約 3,938,883 件
https://w.atwiki.jp/wiki42_satisfaction/pages/12.html
大見出し satisfaction -
https://w.atwiki.jp/eternal_duel/pages/30.html
Locations Here is a list of some of the more commonly used locations in the Countryside. If you discover anymore, please let me know To Move to the other towns you may also teleport by using the Cullis Portals after you turn 18 days old. To use the Portals does cost money based on how many HP you have. To get to Silver Meadows it costs 3 times your Current HP in gold. To return to Black Dale it costs 6 times your Current HP in gold. 0,0 - Blackdale (Town) 4,18 - Non working water fountain 4,40 - Hint on spade 7,23 - Non working water fountain 8,20 - Working water fountain 14,26 - British Guy 16,16 - Wooven Woods (talk to Unicorn about runes and dig for roots) 20,3 - Little Wooden Hut (upgrade runes) 22,25 - Bahh (gives you clue for first 4 cards) 23,52 - Dr. Douche (don t drink the O.J.???) 25,25 - Silver Meadows (Town) 39,49 - People in well (need rope) 40,57 - Baseball bat game (use your crystals and see how far u can hit them) 43,43 - Tyrale (Town) 43,47 - Play Park for pets 64,52 - Aqua-Man 64,72 - Weird Haze (secret town of Indiaco – upgrade Lightning Strike RW3) 74,73 - Umbongo Shop 78,76 - Salis Pool (fishbowl) 79,14 - Nish Noudad (exchange book for Spade)
https://w.atwiki.jp/rulersofnationswiki/pages/29.html
Legislation [立法] Forbid entrance to the territory [領内への入国禁止] Authorize entrance to the territory [領内への入国許可] Forbid exits from the territory [領内からの出国禁止] Authorize exits from the territory [領内からの出国許可] Establish the integration policy [同化政策の制定]Restrictive and monitored [監視と制限] Moderated and balanced [バランスのとれた緩和] Opened [自由] Establish aid for immigrants going home [帰宅移民援助制度の制定]No aid [援助なし] Basic subsidy [基本的な補助金] Highly incentive increased subsidy [高額な補助金] Conduct an operation to regularize the situation of illegal immigrants [不法入国者の状況調査指示]For all illegal immigrants [すべての不法移民] For illegal immigrants having lived on the territory for more than 5 years [５年以上滞在の不法移民] For a selection of illegal immigrants based on criteria of integration [不法移民] Launch a massive operation to accompany illegal immigrants to the frontiers [不法入国者の国境送還の為の大規模作戦の着手] Regulate tourist visas [観光ビザの規制]No visas [ビザなし] Visas mandatory [ビザ必須]
https://w.atwiki.jp/pocketstation/pages/281.html
1997年1月31日～発行－ブロック 電撃PlayStationの増刊号。 付録のディスクには「ポケステ富くじ」というポケットステーションのIDを使った抽選企画や、ポケステの体験データなどが収録されていました。 この付録でしか入手できないポケステ用ソフトもあります。 D23,25,37 アニメチックストーリーゲーム(1) カードキャプターさくらの限定ボイス収録。 D27,28,32,37 ポケットじまんによる自作ゲーム。 D30,31,37 悠久幻想曲3 Perpetual Blueのキャンペーン用ソフト。バージョン違いあり。 【参考サイト】 ★電撃PlayStation D ウィキ★
https://w.atwiki.jp/pcs_explanation/pages/16.html
IN/overview ISU components. Interpretation. Interpretation overview What is interpretation? Interpretation is the personal and creative translation of music by using movements with intricacy, difficulty and quality. Movement is the keyword. Variety of movement is required in all parts of the skater’s composition, in order to have depth in the interpretation of the music. All written criteria for interpretation are addressed in this DVD. But to simplify the process for the judge, we are focused on three main points of interests for interpretation. Musical movement, expressive/nuance movement, and effortless movement. IN/Music Movement http //youtu.be/Uio9PKFlEAY 2.1.2. ISU components. Interpretation. Musical movement Musical movement is movement that reflects the phrasing, the character, and the style of the musical selection. Music is played in phrases, much like different languages we speak, each piece of music, like a different language may have different rhythms and tempos, but all has a question and and an answer pattern, a question and answer phrase of music completes a whole musical sentence. Let’s listen to the musical selection from an ice dance team. This style of music is classical. (1 50) Let’s now observe what movements were performed to the music. Look to see if the movement phrasing corresponds with the musical phrasing. (3 07) The phrasing of the movement matched well with the phrasing of the music. In ice dance, the focus is on music and movement and the elements are such that they can be integrated into the interpretation smoothly. Now, a selection of music from a single skater. It is also classical. (4 20) Let’s look at what movements were performed. Pay particular attention to the movement phrasing to see if it corresponds with the musical phrasing. (5 24) Generally speaking, for singles and pairs, as the skaters prepare for their risky, technical