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Dead Money クエスト／Find Collar 14 Dean Domino 概要 ディーン・ドミノを見つける 発生方法 Sierra Madre Grand Opening! から引き続き発生 主な流れ 住宅地区の隠れ家にいるディーン・ドミノを訪ねる ディーン・ドミノを仲間にする 詳細と補足 3つの盗聴周波数のうち、ディーン・ドミノは「546.14Hz ULF」が該当する。 マップポイント：住宅地区へ。 罠の地雷に注意。 HARDゲートで近道できるが、毒雲内を通る必要がある (帰りにディーンが通る経路)。 階段を上って左にある、トリップワイヤーがある部屋にハートの7 - シエラ・マドレ。 壁や床に赤い固まりが付着していることがあり、瓶いっぱいの毒雲のカスが手に入る。 電気ホットプレートあり。 ディーン・ドミノと会い、壊れたイスに座る。Explosives 25、Speech 25、Barter 50 の選択肢あり。 なお、ここでディーンに敵対的・高圧的な態度を取ると、後のクエストで殺すしか手段がなくなるので注意。彼を殺したくなければ、Barterの選択肢を選んではならない。 この部屋にあるベッドの下にはスキル本「伏せろ！」があるが、グレネードなどの爆風を使ってもようやく見える程度で、入手や移動ができないことが多い。 コンパニオンにするか、すでに別の仲間がいる場合は噴水に向かうように指示するとクエスト完了。 ディーンのコンパニオンPerkは Unclean Living。毒雲に入っても多少ダメージを受けない時間があり、ダメージ自体も75％に減る。帰りにディーンが毒雲の中を突っ切る近道を通るので、仲間にしてからだと楽。 新防具ディーンのタキシードを装備している。 ディーンに食料について尋ねると、perk "Sierra Madre Martini" を取得できる (電気ホットプレートでシエラ・マドレ・マティーニを作れるようになる)。ほかに Guns 50 の選択肢あり。 住宅地区マップ南端東の建物、2Fベッド奥の壁際にハートの9 - シエラ・マドレ。 住宅地区の北東 (入口から真っ直ぐ進み、左のHARDゲートを開けて道なりに進み、左に進んで左側の階段を上る)、毒雲を抜けて進む2F部分の北東角にディーンの隠されたスーツケース (壊れたソファーの裏、そばに弾薬箱)。ディーンを連れた状態で隠されたスーツケースを開けると怒られる (入手できないわけではない)。 同じ部屋の南のテーブル上にスキル雑誌TODAY Sドクター (Medicine)。 南西にもスーツケースあり。入口から目の前の階段を上がり、南に抜ける。1Fに降りて右に毒雲を見ながら南の壁際まで進み、右を向いて西へ。左に入れる箇所があり、その左奥。 入口から右、自動販売機の前にあるベンチの下にスキル雑誌ミーティングピープル (Speech)。同じ区画の南西角にあるベンチの左横にダイヤのエース - シエラ・マドレ。 南西の2F部分にプレッシャープレートの罠がある部屋がある。ベッドと壁の間にスペードの2 - シエラ・マドレ。 住宅地区へ通じるドア (ヴィラ側) の北、毒雲で満たされたエリアを北東に突っ切ると部屋がある。右奥の壊れたキャビネットの中、一番右にスペードの4 - シエラ・マドレ。 噴水ではコンパニオン同士の自動会話が発生する。 クエスト Find Collar 8 Dog 、Find Collar 12 Christine と共に完了させると、引き続き Fires in the Sky 開始。 リンク The Vault (英wiki) 攻略動画 (英語)
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Exaggerate - One great thing about art is that you can exaggerate things, like hips and boobs. Haha, no, actually I m serious. It s a good thing if important curves are more pronounced. 誇張表現 - 絵の偉大な点は，物事（お尻とかおっぱいとか）を誇張することができる，ということだ．ハハ，いや，本当に僕は真面目に言ってるんだよ．大事な曲線がより強調できるということは，良いことなんだ． Simplify - The advantage art holds over photos is simplification. In a photo you ll get distracting details. When drawing, you can remove objects that aren t relevant to the scene. Wrinkles and minor protrusions can be removed to get a better line flow. A common mistake I see is when someone has drawn all the abs (belly muscles) with an overly amount of crosshatching. It s better to leave out lines, especially if you re going to color, because then the contrast between different color fields can work as lines. 単純化 - 写真よりも絵が優れている点は，単純化できるということにある．写真では，ディテールのために気が散ってしまうことがある．絵では，そのシーンに関連のないものは取り去ってしまえる．しわとか，重要じゃない突起物(*1)は，線の流れをよくするために取っ払ってしまえる．私が目にするよくある間違いとしては，やりすぎなほどのクロスハッチングを使って腹筋全部が描かれていること．線は省いてしまったほうがいい．