品の仕様・内容・デザイン・付属品・品番・価格等は予告なく変更になる場合があります。 掲載されている内容が最新とは限りません。 掲載されている内容に不備がある場合があります。 掲載されている内容を保証するものではありません。 特徴 / ̄ ̄\ / ⌒ ⌒\ そんなソフトでゲーム作るの? | ( ●)(●) ____ . | ⌒(__人__) / \ | |r┬-| /─ ─ \ . | `ー'´} \ / (●) (●) \ . ヽ } \ | (__人__) | 配られたカードで ヽ ノ \ \ ` ⌒´ _/ 勝負するしかないのさ / く. \ \ ノ \ | \ \ (⌒二 | | |ヽ、二⌒)、 \ | | 現状 ユーザーTUTORIALサイトを見てTUTORIAL動画を作っておしまい FPS:弾打って動き回っておしまい UnityBlenderで素材制作 ゲームはUnityで制作 簡単できる内容 Logic Brickにある内容の組み合わせキー入力 オブジェクトの移動 ジャンプ 当たり判定 ランダムの数 サウンドファイル再生(WAV, MP3, Ogg) 物理計算(Bullet)サポート 5種類のプロパティ「タイマー」「少数」「数値」「文字列」「真偽」 プロパティ「文字列」のテキスト化。 プロパティ「数字」のテキスト化。 簡単な数の受け渡し。「加算」「減算」スコア(点数) 簡単なメニュー画面シーンの切り替え 説明を見てできそう内容 Shoot(撃つ) Health Bar(体力ゲージ) 2画面の表示(左右、上下) トゥーンレンダリング(アニメ調) マウスカーソルの表示、非表示 情報不足 GUIメニュー、ウィンドウ カーソル ステータス お店システム(買う、売る) アイテムを送る、受ける メッセージの表示 RPGのバトルシステム 経験値とレベルアップシステム アイテムの登録、削除 アイテムの購入、売却 アイテムの並び替え、入れ替え セーブ/ロードシステム サーバー/クライアントシステム 格闘ゲームみたいなコマンド入力 地図と現在位置 機能不足(Logic Brick、全般) プロパティ「リスト(a,b,c)」 プロパティ「文字列」の操作 csvを使用したプロパティの管理。読み込み。書き込み。参照。 日本語のテキスト表示。 レベルエディター。素材の登録と配置。 C言語サポート。Java言語サポート。 ツクール(Editer,Maker)見たいな機能と操作 ビデオカードのサポート Android用プレイヤー iOS用プレイヤー サウンド音量の操作 サウンド再生の位置の設定 2Dゲーム用の設定と画面スプライト機能。シーケンサーで操作。 マップエディター。 カウント処理、ループ処理 リプレイ機能 物理演算で表現できそう内容 煙 火 波 液体 軟体 毛 公式サイト 記事カテゴリ Pages in category "Game engine" http //wiki.blender.org/index.php/Category Game_engine 2.4x ■概要 Blender Game Engine 2.4 概要 http //wiki.blender.org/index.php/Doc 2.4/Manual/Game_Engine/Logic Blender 2.49 ゲームエンジン(英文) http //wiki.blender.org/index.php/Dev Ref/Outdated/Release_Notes/2.49/Game_Engine 2.5x 2.6x ■概要 ユーザマニュアル http //wiki.blender.org/index.php/Doc JA/2.6/Manual Blender Game Engine 2.6 概要 http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine Blender 2.62 ゲームエンジン(英文) http //wiki.blender.org/index.php/Dev Ref/Release_Notes/2.62/Game_Engine Blender 2.64 ゲームエンジン(英文) http //wiki.blender.org/index.php/Dev Ref/Release_Notes/2.64/Game_Engine Blender 2.66 ゲームエンジン http //wiki.blender.org/index.php/Dev JA/Ref/Release_Notes/2.66/Game_Engine 機能一覧 http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Features ■Screen Layout Game Logic Screen Layout http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Screen_Layout ■Logic Editor Logic Editor http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Editor ■Game Physics Game Physics http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Physic オブジェクトの種類 http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Physics/Object_Type ■プロパティー Properties http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Properties ■センサ センサの種類 http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Sensors/Types Ray sensor http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Sensors/Ray ■コントローラー Controllers http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Controllers ■アクチュエータ Actuators http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Actuators