recursal/Fanatic-Fandom huggingface dataset:
Pluviis

PluviisPluviis, Rain Bringer, a "VI" ranked monster.

Appearance: Pluviis is a small, unassuming creature with a body covered in soft, fluffy feathers. It has a round, bird-like head with beady black eyes and a small, sharp beak. Its wings are small and weak, and it has a short, stubby tail. It is about the size of a domestic chicken, standing at around 30 centimeters tall and 50 centimeters long.

Abilities: Pluviis has the ability to control the weather, specifically creating rain and thunderstorms. It is able to do this by releasing a special chemical from its feathers that causes the air to cool and condense, leading to the formation of rain clouds. Pluviis is also able to generate small bolts of lightning, which it can use to defend itself or to signal to other Pluviis in its group.

Behavior: Pluviis is a docile and timid creature, preferring to avoid confrontation whenever possible. It is often found in small groups, called "flocks," where it will work together with other Pluviis to create and maintain rainstorms. Pluviis is known to be a bit of a loner, and will often retreat to its own space when it is not actively creating rain.

Unique Fact: Pluviis has a strong affinity for music, and is known to sing beautifully when it is feeling content or relaxed. Its songs are said to be soothing and calming, and it is believed that listening to a Pluviis's song can bring good luck and prosperity.

Unique Ability: N/A (F ranked monsters do not have unique abilities)
Sable

Sable
Introducing the Sable, a rare and mysterious creature that dwells in the deepest, darkest forests. The Sable is a stealthy and agile predator, standing at a height of 5 feet and weighing approximately 150 pounds. Its body is covered in sleek, black fur that is almost impervious to water, making it well-suited to life in the forest.

One of the Sable's most unique features is its ability to blend seamlessly into its surroundings. The Sable can alter the color of its fur to match the environment, making it nearly impossible to spot. This ability allows the Sable to get close to its prey without being detected, making it an excellent hunter.

The Sable has a long, slender body with powerful legs and sharp claws that it uses to climb trees and pursue prey. Its head is elongated and narrow, with sharp, pointed ears and glowing, yellow eyes that seem to pierce the darkness. The Sable's teeth are long and sharp, designed for tearing flesh and crushing bone.

Despite its impressive abilities, the Sable is a rare and elusive creature that is not often encountered by humans. However, those who do encounter a Sable should exercise caution, as it is a dangerous and unpredictable predator. I would give the Sable a danger rating of "V", as it is relatively harmless to any experienced adventurer worth their salt.
Tsume shiji

So if we're not actually drawing frames other than keyframes, how do we communicate where they should go? With beautiful little charts!

Animators typically include **spacing charts** on every keyframe. However, there is no need for a spacing chart in the first keyframe of a cut, since there are no previous drawings that need guiding. When it comes to in-between guides, don't worry about adding spacing charts since they are already included in the keyframe spacing charts. The beginning shows the previous keyframe's number, the endpoint is labeled with the current keyframe.

**Important note:**
Be careful about one thing: in the western animation industry, this is different, as you'd put these (well, not exactly these, they're little different) charts on the **first** frame of the action, not the last.
The center of the chart should always be shown to help the douga artist measure how the spacing relates to that point, even if there's no actual inbetween at the exact center (they call this **ghosting** the inbetween). The actual physical distance between these points is what gives your chart its spacing. Usually, you should divide each new space in half each time you add an inbetween tickmark. You can create uneven spacing, but it's always helpful to keep the ghost inbetweens so douga artists know what you're trying to do.

(TODO: create composite image)

"But wait!" I hear you say. "What the hell *is* **spacing**? Why do I need these!?" Well, spacing is pretty simple. It's the distance between two drawings. Close spacing makes it feel like something is moving slowly. Distant spacing makes it feel like something is moving quickly. Spacing has nothing to do with **timing** (which is what the timesheet is for), instead, it lets you take the same timing and change how it feels. The little example gif to the right shows this: the timing for each new drawing of the circle is the same, but it feels like it moves through the first space faster since the spacing is farther apart.

There are three general kinds of spacing you'll see. Even, ease out, and ease in. They can be mixed and matched as needed.

You can also use individual spacing charts for parts of a character (even ones on the same cel) if they move at different rates. Just make sure you label or otherwise indicate what part of the character the chart relates to.

Some really common motions–especially walks, runs, blinks, and lip flaps – break these spacing chart rules. I'll be explaining them in more detail down in the Standard Animations article.
Serifu

**Serifu** (セリフ) is the Japanese word for dialogue (In anime industry, it's usually written in katakana). Animating to dialogue is usually called **kuchipaku (口(くち)パク)** "lip flaps." Along with the lip flaps, it's common for the jaw to move as well.

This is generally done with three frames. Frame 1: **tojiguchi (トジ口(くち)), Closed mouth,** Frame 2: **nakaguchi (中口(なかぐち)) MIddle Mouth,** Frame 3: **akiguchi (アキ口(くち)) Open Mouth.** In the case that the scene want's closer lip syncing or varied mouths. A frame 4, and 5 will be added for the vowel shapes ウ and オ.

## Creating Serifu in Layout

### Single-Layer

This is the most common way of creating Serifu kuchipaku. The character is drawn in the first frame with a closed mouth. The second frame is left for the Douga artist. The third keyframe is drawn only as an open mouth. Optionally, Gousei (合成(ごうせい)) can be used.

On the timesheet, the cels are labeled in a sequence of 3, enclosed with a parenthesis, and followed by the katakana text, セリフ. In the sound column, the hiragana syllables are written vertically to indicate the timing of the voice. This is written with an encircled shorthand of the characters name, with start and end points written as lines or single frame sized blocks.

### Multi-Layer

In the case where the open mouth can fully cover the closed mouth, the mouth can be placed on a second layer, with the closed mouth remaining on the lower layer on the main cel. Generally this is less common in anime production and can make timesheets more complicated than necessary. There are exceptional cases where this method is used. In this case, the upper label will be labeled in a sequence of 3 with X being the first.