elements, there is often a disconnect between the music and their movement. (5 46) Here is an example where the skater ignores the music, and becomes disconnected for an extended amount of time prior to the technical element. (6 13) While preparing for his second technical element, he again disconnects with the music. (6 25) In preparation for the quad toe-triple toe combination, this skater ignored the music for 12 seconds in order to set up the element, which is worth 13.8 points. Prior to the triple axel attempt, which is worth 8.2 points, he ignored the music for 11 seconds. There are many points to be gained by successfully completing the technical elements. But in numerous cases, it is at the cost of losing connection with the music and interpretation. In regards to the skater being connected to the music, let’s look at some performances. To help guide and for discussion point, we will indicate on the screen where the skater loses connection with the music and where they are connected. While we do this, consider that the technical element is part of the program, and it should work with the music, regardless of its success. (8 57) Even though there was a mistake, the disconnect with the music was very short. The movements were not always phrased perfectly, but he was both physically and emotionally connected with the music. (10 47) In the ISU judging system, the balance between technical points and component points is up to the skater. If the skater chooses to execute difficult jumps with high point values, but does not interpret the music for an extended length of time prior to the technical element, the price they pay should be reflected in the interpretation score. Looking at the time of the connection with the music between these two skaters, the skater on the left was connected for 33 seconds, and the skater on the right for a minute and 25 seconds. The disconnect time was 1 04 for the skater on the left, and just 9 seconds for the skater on the right. This is a pair skating example, where almost all the short program movements are connected to the music. (14 34) With the exception of two very short disconnects, all the entrances and exits of technical elements are performed with a full attention paid to the musical phrasing, character and style. This pair is not at the level of the previous and are disconnected for a significantly more time than the first team. (17 52) Just for interest, looking at the amount of time connected to the music, the team on the left was connected for only 56 seconds, and the team on the right was for 2 minutes and 39 seconds. The disconnect time of the team on the left was 1 minute and 56 seconds, and the team on the right just 12 seconds. There is a significant difference in the overall quality of the teams. And the difference in the amount of the time connected to the music is also reflected. IN/Expressive nuance movement http //youtu.be/oLk0a-BDY5g Expressve/nuance movement relates to the detailed finesse of the skater or the team. It is their ability to respond with personal nuances and express variations and intensity, tempo, and the dynamics of the music made by the composer and/or the musician. So, what exactly is a musical nuance? A musical nuance is anything that gives life to the music, like an increase in tempo, or elongation of a note, or the addition of instruments to strengthen a phrase, and intensity and etc. Listen to this piece of music. And although it is simply a repetition of the same musical phrase, it changes from phrase to phrase by tempo, intensity and the use of different instruments. We have revealed an audio wave graph so you can see the musical highlights at the same time you hear them. (1 27) Let’s now look at what was performed during this music, and see if you can pick one movement nuance that had nothing to do with the element, and was only there to recognize the music. (2 18) In this next example, we look more closely at the highlights of the music connected with the nuance movement using slow motion. (2 46) Notice the audio wave bar at its highest point at the same time as the skater raises her head, then quickly turns it to the left, then right to catch the downbeats following the highlight. (3 32) Nuance movements recognizing highlights or at times such small details that can be hard to see in the overall picture, but in the end, it is the small details that make a good performance into a great performance. Watching one last time without any graphics or use of slow motion, it is easier to see the detail of the movement and hear