約 3,068,495 件
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Spirit Blast/スピリット･ブラスト カードタイプ：Village/村 エキスパンション：Doomgate Legion/宿命の軍団 英語版 Card Name Number Class Cost Gold Weight Light VP Text SPIRIT BLAST 8 SPELL 7 One Hero gains +MAGIC ATTACK equal to the number of XP(Maximum 6) you currently possess. 日本語版 カード名 枚数 分類 コスト 金貨値 重量 明かり 勝利点 テキスト スピリット･ブラスト 8 呪文 7 英雄1枚は、「魔法攻撃+あなたが現在持っている経験点(最大+6)」を得る。 カード解説/CARD GLOSSARY カード分析 所感 非常に強力な力を秘めた英雄強化呪文。 XPをわざと余らせる必要があるため、このカードを中心にデッキ構築・戦術ともに変えていく必要がある。専用デッキが組めるカードというのはそれだけで価値がある。 効果が最大限に発揮される6XPというのはレベル3の英雄を一枚作れる値である。 あくまで強化呪文のため、なんらかの英雄が必要。とはいえ別に民兵でも構わない。経験点をレベルアップに使用しにくいことから、レベル1が多機能な英雄がよりよいか。 上限が6なのでそれより余った経験点は普通に使用してかまわない。経験点は4～5あれば十分なことも多いので、状況を見て消費していこう。 最低でも2点、普通は3点の経験点がないと、役に立たない。その経験点をどこから調達するかが、最大のテーマ。先にレベル1英雄を買って経験点を稼いでからこれを買っていくのがよいか。壁さえ超えればあとはガンガン攻撃力が上がっていく。 専用デッキにするからには、ある程度枚数がほしいが、微妙にコスト高。 問題は多いが、軌道に乗った後の爽快感はかなりのもの。一枚から6点火力が出るのは大きい。 余った経験点の利用先として終盤に1～2枚買うのも別に悪くはない。 シナジー Bluefire/ブルーファイア、Grognard/老兵等：序盤に経験値を得る手段が欲しいため。もちろんTrainer/道場主がいるならそれで良いが、それは単に道場主が強いだけである。 Drill Sergeant/鬼教官：経験点が溜まっていれば、ダンジョンではこのカードが、村ではDrill Sergeantが猛威を振るう。 アンチシナジー 得意なモンスター 苦手なモンスター
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{Tom} You better stop dreaming of the quiet life Coz its the one we ll never know And quiet running for that runaway bus Coz those rosey days are few And stop apologising for the things you ve never done Coz time is short and life is cruel Well its up to us to change This town called malice Ooooh yeeah {Danny} Rows and rows of disused milk floats Stand dying in the dairy yard And hundred lonely housewives clutch empty milk bottles to their hearts {Toqether} Hanging out their old love letters on the line to dry Its enough to make you stop believing when tears come fast and furious In a town called malice Ooooh yeeah Ba ba ba ba ba da ba Ba ba ba da ba ohh Ba ba ba ba ba da ba Ba ba ba da ba Struggle after struggle year after year The atmospheres a fine blend of ice Im almost stone cold dead In a town called malice Ooooh yeeah {Danny} A whole streets belief in sundays roast beef Gets dashed against the co-op To either cut down on beer or the kids new gear Its a big decision in a town called maliiice Oooh yeeah {Tom} The ghost of a steam train echoes down my track Its at the moment bound for nowhere Just going round and round Playground kids and creaking swings Lost laughter in the breeze I could go on for hours and I probably will But Id sooner put some joy back In this town called malice yeeah Ooh yeeeah This town called malice yeeah Ohh yeeeah This town called malice yeeah
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Pac-Man Kart Rally 項目数：12 総ポイント：200 難易度： ☆Windows Phone 7.x/8.1専用タイトル(WP8.0では動作しません) 製品情報：Windows Phone Store 配信日： DL費用：300円 ジャンル：レーシング＆フライト 一歩先取り 3回のレースで、少なくとも1人の相手に1周の差をつけてゴール 20 点と線 10個のクッキーを使って上級トーナメントを走破 10 ギア ヘッド すべてのカートとカート アップグレードをアンロック 10 ドリフト アウェイ 1回のレースで、ドリフト ブーストを8回実行 10 チャンピオン すべてのカップで優勝 20 ハードコア パワーアップを使うことなく、3回レースを走破 10 ミッション完了 チャレンジ モードですべてのミッションを完了 30 サバイバル サバイバル レース、全ラップで1位になる 20 負け知らず マルチプレーヤー レースで 50回勝利 20 カートレースの王者 上級難度でトーナメントを完了 30 記録破り いずれかのコースで、自己記録を3回破る 10 クラシック パックマン チェイス レースで、すべてのゴーストを食べる 10