## Douga

Douga artist will finish the mouth animation by drawing the **nakaguchi (中口(なかぐち))** . Generally the upper teeth will remain in place for this animation. In highly stylized shows, or characters that have big mouths may have the teeth move in place more.
Quadruped Walk and Run Cycle

*See also Walk cycle.*

*See also Run cycle.*

As a key animator you may be asked to do walk cycles for more than just humans. Just as we described in articles for standard walk and run cycles, you will use less frames to complete a walk cycle for animals than is taught in the western animation industry. 4 key frames is all you need.

## Keyframes for a Cat Walk Cycle

(TODO: merge with other images)

**Tip:** B3 is a leg swap of B1. So once you get your first two frames, you can copy them and just re-draw the legs for a quicker walk cycle.
Sakuga Wiki

This wiki is an encyclopedia for anime production processes and techniques.

It's the medium that has inspired countless fans around the globe to celebrate it, forming communities, making costumes, creating fan art, and much more.
It has inspired artists all around the world, such as those developing this wiki to pursue Sakuga as a career. This wiki aims to help anyone on the quest towards a career in the world of anime.

Scenarioシネリオ
E-konte　絵コンテ

**Production　プロダクション\_進行管理**
Genga 原画
Douga　動画
Shiage 仕上げ
X-sheet

**Standard Animations**
Serifuセリフ
Mepaku目ぱく
Head turn
Walk cycle
Run cycle
Quadruped Walk and Run Cycle

**Under Construction:**
Satsuei 撮影
Glossary of Terms
Standard Pipeline
Notations
Haikei

* ISA Discord
* Sakuga Foundry
* Sakuga Booru
* Settei Dreams
璀璨十二国

由十二个坐落于斯蒂娜米亚的人类国家组成，在玛瑙河流域上创造了成百上千年的历史，为玛瑙河带来了花团锦簇、光彩夺目的繁华盛况。但在大混乱期间，由于【金龙刻罗尼德】的苏醒，璀璨十二国遭受到了空前的灾难。最终，在这场史称【征龙战争】的大动荡结束后，从未被人留意过的小国【琉璃之国】伦布里亚，趁机统一了整个玛瑙河，从此，璀璨十二国的时代落幕，新的朝阳在这片富饶的西方土地上冉冉升起。

## **珍珠之国**

裴奥拉是位于斯蒂娜米亚玛瑙河流域西部的人类国家，“璀璨十二国”之一，被称为“珍珠之国”。

**首都**：【鸢尾之城】伊莉丝

**国王**：【英雄国君】

**权臣**：【华袍国相】【大孔雀亲王】

**守护神**：【雷鸣鸟陀迩】

## **东方水晶之国**

克里斯唐是位于斯蒂娜米亚玛瑙河流域东北部的人类国家，“璀璨十二国”之一，被称为“东方水晶之国”。

**首都**：【铃兰之城】莉莉娅多莉娅

**国王**：【大帝】

**守护神**：【天马珀伽索斯】

## **西方水晶之国**

库悉德勒是位于斯蒂娜米亚玛瑙河流域北部的人类国家，“璀璨十二国”之一，被称为“西方水晶之国”。

**首都**：【木春菊之城】阿格丽特

**主要城市**：【冬青之城】霍里

**国王**：【剑兰君王】

## **欧泊之国**

乌拜是位于斯蒂娜米亚玛瑙河流域东南部的人类国家，“璀璨十二国”之一，被称为“欧泊之国”。

**首都**：【雪绒花之城】依德埃斯

**主要城市**：【水仙花之城】纳茨苏

**国王**：【无上圣主】

**权臣**：【卫国者】【不败将军】

**守护神**：【金龙刻罗尼德】

## **琥珀之国**

贝恩斯顿是位于斯蒂娜米亚玛瑙河流域中部的人类国家，“璀璨十二国”之一，被称为“琥珀之国”。

**首都**：【矢车菊之城】康铎曼

## **祖母绿之国**

伊斯梅丹拉是位于斯蒂娜米亚玛瑙河流域西南部的人类国家，“璀璨十二国”之一，被称为“祖母绿之国”。

**首都**：【石榴花之城】芙萝蒂丝妮

**主要城市**：【康乃馨之城】柯莱薇琳

## **红宝石之国**

巴隆弥是位于斯蒂娜米亚玛瑙河流域东部的人类国家，“璀璨十二国”之一，被称为“红宝石之国”。

**首都**：【三色堇之城】潘恩塞

**守护神**：【九耳犬加尔姆】

## **绿松石之国**

图兰沃利塞是位于斯蒂娜米亚玛瑙河流域南部的人类国家，“璀璨十二国”之一，被称为“绿松石之国”。

**首都**：【红郁金香之城】里浦莱施

**守护神**：【四目犬克罗克塔】

## **钻石宝剑之国**

狄亚缪宛斯是位于斯蒂娜米亚玛瑙河流域北部的人类国家，“璀璨十二国”之一，被称为“钻石宝剑之国”。

**首都**：【白郁金香之城】杜俄珀

**权臣**：【天堂鸟议会】

## **钻石坚盾之国**

盖蒙德修是位于斯蒂娜米亚玛瑙河流域西部的人类国家，“璀璨十二国”之一，被称为“钻石坚盾之国”。

**首都**：【玫瑰之城】洛斯

**国王**：【荣光女王】

**权臣**：【日冕议会】

**守护神**：【蝎尾狮尼米亚】

## **反叛欧泊之国**

奥帕罗是位于斯蒂娜米亚玛瑙河流域中部的人类国家，“璀璨十二国”之一，被称为“反叛欧泊之国”。

**首都**：【覆盆子之城】麦莉娜

**国王**：【悲秋王】

## **紫翠玉之国**

黎柯桑布里特是位于斯蒂娜米亚玛瑙河流域北部的人类国家，“璀璨十二国”之一，被称为“紫翠玉之国”。

**首都**：【洋甘菊之城】佩罗玛什卡

**国王**：叶腊一世
Bure

ブレ is a common terminology in Sakuga. It means shake. ブレ is generally associated with an intensity: (弱weak, 中 middle, 強 strong). Not to be confused with Blurブラー.

**Types of Bure:**

**Line Bure** (線ブレ) refers to a line boil effect that is useful in cases such as shivering, shaking, vibrating, and more.