特に色を塗るつもりなら，別々の色の領域のコントラストが線の働きをするから，省いたほうがいい． Harmonize - Another word for this is swooshyness . Unlike the above things it has to do with the relation between details and how lines intersect and take over ofter another. Try having a few swooshy lines that you align several parts after. 調和をとること - 他の言葉で言えば，「線が流れている」こと．上に書いたようなこととは違って，調和とは，ディテールの間の関係と，線がどのように交差し，別の部分へ流れていくか，ということに関係すること．後から，いくつかのパーツに沿うようにして流れる線を何本か引いてみよう． Stylize - When going for a style it s important to be consistent. You can turn curves into hard edges, or you can go for sweeping sinus lines. I prefer a combo where I turn a curve into a hard edge at a certain threshold. スタイルをつくる - スタイルについては，首尾一貫していることが大切だ．曲線をキツいエッジに変えることもできるが，滑らかな線で描くこともできる．私がよく好んで使うのは，ある程度以上の曲線は，キツい直線と角に変えてしまうスタイルだ． Line weight - With a few exceptions, I m not a big fan of fixed line width. Here I ll attempt to devise some general guidelines for when and how to vary line width. Lines are thicker on the shadowed side, thinner on the lit side. Lines are thicker near the viewer, thinner further away. Silhouette lines are thicker. Inner details get thinner lines. Lighter materials get thinner lines. Thin lines works good with detailed motifs. Thicker lines work well with simple figures. Fat line art works well with flat colors (cel) . Thin line art works good with realistic rendering and pronounced volumes. 線の重み - 少しの例外を除いて，一定の線の太さで描かれた絵は好きではない．ここでは，いつ，どのように線の太さを変化させるべきか，一般的なガイドラインを作ってみようと思う． 影のかかっている部分では，太くする．明るい側では，細くする． 見ている人に近い（手前の）部分では，太くする．遠くの方では，細くする． シルエットラインは，太く．内側のディテールでは，細い線にする． 明るい素材は，細い線にする． 細い線はモティーフのディテールを表すのにもってこいだ． 太いラインは単純な人物（figure 人ではなく物？）を描くのに良い． ず太い線はフラットな色（の面）と組み合わせると良い． 細い線はリアルな描画（レンダリング）とボリューム感（立体感）を強調するのに適している． Also, you do not always need to draw a line. Sometimes it you can just hint the ends of it, and the eye will fill the rest in. Examples are places where skin is pushed together, like the mouth, buttocks, pushup boobs etc. It s good to make the line a little thicker where there s a gap. Examples are places where clothing stretch over gaps between muscles or... cleavages. また，いつも1本の線を引かなければならない，ということもない．たまには，線の両端だけをヒントとして出しておいて，目に残りの部分を補完させる，ということをやってもいい．例としては，皮膚が両側から押されてくっついている部分，口とか，お尻とか，寄せて上げたパイオツ(*2)とか，まあそんなところだ．隙間が開いているところでは，線はちょっと太くするといい．例えば，服が引っ張られて隙間の上にかかっているところ，筋肉の間とか，それから……胸の谷間(*3)とか． Finally, here are a few illustrations. The first one is Photoshop (5.5) + Wacom tablet and there is no line quality to speak of, but I hope you get the idea. Second one is an inked thing from a few years ago. 最後に，数枚イラストを．最初のものはPhotoshop(5.5)とワコムのタブレットによるもので，線のクオリティについて話すべきことは特にないけれど，あなたに何がしかアイディアをつかんでいって欲しいと思っている．2枚目は，数年前にインクで描いたもの．（原本ではコメントアウトされていたが，URIを辿ったところ，ファイル自体は存在した．） tutlineart.jpg 暗示されているライン 暗示されている物の輪郭 いまいち シュッと流れるようなライン！ リアルなディテール 単純化 エッジを強調 流れを意識したライン ハエたたき ＆ 動きの方向が多すぎでバラバラ When painting, subractive edges which are remnants from the line art or construction stage can be harmful. You can separate shapes with other means than black lines, such as different value, or a bright line. Here s an illustration of a few possible solutions and what they convey. 