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Finally Dive -kors k Remix-/ ここなつ 原曲はIII GRAVITY WARSで収録された「Finally Dive」(ここなつ Produced by lapix名義) 初めてお披露目されたのは「 EDP presents ひなビタ♪ライブ2019 日向美ビタースイーツ♪ × ここなつ～Sweet Smile Merry go round～ 」昼の部にてシークレットゲストのkors kが披露した楽曲 その際の ツイート では表題が定まっていなかったが、-kors k Remix-としてプレイアブル収録となる 公募採用曲のREMIXバージョンがゲームに収録されるのはメドレー構成曲を除いて、SDVXどころかBEMANIシリーズ初 原曲と違い、「FLOOR」には属していない Lv CHAIN 譜面属性 BPM TIME Version Genre Illustrator Effect NOVICE 04 0583 146 VIVID WAVE23 ひなビタ♪ 琥夢 feat. 古都 からあげしすたーず ADVANCED 11 0926 EXHAUST 14 1120 MAXIMUM 17 1740 CHAIN数変更[NOV] 0537→0583(2021/02/17) +難易度投票 NOVICE 選択肢 投票数 投票 詐称 0 強 0 中 0 弱 0 逆詐称 0 ADVANCED 選択肢 投票数 投票 詐称 0 強 0 中 0 弱 0 逆詐称 0 EXHAUST 選択肢 投票数 投票 詐称 0 強 0 中 0 弱 0 逆詐称 0 MAXIMUM 選択肢 投票数 投票 詐称 0 強 0 中 0 弱 0 逆詐称 0 攻略・解説 譜面・楽曲の攻略についてはこちらへどうぞ 見辛さ解消の為に改行や文頭の編集、不適切なコメントを削除することがあります 名前 コメント ※文頭に[ bgcolor(#aaf){NOV}]、[ bgcolor(#ffa){ADV}]、[ bgcolor(#faa){EXH}]、[ bgcolor(#888){MXM}]をコピー ペーストすると見やすくなります コメント 楽曲やイラストなどのコメントについてはこちらへどうぞ 名前 コメント すべてのコメントを見る
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発売時期：1990年10月9日／収録号数：DS18号 対応機種：MSX2／メディア：FLOPPY DISK ジャンル：鑑賞／シリーズ名：BLASTER BURNシリーズ 概要説明 音楽と登場キャラが鑑賞できる。 攻略情報
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GALLERY 1/2 # 名称 出現条件 01 R-TYPE FINAL CONCEPT DESIGN 1 BABYモードのクリア 02 R-TYPE FINAL CONCEPT DESIGN 2 KIDSモードのクリア 03 LABEL DESIGN HUMANモードのクリア 04 IMAGE PHOTO -HOSHI NO DAICHI HE- BYDOモードのクリア 05 R-TYPE FINAL AD1 R-TYPERモードのクリア 06+ R-TYPE FINAL AD2 A.I.対戦チャンピオンシップモードのクリア 07+ R-TYPE FINAL AD3 全機体を開発 08+ R-TYPE FINAL AD4 「BYDO LABO」の開発率を100%にする 09 R-9A ARROW-HEAD 001 R-9A･A･H / R-9A ARROW-HEAD の出撃 10 R-9D SHOOTING STAR 機体No27 R-9D の出撃 11 R-9E MIDNIGHT EYE 機体No37 R-9E の出撃 12 R-9W WISE MAN 機体No20 R-9W の出撃 13 OF-1 DAEDALUS 機体No49 OF-1 の出撃 14 TL-T CHIRON 機体No62 TL-T の出撃 15+ LET S GO! 機体No99 R-99 の出撃 16+ SHOOT THE SUN 機体No100 R-100 の出撃 2/2 # 名称 出現条件 17 FORCE -TATAKAI NO ATO- STAGE 1.0 のクリア 18 R-FIGHTER -ZETTAI ZETSUMEI- STAGE 2.0 のクリア 19 OPERATION -LAST DANCE-1 STAGE 2.1 のクリア 20 OPERATION -LAST DANCE-2 STAGE 2.2 のクリア 21 R-TYPE(1987) STAGE 2.3 のクリア 22 R-TYPEⅡ(1989) STAGE 2.4 のクリア 23 GALLOP(1991) STAGE 3.0 のクリア 24 R-TYPE(1989) STAGE 3.5 のクリア 25 IMAGE FIGHT II(1992) STAGE 4.0 のクリア 26 IMAGE FIGHT II(1992) STAGE 5.0 のクリア 27 MY R-9 TYPE1 STAGE 6.0 のクリア 28 MY R-9 TYPE2 STAGE 6.1 のクリア 29 MY R-9 TYPE3 STAGE 6.2 のクリア 30 MY R-9 TYPE4 STAGE F-A のクリア 31 TYPE-R, TYPE-O AND TYPE-L (不明) 32 GOOD BYE R-TYPE (不明)
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Under Construction Move the Piano To move the piano, Please move the main body and touch it. And all other parts will follow the main body. Use optional sub parts Touch knob to display the main menu. choose "Rez_parts" If you want to use a shade(insulator), please choose "shade(insulator)". shade insulator For example, also when you want to exchange System C for A, please use the "Rez_parts" menu. now using System C. Rez_parts System System A System C expires. System A rezzed.
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Martin Campbell-Kelly # Campbell-Kelly, Martin, et al. (2004). Computer A History of the Information Machine. Boulder Westview Press. ISBN 0813342643 # Campbell-Kelly, Martin (2005). "The User-friendly Typewriter". The Rutherford Journal (Canterbury University of Canterbury) 1 The User-friendly Typewriter Martin Campbell-Kelly 2006年1月9日 20 00 00 The Rutherford Journal - The New Zealand Journal for the History and Philosophy of Science and Technology http //www.rutherfordjournal.org/article010105.html 1.コンピューターの起源 (特集 「起源」に迫る) Campbell-Kelly,Martin 日経サイエンス 39(12) 48〜56 2009/12 0917009X 2.Real Time Reaping the Whirlwind CAMPBELL-KELLY, Martin Computer A History of the Information Machine 165-176 1996 1. コンピューター200年史 / M.