Actuator Common Options http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Actuators/Common_Options Property アクチュエータ http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Actuators/Property Scene アクチュエータ http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Actuators/Scene Visibility アクチュエータ http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Actuators/Visibility Sound Actuator http //wiki.blender.org/index.php/Doc JA/2.6/Manual/Game_Engine/Logic/Actuators/Sound 2.7x ■概要 Blender 2.70 ゲーム開発 http //wiki.blender.org/index.php/Dev JA/Ref/Release_Notes/2.70/Game_Development Blender 2.71 ゲームエンジン http //wiki.blender.org/index.php/Dev JA/Ref/Release_Notes/2.71/Game_Engine Blender 2.72 ゲームエンジン http //wiki.blender.org/index.php/Dev JA/Ref/Release_Notes/2.72/Game_Development Game Engine Modules Blender v2.56 - UNSTABLE API documentation http //www.blender.org/documentation/blender_python_api_2_56_0/contents.html http //www.blender.org/documentation/blender_python_api_2_56_0/bge.logic.html Blender v2.57.0 r36138 - API documentation http //www.blender.org/documentation/blender_python_api_2_57_release/ http //www.blender.org/documentation/blender_python_api_2_57_release/bge.logic.html Blender v2.58.1 - API documentation http //www.blender.org/documentation/blender_python_api_2_58_release/ http //www.blender.org/documentation/blender_python_api_2_58_release/bge.logic.html Blender v2.59.0 r39257 - API documentation http //www.blender.org/documentation/blender_python_api_2_59_release/ http //www.blender.org/documentation/blender_python_api_2_59_release/bge.logic.html Blender v2.60.0 r41092 - API documentation http //www.blender.org/documentation/blender_python_api_2_60_release/ Blender 2.61.0 - API documentation http //www.blender.org/documentation/blender_python_api_2_61_release/ Blender 2.62.0 - API documentation http //www.blender.org/documentation/blender_python_api_2_62_release/ Blender 2.63.0 - API documentation http //www.blender.org/documentation/blender_python_api_2_63_release/ Blender 2.64.0 - API documentation http //www.blender.org/documentation/blender_python_api_2_64_release/ Blender 2.65.0 - API documentation http //www.blender.org/documentation/blender_python_api_2_65_release/ Blender 2.69.0 - API documentation http //www.blender.org/documentation/blender_python_api_2_69_release/ ライセンス Licensing of Blender Games http //wiki.blender.org/index.php/Doc 2.6/Manual/Game_Engine/Licensing Android Building Blender for Android http //wiki.blender.org/index.php/Doc 2.6/Manual/Game_Engine/Android/Building_Blender_for_Android 公式ゲーム Yo Frankie! http //www.yofrankie.org/ チュートリアル、ガイド gamekit1 http //download.blender.org/documentation/gamekit1/ 55wheels(Racing game) Squish the Bunny(First person shooter) Flying Buddha(Memory game) SuperG(Sports game) BlenderBall(3D puzzle) PowerBoat(Racing