**Camera Shake (画面ブレ)**

**Concentration Line Blur (集中線ブレ)**
Sakkuchi

**Sakuga Uchiwase** (作画打ち合(さくがうちあ)わせ), or **Sakkuchi** (作打(さっく)ち) for short, is a meeting where the director and anyone else from the production company with input on the storyboard get together with contracted animators to explain the e-conte and answer questions.

Be forewarned that these meetings are almost always in Japanese and it's pretty rare to have the studio provide a translator. Sometimes freelancers don't attend these meetings because they can't understand Japanese (or they're not invited), but even if your Japanese is abysmal and you're not sure about attending, see if you can find a way of joining and understanding a Sakkuchi meeting. Most of the time it's your only chance to speak directly with the main production staff for a show, and being able to clear up problems here can save you a ton of heartache and wasted time over your work on a production. In some cases you might be lucky enough to get a video recording to reference later. Make sure you download and reference the video as needed!

Even if you know a meeting is recorded, taking notes in these meetings is really helpful. When the director discusses your section, pay special attention to how they describe the tone of each scene. You don't want to draw a serious fight scene like it's a slapstick comedy, or accidentally draw a quiet kuudere character with a big grin (believe me, it's a lot easier to make those kinds of mistakes than you think!).  Beyond tone, check to make sure there aren't important details that are hard to understand from the e-conte. Sometimes characters are wearing different clothes than they normally do, or there are special notes about sound effects, camera moves, references to real-world locations. Making a mistake on any of these points can be costly in time and resources.

Here's a list with a few more things you might want to listen for:

* Any special instructions for a scene that may differ from the storyboards
* Any emotional beats the director may want to show in a way that isn’t obvious.
* Any changes in character clothing or style
* Any unusual props or settings that might require extra resources or work
* Major changes or missing materials, like storyboard revisions or incomplete settei
* Anything that is missing or unclear

At several points in the meeting you'll have some time for questions. Ask them! Both you and the studio staff want a smooth, easy production–so take the time to clear up problems while it’s easy to get feedback.
Tap Wari

There's an extremely useful technique called **tap wari** or **off tap**. On paper, this means you unhook the sheet you're drawing on from the holes that connect it to a pegboard (also called a tap) and slide it around over the others to match up different parts of a drawing as precise guides. This lets you keep difficult areas, like faces, on model by overlapping the faces between drawings even when the character is moving across the page. It's also used to measure the arc between keyframes by rotating different cels to find an arc.

Digitally, it's exactly the same except much less annoying. If you're working in Clip Studio or similar animation software, the light table function even lets you slide drawings temporarily then snap them back.

You can slide, rotate, and do anything else you need off tap. Need to match a leg bent in a run to the previous (straight) leg? Slide the new drawing to match it up, then snap it back. Want to double-check the eyes aren't getting squished as they move? Untap and check. Digitally, you can do quick checks like this with parts of a drawing, too – you can draw a head over the previous frames, then lasso it and drag it to match up with the next frame of movement. Whatever works!

Tap wari also helpful when preserving volume between drawings is important, or when you just want to double-check how the next frame you've drawn matches up to the previous. It becomes progressively more important as the animation makes its way down the pipeline.By the time a cut hits douga, volume and proportion from frame to frame is everything and tap wari is used constantly.

Now, let me give a word of warning: focus on keyframes first. If you get bogged down trying to figure out spacing charts for inbetweens before you're happy with how your keyframes are working, you'll almost certainly end up having to redo timing and spacing anyways.
Layout

*See also Genga.*

Previous Stage: E-konte

Next Stage: Layout Director Checks

**Layout** first step of creating Genga as instructed by the E-konte (storyboards). It's also referred to as Daiichigenga （第一原画） and Rafugen（ラフ原）

## Cut Package

The following are components of a cut package:

## Layout Paper

The components of a layout paper are as follows:

 7) **Color (outer) safe area** | Outer line which indicates the “color-safe area.” Drawings should extend to this line so that background artists, editors, and other people that work on animation have a safe area in the case of camera movements, slides, and other effects or changes.

Do not ever one studio's layout paper with another studio. This constitutes a breach of NDA.

You can change the dimensions of the canvas if the cut requires camera movement, but do not transform the size and/or resolution of the layout paper itself.
Settei

**Settei** (設定(せってい)) is the Japanese word for any images relating to a character, location, or object. It's one of the most important words for you to know since the settei informs how and what you draw.

As a layout artist, you'll be working with the genga version of the settei most of the time. These aren't colored, but feature clean drawings and often come in versions with and without shadow maps. The shadow map colors in settei aren't arbitrary. They relate to the kind of material a shadow is on and the intensity of the shadow. If the character designer creating settei was rushed or the character depicted is of secondary importance, they might just have flat blue shadows.

Even when the settei itself has flat shadows, it's helpful to add color variation for different objects in your layout if you have the time. Like with everything else, exactly which colors indicate what varies from studio to studio. The chart to the right has some pretty common color variations.

Just having different colors for different materials helps douga artists a lot, especially in situations where there's complex overlapping. Imagine trying to figure out whether a little dot of blue shadow poking through Sophie’s hair is her backpack, her shirt, her skin, or the shirt of another character when everything is the same flat blue. Yuck! Just having different shadows distinctly marked can save cumulative hours as a cut is cleaned up and colored.

Alright, that's enough on the files you'll get for now. Let's spend some time looking at how to actually use this stuff when making a layout.

 GREEN LINE | Hidden features, like hair under a hat or a torso under a cloak, used to make better drawings without being shown in the final animation.

 OTHER FLAT | Various purposes, usually dividing a particular color or feature, like a logo.
Nigen

*See also Genga.*

After Director Checks, the final Genga is created, this stage is called **nigen (第二原画(だいにげんが))** which is short hand for Dainigennga (第二原画) or 2nd Key. This stage incorporates all the Director Checks to create final look of anime character. Nigen is drawn without the layout paper frame.