キャンベルーケリー,W.アスプレイ[他]. -- 海文堂出版, 1999.10 2. ザ・コンピュータ・エイジ / M.キャンベルーケリー[他]. -- 共立出版, 1979.8 Computer a history of the information machine （27） Martin Campbell-Kelly and William Aspray -- 1st ed. -- BasicBooks, c1996, ix, 342 p., [16] p. of plates. The User-friendly Typewriter Martin Campbell-Kelly http //www.rutherfordjournal.org/article010105.html The User-friendly Typewriter 36 The Remington typewriter was the first machine to combine acceptable print quality with acceptable speed. The machine was invented by Christopher Latham Sholes, a retired printer in Milwaukee, Wisconsin, who was inspired by an article on writing machines he read in the Scientific American in 1867. 7 Sholes took out b patent /b s on his invention, and in exchange for a quarter share of these he obtained what we would now call angel funding from James Densmore, a prosperous retired printer. It is said that Sholes produced dozens of prototypes before achieving a satisfactory design. Densmore did not have sufficient funds to manufacture the machines, however, so he negotiated with Philo Remington, an Ilion, New York, manufacturer of small arms, to make them. Remington accepted the offer because his business was in the doldrums following the end of the Civil War and he had already diversified into peacetime manufactures, including sewing machines. More development work followed and the Remington No. 1 was introduced in 1874?its visual design owing not a little to the sewing machine (Fig. 2).8 The User-friendly Typewriter 40 Most of these improvements were registered in the 2600 typewriter patents that had been issued by 1905.9 Unfortunately there is no history of typewriter patents, so we do not know in detail how patent pools operated. However, a great deal of patent sharing between manufacturers clearly took place, which is why all typewriters came to look and feel pretty much the same. Most patents protected features that directly or indirectly affected usability. Many innovations may have appeared to be mere tweaks?such as the bell that warned the operator that the end of line was approaching?but their impact on usability could be profound. It was the accretion of scores of tiny improvements that made the typewriter so superbly suited to its task. It is not possible in this paper to describe all of the usability innovations. Instead I will focus on a handful of major issues The User-friendly Typewriter 50 The original Remington No. 1 was known as an “up strike” model, because the type bars struck the underside of the carriage. This meant that the line being typed was out of sight of the user, and in fact did not emerge until a further four lines had been typed. This would have made insuperable demands on the operator’s memory, and it was therefore possible to lift the carriage so that the operator could peek at the work in progress. It is not known whether Sholes was conscious of the visibility problem when he designed the up-strike mechanism. It seems likely that he just opted for the mechanically simplest solution. At all events, this design deficiency left the door open for dozens of non-patent-infringing improvements (most of which vanished into obscurity). The User-friendly Typewriter 52 For an operator seated at a desk, the optimal printing position was a front strike mechanism, so that the printed line directly faced the operator. The first machine on the market with a front-strike mechanism