the detail of the music. (4 37) It is important to understand that the interpretation of the same music with the same choreography can greatly differ from an event to an event. If the skater is not feeling well or the technical elements are not successful, or if they are struggled, this can change the phrasing of the movement with the music. It can change the intensity of the overall interpretation of the program. Let’s look at the same skater who has good skills and a good program. On the right side of the screen you will see her best performance of the year, and on the left side the same program and music, but not skated as well. How does this affect the expression and nuance movements? (7 29) With the smallest mistakes on the left, the skater is now behind her music, and is faced with a decision whether to rush, take a shortcut or leave something out in order to catch up. The energy and thought process to make such a decision in such an important moment, takes her away from the magical connection with the music, she seems to have on the right side of the screen. (9 32) At the end of the program, it becomes clear she was unable to catch up with the music, which left her struggling both technically and with her interpretation. It should be noted that this skater was a wonderful and capable skater of the highest level, but on that day, the interpretation was affected. (9 51) Here is another example of a very good skater. Performing the same program, at two very different standards. On the left of the screen, is a very good performance from January 2008, and on the right, a more difficult and challenging performance from March of the same year. Notice that once the program begins to have difficulty, the attention to expression and nuances and interpretation begins to rapidly decline. (15 02) This example, again, demonstrates that when a skater has technical difficulty, much of the expression and nuance movement is left out, while trying to catch up to the music and returned to successfully completed the elements. IN/Effortless movement http //youtu.be/lLl44YmUhdg Effortless movement. Effortless movement is when the skater effortlessly changes the tempo, rhythm, or intensity of their skating in direct relationship with the same changes in the music. During this program, the skater keeps her speed and flow moving effortlessly from element to element, while at the same time responding to changes in tempo, and intensity of the music. (3 16) Our next example of effortless movement is from a skater who demonstrates a wonderful sense of rhythm with the music, responses to the nuances of the music with small movements. He is totally committed to the character and style of the music, and because of all this, makes the program to seem entirely effortless. It is a good example that all the aspects of the program come together, the athlete and audience are bonded through a seemingly effortless performance. IN/Conclusion http //youtu.be/Cex942xblXE The judges have many things to consider during the skater’s performance. Breaking down by item by item it seems almost impossible to assess each detail with such accuracy. So it is important that one must have an automatic understanding of the priorities in each component. In interpretation we have tried to make it simpler by concentrating on three main points, which would become your reference points prior to giving a score. Musical movement ask yourself, did the skater or the team’s movement reflect the style, character, and phrasing of the music? Did you, as the audience, or the judge, feel involved by the music and movement, or were you just watching the athletes skate, while the music happened to be played? Expressive nuance movement there is detail in every musical piece. Did the skater or the team’s movement express all details of the music, or was there no recognition of the music detail? Effortless movement Did the program appear effortless? Effortless programs often seem to go quickly, or without visible struggling and fatigue by the end. The judge will be based with certain aspects or percentages of these questions being answered “yes.” It is then up to the judge to *accurately* as possible apply the corresponding percentage overall to the scoring each component. Interpretation, it is the relationship of the skater’s movements connected with the style and character of the music. The recognition from the skater in responding with the movements and the nuances of the music. And perhaps the most difficult aspect, the ability to make all of the scenes effortless.