game) TubeCleaner(Funny silly shooter) E-police(Third person adventure) gamekit2 http //wiki.blender.org/index.php/Doc 2.4/Books/GameKit_2 http //download.blender.org/documentation/gamekit2/ TubeCleaner(Funny silly shooter) Pinball Subracer Flying Buddha(Memory game) Yo Frankie! Logic Editer 当WIKIまとめ中 ユーザー サイト ソースコード関連Tips http //sites.google.com/site/tibracode/ ブログ TB-note http //timiditybraver.blog71.fc2.com/ Blenderで3DCG制作日記 http //bmania.blog70.fc2.com/ FALCORE BLOG http //falcore.sblo.jp/ BlenderGameEngineを使ってゲーム作り http //blendergame.sblo.jp/ ニコニコチャンネル blender http //ch.nicovideo.jp/search/blender?type=article Blenderゲームエンジン講座 http //ch.nicovideo.jp/search/Blender%E3%82%B2%E3%83%BC%E3%83%A0%E3%82%A8%E3%83%B3%E3%82%B8%E3%83%B3%E8%AC%9B%E5%BA%A7?type=article BGE http //ch.nicovideo.jp/search/BGE?type=article 某SRPG風のルールに則った3Dのパズルゲーム『SRPGPUZZLE』【自分で作ったゲームを紹介】 http //ch.nicovideo.jp/Arasen/blomaga/ar631759 『SRPGPUZZLE』のステージやキャラクターをカスタマイズする方法【自分で作ったゲームを紹介】 http //ch.nicovideo.jp/Arasen/blomaga/201409 出力 Blenderで作ったゲームがAndroidで動いたぁぁぁぁ ※ http //depega02.blog119.fc2.com/blog-entry-216.html PhysicsContest/Blender Game Contest 2006 Blender Physics - Win a PSP Contest http //bulletphysics.org/mediawiki-1.5.8/index.php/Entries PhysicsContest2007 http //www.bulletphysics.org/mediawiki-1.5.8/index.php?title=PhysicsContest2007 Blender Game Contest 2010 http //bulletphysics.org/mediawiki-1.5.8/index.php/Blender_Game_Contest_2010 チュートリアル Tutorials for Blender 3D and the Blender 3D Game Engine http //www.tutorialsforblender3d.com/ http //en.wikibooks.org/wiki/Blender Blender ゲームエンジンのロジック http //blender.jp/modules/xfsection/article.php?articleid=263 アドオン ゲーム ■RPG Sintel The Game http //sintelgame.org/downloads/ ■3D Blendcraft http //blendcraftcreations.com/tutorials.html Maze Creator http //riyuzakisan.weebly.com/maze-creator.html http //www.falcore.net/ ■2D スクリプト easygui http //sourceforge.net/projects/easygui/ EasyGUI - BGE - DEMONSTRATION ( PROJECT MAY) -UPDATES https //www.youtube.com/watch?v=1RzpiyuBV7E EasyGUI - Blender Game Engine - UPDATE [RADIO BUTTON ] https //www.youtube.com/watch?v=Cx5sp9h1K24
https://w.atwiki.jp/keisks/pages/227.html
http //refcards.com/docs/silvermanj/tex/tex-refcard-a4.pdf http //www.stdout.org/~winston/latex/latexsheet.pdf http //users.dickinson.edu/~richesod/latex/latexcheatsheet.pdf
https://w.atwiki.jp/tower_d/pages/44.html
Elite Forces Defense サイトURL http //www.newgrounds.com/portal/view/426370 マップエディター http //badim.ru/ef_defense_map_editor/ 概要 迫り来るモンスターの群れを迎撃する。日本語表示対応。作者はBadim。 ゲームが進行するにつれ、1本道だった通路が枝分かれしていくのが特徴。 敵の進撃方向を2種類から選ぶ事が出来る。 続編のElite Forces Conquestが新たに公開された。 基本事項 ショートカットキー 敵の種類Speed type その他 特殊効果 ヒーロー銃(武器) アップグレード 砲台Ice(水) Light(黄) Fire(橙) Life(赤) Wind(薄灰) Hero(濃灰) Energy(暗青) Poison(緑) Earth(茶) 攻略 基本事項 敵が通路の出口までたどり着くとライフが減り、0になるとゲームオーバー。 