was the Columbia Bar-Lock, patented in 1889-91.10 The first commercial models enabled the operator to peer above the type bars to see the work in progress, but the line of sight was obscured if the operator sat too far back in his or her chair. Nonetheless, for several years the Columbia Bar-Lock “stood alone in the visible writing field.”11 A wholly satisfactory front strike mechanism that did not interfere with the line of sight was extremely difficult to achieve, and would not be realised until the Underwood No. 1 came into production in 1897. In the interim, a number of down-strike models, which printed on top of the carriage, were produced. The User-friendly Typewriter 56 A much more successful down-strike mechanism was designed by the Reverend Thomas Oliver, who applied for a patent in 1892 and founded the Oliver Typewriter Company of Chicago in 1894.13 In this very distinctive machine the inverted-U shaped type bars were stacked either side of the printing point (Fig. 4). This left the full page clearly visible, a marked improvement over previous designs. The Oliver machine was particularly robust and was bought in large numbers by the military, although it did have the disadvantage of a rather restricted character set. (It was difficult to stack many more than a dozen type-bars on top of one another. The machine had a three-row keyboard instead of the usual four rows. The basic design remained in production with very little major modification until the 1940s.14 The User-friendly Typewriter 58 Nonetheless the front-strike mechanism remained the best ergonomic design for a seated operator. A successful design was finally produced, some 15 years after the first front-strike models appeared, by the inventor Francis X. Wagner. It was the most important typewriter patent of all time.15 The patent was assigned to a New York typewriter-supplies manufacturer John Underwood, and the Underwood Typewriter Company was established for its manufacture in 1895. With the Underwood No. 1 (Fig. 5) the typewriter took its modern form, establishing the dominant typewriter design until the advent of the IBM golf ball typewriter after the Second World War. In the Wagner design, the type basket was set low, out of the line of sight, and the ribbon did not obscure the current line. When a key was depressed, the ribbon rose and interposed between the type bar and the paper; both then instantly retracted to their original position to reveal the full line of print. It was an extraordinarily elegant mechanism. The Underwood No. 1 went on the market in 1897 and was rapidly further perfected. The User-friendly Typewriter 74 The most important way of reducing noise was to eliminate the percussive action of the type bars on the platen. In 1894 an inventor, Wellington Kidder, applied for a patent for a printing action that pushed the type bar onto the platen rather than striking it.19 Kidder and his partner C.C. Colby formed a development company and “expended about $500,000 in developing the Noiseless typewriter, during the years 1904-1909.”20 The Noiseless Typewriter Company was established and a machine was placed on the market in 1910; besides the non-percussive printing action it was fully enclosed and surmounted by an acoustic cowl, characteristic of all subsequent noiseless typewriters. The machine was not a commercial success, probably because the typing mechanism was rather sluggish. Several improved