色を塗るときには，主線やアタリに使った線は邪魔でしかない．物の形を他の物と分けるのに，黒い線でなく，別の明度（の色面）とか，明るい色の線を使うこともできる．ここでは，イラストレーションの上で，いくつか取り得るソリューションと，それがもたらす効果について示す． meeting_edge.jpg A line art image might go several stages of refinenement(*4)where previous, rougher stages, are constantly faded and painted over. Final stage not completed here. 線画は，いくつかの過程を進む中で洗練していくようになっている．初期の粗い段階の絵を薄くすかして，その上に描き重ねていくようにして，良くなっていく．ここに挙げた，最後の段階のものはまだ完成ではない． build2.jpg This page is translated from the original text. Original author is Arne Niklas Jansson - 2005 2007. And this page is licensed under Creative Commons. 校閲しました．細かい修正ばかりだったので直接直しました． -- aki426 (2008-10-23 20 02 46) 名前 コメント
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fingerpass(핑거패스) OrderList sangkm's12th sangkm's11th KOREAN EXPERT SPINNERS sangkm s12th 2-1.5ﾊﾞｯｸｱﾗｳﾝﾄﾞ23-34⇒3-ｼﾒﾄﾘｶﾙｿﾆｯｸ≫4-ｼﾒﾄﾘｶﾙﾊｰﾌｶﾞﾝﾏﾝﾘﾊﾞｰｽ⇒4-ｿﾆｯｸひねり⇒3-ｶﾞﾝﾏﾝ⇒3-ｿﾆｯｸひねり⇒2-ﾊﾞｯｸｱﾗｳﾝﾄﾞ≫ﾘﾊﾞｰｽ⇒ｼﾒﾄﾘｶﾙﾊｰﾌｶﾞﾝﾏﾝﾘﾊﾞｰｽ13-34⇒3-ﾊｰﾌｶﾞﾝﾏﾝ⇒2-ﾊﾞｯｸｱﾗｳﾝﾄﾞ⇒｛3-ｼﾒﾄﾘｶﾙﾊｰﾌｶﾞﾝﾏﾝ⇒3-1.5ﾊﾞｯｸｱﾗｳﾝﾄﾞ⇒3-ｼﾒﾄﾘｶﾙﾊｰﾌｶﾞﾝﾏﾝ⇒3-ﾊﾞｯｸｱﾗｳﾝﾄﾞ34-23｝⇒2-ﾌｪｲｸﾄ1.5ｿﾆｯｸﾘﾊﾞｰｽ≫｛3-ｼﾒﾄﾘｶﾙﾊｰﾌｶﾞﾝﾏﾝ⇒3-1.5ﾊﾞｯｸｱﾗｳﾝﾄﾞ⇒3-ｼﾒﾄﾘｶﾙﾊｰﾌｶﾞﾝﾏﾝ⇒3-ﾊﾞｯｸｱﾗｳﾝﾄﾞ｝ ｛・・・｝を2回繰り返している。ただｷｬｯﾁが違う sangkm s11th 1,2,1,2-スプレッドトリプルアクセル⇒3-ソニックひねりリバース⇒3-ソニックひねり ≫2-バックアラウンドリバース⇒3-ムーンウォークシングルアクセルソニック⇒3-シメトリカルソニック ⇒3-シメトリカルソニックリバース 3-ムーンウォークシングルアクセルソニックリバース⇒ バックアラウンド 12-34フィンガーレスリバース⇒3-ソニックひねり ⇒2-バックアラウンド⇒3-シメトリカルハーフガンマンリバース ⇒3,3-コンティニュアスバックアラウンド KOREAN EXPERT SPINNERS TA Extented FL Extented TA T1-12 Twisted Sonic reverse 12-23 Twisted Sonic Bust 23-12 Shadow 12-23 Counter Inverse Sonic to Shadow reverse 23-12 Backaround to FL TA reverse to 23 Twisted Sonic 23-12 Backaround Invisible Pass 12-23 Continous MiddleBack 23-123
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Find You Again / The W feat. Rita Boudreau Here I am on my own And I want to come home I am so far away missing you Wishing you were with me 'Cause you make me believe That together forever we'll stay Do you remember when we first met? Never quite knowing just what to expect We didn't know that our love will glow strong Just as we had to go our separate ways Someway, somehow I'll find you again Find the love and never give in I'll climb that mountain no matter how high I'll cross that ocean no matter how wide Someway, somehow I'll find you again Find the love and never give in I'll climb that mountain no matter how high I'll cross that ocean no matter how wide I'll cross that ocean no matter how wide