https://w.atwiki.jp/dominions3/pages/885.html
Mummification 疫病を撒き散らすアンデッド指揮官Mummyを作製します Mummification ジェム 疲労 内部ID 32 0 使用 水中判定 効果 効果量 儀式 Summon Commander 主属性 主Lv 効果発生数 射程距離 - 0 1 副属性 副Lv 効果範囲 命中補正 - 0 0 領域 Lv 防御判定 抵抗判定 Disabled 0 専用国家 Item Only ゲーム内説明文 This spell will bring to life one prominent servant of the empire as a Mummy. Mummies are powerful undead beings that can command both the living and the undead. 和訳 この呪文は、帝国の著名な従者の一人をMummyとして蘇らせます。Mummyは生者とアンデッドの双方を指揮できる強力なアンデッドです。 注記 アーティファクト兜の1つAmon Hotepの装備によって使用可能な特殊召喚魔法。アイテムからの使用なのでコストは必要ない。 生成されるMummyはRitual of Rebirthで人間サイズの英雄を蘇らせた際のものとほとんど同じ。残念ながら魔法スキルは持っていない。 サイズ2でHP30としぶとく、素の防御力も8、防御スキルは低いが攻撃スキルはそれなりと、装備を固めて戦闘指揮官にするには手頃な性能。ターンさえ費やせば何体でも作製できる。 指揮官として利用しても良いが、周囲に疫病を撒き散らすので配置に気を使う必要が出てくる。突っ込む場合もそれは変わらないとはいえ、敵への感染が期待できるだけまだ良い。装備なしで疫病爆弾扱いする手もある。 アンデッドらしく冷気と毒は無効だが、乾燥した体は燃えやすいらしく、火炎耐性が-100%になっているので主力として扱うなら対策必須。本体がタダとはいえ、装備を与えている場合は簡単に死なせるわけにはいかないだろう。 コメント 名前 コメント
https://w.atwiki.jp/scepswiki/pages/10.html
PlayStation(初代) 発売日 1994/12/3 売り上げ台数 10240万台 最高売上ソフト グランツーリスモ 1085万本 当時に’次世代機’と呼ばれた家庭用ゲーム機の一つ。今のPlayStationシリーズの原点。家庭機で初めて本格的な3Dグラフィックを実現した。同時期に発売されたセガサターンやNINTENDO64との市場戦争に勝利し最終的に1億台以上を売り上げた。 次世代機のPlayStation2が2000年に発売されても2006年まで生産が続けられ、2014年にアフターサービスが終了した。 歴史 最初は任天堂とソニーの共同開発により発売される予定であったが、1991年に両社の共同開発は中断。その後1992年の経営会議でゲーム事業への進出についてが議論となり、ゲーム事業へ進出。1992年夏から「PS-X」プロジェクトが立ち上がり、1993年11月16日にSCEが設立。1994円11月に発売日と価格を発表し、1994年12月3日に価格を39800円で発売。1995年5月には日本で100万台を突破、1996年11月には世界累計1000万台を突破し2004年には世界1億台を達成した。 *
https://w.atwiki.jp/puuti/pages/13.html
X operationsとは nine-two氏と、TENNKUU氏の二人が作った様々なミッションの目的を達成していくＦＰＳ（一人称視点シューティング）ゲームです。 オンラインもあり多人数でプレイできます。 X operationsはいまでも愛されておりマルチサーバーも立ってあります。 リンクから公式サイトやフォーラムへどうぞ。 （公式説明） X operations は、様々なミッションの目的を達成していく ＦＰＳ（一人称視点シューティング）ゲームです。 オンライン版ではインターネットなどを介して多人数でプレイできます。
https://w.atwiki.jp/yamiorica/pages/286.html
概要 場所・領域を表す定数。 例 定数名 数値 定数の意味 LOCATION_DECK 0x01 デッキ LOCATION_HAND 0x02 手札 LOCATION_MZONE 0x04 モンスターゾーン LOCATION_SZONE 0x08 魔法＆罠、フィールド、Ｐゾーン LOCATION_ONFIELD 0x0c フィールド全体 LOCATION_GRAVE 0x10 墓地 LOCATION_REMOVED 0x20 除外ゾーン LOCATION_EXTRA 0x40 エクストラデッキ LOCATION_OVERLAY 0x80 エクシーズ素材 送り先として指定できる定数例 定数名 数値 定数の意味 LOCATION_DECKBOT 0x10001 デッキボトム LOCATION_DECKSHF 0x20001 デッキトップ SetRangeでのみ使用できる定数 定数名 数値 定数の意味 LOCATION_FZONE 0x100 フィールドゾーン LOCATION_PZONE 0x200 Ｐゾーン 関連リンク 定数
https://w.atwiki.jp/railnationjp/
2015.10.24～ counter - today - yesterday - Welcome to *Rail Nation 攻略 日本語版 Wiki*