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What law is international law? Definition A set of rules generally regarded and accepted as binding in relations between states and nations. Also called law of nations. Or suitable law of international society. Birth of international law ウェストファリア条約(英 Peace of Westphalia)or ヴェストファーレン条約(独 Westfälischer Friede) The prevailing view in the study of international law is that it emerged in Europe in the period after the Peace of Westphalia(1648), which concluded the Thirty Years War. In state practice, the year 1648 marking the Peace of Westphalia is considered as a watershed, at least in Europe where a new policital order was created, to be replaced only after the defeat of Napoleon by the Vienna Congress of 1815. There are two key points to answer the question that why the modern birth of international society had begun with Peace of Westphalia. 1 First is clear recognizion of birth of sovereign state. The sovereing state we know today is found in a fall of medieval feudal system in West Europe as absolute sovereign state. 2 Second is the completion of coexistence of sovereign state. In 16th century at West Europe, England and France were about to establish absolute sovereing state. The Peace of Westphalia determined teritories. The Peace of Westphalia virtually demolished the Holy Roman Empire. Regional lords had been recieved sovereingty and recognized as independent nation. The Peace of Westphalia denied universal authority of the Holy Roman Empire and Pope and represented the establsihment of modern sovereing state mean. This is the first time but the international society was found as coexistence of sovereign state at limited area West Europe.
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式輝「四面楚歌チャーミング」/Familiar Glare, Charming Siege from All Sides 式輝「四面楚歌チャーミング」/Familiar Glare, Charming Siege from All Sides(3)(G) エンチャント - オーラ エンチャント(クリーチャー) エンチャントされているクリーチャーは+2/+2の修整を受けるとともに、「式輝「四面楚歌チャーミング」を生け贄に捧げる:クリーチャー1体を対象とする。このターン、全てのクリーチャーは可能ならそのクリーチャーをブロックする。」能力を持つ。 参考 妖々夢-アンコモン
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Timing 発売日 1998年4月22日 発売元 BMG ジャパン BVDR-5002 BLACK BISCUITS are Vivian Hsu+Kyoya Nanami+Amazan ■ 01. Timing ・ 作詞 森浩美 ブラック・ビスケッツ 作曲 中西圭三 小西貴雄 編曲 小西貴雄 ■ 02. Timing (OROGINAL KARAOKE) 戻る
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Male candidate . Qualification Must be B. com (Freshers can also apply) Experience 0 to 2 yrs Salary - 15 - 20k pm. Responsibility Willing to Travel extensively all over India . Need to do Company Recovery. To peach new products to client companies. Good Oral , written communication . To apply https //www.placementindia.com/job-search/accountant-jobs-in-pune.htm