ゲームが進むに連れて、道が幾筋にも枝分かれしていく。 砲台は画面上部のメニューからドラッグして設置。 同色の砲台を建てると、数に応じて攻撃力・設置コストが上昇する。 「Defense」「Prison」の2モードがあり、敵の進行方向が逆向きとなっている。 砲台のアップグレードは、赤いバーがなくなるのを待たずとも、連続で上昇可能。 攻撃速度は、DamnFast>VeryFast>Fast>Medium>Slow>VerySlow>DamnSlowの順で速い。 各WAVE終了時、ボーナスの資金が獲得出来る。 トップメニュー → オプションの項目で、マップのロックを全解除する事が出来る。 ショートカットキー キー 機能 Shift ゲームの進行を早送りする P ゲームを一時停止 / 解除 Space 武器ショップ 十字キー、WASD ヒーローを移動 マウスホイール ヒーローの武器切り替え テンキー1~8 RFTGYHUJI 各砲台を設置 敵の種類 Speed type Ground・Airは、それぞれ対応した砲台でないと攻撃不可。 Ground 地上を進む敵。 WAVE進行表の背景色:緑 Air 空を飛ぶ敵。通路を無視して出口まで直進する。 WAVE進行表の背景色:青 Hero ヒーローに向かって突進してくる敵。Air扱い。 WAVE進行表の背景色:赤 Ethereal 砲台・通路を無視して出口まで直進する。滅多に出現しない。Ground扱い。 WAVE進行表の背景色:灰 その他 Immune 特定の攻撃が効かない敵。 Spells:Slow・Poisonが効かない。 Splash:Splashが効かない。 BOSS 一定レベル毎に各入口から1体のみで出現。 特殊効果 銃・砲台の特殊効果の説明。 名前 効果 Poison 毒状態にして継続ダメージ Slow 移動速度を低下 Stun 敵を麻痺させて一時停止 A-Poison 攻撃対象が毒状態の場合、ボーナスダメージ Chain 攻撃が隣の敵へ連鎖してヒット Fork 射程内の複数の敵に対して一度にダメージ MultiDmg クリティカルダメージ Darmor 攻撃命中時、敵の防御力を減少させる Splash 攻撃した敵の周辺にもダメージ ヒーロー ヒーローという、プレイヤーが自由に動かせるユニットがある。2人から選択可能。 ヒーローが敵に衝突すると、ライフ(上記とは別)を失い、0になるとゲームオーバーになる。 ヒーローが敵と衝突した際、周辺の敵に大ダメージを与える爆発を引き起こす。 画面上部の武器マークをクリックか、スペースキーでショップ画面が開ける。 銃(武器) 初期装備 男:AK-47 女:SMG スプラッシュ = 範囲攻撃の効果範囲 名前 攻撃力 攻撃範囲 スプラッシュ 攻撃速度 攻撃対象 特殊効果 コスト AK-47 2 85 0 VeryFast 全 MultiDmg(3%x2) 45 eLR-12 3 90 0 Medium 全 Fork 250 RPG 30 160 45 DamnSlow 地 Stun(10%) 210 J_GUN 3 120 0 Fast 全 Stun(15%) 80 Bow 5 20 0 Slow 全 Poison 5 FR-F1 35 215 0 VerySlow 全 MultiDmg(40%x3) 320 AA-HG 23 135 35 VerySlow 空 Slow 420 SMG 2 75 0 DamnFast 地 - 85 アップグレード 購入に必要な撃破数は、一つ買う度に15ずつ増加。 名前 コスト 効果 Armor-piercing 100 攻撃命中時、敵の防御力を減少させる Bounty-Hunter 150 ヒーローが倒した敵からの獲得金額が倍になる High-lander 220 ヒーローのライフを増加 Pathologist 300 撃破数に応じて攻撃力が増加 Evil_Eye 150 敵を見るだけでダメージ 砲台 Ice(水) 敵の移動速度を低下させる。 特殊:Slowの持続時間が延長 LV 名前 コスト 攻撃力 範囲 射程 攻撃速度 攻撃対象 特殊効果 1 FrostArrowTower 10 5~6 -- 700 Fast 全 Slow 2 ChillingTower 40 18~20 -- 1000 VeryFast 全 Slow 3 IceLauncher 80 36~51 18 800 Slow 地 Slow 4 SquallEvoker 210 36~44 -- 900 DamnFast 全 Slow 5 NovaShocker 360 192~402 20 600 Slow 全 Slow 6 CryogenicsLab 850 0~0 -- 1000 Medium 全 Stun(100%) ParmafrostMaker 610 257~413 65 500 Fast 地 Slow SealCannon 450 240~422 35 800 Slow 全 Slow Light(黄) 特殊:他の砲台の攻撃速度を増加する レベル コスト 最小攻撃力 最大攻撃力 攻撃範囲 攻撃速度 攻撃対象 特殊効果 1 15 4 5 900 VeryFast 全 - 2 55 48 64 900 Medium 全 - 3 105 100 100 700 Medeium 全 - 4 165 110 110 800 Fast 全 - 5 345 371 371 900 Medium 全 - Fire(橙) 攻撃した敵の周辺にもダメージが入る範囲攻撃。 特殊:スプラッシュ範囲が広がる。 レベル コスト 最小攻撃力 最大攻撃力 攻撃範囲 スプラッシュ 攻撃速度 攻撃対象 特殊効果 1 10 5 8 700 5 Fast 全 - 2 50 44 57 600 20 VerySlow 地 - 3 115 20 23 350 15 DamnFast 全 - 4 225 1 1 800 0 Fast 全 darmor 250 275 275 1100 40 DamnSlow 全 - 5 480 113 218 600 15 VeryFast 全 - 420 121 198 700 25 Fast 全 - 6 960 213 355 800 105 Medeium 全 - Life(赤) 安い砲台。レベル3は序盤で使える対空砲。 特殊:他の砲台の建造速度を速める。 