【YouTube選物 no.1】Office Life After 2020
這禮拜推薦給大家兩個製作精緻用心的YouTube影片,談疫情後 #辦公空間 的可能變化,一支影片來自The Economist,另一支來自The Wall Street Journal,以下是我整理出的三個影片重點:
🔙【Work life開始回到過去】
#工業革命讓工作集中
單一地點的群體工作模式,在工業革命後開始流行,勞動人口被安排在工廠生產,管理階層為了就近監督,也圍繞在同一處上班,飲食休閒的商家跟著人潮走,服務類型的店家開始增加,跟著也吸引更多工作人口移入,一處生態圈於是誕生,城市聚落也隨之開展。
#COVID19給了我們理由分散
嚴格說來,COVID-19只是逼著各個企業進行一項早該發生的調整,科技的發展讓大量的勞動生產者轉型成知識工作者(knowledge worker),許多人的工具從雙手換成大腦,網路工具與雲端共享文件讓遠端工作輕鬆無痛,我們早就具備離開辦公室的條件,但企業一直沒有一個好理由去變動冒險,不需聚集的知識工作人口早該能夠在家工作,省去通勤也減少城市擁擠負擔。值得一提的是,離開辦公室也代表我們應該放棄 #用時間來衡量責任 的習慣,薪資應該脫離nine-to-five and overtime,回到工業革命以前,所得以「產量」和「功能」來結算。
#大家可以回家啦
#到海邊餐桌公園上班
💼【到辦公室上班成為一種選擇】
1940年代開始流行的座位隔間(cubicle),讓辦公室的設計從此慢慢走向「小空間大利用」的魔術排列,要兼顧降低干擾又要便於互動,辦公空間的設計只能盡量在矛盾中找尋平衡點,但COVID-19帶來了新的可能性,已經有多家企業在研擬員工輪班進辦公室的做法(rotation staffing),讓一半以上的員工,把高密集專注的工作帶回家進行,釋放辦公室空間,讓 #進公司 成為建立共同文化的一件事,少了高租金跟密集人員成本,省下的預算可以把辦公室打造成方便客戶拜訪,也方便員工休閒互動的靈活配置空間(reconfigurable booths/workstations)
🦠【健康成為辦公空間的新亮點】
在硬體設施上,零接觸設計(touch-less tech)和熱像攝影機(thermo camera)是入口處的新重點,大樓整體的通風系統(ventilation system)要能分隔出幾個獨立區域,多引入戶外新鮮空氣(目前大樓空間主要是密閉循環居多),以及升級濾網等級,燈具(light fixture)則要能搭配殺菌紫外光。在人員活動的部分,入門系統可搭配個人健康管理app,回覆了重要問題才能解鎖入門,識別證也可以搭配社交距離提醒器,記錄每個近距離接觸過的對象名單,方便查詢接觸歷史。
許多改變其實理所當然,但從眾心理(herd mentality)讓我們左看右等,都在等誰第一位做出改變,多年下來社會不斷前進,工作內容不斷演變,我們的工作空間卻總是落後,誰也料想不到等到最後,站出來強迫大家改變的,不是有遠見決心的企業或政府,而是無情的疫情與病毒。
同時也有8部Youtube影片,追蹤數超過9萬的網紅TaibeiMoto。台北摩多,也在其Youtube影片中提到,0. 天仁茗茶 Tea truck 1. 三寶當機 System failed in brain 2. A柱死角 Blind spot my ass 3. 切入最佳時機 Best timing 4. 高速公路 Freeway 5. 尬起步 Street drag race 6. 合法闖紅燈 Lega...