Nigen cut assignment folders will contain the following:

* **E-konte:** The Storyboards for the section or episode you are working on.
* **Settei:** The design sheets for the production or section.
* **Original Layout Drawings**
* **Scans or Digital Enshutsu Corrections**
* **Scans or Digital Sakkan Corrections**
* **Scans or Digital Sou Sakkan Corrections**
* **Filled X-Sheet**
* **Adjusted X-Sheet**
Director Checks

UNDER CONSTRUCTION

**Move to director checks :**

That is, if there is a new set of pose corrections from an Enshutsu that were made after a character redraw by the Sousakkan, the Enshutsu's corrections should be applied. Look for **修正 (Shusei)** or "Fix" notation. The way the most recent fixes are shown usually falls into one of these categories:

 修の修の修 | "Fix of a fix of a fix"

Appending "Fix"

 修 (4/27) | Fix (4/27)

Other times the most recent fix might be marked by the date. Use the one that's most recent.

 A1\_s4 (if too many s) | Cell A1\_Fix4

Finally, fixes scan be noted with "S" (short for Shusei), use the one with the most "s" on the end.
Inspirite

**Inspirite** — a unique ore from the *I Need Block* mod, which you will meet in caves underground. Stone ore can be mined with a stone pickaxe, and slate ore will require iron ore.

**Inspirite** can be corrupted.

When the ore is destroyed, you will receive **Ore** Inspire: 1-2 from stone and 2-3 from shale. As a rule, the deeper the mine, the greater the chance of finding it and the more.

**Raw Inspirite**, like iron, melts in a furnace. This is the main resource of modification, it is useful to every builder, and sometimes even a warrior.
Whispering Chisel

**Whispering Chisel** — a new tool for creating blocks and items in the *I Need Block* mod.

The chisel has durability. Durability is consumed with each use in crafting, so it must be repaired. To **repair** a chisel, you need to place it in an anvil and add an iron ingot or other damaged chisel. The **Whispering Chisel** will allow you to do exquisite work. Difficult versions of blocks that cannot be obtained by working on a rough Stonecutter.
Book

*See also Cel.*

A **book** is a piece of the background that's on a different layer. It gets the same painting pass as a background, but the separation allows it to sit in front of animation to add depth. Books are also used for special 2D camera effects like Michakku Multi. Book 1 is always farthest from the camera. Drawing books is almost the same as backgrounds, but are filled with a color to indicate the book area. Books can be on the same layer as the background or drawn on a separate sheet.

Books are notated on the timesheet by encircling the book label and pointing at which cel layers it's between.

Books can be use as animation in some cases with a technique called Book 置き換え.
Interface

**Vanilla interface** has been ***redesigned*** and ***improved***!

The main reason for changing the interface was the uniformity between crafting stations. Because of this, the uniqueness and definability of the blocks disappeared.

Skeuomorphism was chosen as the art direction, as it was chosen by the Mojang themselves when creating the enchantment table and stone cutting.
Gousei

*See also Registration line.*

**Gousei** (合成(ごうせい)) in anime production refers to **partial hold**. This notation is really important to douga artists, because it means you won't be drawing all of a cel. The cat example from bure article shows this – it's all a single cel, but only part of it changes - the rest is given gousei notation and remains the same between frames. That might seem a little annoying! Why does a layout artist get to force you to separate their cels when they could just do it on two? There are actually lots of reasons everything might be on the same layer. They might need all the parts on the same cel for movement that happens in between the gousei, they might be working fast, or just trying to keep layer clutter to a minimum. Whatever the reason, gousei is everywhere. So, how do we approach it?

It's pretty simple for the bure of the hissing cat... Draw the shaking portions separately as two different frames, then import the unmoving gousei portion for each. Just be careful not to shift the held portion of the drawing at all! Even a one - pixel movement will be really obvious. Just copy-paste and don't move it.

Unfortunately, it can get much more annoying. What happens when you need to draw something more complex?

This cut calls for gousei on Sophie's face and body, since that won't be moving. Let's set aside how to actually get a finished flapping animation on her hair for a moment and look at setting up gousei. You actually want to draw everything that stands still separately. Body, face, eyes, glasses.

Once you cut out all those still parts, you can trace the gousei and keys cleanly exactly like you'd expect–but you have to be extremely careful around the point at which they touch. There can't be any overlaps or gaps at all. If there are, the paint artist will have to clean up the work themselves or risk unfilled areas or overflowing color. Even if they do this, even just one or two overlapping pixels will cause the final drawings to flicker in a really distracting way.

**(TODO: insert red cross and green circle to the image above - and float to the left the same image zoomed in as shown in the book version)**

Make sure there's no overlap or gap–you and others will be referencing the gousei section for color fills, too–gaps are a no go! They can be filled even with the gousei and cels on separate layers using functions like "reference other layers."
Plastic

**Plastic** — a new resource and decorative material that can be *recycled*.

#### Polymer

Polymer Dust — is a high molecular weight compound that can be obtained from organic things. For crafting, you need a whispering chisel. In the mod, it can be obtained from wheat. You can increase the amount of polymer dust with a string.

#### Smelting Plastic

##### Plastic Panel

It is enough to smelt the polymer dust in the furnace to obtain a plastic panel.

##### Polymer Sand

From the dust you can also get polymer sand, which will not fall and will allow you to get acrylic glass.

#### Recycled

Almost all plastic blocks can be recycled (smelting) into plastic panels. This is very convenient if you need to change something, because plastic has a variety of shapes.

#### Blocks

Plastic Blocks are varied. Separately, it is worth mentioning the laminate and arrows signs.
Statue

**Statue** — new type of decorative blocks.

It is a hard-to-obtain *collectible* item. Since in the crafting of the statue there are drawings, chisel and sometimes the heads of mobs.

### Drawing

Drawing — new mod items. Need to craft new **Statue** blocks. Cannot be crafted, only bought from a new villager - **Hoarder**.
Laminate

**Laminate** — polymer-coated wooden planks. Unlike other boards, they cannot be obtained in the real world, as they are ***synthetic***.

Like plastic blocks, laminate can be ***recycled*** back into plastic panels.