レベル コスト 最小攻撃力 最大攻撃力 攻撃範囲 スプラッシュ 攻撃速度 攻撃対象 特殊効果 1 7 3 5 700 0 VeryFast 全 - 2 35 14 29 900 20 Slow 地 - 3 60 64 68 800 0 VeryFast 空 - 4 140 111 153 1200 30 Medium 全 - 5 265 152 256 800 60 Slow 地 - 6 850 140 228 800 35 Fast 全 - 850 650 1090 1000 45 Slow 地 - Wind(薄灰) 対空砲台。 特殊:飛行属性の敵に対して基礎攻撃力を増加。 レベル コスト 最小攻撃力 最大攻撃力 攻撃範囲 スプラッシュ 攻撃速度 攻撃対象 特殊効果 1 10 3 3 600 0 DamnFast 全 - 2 50 15 19 800 0 VeryFast 全 Chain 3 80 34 40 700 0 DamnFast 空 - 4 190 146 250 800 60 Medium 空 Slow 160 100 100 700 0 DamnSlow 空 Stun(100%) 5 380 243 363 600 35 Slow 全 - 305 600 600 500 100 DamnSlow 空 - 6 700 300 800 800 0 VeryFast 空 - Hero(濃灰) 特殊:ヒーローの武器の基礎攻撃力を増加。 レベル コスト 最小攻撃力 最大攻撃力 攻撃範囲 攻撃速度 攻撃対象 特殊効果 1 15 7 11 800 Fast 全 - 2 60 42 66 600 Fast 全 Stun(10%) 3 150 77 168 900 Fast 全 MultiDmg(20%x2) 4 250 188 300 800 Fast 全 - 5 500 358 558 600 Medium 全 - Energy(暗青) 長い射程を持つ砲台。攻撃力のふり幅が大きい。 特殊:ヒーローの武器、砲台の最大攻撃力を増加。 レベル コスト 最小攻撃力 最大攻撃力 攻撃範囲 スプラッシュ 攻撃速度 攻撃対象 特殊効果 1 10 1 10 1000 0 Fast 全 - 2 50 11 77 900 20 VerySlow 地 - 3 85 1 100 1200 0 Fast 全 - 4 215 250 250 1000 0 DamnSlow 全 Fork 5 410 1 1000 1500 30 VerySlow 全 - 6 710 10 1990 1700 0 VerySlow 全 - 850 12 1440 3500 0 Slow 全 - Poison(緑) 敵を毒状態にして攻撃する。 レベル コスト 最小攻撃力 最大攻撃力 攻撃範囲 スプラッシュ 攻撃速度 攻撃対象 特殊効果 1 15 4 4 900 0 Medium 全 Poison 2 60 37 50 700 0 Fast 全 Poison 3 110 67 69 700 0 Fast 全 Poison 4 310 161 431 1200 20 VerySlow 地 Poison 5 460 224 392 800 0 VeryFast 全 Poison 6 630 321 441 900 35 Fast 全 Poison 850 300 400 1000 0 Fast 全 A-Poison Earth(茶) 攻撃速度が速いが、射程が短い。 特殊:地上の敵に対して基礎攻撃力を増加。 レベル コスト 最小攻撃力 最大攻撃力 攻撃範囲 スプラッシュ 攻撃速度 攻撃対象 特殊効果 1 10 5 7 500 0 VeryFast 全 - 2 35 44 46 400 25 Medium 地 - 3 145 160 160 150 80 DamnSlow 地 Stun(5%) 4 220 152 287 600 0 DamnFast 全 - 5 600 183 393 500 30 Fast 全 Poison 570 18 2700 800 0 VerySlow 全 - 420 279 423 400 35 VeryFast 地 - 攻略 Earthレベル4が非常に強力。 砲台は意外と道へはみ出しても設置出来る。
https://w.atwiki.jp/tower_d/pages/138.html
Bubble Tanks Tower Defense 2 URL http //armorgames.com/play/13734/bubble-tanks-tower-defense-2 概要 自由配置型。Bubble Tanks Tower Defenseの続編。 マップをクリア→経験値を獲得→新しいモードをアンロックの繰り返し。 作者はHeroInteractive。 基本事項 ショートカットキー 砲台1 Normal 2 Area Brust 3 Anti Ghost 4 Boost 敵キャラクター 攻略 バグ・仕様 コメント 基本事項 チャート式のステージ制で、順次クリアしていく事で、次に進める。 「NEXT WAVE」をクリックすると次のWAVEを開始。 画面下のWAVE進行表をクリックすると、クリックしたWAVEまで直接早送り。 敵には空(Ghost)・地の2種類があり、それぞれ対応した砲台でしか攻撃出来ない。 ショートカットキー キー 機能 T 砲台を設置 S 砲台を売却 1~5 対応した数字の砲台へアップグレード P 一時停止/解除 砲台 1種類の基本砲台から各種砲台へアップグレードしていく。 基本砲台のみ売値と買値が等しい。 名前 攻撃力 秒間攻撃力 射程 攻撃間隔 コスト Basic Tower 11 44 60 15 10 1 Normal 1-1 Normal 基本的な攻撃砲台。 レベル4で射程が大幅に上昇し、中央配置ならマップ全体をカバー出来る。 名前 攻撃力 射程 攻撃間隔 コスト Normal 1 15 72 15 18 Normal 2 22 86 15 32 Normal 3 67 103 15 90 Sniper Tower 180 360 15 225 1-2 Machine Gun Normal 1から分岐。攻撃速度が速い。 名前 攻撃力 射程 攻撃間隔 コスト Machine Gun 1 15 72 11 40 Machine Gun 2 45 86 9 100 Machine Gun 3 67 103 7 190 1-3 Splash Tower Normal 1から分岐。着弾地点の周囲へもダメージが入る範囲攻撃。 名前 攻撃力 射程 攻撃間隔 コスト Splash Tower 1 36 86 20 50 Splash Tower 2 67 86 20 115 Splash Tower 3 202 110 20 250 1-4 Beam Normal 1から分岐。敵を絶え間なく攻撃する。 