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Operational Control of Water Systems Structures, Algorithms, and Applications Prentice Hall? M. A. Brdys? B. Ulanicki? PrenticeHall? M.A.Brdys? B.Ulanicki? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-WaterQuality&Treatment? Subjects-Engineering-General? Subjects-Outdoors&Nature-Environment-WaterSupply? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-WaterQuality&Treatment? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Mathematics-Applied-General? Subjects-Science-Nature&Ecology-Environment-WaterSupply? The Politics of Hazardous Waste Prentice Hall College Div? Charles E. Davis? PrenticeHallCollegeDiv? 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Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-SolidWasteManagement? Subjects-Engineering-Civil-Environmental-WaterQuality&Treatment? Subjects-Engineering-General? Subjects-Outdoors&Nature-Ecology-LivingontheLand? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-SolidWasteManagement? Subjects-Professional&Technical-Engineering-Civil-Environmental-WaterQuality&Treatment? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Robust Control The Parametric Approach/Book and Disk (Prentice Hall Information and System Sciences) Prentice Hall? Shankar P. Bhattacharyya? H. Chapellat? L. H. Keel? PrenticeHall? ShankarP.Bhattacharyya? H.Chapellat? 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「Alive」は、Do As Infinityの楽曲。 基本情報 配信初出日 2017年6月28日 CD初出日 2017年6月28日 アーティスト Do As Infinity 発売元 avex trax (エイベックス・エンタテインメント) words Mio Aoyama music Hiroyuki Sawano Arranged by Chorus Tomiko Van Guitars Ryo Owatari Drums YU "masshoi" YAMAUCHI Bass Toshino Tanabe W. bass Piano Hiroyuki Sawano keyboards All Other Instruments Guitar Tec Yasuyuki OguroTallow MurakamiTairo TsurumiTomotake "J" Nasuno Sound Produced by Hiroyuki Sawano Sound Directed by Yoshihisa Tokuda (avex entertainment Inc.) Recording Engineer Mitsunori Aizawa (SIGN SOUND) Mixing Engineer Protools Operator Recorded at LAB recordersStudio Green Bird Mixed at Studio Sound Valley Vocal Recorded by Hideaki JinbuMakoto YamadoiShun Sakakibara (prime sound studio form)Masahiro Kawata (avex entertainment Inc.)Kaoru Akimoto Vocal Recorded at prime direction studiostudio Fine Mastered by Shigeo "MT" Miyamoto (from THE MASTER) ※『ALIVE』準拠 収録CD 発売日 商品名 DiscNo. TrackNo. 楽曲名 歌唱 2017年6月28日 『Alive／Iron Hornet』通常盤 (CD+DVD)：AVCD-83875通常盤 (CD)：AVCD-83876初回限定盤：AVCD-83877 - 1 「Alive」 Do As Infinity 3 「Alive (Instrumental)」 - 2018年2月28日 『ALIVE』CD+DVD：AVCD-93823CD+Blu-ray：AVCD-93824CD：AVCD-93825 - 2 「Alive」 Do As Infinity 2021年3月24日 『Do The Complete』3CD+Blu-ray：AVCD-96557〜965593CD：AVCD-96560〜96562完全生産限定盤：AVZ1-96563〜96568 3 10 「Alive」 Do As Infinity 動画