Laminate doesn't have its own boat, but has its own versions of doors and hatches. To get a laminate, you need to combine blocks of **plastic** and any planks. To get a dark laminate, you need to combine with dark plastic.
Tin

Tin — is a new resource. Tin ore appears in accumulations of diorite.

#### Mining

Tin ore appears in accumulations of diorite. Tin is a light metal, so it is difficult to see it in diorite.

Tin ore contains tin nuggets. **Luck** affects getting.

#### Ingot and Nuggets

Tin drops out as nuggets, so to get an ingot, you just need to combine them in a craft table.

### Armor

Tin chains can be crafted into chainmail armor.
Разведчик

*Разведчик - Юнит для расширения территорий. В отличии от остальных юнитов, он ходит только по краям клеток.*

Чтобы взять территорию, нужно поставить разведчика в любое место, и когда он выйдет за границу страны, он начнет записывать сколько территории взял. Кроме этого нужно учитывать еще и цену за 1 клетку: $2. Таким образом даже маленькая провинция площадью 3х3 клеток обойдется в $18. А лимит размера одного города - 5х5.
Правила

Для игры понадобится:

1. Лист в клетку, в котором каждая клетка площадью 0,5 см.
2. Карандаш
3. Ластик

Все начинают с государства площадью 4x4 клеток. Так же ставят здание управляющего (звезда) и казарму. После создания государства игроки начинают развиватся. Отдельный лист нужен для подсчета дохода и баланса в стране. У всех вначале прибыль +5; денег 10.

После первого хода игрок может создать объекты, приносящие прибыль, вышки для защиты, юнитов, чтобы, например захватить территорию (см. Разведчик).
Водный транспорт

Водный транспорт не может разгонятся быстро, высчитывать разгон нужно по этой формуле: X+1, где X это скорость, пока она не дойдет до максимума, по желанию можно плыть с маленькой скоростью, чтобы в дальнейшем остановится быстрее. Формула остановки X-1, где X это скорость.

1. Перевозная лодка
2. Военная лодка
3. Военный корабль
4. Крейсер
5. Госпитальное судно
6. Крейсер 2
7. Крейсер 3
Ars Perfecta

Ars perfecta, the training facility of the Ordo Monstrum, is a rigorous and intense program designed to prepare new Monstrumologists for the challenges they will face in their careers. The only requirement for applying to the facility is that applicants must be out of school and free of any other responsibilities, as the program demands full commitment and dedication.

The examination process for Ars perfecta is highly selective and rigorous, with examiners assessing each candidate on the spot and choosing the best way to test their abilities. For example, a candidate who appears confident in their physical strength may be pitted against another candidate in a physical challenge. The facility is not a traditional school, but rather a training ground for a never-ending war against the dangers of the unknown.

The courses at Ars perfecta are designed to be brutal and grueling, pushing candidates to their limits and beyond. There is only one course offered, with minor variations depending on the preferences of the facility's leader. The program has resulted in multiple deaths and injuries among unprepared candidates, highlighting the serious nature of the training.

There is no limit to the number of candidates who can apply to Ars perfecta, as the facility is equipped to accommodate as many as necessary. However, only the most dedicated and capable candidates are likely to succeed in the program, as it demands a high level of physical and mental endurance. Those who complete the program will emerge as highly skilled and capable Monstrumologists, ready to face the dangers of the fantasy world of Veritas.

To ensure that candidates are fully prepared for the challenges they will face as Monstrumologists, Ars perfecta offers a wide range of programs and training exercises. These may include physical conditioning, tactical training, and specialized courses in fields such as magical theory and beast behavior.

In addition to these more traditional forms of training, Ars perfecta also exposes candidates to a variety of real-world scenarios and challenges. This may include simulated battles against powerful monstras, or field exercises in which candidates are required to navigate treacherous terrain or gather intelligence on unknown threats.

Throughout their time at Ars perfecta, candidates are also expected to demonstrate their knowledge and skills in various written and practical exams. These assessments are designed to test their understanding of the material covered in their classes, as well as their ability to apply what they have learned in real-world situations.

Despite the challenges of the program, many candidates find the experience at Ars perfecta to be deeply rewarding. The camaraderie that develops among fellow Monstrumologists, as well as the sense of accomplishment that comes from successfully completing the program, make it a truly transformative experience. Those who graduate from Ars perfecta are highly sought after by the Ordo Monstrum and other organizations in need of skilled and capable Monstrumologists.
Cel

All 2D animation is made up of individual drawings called **cels** (セル). The term cel originates from the traditional animation process, which uses transparent celluloid film on which animated characters and objects are painted.

Layer order follows Japanese timesheet logic. The furthest back layer is the background, with "A" being the cel farthest from the front. It then goes as far forward as far as needed.

## Drawing the Cels

Cels are used to chop up a shot into different objects and characters. A person far from the camera walking might be the A cel, while a car driving by close-up would be on the B cel. It's also common to put different parts of a character into different cels. Hair, eyes, mouths, and clothing are often put on different cels so that they can all move at different times.

Another common term is **Frame (コム or koma)**. These make up the horizontal rows in a timesheet. Sakuga is almost always 24 frames a second. With animations being held on 2s or 3s, most animation will effectively be 8-12 frames per second.

Keyframe drawings are labeled with the Cel they're from (A, B, C, etc.), numbered, and circled. The number indicates how late they come in the cut, in order from one to the last frame.

**Important note:**
Both the letter and circle are vital because most anime studios still work on paper.
I Need Block Wiki

**Welcome to the I Need Block Wiki!**
I Need a Block — This mod adds a lot of vanilla style blocks and decor items.

This wiki page contains crafting recipes.

Video Trailer

We're a collaborative community website about I Need Block that anyone, including you, can build and expand. Wikis like this one depend on readers getting involved and adding content. Click the "ADD NEW PAGE" or "EDIT" button at the top of any page to get started!

## Important articles

Inspirite and Corruptite

Whispering Chisel

Roadmap Updates

*Need help building out this community?*

* Rules of this wiki
* Getting Started
* How to Contribute
* Managing your new community
* Guides
* All Help articles

You can also be part of the larger Fandom family of communities. Visit Fandom's Community Central!