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street light system 在 黃之鋒 Joshua Wong Facebook 的最佳貼文
【After Winning Majority in LegCo: Beijing's Crackdown May Trigger International Intervention】
***感謝Hong Kong Columns - Translated,將我早前撰寫『議會過半想像:以「#國際攬炒」反制「臨立會2.0」』長文(https://www.facebook.com/joshuawongchifung/photos/a.313299448762570/2887650867994069/)翻譯成英文,鼓勵國際社會關注立會選舉一旦過半的沙盤推演,在最惡劣形勢下的制衡策略。***
中文精簡版本:https://www.facebook.com/joshuawongchifung/photos/a.564294826996363/2888641404561682/
Hongkongers have experienced our revolution for over half a year. They no longer take a consequentialist view to the effectiveness of their movement as they did years ago, or waste time second-guessing the intentions and background of fellow activists. Following the defensive battles at CUHK and PolyU, November’s District Council election saw a great victory of unity. More marvellous is the union between peaceful and “valiant” protesters.
In the process of resisting tyranny, the people have realised that one cannot prioritize one strategy over another. This is also how the common goal of “35+” came into being—the hope that we will win over half of the seats in the Legislative Council (LegCo) this September, such that the political spectrum that represents the majority of Hongkongers is able to gain control of legislative decisions. The political clout of Hongkongers will increase if 35 or more seats are successfully secured on our side. It is certainly one vital step to achieve the five demands within the system.
The possibility of realizing legislative majority
Technically it is not unrealistic to win a majority even under the current undemocratic system. Back in the 2016 LegCo election, we already won 30 seats. In addition to the District Council (First) functional constituency seat that is already in the pocket of the pan-democrats, as long as the candidates in Kowloon East and New Territories West do not start infighting again, we could safely secure 33 seats based on the number of pan-dem votes in 2016.
The other 3 seats required to achieve a majority depend on democrats’ breakthrough among the functional constituencies by dispersing the resources of the Liaison Office. They also count on whether the turnout this September could exceed 71.2% — that of last year’s District Council elections. Some of the factors that could affect the turnout include: will the epidemic persist into the summer? Will there be potential violent repression of protests in the 2 weeks preceding the election? Will Hong Kong-US relations be affected by the downturn of the global economy?
Therefore, the ambition of “35+” is to be prioritised by the resistance as both a means and an end. I have already expressed my support for an intra-party primary at the coordination meeting. In the meantime, it is pleasing to see the ongoing debates reaching a consensus of maximising the seats among geographical constituencies in the upcoming election.
Whilst enthusiastic coordination, we should also assess the post-election landscape and gauge Beijing’s reactions: if we do not reach 35 seats, Hong Kong will be subject to tighter control and more severe repression by China; but if the democratic parties successfully form a majority in LegCo, CCP’s fears of a “constitutional crisis” would become imminent. Hence, the key questions are how the Pan-Democrats should deal with the volatile political situation in Hong Kong and how they are going to meet Beijing’s charge head-on.
Watching out for Beijing’s dismissal of LegCo after reaching majority
To take back control of LegCo such that it faithfully reflects the majority’s principles and needs is the definition of a healthy democracy. Recently, however, DAB’s Tam Yiu-chung has warned that the plan of the Pan-Dems to “usurp power” in the LegCo would only lead to Beijing’s forceful disqualification of certain members or the interpretation of the Basic Law. This proves that winning a majority in LegCo is not only a popular conception but also a realistic challenge that would get on the nerves of Beijing. Could Beijing accept a President James To in LegCo? These unknown variables must be addressed upon achieving a majority.
While there is no telltale sign as to Beijing’s exact strategy, we are already familiar with the way CCP manipulated the Basic Law in the past 4 years. Having experienced three waves of disqualifications in LegCo, twice kicked out of LegCo with my team, and thrice locked up in jail, I have no false hopes of an easy compromise from Beijing: they would not let Pan-Dems control LegCo for half a year and wait (as is the proper procedure) until after having negatived the Budget to dissolve the legislature, and thereby giving them an easy victory in the re-elections. The greater the Pan-Dems threaten Beijing’s rule in Hong Kong, the more likely that it will trigger Beijing’s repression.