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Finding Paradise 機種：PC 作曲者：Kan R. Gao、Laura Shigihara、Adam Dincorn 発売元：Freebird Games 発売年：2017 概要 Freebird Games制作のインディーズゲームで『To the Moon』や『A Bird Story』の続編となる。 『To the Moon』と同じく死に臨む患者の記憶を書き換えることで、理想の生涯を演出させるというストーリー。 今作の患者は『A Bird Story』の主人公なので、ストーリー的にはまず『A Bird Story』を先にプレイした方がいいかもしれない。 評価の高い作品であるが現在の所日本語版はまだリリースされていない。 音楽はいつも通り製作者であるKan R. Gao氏が全曲作曲。過去作に比べ曲数がかなり増えていて、情緒的な音楽により磨きがかかっている。 過去作からの曲がいくつか使われているほか、Laura Shigihara氏とChris Ryker氏によるテーマソングも用意されている。 収録曲(サウンドトラック順) 曲名 作・編曲者 補足 順位 Finding Paradise - Trailer Theme Kan R. Gao Finding Paradise - Title Theme (Short Vers.) A Different Kind of Work Serenity Neil's Machine (Vibraphone) Bestest Detectives in the World (Outdoor) Bestest Detectives in the World (Indoor) A Different Kind of Work (Celesta) Neil's Machine Veil of Perception Having Lived (Finding Paradise Version) Where Are You Paper Plane 『A Bird Story』より Time is a Place (Celesta Vers.) Where Are You (Duet Version) Home 『A Bird Story』より Across the Balcony (Celesta) Time is a Place (Guitar) Across the Balcony Such Inspire Much Motivate The Right Amount of Dumb Time is a Place (Piano) Kinda Like an Indie French Film The Scale Theme (Piano Cello Vers.) Wind from Our Younger Days The Scale Theme (Guitar Cello Vers.) The Scale Theme Paradise (Guitar Vers.) Hospital Rush A Moment to Sink In Time is a Place From the Balcony (Finding Paradise Vers.) The Right Amount of Dumb (Vers. 2) Think Quietly Time is a Place (Rehearsal Vers.) Floating By 『A Bird Story』より Paradise (Tropical Vers.) Days Go By What You're Up To The Mirror Lied 『The Mirror Lied』より Single-Thread Firewall Something Amiss HNNNNNNGH Power Overwhelming On the Ru Final Confrontation Breeze 『Quintessence The Blighted Venom』より The Scale Theme (Cello Guitar Vers. 2) Faye's Theme Time is a Place (Void Vers.) 未使用曲 In the Way The Fiction We Tell Ourselves Bestest Detectives (Reprise) Wish My Life Away Laura Shigihara 歌：Laura Shigihara Faye's Theme (Piano Vers.) Kan R. Gao Going Home Ending Theme Every Single Memory Adam Dincorn 歌：Chris Ryker サウンドトラック Finding Paradise Original Soundtrack Trailer
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Join the design team at IW! Written by Lead Single Player Designer - Steve Fukuda ジョイン、IWにおいてのデザインチーム！ リードシングルプレーヤーデザイナー スティーブ・福田 によって書かれました Why would I want to be a designer at IW? 私はなぜIWでデザイナーになることを望むでしょうか？ There are many possibly reasons you would want to be a designer at IW. Some of them might be そこに多くがもしかするとIWでデザイナーであるあなたが欲するであろう理由ですか。 それらの若干がそうであるかもしれません： You want to work at a company that is very design driven. You want to create blockbuster games that everyone knows about and plays. You want to create extremely intense situations, battles, and moments, fully supported by top quality art assets and engineering across the board. You want minimal interference and micromanagement as you bring your vision to fruition. You want to have major directorial input on things like sound, music, motion capture, and dialogue. You want to be a part of a highly talented and ambitious team whose turnover rate is miniscule. You want to work on a team whose decision making process is highly flexible and open. あなたは非常にデザインに操縦される会社で働くことを望みます。 