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Limited Pointing Homeの>2002年度の投稿リスト」中に>当文書は収められております。 原文 Limited Pointing 著者 Randy Buehler 訳者 34 投稿日 2002-02-08 更新 2003-05-23 An exercise in gauging power さて、今日から君はWizards of the Coastの社員だ。そう、君の夢だった仕事、マジックのカードデザインに加われるのだ。 今回の君の仕事はトーメントのデベロップ。上司であるリードデベロッパーが仕事内容を伝えにくる。 「よし、それではリミテッドでの点数付けをやってくれ」 ・・・、えっ? 点数付けですか? 「そう、点数付けだ」 「限定環境においてのカードの強さをチェックし、それによってセットのバランスを調整するんだ」 そして君にそのための部署、『Developer s Handbook』に送り込まれることになる。(さて、この『Developer s Handbook』は実在し、以下はそこで実際に使用されているものの引用文である。その全文は公開できないので、抜粋して紹介する) 第1目的は、(そのセットでの色の強弱に従って)セットの強さのバランスをとることである。 第2目的は、それに従ってカードのレアリティを決定することである。 上記を満たしたうえで、可能ならば次の下記の目的を満たす。 a)これまでに発売したセットと同程度の強さとする。 b)再録カードは以前のものと同じレアリティとする。 以下が、点数付けの定義である。75枚のシールド戦やドラフトでの幸運度を測る定義とも言える。 点数は0.0点かた5.0点まで。カードの強さは点数と完全に比例する(つまり、3.5点と2.5点のカード2枚は、3.0点のカード2枚と同じ強さである)。つまりこの点数とは、マジックというゲームが、理解するために努力したプレイヤーにはそれに見合った勝利を、そしてそこからゲームの喜びが得られるものにするために作られるのだ。 以下が点数付けのガイドラインだ。 5.0: 引いたら必ず、絶対、間違いなく使う。 4.5: 他のカードを無視してでも使う。 4.0: この色のカードが他になくても使う。 3.5: この色に決定するカード。 3.0: この色を使おうかと思わせるカード(ドラフトできそうならば絶対その色にするレベル)。 2.5: このレベルのカードが数枚取れればこの色にする程度のカード(ドラフトできそうなら90%その色にするレベル)。 2.0: その色を使っているなら、普通プレイするカード(70%)。 1.5 まぁメインに入れるカード(50%)。 1.0: メインに入れたくないカード(30%)。 0.5: たいていサイドボード(10%) 0.0: サイド後ですら使わない(0%) アーティファクトやゴールドのカードには少々の修正が加わることになる。 点数は、まずチームリーダーからチェックシートがメンバーにメールされ、返答し送り返されてきたものを平均して決定する。そしてその点数付けのためには、最初に挙げた2つの目的にそった作業を行う事になる。 そう、一つ目は各色を適切なパワーバランスに保つこと。つまり通常我々は、全ての色を同じ強さにすることを目指している。もしあるセットで特定の色が強くなり過ぎれば、後のセットでバランスをとるようにしている。もちろん何事にも例外はあり、ある特定の色を強くするエキスパンションを出すことにした場合は、通常のバランスを崩す事になる。 強さのバランスに続く2つ目が、枚数のバランスだ。カードがシートに印刷され、それがブースターになった場合、どのパックも同じくらいの強さになるようにするのだ。誰も弱いパックなどは欲しがらないので、これは重要な作業だ。(我々は以上の作業を『照合』と呼んでいる) さて今度は、実際に君達にこの作業をやってもらおう。『トーメント』黒コモンの点数付けを行なうのだ。来週、17枚のカードに対するR Dでの正式な点数を発表しよう。 1つ2つアドバイスしておこう(これは実際に新しく入った開発者に教えているのと同じものだ)。ほとんどの人間は始めてこの作業を行なうとき、点を高くし過ぎるきらいがある。実際のブースタードラフトやシールドでは、手に入れたカードの半分ぐらいしか使わないので、実際の点数平均は1.6ぐらいにしかならないのだ。 目安用にサンプルを用意しておいた。 《Masticore(UD)/マスティコア》 5.0 ゲームの歴史でも数少ない5.0点カードだ。 《Fireball(5th)/火の玉》 4.3 《Agonizing Demise(IN)/苦悶の死》 3.9 コモンでのほぼベスト。現在我々は、コモンには4点以上を持ってこないようにしている。 《Overrun(OD)/踏み荒らし》 3.5 もちろん緑が3マナもかからなければもっと点が高い。 《Mystic Zealot(OD)/秘教の盲信者》 2.7 《Barbarian Lunatic(OD)/蛮族の狂人》 1.8 私自身はこのカードはもう少し点が高いと思ってはいるのだが。 《Dematerialize(OD)/非物質化》 1.2 《Circle of Protection Green/緑の防御円》 0.6 《Saprazzan Raider(MM)/サプラーツォの略奪者》 0.0 さぁ、やってみよう! そして来週の正解をお楽しみに。 