Since the disqualification and arrest of lawmakers have already become “normalised”, one can even imagine the police stepping into the LegCo building to force Pan-Dems into voting. Neither is it beyond our imagination to expect the CCP to kick out all 70 lawmakers in a fit of rage and replace them with a provisional LegCo “2.0” [HKCT note: The first was from 25 Jan 1997 to 30 Jun 1998]. To depend on a majority that could lead to a chapter of a “new testament” for One Country, Two Systems is perhaps what many elites long for, but they are overly optimistic:for a ticket to the promised land will not be available at the Chief Executive election campaign a year and a half later.
Admittedly, the Pan-Dems cannot unilaterally initiate “Laam-chaau” [HKCT note: mostly translated into “scorched-earth” mentality or “mutual destruction”; some even translated into “If I burn, you burn with us”]. The most they can do is to force a standstill of the government, and not for long the LegCo will have been eliminated from the equation to make the wheels turn again. It all leaves the plan of “Negativing the motion → Dissolving LegCo → Re-election after re-election → the stepping down of Carrie Lam” merely as overly positive speculation, probably resulting from their overestimate of CCP's capacity for rational calculation. The Pan-Dems must guard their frontlines and recognise what the biggest threat from Hong Kong to China could be. In this case, should LegCo sessions be disrupted or suspended, the Pan-Dems would have to be well prepared to surmount the expected obstacles and prevent the disqualification crisis 4 years ago—a Catch-22 indeed.
Productive tension from global intervention: Using Laam-chaau against the CCP
What aggravates the CCP the most is the potential threat to Hong Kong’s unique status as the one and only “separate customs territory”. Any miscalculation will compromise its role as the Chinese economy’s “white gloves”. Imagine if CCP were to disqualify all 70 elected lawmakers and convene a meeting north of the Shenzhen River to pass a resolution to Hong Kong’s affairs (much like the Provisional Legislative Council “1.0" in 1997), how great will the shock be in a world with an effective Hong Kong Human Rights and Democracy Act? However hard it is to predict the future one thing is certain: With the US presidential election just around the corner, blows to the separation of powers would not be tolerated, and the West would necessarily effect countermeasures against the Hong Kong government.
Beijing has been relying upon Hong Kong to navigate the international community for decades. While clamping down on the political freedom of the cosmopolitan city, Beijing desires to maintain the financial centre’s economic freedom. Hence, we started lobbying for the Hong Kong Human Rights and Democracy Act four years ago, and today we are determined to promote “Laam-chaau” on an international scale.
The will of the voters must be reflected in an election. If a “35+” legislature were to be dismissed and replaced, such flagrant violation of democracy would assuredly cause a greater backlash than the infamous extradition bill. Knowing what the reality ahead of us could be, we have to combine our election and international strategies to oppose the placement of a 35+ LegCo with an “Emergency Legislative Council 2.0”, to advance an international “Laam-chaau” to Hong Kong’s status as “separate customs territory”. Only then will we stand a chance to resist the regime and to realise the five demands.
Adjusting our mindset: Overcoming the “constitutional crisis” to reach a resolution
Upon the realization of the “35+” LegCo, it is expected that the CCP will launch a devastating counterattack. The Pan-Dems should not expect LegCo to run normally; neither can the lawmakers realise their governing blueprints they have for Hong Kong. Rather, candidates will be able to compete against one another with visions of a liberated Hong Kong through popular vote. Bringing this point up has nothing to do with undermining the common goal of reaching a majority in LegCo, but rather channels the battle of LegCo to positive use upon the rule of law’s death and a “constitutional crisis” ahead. Knowing that Hongkongers have nothing to fall back on, all Pan-Dems should not miss the only way to the realization of “35+”.
Thus, be they partisans, nonpartisans, incumbent politicians, amateur politicians, or the civil society as a whole – if we stay in the political discourse of 2016 and continue to perpetuate old stereotypes, that is to deal with the divisions on the pan-democratic camp by favouring the most “local” faction; to consider only resource allocation and self-aggrandizement as the purpose of a LegCo campaign; to ignore how potential lawmakers are fitted to what specific roles; to turn a blind eye to the journey of resistance since last summer (extending indefinitely into the future)—They would lead as astray and cost us lose a precious opportunity for change by winning a 35+ majority.