あなたは皆が知っているベストセラーゲームとプレーを作ることを望みます。 あなたは極めて強烈な状況、完全に全面的にトップのクオリティー芸術資産と技術によって支援された戦闘と瞬間を引き起こすことを望みます。 あなたが成就にあなたの視覚を持って来るように、あなたは最小の干渉と極小管理を欲します。 あなたは音、音楽、動作入手とダイアログのようなものの上に主要な理事の入力を得ることを望みます。 あなたはその出来高レートが非常に小さい大いに才能がある、そして意欲的なチームの一部になることを望みます。 あなたはその意志決定プロセスが大いに柔軟であるチームに働きかけて、そして開くことを望みます。 How do I get a design job at IW? 私はどのようにIWでデザイン業務を取りますか？ Show us a portfolio of polished, playable 3D levels (and screenshots of them), with an explanation of what substantial role you had in completing them. This is the best possible way to get hired. Bonus points for a complete single-player or multiplayer level. A portfolio like this is something you can build up whether or not you have ever worked in the industry, and to us, is the strongest indicator of skill and passion for the job. 我々に洗練された、プレーすることができる３Ｄレベルのポートフォリオ（そしてそれらのスクリーンショット）を見せてください、どんな本質的なロールかの説明であなたはそれらを完了することの中に（すでに）そうしていました。 これは調達されて取るべき最も良い可能な方法です。 コンプリートシングル-プレーヤーあるいはマルチプレ-ヤーレベルのためのボーナスポイント。 このようなポートフォリオはあなたキャンがあなたが今までに産業で働いたことがあるか否かにかかわらず上へビルドする何かであって、そして我々に、スキルと仕事への情熱の最も強い表示部です。 What are some other important qualities for a designer at IW? IWでデザイナーのための若干の他の重要な品質が何ですか？ Be passionate about games. It s great that you re into first-person shooters. But what else do you play? One of the things we want to know is whether or not you have diverse interests in video games; that you play more than just military first-person shooter/simulations. Racing, RPGs, MMOs, sports, flying, RTS, 3rd person action/adventure platformers, and world/life simulations are all good, for example. The reason for this is that we sometimes take some of the best elements from not only other games but other genres, adapt them in some way, and make them our own. Playing a wide variety of games on numerous platforms also shows that you have the potential to be more flexible and versatile as a designer. Have a well thought out opinion about what makes games fun. We would be very impressed if you could you talk for hours about your favorite games...rattle off level by level synopses of entire games from memory...explain what made your favorite moments in gaming history so great...go off on various game-related tangents and anecdotes... Be passionate about wanting to work at IW. We always ask, "Have you played our game? All the way through? MP and SP?" ゲームについて情熱的にしてください。 あなたがfirst-person shootersに打ち込んでいることは大きいです。 けれどもあなたはほかに何をプレーしますか？ 我々が知ることを望むことの１つがあなたがビデオの中に多様な関心を得るか否かにかかわらず；あなたがただ軍のfirst-person shooter / シミュレーションよりもっとプレーするゲームです。 レース、ＲＰＧ、MMOs、スポーツ、飛行、RTS、三人称アクション/冒険platformersとワールド/生活シミュレーションはすべて良い事、例えばです。 