名前 攻撃力 射程 攻撃間隔 コスト Beam 1 1 86 75 90 Beam 2 2 50 53 120 Beam 3 5 86 NaN 240 1-5 Poison Normal 1から分岐。毒を発射して、攻撃を受けた敵は一定時間ダメージを受け続ける。 名前 攻撃力 射程 攻撃間隔 コスト Poison 1 15 60 17 50 Poison 2 22 72 19 110 Poison 3 33 86 21 250 2 Area Brust 2-1 Area Burst 範囲内の全ての敵に攻撃。対地専用。 名前 攻撃力 射程 攻撃間隔 コスト Area Burst 1 10 60 15 35 Area Brust 2 18 72 15 50 Area Brust 3 49 86 15 115 Area Brust 4 162 103 15 350 2-2 Slow Burst Area Burst 1から分岐。範囲内の全ての敵の移動速度を低下させる。 名前 攻撃力 射程 攻撃間隔 コスト Slow Burst 1 0 72 15 35 Slow Burst 2 0 103 15 90 Slow Burst 3 0 103 30 180 2-3 Weaken Area Burst 1から分岐。範囲内の全ての敵を弱体化。 名前 弱体化時間 射程 攻撃間隔 コスト Weaken 1 短い 50 30 80 Weaken 2 普通 55 30 180 Weaken 3 長い 70 30 220 2-4 Lightning Tower Area Burst 1から分岐。放電で複数の敵を攻撃するタワー。 Area Burstからの派生の中で唯一全方位同時攻撃ができないが、射程外の敵にも攻撃が命中する。 名前 攻撃力 射程 攻撃間隔 コスト Lightning Tower 1 15 72 15 40 Lightning Tower 2 36 86 15 100 Lightning Tower 3 81 103 15 300 3 Anti Ghost 3-1 Anti Ghost 普通な対空砲台。最大レベルで射程が一気に伸びる。 対空砲台の中では最もダメージが大きい。 名前 攻撃力 射程 攻撃間隔 コスト Anti Ghost 1 22 86 15 20 Anti Ghost 2 45 103 15 40 Anti Ghost 3 101 124 15 100 Anti Ghost 4 253 257 15 250 3-2 Anti-Ghost Splash Anti Ghost 1から分岐。着弾地点の周囲へもダメージが入る範囲攻撃。対空専用。 名前 攻撃力 射程 攻撃間隔 コスト Anti-Ghost Splash 1 49 72 20 50 Anti-Ghost Splash 2 118 103 20 130 Anti-Ghost Splash 3 278 149 20 325 3-3 Anti-Ghost Burst Anti Ghost 1から分岐。範囲内の全ての敵に攻撃。対空専用。 4 Boost 4-1 Damage Boost 隣接する砲台の攻撃力を上昇する。前作よりLv1が弱くなった代わり、Lv3以降が強くなった。 1マス分の 名前 攻撃力 コスト Damage Boost 1 10% 40 Damage Boost 2 30% 50 Damage Boost 3 50% 90 Damage Boost 4 80% 190 4-2 Range Boost Damage Boost 1から分岐。隣接する砲台の射程を上昇する。前作より弱体化している。 名前 射程 コスト Range Boost 1 +20% 40 Range Boost 2 +40% 75 Range Boost 3 +60% 175 4-3 Fire Rate Boost Damage Boost 1から分岐。隣接する砲台のリロードが早くなる。 (以前はバースト系の砲台も間隔を1に出来たが、更新により4が限界になった様子) 名前 リロード コスト Fire Rate Boost 1 -20% 60 Fire Rate Boost 2 -40% 115 Fire Rate Boost 3 -60% 225 メガタワー・メガメガタワー 正方形状に並べた4基の砲台を最大レベルにした後、左上の砲台をクリックするとMマークが現れる。 クリックすると、4基の特徴・能力を併せ持った強力な巨大砲台(メガタワー)に合体出来る。 同様にメガタワーを4基並べて合体するとメガメガタワーになる(それ以上の合体は存在しない)。 敵キャラクター 名前の前に*があるものは今作で追加された種類。 名前 色 特徴 Basic 灰 何の特徴もない普通の敵 Fast 水 移動速度が速い *Accelerator 薄紫 体力が減少する程移動速度が増加していく Slow 濃紫 移動速度は遅いが、体力が高い上、Slow Burstの効果を受けない Splitting 赤 倒すと複数の小さな敵に分裂する Cursed 緑 倒すとGhostに変身するこの敵が変身したGhostは常に遅い EMP ピンク 倒すと周囲に電磁波を放ち、タワーをしばらく攻撃不能にする。電磁波の射程はタワー1つ分 Regenerative 橙 常時体力を回復する。耐久力は多少脆い *Decoy 黄 一定間隔でデコイの泡を飛ばす。砲台の攻撃がその泡を優先してしまうので注意 Ghost 黄緑 砲台・壁などを無視して一直線に進む飛行タイプ(ボスでも半透明) *Heavy Ghost 深緑 GhostのSlow版。体力が高い *Dodge 濃灰 高確率で攻撃を回避する。かなり厄介 BOSS 黒 各タイプの体力強化バージョン。 攻略 最初のXPが十分でないときは前作同様Basic Towerの値段と売値が同じことを利用した永久ジャグリング推奨。 前作同様メガタワーが非常に強力なので、余裕があるなら建設を考えたい。 また、Fire Rate Boostを複数設置してリロード短縮が100%を超えると、タワーの攻撃間隔が1になり、大きな火力になる。 バグ・仕様 条件を満たしてもAchievementsが解禁されなかったり、条件と変なタイミングで解禁されることがある。 Stun Chargeの通常弾でダメージを与えることが出来ない。