*Community Founders*: Write a good and paragraph-length description for your welcome section about your topic. Let your readers know what your topic is about and add some general information about it. Then you should visit the admin dashboard for more tips.
Prehistoric Dinosaurs Wiki

**Welcome to the Prehistoric Dinosaurs Wiki!**
We're a collaborative community website about Prehistoric Dinosaurs that anyone, including you, can build and expand. Wikis like this one depend on readers getting involved and adding content. Click the "ADD NEW PAGE" or "EDIT" button at the top of any page to get started!

## Important articles

PlaceholderA page about your topicPlaceholderA Main CharacterPlaceholderThe First EpisodePlaceholderAn Important LocationPlaceholderA Key EventPlaceholderA Crucial Item

*Need help building out this community?*

* Rules of this wiki
* Getting Started
* How to Contribute
* Managing your new community
* Guides
* All Help articles

You can also be part of the larger Fandom family of communities. Visit Fandom's Community Central!

*Community Founders*: Write a good and paragraph-length description for your welcome section about your topic. Let your readers know what your topic is about and add some general information about it. Then you should visit the admin dashboard for more tips.
Numbuh Croc

Numbuh C

### Affiliation

Being the reptile member of Sector C, Japanese Sector, Sector J, Sector X, Sector F, Sector CR and Sector H,Being the reptile leader of Sector C, Japanese Sector, Sector J, Sector X, Sector F, Sector CR and Sector H

### Occupation

Being the reptile member of Sector C, Japanese Sector, Sector J, Sector X, Sector F, Sector CR and Sector H,Being the reptile leader of Sector C, Japanese Sector, Sector J, Sector X, Sector F, Sector CR and Sector H

## Biographical information

### Marital status

Being the reptile member of Sector C, Japanese Sector, Sector J, Sector X, Sector F, Sector CR and Sector H,Being the reptile leader of Sector C, Japanese Sector, Sector J, Sector X, Sector F, Sector CR and Sector H

### Place of birth

Kids Next Door Treehouses,Kids Next Door Moonbase,Chinese Temples,King Sombra's Castle

## Appearances

### Portrayed by

Numbuh 60 (Codename Kids Next Door),Sector Z (Codename Kids Next Door),Numbuh 888 (Codename Kids Next Door),Chad Dickson (Codename Kids Next Door),Numbuh 274 (Codename Kids Next Door)

### Appears in

Kung Fu Panda 2,Kung Fu Panda 3,Kung Fu Panda Secrets of the Masters,Codename Kids Next Door

## **Trivia**

Numbuh C: I'm the new member of all Sectors. Woohoo!
無名老人

本條目含有來自非官方翻譯的內容，未來會在官方翻譯發布後進行更新。

> I have forgotten everything. I can’t remember my name… or even what I was waiting here for.
>
> Nameless Old Man

The **Nameless Old Man** (Template:FuriもなきTemplate:Furi?) is a large old man in 伊蘇10：北海歷險 who lives alone in a small hut, while tending a field in some small island. When Adol comes to his island, the old man teaches him how to use Mana and how to prepare for battle. However, he has forgotten everything about himself, including his name.

## Profile

### Appearance

He is a large elderly man with long, white hair, with part of it styled into two braids. He sports a thick mustache, a bushy beard, and eyebrows to match. His attire consists of a cloak, a fisherman's hat, and tattered clothing.

## Gallery

Ys X Old Man Screenshot 1.jpgYs X Old Man Screenshot 2.jpgYs X Old Man Screenshot 3.jpg
Template:ReferencesTemplate:Characters/10

1. ↑ Ys X: Nordics – teaser commercial; limited edition, new characters, seafaring, and more detailed, *Gematsu* (Yukino Oshimizu, May 26, 2023)
Yolds

本條目含有來自非官方翻譯的內容，未來會在官方翻譯發布後進行更新。

> "Nothing irritates me more than wasting time..."
>
> Yolds

**Yolds** (ヨルズ?) is introduced in 伊蘇10：北海歷險 as a highly-intelligent humanoid Grieger. She's a vulgar sadist who attacks the people of Obelia Bay and abuses them as though they were slaves. She holds an intense grudge against Karja, who wounded her with the power of Mana. Like an evil shadow, she stalks Adol and his friends.

## Gallery

YsX-Yolds Render.webpYs X Yolds Screenshot 1.pngYs X Yolds Screenshot 2.pngYs X Yolds Screenshot 3.png
Template:References
Template:Characters/10

1. ↑ Ys X: Nordics details Phylleia, Ezer, Yolds, Larg, Odr, and ‘Release Line’, *Gematsu* (Yukino Oshimizu, June 22, 2023)
2. ↑ https://www.cloudedleopardent.com/en/news/detail/99
里拉

本條目含有來自非官方翻譯的內容，未來會在官方翻譯發布後進行更新。

里拉
--

> Swordsman… I give you… the great power of Mana…
>
> Lila

**Lila Mistral** (リラ?) is a mysterious woman in 伊蘇10：北海歷險 who gives Adol the power of Mana and prophecies, through a strange conch shell that Adol picked up on the beaches of Karnack. According to her, she is somewhere in Obelia Bay, and asks Adol for help.

## Gallery

Ys X Lila Shell Screenshot 1.jpgYs X Lila Shell Screenshot 2.jpgYs X Lila Shell Screenshot 3.jpg
## Trivia

* The conch shell that Adol uses to communicate with Lila is the Lila Shell from *Ys II* and 伊蘇：始源.

Template:ReferencesTemplate:Characters/10

1. ↑ Ys X: Nordics – teaser commercial; limited edition, new characters, seafaring, and more detailed, *Gematsu* (Yukino Oshimizu, May 26, 2023)
2. ↑ *Weekly Famitsu Issue 1799*, pg. 86
Adventures in MeadowClan

**Adventures in MeadowClan** is the first game in the series.

## Layout

Unfortunately, this game is unplayable from glitches. However, the intended story was, you rise through the ranks, getting a mate along the way and saving lives. The canon player character is Dixiestar, although you can choose your own name and gender.

## Areas

Here is a gallery of areas.