898 名前: 投稿日: 02/02/21 16 18 796の結果 CARD TEAM PUBLIC Average 1.8 2.1 Faceless Butcher 3.3 3.3 Crippling Fatigue 3.0 2.4 Soul Scourge 2.9 2.6 Waste Away 2.6 2.3 Cabal Torturer 2.5 2.3 Organ Grinder 2.4 2.5 Gravegouger 2.1 1.8 Mesmeric Fiend 1.9 2.3 Shade s Form 1.8 2.5 Unhinge 1.5 1.5 Putrid Imp 1.5 1.5 Cabal Surgeon 1.3 1.5 Rancid Earth 1.3 1.8 Carrion Rats 1.0 1.9 Psychotic Haze 0.8 1.4 Restless Dreams 0.7 2.1 Cabal Ritual 0.0 1.9 当ページは、2ちゃんねるの卓上ゲーム板「MTG Sideboard Online 日本語版」スレッドに投稿された記事を、426(braingeyser-lj@infoseek.jp)がまとめたものです。
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BOUNTY HUNTING TOP BOUNTY SPECIALIZATION icon Expertise 説明 効果 Assault Efficiency アサルトアーマー装着時スペシャルアタックアクションコスト減少(4P) (5/10/15/20)% Intense Assault アサルトアーマー装着時スペシャルアタックダメージUP(3P) (2/5/10)% Return Fire ダメージを受けると反撃(1P) Return Fire Rapid Assault スペシャルアタックのクールタイム減少(2P) (5/10)秒 Innate Assault スペシャルアタックのアクションコスト0(1P) (20)% Antagonize タウント攻撃アビリティー(1P) Antagonize(Mark1) Fumble 敵の攻撃がグランシングブローの確立UP(DEBUFF)タウント(1P) Fumble Stun 敵の攻撃がグランシングブロー(1P)ルート短時間・タウント Stun Absorption 衝撃耐性UP(4P) (125/250/375/500) Deflection エネルギー耐性UP(4P) (250/500/750/1000)% Shields エネルギー・衝撃大幅UP(1P)グランシングブロー大幅UP Shields Ambush Efficiency Ambushのアクションコスト減少(4P) (5/10/15/20)% Ambush Intensity AmbushのダメージUP(3P) (2/5/10)% Swift Ambush Ambushのクールタイム減少(2P) (10/20)秒 Advanced Ambush アーマーブレイク(1P) Ambush(Mark3) Advanced Armor Break AmbushダメージUPAmbushクリティカルチャンスUP(1P) (2)%(10)% Man Hunter PvPクリティカルUP(4P)ヒューマノイドクリティカルUP (1/2/3/5)%(1/2/3/5)% Lethality CrippleダメージUP(4P) (5/10/15/25)% Trap Extension Razor NetとWeb Bombの範囲拡大(2P) (1/2)M Cruelty Cripple,Razor Net,Web Bombのスネア時間UP(3P) (1/2/3)秒 Intimidating Strike 対象のアクションを減らす攻撃 Intimidating Strike Dread Strike 対象の攻撃力&回復力減少DEBUFF(1P) Dread Strike TOP BOUNTY SPECIALIZATION
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GENRE TITLE ARTIST bpm notes エクハ難度 HARDSTYRE GO OVER WITH GLARE -ROOTAGE 26- BEMANI Sound Team "L.E.D.-G" 170 2000 10 曲・譜面情報 既存難易度投票 IIDX ID書き込みは任意です。 既存難易度投票はツリーのどこでも構いません。コメントの先頭に、詐称(+1.1とカウント),強(+0.6とカウント),やや強(+0.3とカウント),中(±0とカウント),やや弱(-0.3とカウント),弱(-0.6とカウント),逆詐称(-1.1とカウント)を明記した上、半角スペース1つの後、理由を記載してください。(理由は必須ではありませんが、なるべく入力してください。) コメントミスの際は、その下へコメント欄に「コメントミスです。」とご記載ください。 難易度変更が決定した際、管理者がそのツリーに難易度変更したことを記載します。 その際、新たな難易度変更提案は親コメントへお願いします。 管理者の難易度変更コメントより後ろの同じツリー内の投票は無視されます。 ご了承ください。 詳しいことは、投票時のルールをご覧ください。 IIDX ID 攻略情報・コメント ID書き込みは任意です。 IIDX ID コメント すべてのコメントを見る
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imageプラグインエラー ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (Boldwyr Intimidator.jpg) 「さあ、これでお前が誰だかみんなわかったろう。」 "Now everyone knows what you are." モーニングタイド コンスピラシー バトルボンド 【M TG Wiki】 名前
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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.