(停止効果は有効) コメント バグだらけでプレイ不可 -- 名無しさん (2012-08-20 09 52 48) バグよりもやたら重くてプレイ出来ん、メガタワーを複数作るとハイスペックPCでも固まる -- 名無しさん (2012-08-20 21 11 48) insaneを先にクリアしたらnormalやhardをクリアしてもachievements解除できなくなった -- 名無しさん (2012-08-21 06 26 28) メガメガタワーが作れないバグ、いろいろバグがある -- 名無しさん (2012-08-21 16 37 29) wave送りのショートカット無いか -- 名無しさん (2012-08-22 01 36 13) Area BurstのFire Rateを1まで強化できるのはいかがなものか -- 名無しさん (2012-08-22 01 42 18) やっとどうしようもないバグはなくなったものの、バランスが終わってる。始まると全Waveをおくる→ボーナス利用してAreaBurst4つくる→まわりにRatetoBoost -- 名無しさん (2012-08-22 20 52 15) 最初のチュートリアルでタワー建てられない。どうしようもないわ -- 名無しさん (2012-08-23 18 26 26) ↑↑まだ、バグのこってるからしょうがない。公式でもバグ報告が行われてるから、そのうちなおるでしょ -- 名無しさん (2012-08-24 08 17 36) 画質変えるとプレイできない? -- 名無しさん (2012-08-26 16 29 18) チャージタワーの効果教えてください -- 名無しさん (2012-08-27 02 23 19) チャージは敵が多いと多方向に撃つがやたら重くなる、てか、このゲームやたら重過ぎる。ハイスペックでも普通に固まるし、だめだなこれは -- 名無しさん (2012-08-27 10 49 43) ↑↑チャージタワーは数発毎に通常より多くの弾を発射します。 -- 自分 (2012-08-27 11 53 14) Insaneまですべてクリアしたけど次にいけません。 -- 名無しさん (2012-08-30 19 58 55) Insaneまですべてクリアしたけど次にいけません。次は有料ですか? -- 名無しさん (2012-08-30 19 59 46) バグの他にも、明らかな設定ミスがあるな。HOLLOWED OUTマップのFixed Modeで初期バブルが200とか、どうやってクリアしろと…。その一方で同マップのDark Modeでは、初期バブル3000になってるし。 -- 名無しさん (2012-09-05 02 10 27) damage boostだけでmega mega towerつくったら、巨大なニートができてしまったようなんだが… -- 名無しさん (2012-09-12 03 35 26) ↑巨大なダメージブーストタワーになる。隣接したタワーの攻撃力がそこそこ上がるはず -- 名無しさん (2012-09-13 06 24 05) ↑↑これもバグなんだろうけど、ブースト機能がまったくないゴミみたいなタワーができるよな。1個だけでもいいからブースト系以外のタワーを混ぜておけば一応回避できるんだけど。 -- 名無しさん (2012-09-14 00 57 20) セーブされないのって俺だけ? -- 名無しさん (2015-12-23 17 45 27) アイテム類の効果について教えてください -- BTTD 2 (2016-03-29 20 10 19) Area BurstはDodge必中でDecoyも無視できるので、EMPとGhost類をどうにかできればあとはArea Burstゲーです。その点Reloadを短縮したSniperがあると尚心強いです。ですが、これだとNight Watchで詰むんですよね... -- 檸檬 (2019-07-23 22 43 31) 名前 コメント
https://w.atwiki.jp/dcheat/pages/11.html
最初に解析方法について記述していきます。 解析といっても文系の筆者が試行錯誤して発見した程度の手順なので力まず気楽にご覧下さい。 必要なもの スペシャルねこまんま57号 DreamCup 適当なテキストエディタ 手順 1. 必要なものを全てダウンロードして準備する。 2. 競技場に入り適当なポジションを選択(この時観戦席、控えは除く)。 3. スペシャルねこまんま57号を起動。アプリ一覧からsoccer.exeを選択する(①)。 表示されていないときは更新(②)を押す。 4. メモリ検索(③)を押す。 5. 「プロセスメモリ検索・変動検索」が開く。下図の⑤⑥⑧のようにする。 6. 下図の通りに行い、入力が終わったら通常検索実行(⑨)を押す。検索が終わるまで少し待つ。 注意! 最新の値は公式ページより発表されているものを確認すること。 一件もヒットしない場合は上までの動作を見直す。 7. ⑩に結果が表示されたら、ねこまんま本体とメモリ検索窓が同時に見えるようにウィンドウを配置し、一件ずつ値を変更しながら操作し、適用されているか確かめる。 能力値は全て004Dぐらいで始まるアドレスに振られている(旧クライアント0.63.20などは004C)。 bold(){⑧にこれを入力することで結果を絞っている。} 8. ⑩で表示されたアドレスの値(④)を一件ずつ変更していった。 一人用練習場、AWAY7番ではドリブルキープ範囲のアドレスは004D7794であることが分かった。 各ポジションでアドレスは異なることに注意。また競技場の人数によってもアドレスは変わってくる。 6人制のAWAY2番と9人制のAWAY2番ではアドレスは一致しない(ただしHOMEは一致する)。 上の図の004D7794というアドレスには、一人用練習場の、AWAYの、7番のドリブルキープ範囲の値のみが振られている。 また、値を変更する際には16進数に注意。 注意点 極端な値を設定すると強制的に競技場から追放されることがある。一人用練習場の場合は無問題だが、公式競技場の場合は数時間経過しないと再入場できない。 この場合で追放されても、プレビューに残らなければアカウント削除対象にはならない。(10/01現在) ある能力値を検索した後、ほかの能力値を検索する場合には、⑩欄の上にある「検索結果クリア」を押して⑨を押すこと。(これを行わないと絞込検索になる) Tips 視点検索 視点は設定ファイルに記載されている値を⑦に入力して検索してください。ex)CameraDistance=50の場合⑦に50を入力し検索します。 参考 視点早見表 ゲージ検索 ここではゲージのアドレスを取得する方法を書いておきます。少しややこしいので分かる人のみどうぞ。(※解析済データにてアドレスを掲載しています、通常以下の手順をおこなう必要はありません。)もっと頭のいい方法があるかもしれませんが一番単純な方法です。常用に関してはこちらで紹介しています。 スペシャルねこまんま57号の「デバッガ兼APIトレーサー」で「デバッグターゲット操作」よりsoccer.exeにアタッチします。 競技場に入ってポジションを選択した後の状態で、ウィンドウを切り替え、上からに2個目の図の細点線部、「確保・記録」を押しておきます。 ウィンドウを切り替え、ゲージを少しだけ溜めた状態で素早くウィンドウを切り替え「デバッグターゲット操作」より「実行一時停止」させます。この時、ゲージが溜まった状態で静止していない場合はやり直してください。 「値増加」を押します。 「実行一時停止」を解除します。 ウィンドウを切り替え、3.の時溜めた時よりも多く溜め、4.5.を繰り返します。 多く溜めた後、少なく溜め「値減少」を押したりしながら、⑩の数値を絞り込んでください。 最終的には2つのアドレスが残ると思います。