これの理由は我々が時々ただ他のゲームだけではなく他のジャンルからの最も良い要素の若干をとって、若干の方法の中にそれらを改変して、そしてそれらを我々自身のものにするということです。 多数のコンピュータシステムの上に同じく多種多様なゲームをすることはもっと多くのフレキシブルで、そして設計者として用途が広いためにあなたが潜在的を得ることを示します。 何がゲームを面白くするかについて、熟考された意見を得てください。 我々は、もしあなたがそうすることができたなら、あなたあなたのお気に入りゲームについての時間ごとの間の通話．．．メモリからの全部のゲームのレベル形式によってのレベルから外れたがた．．．が何があなたのお気に入り瞬間がゲーミングの歴史の中にそれほど素晴らしくしたか説明して．．．さまざまなゲーム関連のtangentと逸話に出発することに非常に感銘を受けるでしょう・・・。 IWで働くことを望むことに熱心であってください。 我々が常に尋ねます、「あなたは我々のゲームをしましたか？ 完全にすべての方法？ ＭＰとＳＰ？」 What design positions are available at IW? どんなデザインポジションがIWで利用可能ですか？ Geometry building, gameplay scripting, and hybrids (people who can do both.) We re looking for creative individuals with a proven ability to deliver tangible results. Every designer at IW has built geometry and/or done single-player C-style scripting, at some point prior to working here, be it in the mod community or at a previous job. ジオメトリ建物、ゲームプレイスクリプティングと「ハイブリッド」（両方ともをすることができる人々） 我々は目に見える結果を与えるために証明された能力で創造的な個人のために見えています。 IWにおいてのすべての設計者がジオメトリを作って、そして／あるいはシングル-プレーヤーＣ-文体スクリプティングをしました、ある時点で、ここで機能する前に、modコミュニティの中に、あるいは前の仕事においてそれであってください。 Geometry building ジオメトリビルディング Geometry builders are skilled at visual composition and raw world/environmental modeling skills, while being conscientious about managing system resources and the effect that environment has on gameplay. They are tasked to create buildings and terrain from scratch, and flesh out roughed-in 2D or 3D blockouts to a high degree of detail and design and create multiplayer levels. In the late stages of our projects, geometry builders are on standby to deliver additional geometry or structural modifications to any level as needed. For this position, you should be extremely proficient with 3D modeling either in proprietary tools (Radiant, UnRealEd, Hammer, etc) and/or commercial 3D packages. Be prepared to show us a portfolio of phenomenal screenshots for fully playable 3D levels for an existing title or personal project. ジオメトリビルダーは、システムリソースと環境がゲームプレイに与える影響を処理することに関して注意深い間に、視覚合成と生のワールド/環境のモデリングスキルに熟練しています。 それらはゼロから建築物と地形を作って、そしてディテールと設計の高い度に概略を書かれた２Ｄか、あるいは３Ｄblockoutsに肉付けをして、そしてマルチプレ-ヤーレベルを作る仕事を与えられます。 我々のプロジェクトのレイトステージの中に、必要とされるように、ジオメトリビルダーがどんなレベルにでも付加的ジオメトリあるいは構造的な改善を与える頼りにいます。 このポジションのために、あなたは専有のツール（Radiant、UnRealEd、ハンマー、など）そして／あるいは商用３Ｄパッケージの中に同様３Ｄモデリングで極めて熟達するべきです。 我々に既存のタイトルあるいは個人的プロジェクトのための完全にプレーすることができる３Ｄレベルのための目を見張るようなスクリーンショットのポートフォリオを見せる用意を整えてください。 Gameplay scripting ゲームプレイスクリプティング Our lead scripter described this as a role for designers who like to be independent and less reliant on a coder to bring their visions to life. A gameplay scripter has a strong feel and objectivity for what works and what doesn t from an end-user s perspective. For this position, you must thrive on creating the minute-to-minute firefights, action sequences, and holy shit moments that keep gamers coming back for more. You are experienced with C-style scripting languages and the ability to think like a programmer to solve problems to accomplish your vision from start to finish. You feel comfortable writing script to handle gameplay systems such as basic AI behavior, vehicle movement, scripted sequences, and more. 