machines were placed on the market, but it was only with the model 4 in 1917 that definite technical and commercial success was realised. The User-friendly Typewriter 76 Given the long, costly, patented development of the noiseless typewriter, competitors could only respond with hoods and baffles. Underwood produced a soundproof cabinet in 1922, as did Continental, Ideal, and Olympia.21 In 1923 Remington introduced a quiet version of its model 12, marketed as the Q12, which reduced noise by means of a completely enclosed frame.22 The User-friendly Typewriter 78 In 1924 Remington acquired the Noiseless Typewriter Company (one of a series of mergers that resulted in the formation of the Remington Rand conglomerate in 1927).23 Remington sold the machine as the Remington Noiseless, and gradually refined the technology by incorporating innovations from its mainstream products. Underwood made a patent deal with Remington to acquire the noiseless technology, and then introduced a noiseless version of its standard machine in 1930. Underwood advertised the machine extensively, promoting its “cushioned typing” with the slogan “Quiet as a Mouse?in a Barrel of Flour” (Fig. 6). The User-friendly Typewriter 90 The origins of the QWERTY keyboard are well known, although accounts differ slightly in their detail. Prior to Sholes patenting his typewriter in 1873, there had been many commercially unsuccessful typewriters, and these used two main types of keyboard. One type, exemplified by Samuel Francis’ “Literary Piano,” used a piano-style keyboard.29 In this machine, 26 white keys were provided for the letters, and the black keys supplied the punctuation and other characters. In the other type, exemplified by Beach’s Type-Writing Machine of 1856, the keys were arranged in three rows.30 In both machines the keys were arranged alphabetically. The User-friendly Typewriter 106 With the rise of time-and-motion studies around the turn of the new century, there was increasing interest in both keyboard layout on scientific principles and on efficient operation (see next section). For example, the Perry typewriter (1896)39 included extra keys for common words and syllables (such as as, is, and and). A keyboard design by Rowell (1909)40?one of the first patents for a keyboard rather than a complete typewriter?placed the most used letters at the centre of the keyboard (this was really a variant on the Ideal arrangement). It is not known whether these inventions found their way into products, but probably not and certainly not on any scale. Considerably later, a keyboard design by Hoke (1923)41 used a layout optimised for the 1000 most common words determined by the educationist Leonard P. Ayres.42 The User-friendly Typewriter 108 On the whole, the few novel keyboards in the patent literature (and perhaps a few more that were not patented) are not very convincing proof of network effects and user lock-in. More likely, the keyboard designs lacked any systematic testing or real scientific evidence of major benefits that might have convinced manufacturers or users to switch. The one real exception is the Dvorak keyboard, which was in a class of its own in terms of scientific justification and user testing. The User-friendly Typewriter 110 Augustus Dvorak was a professor of experimental psychology at the University of Washington, and a disciple of the time-and-motion expert Frank Gilbreth.43 Gilbreth had made studies of