https://w.atwiki.jp/freememo/pages/48.html
HINTERNET g_hInet; HINTERNET g_hURL; //===========================================================================// /*! @brief WinInetライブラリ初期処理 @param[in] lpszURL 対象URL @return 成否 */ //===========================================================================// BOOL InitWinInet(LPCTSTR lpszURL) { // WinInetライブラリ開始 g_hInet = InternetOpen( L"", INTERNET_OPEN_TYPE_PRECONFIG, NULL, NULL, 0); if (g_hInet == NULL) { return FALSE; } // セッションオープン g_hURL = InternetOpenUrl(g_hInet, lpszURL, NULL, 0, 0, 0); if (g_hURL == NULL) { return FALSE; } return TRUE; } //===========================================================================// /*! @brief WinInetライブラリ終了処理 @return 無し */ //===========================================================================// void TerminateWinInet() { // WinInet関連ハンドル開放 if (g_hURL) { InternetCloseHandle(g_hURL); } if (g_hInet) { InternetCloseHandle(g_hInet); } } //===========================================================================// /*! @brief HTTPソース取得 @param[in] lpszURL 対象URL @param[out] lpOutBuffer HTTPソースバッファ @param[in/out] hMem メモリハンドル @return 成否 */ //===========================================================================// BOOL WINAPI NMAPI_GetHttpHeader(LPCTSTR lpszURL, LPTSTR lpOutBuffer, HGLOBAL hMem) { BOOL bRet = FALSE; // WinInetライブラリ初期処理 if (! InitWinInet(lpszURL)) { goto END; } // バッファバイト数取得 DWORD dwSize = 0; if (! HttpQueryInfo(g_hURL, HTTP_QUERY_RAW_HEADERS_CRLF, (LPVOID)NULL, dwSize, NULL)) { if (GetLastError()==ERROR_HTTP_HEADER_NOT_FOUND) { goto END; } } // メモリ再割り当て hMem = GlobalReAlloc(hMem, (SIZE_T)dwSize+1, GMEM_MOVEABLE); if (hMem == NULL) { goto END; } lpOutBuffer = (TCHAR *)GlobalLock(hMem); if (lpOutBuffer == NULL) { goto END; } // HTTPヘッダ情報取得 if (! HttpQueryInfo(g_hURL, HTTP_QUERY_RAW_HEADERS_CRLF, (LPVOID)lpOutBuffer, dwSize, NULL)) { goto END; } bRet = TRUE; END // WinInetライブラリ終了処理 TerminateWinInet(); return bRet; } //===========================================================================// //呼び出し側 //===========================================================================// { HGLOBAL hMem = GlobalAlloc(GHND, sizeof(TCHAR)); CHAR* lpszSource = (CHAR*)GlobalLock(hMem); if (NMAPI_GetHttpSource(strURL, lpszSource, hMem)) { ・・・ ・・・ ・・・ } // メモリ開放 GlobalUnlock(hMem); GlobalFree(hMem); }
https://w.atwiki.jp/michealfeng/pages/27.html
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