The extent to which the pan-democrats can stay united in light of the political atmosphere since last summer is another problem that our side must to address. Before the watershed moment of 12th June 2019, many democratic delegates were trapped in the mentality of needing to “preserve people’s livelihood”, “be content of what we have accomplished”, and other strategies that favours stability. As the government refuses to heed to the five demands, whether the democrats, especially those in the functional constituencies, have the political will to go all-in is the real difficult question that confronts us in the upcoming LegCo election.
All in all, if “35+” cannot be realised, it is unsurprising to see LegCo being more heavily suppressed in the next 4 years; even if "35+" is achieved, it is questionable whether the pan-democrats are able to weather multiple attacks, verbal or physical, from the regime (judging from its power in the last four years) and utilise the international Laam-chaau strategy against the displacement of LegCo. Adhering to the motto of “we fight on, each in his own way”, I can only hope that Hongkongers in elections, street confrontations and international front can reconcile with each other, so that we may collectively compel the government to yield to our demands in the next six months. It is only by reaching a resolution before a real constitutional crisis that we can combat the institutional violence of the regime and not be devoured by it.
https://hkcolumn.blogspot.com/2020/04/joshua-wong-after-winning-majority-in.html?fbclid=IwAR216gf53pG_j9JOpDfr2GItvjLfrFSekKTPzoEs3-s9KBqvPEwz865P8vw
street light system 在 喜劇演員 Facebook 的最讚貼文
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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris
Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.
According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.
According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.
When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.
Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.
Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article
Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.
During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”
Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.
In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.
In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.
"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."
The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.
At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.
The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.
Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.
The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened
From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.
street light system 在 TaibeiMoto。台北摩多 Youtube 的最佳解答
0. 天仁茗茶 Tea truck
1. 三寶當機 System failed in brain
2. A柱死角 Blind spot my ass
3. 切入最佳時機 Best timing
4. 高速公路 Freeway
5. 尬起步 Street drag race
6. 合法闖紅燈 Legally run red light
7. 無倒無摔 Bike for sell
8. 松鼠很好 當松鼠 Be squirrel
音樂 Music:
money by adi-levi Artlist
turn-it-up-rewind-selecta by yanivi Artlist
車輛 Vehicle:
Suzuki DRZ400 SM/
Suzuki Address125ss/
Yamaha Tracer 900 GT
攝影機 Camera:
Sony Action Cam 運動攝影機
HDR-AS15 /
HDR-AS200V /
FDR-X3000 /
RM-LVR2 WiFi遙控器
後製軟體 Editing Software:
Final Cut Pro X
Motion
https://www.facebook.com/TaibeiMoto
https://shopee.tw/taibeimoto
street light system 在 serpentza Youtube 的最佳解答
We don't talk about it because it goes unreported or swept under the rug, but we need to bring this into the light!
DOCUMENTARY LINKS:
Conquering Southern China:
https://vimeo.com/ondemand/conqueringsouthernchina
Conquering Northern China:
https://vimeo.com/ondemand/conqueringnorthernchina
Stay Awesome China (my new documentary): https://vimeo.com/ondemand/stayawesomechina
For Motorcycle adventures around the world, and a talk-show on two wheels go to ADVChina every Monday 1pm EST
https://www.youtube.com/advchina
Does China attract LOSER Foreigners?
https://youtu.be/kpI71-mNl0k
For a realistic perspective on China and world travel from an American father and a Chinese mother with two half-Chinese daughters go to Laowhy86 every Wednesday 1pm EST
https://youtu.be/mErixa-YIJE
Chinese girl tries Popeye Chicken and Chick-fil-a
https://youtu.be/3VyFwRgAhk8
For a no-nonsense on the street look at Chinese culture and beyond from China's original YouTuber, join SerpentZA on Friday at 1pm EST
https://www.youtube.com/serpentza
It's OK to love China!