touch typing using the Universal keyboard, but he had not addressed the issue of keyboard layout. This Dvorak did, filing a patent in 1932 (Fig. 8) and publishing a book Typing Behaviour in 1936.44 The User-friendly Typewriter 192 8 C.L. Sholes, “Type-Writing Machine,” U.S. patent 207,559, Aug. 27, 1878. The User-friendly Typewriter 200 12 John N. Williams, “Type-Writer,” U.S. patent 442,697, Dec. 16, 1890. Williams’s first patent was issued in 1875, but he had financial difficulties establishing his business. The User-friendly Typewriter 202 13 Thomas Oliver, “Type Writing Machine,” U.S. patent 528,484,337, Oct. 30, 1894. The User-friendly Typewriter 206 15 H. L. and F. X. Wagner, “Type writing machine,” U.S. patent 559,345, Apr. 28, 1896. The User-friendly Typewriter 214 19 Wellington P. Kidder, “Key-Action for Type-Writing Machines,” U.S. patent 567,241, Sept. 6, 1896. The User-friendly Typewriter 234 29 Samuel Francis, “Writing Machine,” U.S. patent 18,504, Oct. 27, 1857. The User-friendly Typewriter 236 30 A. E. Beech, “Printing Instrument,” U.S. patent 15,164, June 24, 1856. The User-friendly Typewriter 240 32 James B. Hammond, “Type-Writing Machine,” U.S. patent 224,183, Feb. 3, 1881. Lucien S. Crandall, “Type-Writing Machine,” U.S. patent 251,338, Dec. 20, 1881. Eugene Fitch, “Type-Writing Machine,” U.S. patent 345,836, July 20, 1886. The User-friendly Typewriter 242 33 William H. Robertson, “Type-Writing Machine,” U.S. patent 439,689, Nov. 4, 1890. The machine was probably never put on the market. The User-friendly Typewriter 244 34 O. Mergenthaler, “Machine for Producing Printing Bars,” U.S. patent 317,828, May 12, 1885. The User-friendly Typewriter 246 35 George C. Blickensderfer, “Type Writing Machine,” U.S. patent 472,692, Apr. 12, 1892. The User-friendly Typewriter 254 39 Horace G. Perry, “Type-Writing Machine,” U.S. patent 552,774, Jan. 7, 1896. The User-friendly Typewriter 256 40 Sidney W. Rowell, “Type-Writer Keyboard,” U.S. patent 943,466, Dec. 14, 1909. The User-friendly Typewriter 258 41 Roy E. Hoke, “Typewriter-Keyborad Arrangement,” U.S. patent 1,506,426, Aug. 26, 1924. The User-friendly Typewriter 264 44 August Dvorak and William Dealey, “Typewriter Keyboard,” U.S. patent 2,040,248, May 12, 1936. link_trackbackcounter -
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Goldilocks and the Three Bears/Ricitos De Oro Y Los Tres Osos (Bilingual Fairy Tales) Chronicle Books Llc (Juv)?Marta MataMarta Mata I Garriga?Arnal Ballester Chamario Libro De Rimas Para Ninos (Rimas Y Adivinanzas) Ediciones Ekare?Eduardo Polo?Eugenio Montejo?Arnal Ballester Jack and the Beanstalk/Juan Y Los Frijoles Magicos Juan Y Los Frijoles Magicos (Bilingual Fairy Tales) Chronicle Books Llc (Juv)?Marta MataFrancesc BofillArnal BallesterAlis Alejandro Jack and the Beanstalk/Juan Y Los Frijoles Magicos Juan Y Los Frijoles Magicos (Bilingual Fairy Tales) Chronicle Books Llc (Juv)?Marta MataFrancesc BofillArnal BallesterAlis Alejandro Un Problema De Narices (Cuentos, Mitos Y Libros-Regalo) Grupo Anaya Comercial?Jaume Ribera?Arnal Ballester Ninos Y Jovenes En El Norte De Nicaragua / Children And Youth in North Nicaragua Rafael Ballester Arnal? Goldilocks and the Three Bears/Ricitos De Oro Y Los Tres Osos Ricitos De Oro Y Los Tres Osos (Bilingual Fairy Tales) Chronicle Books Llc (Juv)?Marta Mata I Garriga?Marta MataArnal BallesterAlis Alejandro Madisu Everest Pub?Arnal BallesterChristine Nostlinger?