* Warrior's Den
* Herbal Grounds
* Hunting Grounds
* Random place (as it was called in-game)
* Highledge/Nursery
* Mentors Den (as it was called in-game)
* leader's Den (grammatical errors present in-game)
* Training Grounds
* Moonlights home (grammatical errors present in-game)
* Copy clan place/Sunset (grammatical errors present in-game)
* Orb Clan Tereitory (grammatical errors/misspellings present in-game)
1/11
## Remakes

Adventures in MeadowClan V2 is an unfinished remake. Several remakes were started, but this one got the farthest.
雷夫‧伊布利茲

本條目含有來自非官方翻譯的內容，未來會在官方翻譯發布後進行更新。

> It’s okay, Glenn. You were born an idiot.
>
> Leif Yvelise

**Leif Yvelise** (レイフ・イヴリーズ?) is introduced in 伊蘇10：北海歷險 as a boy who commutes out of town rather than working near his home in Karnack. He is a childhood friend of Glenn and Cruz. While he often acts like a teenager, joking around with Glenn and Rosalind and teasing each other, there are times when he unexpectedly shows his mature side. He seems to avoid any contact with his family when he returns to his hometown, and even does not seem to go near their house.

## Profile

### Appearance

Leif is young man with a dark complexion, green eyes and purple hair tied in a ponytail. He wears a white shirt under a leather girdle, blue trousers, and sandals. He is also seen wearing a leather bracelet and a necklace.

## Gallery

Ys X-Leif Screenshot 1.jpgYs X-Leif Screenshot 3.jpgYs X-Leif Screenshot 2.jpg
Template:ReferencesTemplate:Characters/10

1. ↑ Ys X: Nordics – teaser commercial; limited edition, new characters, seafaring, and more detailed, *Gematsu* (Yukino Oshimizu, May 26, 2023)
伊蘇4：太陽之假面

本條目還未翻譯完成，您可以耐心等候或協助翻譯本條目。

Template:Redux

关于the PlayStation 2 game，请见Ys IV: Mask of the Sun -A New Theory-。
***Ys IV: Mask of the Sun*** (イースIV -MASK OF THE SUN-, *Īsu 4: MASK OF THE SUN*?) is an action role-playing game developed for the Super Famicom, and is the fourth game in the Ys video game series. Ys series creators Nihon Falcom Corporation licensed its development to Tonkin House.

*Mask of the Sun* was released in 1993 and was one of two games released under the title of "Ys IV", the other being Hudson Soft's *Ys IV: The Dawn of Ys* for the PC Engine. The two games share the same basic story, but many changes were made in the Hudson-produced *Dawn of Ys*. Of the two, *Mask of the Sun* was the official Ys IV storyline before the release of *Ys: Memories Of Celceta*. Originally a version of "Mask of the Sun" was also planned by Sega for Mega Drive and later Mega-CD under the Sega-Falcom joint development agreement, but this version was ultimately canceled.

In 2005, Taito Corporation developed a remake/reimagining of *Mask of the Sun* for the PlayStation 2, titled *Ys IV: Mask of the Sun -A New Theory-*.

## Plot

*Ys IV* is an interquel which takes place in between the events of *Ys II* and *Ys III: Wanderers from Ys*.

After returning to the town of Minea, Adol comes across a message in a bottle. The message is from the far-off land of Celceta, asking for help. Adol decides to take the offer and boards a ship to the land of Celceta.

In this version of *Ys IV*, Adol's departure occurs immediately at the start of the game; there are no initial events occurring in the actual town of Minea, as there were in *The Dawn of Ys*.

## Gameplay

*Ys IV* returns to the style of play used in Ys I and II. Adol is viewed from a top-down perspective, and he attacks enemies by running into them to cause damage. Adol gains experience from defeating enemies, and gaining experience serves to raise his strength, as in the previous games. A new Magic system is introduced as well, in which Adol can equip elemental swords to cast various types of attack spells.

## Music

The original *Ys IV* music was composed by Falcom's *Sound Team JDK*, and it was arranged for the Super Famicom by the Cube Corporation sound team. *Mask of the Sun* generally draws from the same source music as *The Dawn of Ys*, though much of it is used differently between the two games. In addition, there are a number of new compositions which are used exclusively in *Mask of the Sun*.

No soundtrack releases exist for *Mask of the Sun*, as all Ys IV music releases were published under the *The Dawn of Ys* title.

## Other media

A novel prequel was written by Waku Ōba and two different manga versions were done by Hitoshi Okuda and Nozomu Tamaki.

## Concept Art

Y4A.pngY4B.pngY4C.pngY4D.pngY4E.pngY4F.pngY4G.pngY4H.pngY401.pngY402.pngY403.pngY404.pngY405.pngY406.pngY407.pngY408.pngY409.pngY410.png
## Video

TV commercial

fr:Ys IV: Mask of the Sun
羅莎琳德‧拉茲維利

本條目含有來自非官方翻譯的內容，未來會在官方翻譯發布後進行更新。

> “Jeez! Don’t you think you should listen to what other people have to say once in a while, dad?”
>
> Rosalind Lazveli

**Rosalind Lazveli (ロザリンド・ラズヴェリ?)** is the poster girl for the town’s popular Lazveli Tavern, adoringly known by the nickname Rosa. Concerned about Adol, a boy of the same age on an adventure, she starts talking to him. She is well-mannered and considerate of those around her, and is even said to be “more mature than her parents” by the tavern’s regulars. Perhaps because of her sometimes nagging nature, she has become close friends with Glenn and Cruz, boys of the same age as her.

## Profile

### Appearance

Rosalind is an elegant young girl with long pink hair and green eyes. She wears a hairband with a rose etched on the left side, a frilled dress, black stockings and gray and white boots.

## Gallery

Rosalind Chibi.webpYs X Rosalind Screenshot 1.jpg"Rosalind: I'm heading for the outskirts of town to pick up flowers to set on the tables"Ys X Rosalind Screenshot 2.jpg"Rosalind: Both of you are around the same age as us, so I would be happy if you could talk to us about various things."Ys X Rosalind Screenshot 3.jpg"Rosalind: You Guys...... mind keeping it down."
Template:ReferencesTemplate:Characters/10

1. ↑ https://www.gematsu.com/2023/04/ys-x-nordics-details-dogi-glen-rosalind-cruz-and-mana-actions
與真實世界的對照

Template:Speculation
The world within the Ys series, is an analogue to our real world. As such there are many characters, events or places that are analogue to the real world. In the bottom list, when the sentence "X is Y" is used, it means that
"X is an analogue to Y in the real world".