https://youtu.be/aVrcdmVB-JE
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street light system 在 translation Youtube 的最讚貼文
#'92年CLIMAX開発・SEGA発売のアクションRPG。DDS520なるGraphicEngineによる擬似3Dデザインが特徴で、高さと奥行きを同時に持つ事によりSide View・Top View両方の面白さを生み出す。
BGMはシャイニングシリーズ、相川七瀬や知念里奈の音楽プロデュースでお馴染みの武内氏によるもの。
効果音:渋谷道玄氏、作曲:武内基朗氏
manufacturer: 1992.10.30(J),1993(U),1993.10(EU) SEGA / CLIMAX
system: Mega Drive
hardware: Z80,YM2610
Sound Effect: Dogen Shibuya
Composer: Motoaki Takenouchi
------------------------------------------------------------
00:00:00 01.Title Theme (タイトル)
00:00:08 02.Labyrinth (ラビリンス/地下迷宮・オープニングイベント1)
00:03:06 03.Black Market (ブラック・マーケット/オープニングイベント2)
00:05:21 04.Hey, it's Your Turn! (お前たち、出番だよ!/カーラ一味のテーマ)
00:07:42 05.Let's Go on an Adventure (さあ、冒険の旅へ/オープニングイベント3)
00:10:12 06.Bustling Street (にぎわうストリート/町・村)
00:12:35 07.Prayers to God (神に祈りを/教会)
00:14:41 08.The Marquis' Invitation (侯爵の招待状/メルカトル城)
00:17:27 09.The King's Chamber (王の間にて/王の間)
00:20:54 10.Seeking Treasure (財宝を求めて/前半フィールド)
00:23:34 11.Beneath the Mysterious Tree (不思議の木の下で/トレントの木)
00:26:44 12.Treasure Hunter Nigel (トレジャーハンター・ライル/後半フィールド)
00:29:16 13.Friday and a Soft Breeze (そよ風とフライデー/トゥインクル村)
00:32:54 14.Friday's Memory (フライデーズ・メモリー)
00:36:36 15.Wicked God's Banquet (邪神の宴/グミ村・前)
00:39:14 16.Heh Heh, Think I'll Disrupt This Good Cheer (陽気に騒ごうウッホッホ/グミ村・後)
00:43:06 17.A Ballad for Princess Loria (ロリア姫に捧ぐバラード 晩餐会)
00:44:33 18.Torchlight (たいまつの明かり)
00:46:41 19.Pink Book (ピンクの本)
00:48:44 20.A Ballad for Princess Loria (ロリア姫に捧ぐバラード/晩餐会 *Loop Version)
00:51:17 21.Premonition of Trouble (波乱の予感/ダンジョン)
00:55:09 22.The Death God's Invitation (死神の誘い/地下墓地)
00:57:42 23.Light of the Setting Sun (たいまつの灯り/ミルの塔)
01:00:28 24.Deserted Street Corner (誰もいない街角/バーラの町)
01:04:32 25.Urgent, Nigel! (急げライル!)
01:06:54 26.The Silence, the Darkness, and... (闇と静寂と/カザルトの村)
01:09:31 27.Mysterious Island (ミステリアス・アイランド/全体マップ)
01:12:10 28.Adventure Spirit (アドベンチャー・スピリット/ボス戦)
01:14:41 29.Divine Guardian of the Maze (迷宮の守護神/ラスボス戦)
01:18:06 30.To the Great Adventurers (偉大なる冒険者たちへ/スタッフロール)
01:21:24 31.Cure (治癒)
01:21:29 32.Jingle 1 (ジングル 1)
01:21:38 33.Jingle 2 (ジングル 2)
01:21:55 34.Jingle 3 [Unused] (ジングル 3 *未使用)
01:22:04 35.Item Chest (アイテム箱)
01:22:07 36.Save (ゲームセーブ)
01:22:11 37.Rest (休憩)
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