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【Tags Gakupo I Kaito Len VanaN'Ice haku tI natsuP】 Original Music Title IMITATION BLACK Music Lyrics written, Voice edited by natsuP Music arranged by natsuP and haku Singers Kaito, 神威がくぽ (Kamui Gakupo / Camui Gackpo / Gackpoid), 鏡音レン (Kagamine Len) Click here for the Japanese Lyrics English Lyrics (translated by hokorichan): Twisted ordinary life, Forbidden love, An insincere heart Painted over in black An incomplete love, The jet-black world I ve always wanted to say to you, There is just one thing to say The impulse that cannot be suppressed If it is to be broken To love and be loved, to the point of going mad. This sweet and burning kiss is imitation. Senses numbing, consciousness fading away The overflowing emotions and reality are painted over in black The sinking moon overlapping with the clouds, As if to hide the shadows. Can we not return anymore? Let the two of us just disappear together Someday I can be with you With that belief, I let go of my hand If it is a love that doesn t suit me Then it might as well be broken Tightly and strongly I want to be embraced The warmth of the overlapping bodies are imitation. If the sun were to shine, I would be bothered You will vanish from my sight. Please teach me the answer? Common sense and morality crushed and destroyed If there are to punishments, I should be the only one punished What you said at the end I embrace those words I m thinking of you everyday. The feel of your shoulder in my embrace Before that melts away into nothing I will go and meet you. Embraced in a quivering and wavering fantasy, What I said you were imitation. On the cool skin the unfading bite marks Everything and anything in my memory are sinking into the darkness Falling away To love and be loved, to the point of madness. This sweet and burning kiss is imitation. Senses numbing, consciousness fading away The overflowing emotions and reality Paint it all over in black English Lyrics (translated by blacksaingrain): Distorted everyday life The forbidden love The disguised mind The imperfect love that was blacked out The jet-black world Though it s the only word I ve wanted to tell you for a long time If the inextinguishable impulse gets broken We give love and receive love The sweet hot kiss as if to make me go crazy is IMITATION A feeling of paralysis Losing consciousness The overflowing feelings and the truth Let them be blacked out The setting moon went behind the clouds As if to hide the shadow Is it impossible to go back by now? Let the two of us disappear as it goes on Though I believed I could get together with you someday and let go of your hand If it s love that makes one not like oneself Let it be broken down I want you to hold me tightly and hardly The warmth of the body I snuggled is IMITATION Since the sun shines and disturbs me I lose the sight of yours Please teach me the answer? I ll break down common sense and morality And I ll be the one to receive punishment Holding the word you said at the end I recall you to my mind any day The touch of the shoulders I held tight Before it melts fades and disappears I ll go and see you I got lulled into the lambent illusion The word I told you was IMITATION The permanent scar of the cold skin I ll make all the memories sink into black and I ll be fallen We give love and receive love The sweet hot kiss as if to make me go crazy is IMITATION A feeling of paralysis Losing consciousness The overflowing feelings and the truth Let them be blacked out Romaji lyrics (transliterated by hokorichan): yugan da nichijou yurusare nai ai itsuwari no kokoro kuroku nuritsubusareta fukanzenna ai shikkoku no sekai zutto kimi ni iitakatta tatta hitotsu no kotoba na noni osae kire nai shoudou ga kowarete shimau no nara aishi aisare kurui souna hodo ni amaku atsui kuchizuke wa IMITATION mahi suru kankaku tooku naru ishiki afureru omoi to shinjitsu kuro de nuritsubushite shizun de iku tsuki ga kumo to kasanatte marude kage wo kakusu you ni mou modore nai no? kono mama futari de kiete shimaou itsuka kimi to musubareru to shinjite te wo hanashita noni jibun rashisa no nai ai nara kowashite shimaeba ii kitsuku tsuyoku dakishimete hoshikute kasanaru karada no nukumori wa IMITATION taiyou ga terashi boku wo komaraseru kara kimi ga mie naku naru Please teach me the answer? joushiki mo moraru mo buchikowashi batsu wo ukeru no wa boku dake de ii saigo ni kimi ga itta kotoba wo daite itsu no hi mo kimi wo omou yo dakishimeta kata no kanshoku tokete kiete nakunaru mae ni kimi ni ai ni iku yo yurari yurameku gensou ni idakare kimi ni itta kotoba wa IMITATION tsumetai hada ni kie nai kizuato kioku no subete nani mo ka mo kuro ni shizumete ochite yuku aishi aisare kurui souna hodo ni amaku atsui kuchizuke wa IMITATION mahi suru kankaku tooku naru ishiki afureru omoi to shinjitsu kuro de nuritsubushite [natsuP, natsu-P, haku]