## Characters / Group

* Romun Empire is 羅馬帝國
* Hieroglyph Church is 天主教
* Nors religion is 北歐神話
* Maia is 蓋亞
* Rosvita is 聖女貞德
* Zola is 吉爾·德·雷
* Bishop Roussillon is 皮埃爾·科雄
* Chard the 3rd is 查理七世

## Events

* Eras are various Geological periods
	+ Ocean Era is the Ediacaran Period
	+ Frozen Era is the Andean-Saharan glaciation
	+ Insectoids Era is the Cambrian explosion
	+ Sky Era is the Triassic Period
	+ Eternian Era is the Jurassic Period
* Lacrimosas are the Extinction events
	+ Ocean Era's Lacrimosa is the End-Ediacaran extinction (Mass extinction of Ocean creatures)
	+ Frozen Era's Lacrimosa is the mixture of Ordovician–Silurian extinction events and Late Devonian extinction (Mass extinction around Glaciation)
	+ Insectoids Era's Lacrimosa is the Permian–Triassic extinction event (Mass extinction of Insects)
	+ Sky Era's Lacrimosa is the Triassic–Jurassic extinction event (Mass extinction that allowed Dinosaurs to become dominant)
	+ Eternian Era's Lacrimosa is the Cretaceous–Paleogene extinction event (Mass extinction of Dinosaurs)
* Romun-Altaginian war is the Punic war
* Hundred Years War is Hundred Years' War

## Artifacts

* Ark of Napishtim is mixture of Noah's ark and Utnapishtim
* Akashic Records is Akashic Records and Book of Life
* Great Tree of Origins is Mahabodhi Tree
* Darm Tower is Tower of Babel
* Mistilteinn is Mistilteinn

Template:Lore
米拉貝爾‧阿斯拉德

本條目含有來自非官方翻譯的內容，未來會在官方翻譯發布後進行更新。

> All right, that’s enough. If you’re going to fight, be more like boys and do it with more energy.
>
> Mirabel Asrad

**Mirabel Asrad** (ミラベル・アスラッド?) is introduced in 伊蘇10：北海歷險 as a nurse who works at her father’s clinic in Karnack. She is cheerful and good-natured, but also is very courageous, as she was able to naturally speak with Karja, the Pirate Princess. Glenn and others are indebted to her, as she took care of them since childhood, and so she is someone they can never go against. She understands them well, and watches over their growth.

## Gallery

Ys X Mirabel Screenshot 1.jpgYs X Mirabel Screenshot 2.jpgYs X Mirabel Screenshot 3.jpgYs X-Leif Screenshot 2.jpg
Template:ReferencesTemplate:Characters/10

1. ↑ Ys X: Nordics – teaser commercial; limited edition, new characters, seafaring, and more detailed, *Gematsu* (Yukino Oshimizu, May 26, 2023)
Larg

本條目含有來自非官方翻譯的內容，未來會在官方翻譯發布後進行更新。

> “You humans are interesting. Interesting indeed.”
>
> Larg

**Larg** (ラーグ?) is introduced in 伊蘇10：北海歷險 as a highly-intelligent humanoid Grieger. He takes interest in the culture and customs made by humans, and he appears in front of Adol and the group to ask peculiar questions.

Compared to Yolds and Odr, Larg is less belligerent rather than simply aloof, making his true intentions difficult to discern.

## Gallery

YsX-Larg Render.webpYs X Larg Screenshot 1.pngYs X Larg Screenshot 2.pngYs X Larg Screenshot 3.png
Template:References
Template:Characters/10

1. ↑ Ys X: Nordics details Phylleia, Ezer, Yolds, Larg, Odr, and ‘Release Line’, *Gematsu* (Yukino Oshimizu, June 22, 2023)
2. ↑ https://www.cloudedleopardent.com/en/news/detail/99
Phylleia

本條目含有來自非官方翻譯的內容，未來會在官方翻譯發布後進行更新。

> “The princess’s big day—I wouldn’t miss it for the world!”
>
> Phylleia

**Phylleia** (フェリア?) is introduced in 伊蘇10：北海歷險 as a skilled and resourceful warrior who commands the Third Fleet of the Balta Navy, earning her the title of one of its "twin pillars" alongside Gunnar, the chief warrior. She serves as the right-hand woman to Grimmson, the leader of the Balta Navy, and also takes on the responsibility of looking after his daughter, Karja.

Although she wasn't initially a Norman, Phylleia made the decision to join the Balta Navy due to several personal reasons that influenced her choice.

## Gallery

Ys X Phylleia Screenshot 1.pngYs X Phylleia Screenshot 2.pngYs X Phylleia Screenshot 3.png
Template:ReferencesTemplate:Characters/10
Odr

本條目含有來自非官方翻譯的內容，未來會在官方翻譯發布後進行更新。

> “Build up your strength, Adol and Karja. Then come and kill me.”
>
> Odr

**Odr** (オーズ?) is introduced in 伊蘇10：北海歷險 as a highly-intelligent humanoid Grieger. He possesses exceptional combat skills, surpassing even his own kind. He takes a keen interest in Adol and Karja, who wield the power of Mana and challenges them to fight, indicating his anticipation of their skill potential. In the case of Karja, he goes a step further by actively encouraging her growth as a warrior.

## Gallery

YsX-Odr Render.webpYs X Odr Screenshot 1.pngYs X Odr Screenshot 2.pngYs X Odr Screenshot 3.png
Template:References
Template:Characters/10

1. ↑ Ys X: Nordics details Phylleia, Ezer, Yolds, Larg, Odr, and ‘Release Line’, *Gematsu* (Yukino Oshimizu, June 22, 2023)
2. ↑ https://www.cloudedleopardent.com/en/news/detail/99