我々の先行scripterはこれを「生活に（彼・それ）らのビジョンを持って来るために無所属で、そしてコーダーにそれほど依存していないことを好むデザイナー」のための役割だと記述しました。 何の仕事か、そして何がエンドユーザの見地からそうしないかについて、ゲームプレイscripterが強い感触と客観性を持っています。 このポジションのために、あなたは戻って来ているゲーム愛好家をさらに多くのためにしておく分から分への射撃戦、行動シーケンスと神聖な麻薬瞬間を引き起こすことに生きがいを覚えなくてはなりません。 あなたはプログラマのように始めから仕上げまであなたのビジョンを達成する問題を解決しようと思うためにＣ-文体スクリプティング言語と能力で経験豊かです。 あなたは基本ＡＩ振舞い、車両動作、原稿どおりのシーケンスとさらに多くのようなハンドルゲームプレイシステムに快適な執筆スクリプトを感じます。 Great! What else do I get to do at IW as a designer? 素晴らしい！ 私はIWでデザイナーとして十分に役を果nたすためにほかに何を取りますか？ Initiative matters! As Tyler Durden would say, "You decide your own level of involvement." イニシアチブが重要です！ タイラー・ダーデンが「あなたは掛かり合いのあなた自身のレベルを決定します。」と、言うであろうように。 Conceive of mind blowing, never-seen-before moments of gameplay and then direct mo-cap actors to bring your vision to life. Implement the whole thing. Push the envelope by designing missions that use non-standard gameplay. Change people s expectations for games. Work closely with animators, artists, and sound engineers to weave the best assets in the industry into content you can play. Prototype new gameplay systems in multiplayer and singleplayer. Requisition the assets needed to make your vision happen. You re the producer for your mission. Collaborate with programmers and animators to make AI combatants more lifelike and believable. Use your programming skills to improve the tools you use everyday. Jump in and add that feature that would make Radiant better. Whip up a front end that helps the entire company work. Listen to voice audition samples and pick the talent that works perfectly for your missions. Write dialogue for the missions you re responsible for, then direct top industry voice talent in achieving your moments. Design missions that use instantly recognizable themes, to lend context to gameplay. Make something cool and new, then blow away the entire company in the theater on Monday mornings. 爆発している、前に決して － 見られた － ことがない心についてゲームプレイそして次に生活にあなたのビジョンを持って来る直接mo-capアクターの瞬間を考え出してください。 インプリメント、もの全体。 非標準ゲームプレイを使うミッションを設計することによって、包絡線を超えてください。 ゲームのための変化の人々の期待。 あなたキャンがプレーする目次の中に産業の中に最も良い資産を織り込むためにしっかりとアニメ作家、アーティストとサウンドエンジニアと共に働いてください。 マルチプレ-ヤーとsingleplayerの中に新しいゲームプレイシステムのプロトタイプを作ってください。 要求、資産、があなたのビジョンを起きさせる必要がありました。 あなたはあなたのミッションのためのプロデューサーです。 ＡＩ戦闘員をいっそう真に迫っていて、そして信じられさせるためにプログラマとアニメ作家と協力してください。 あなたのプログラム作成スキルをあなたが毎日使うツールを改善するために使ってください。 Radiantをもっと良くするであろうその特徴に飛び込んで、そして加えてください。 全部の会社作品を助けるフロントエンドの上に吹き抜けてください。 完全にあなたのミッションのためのボイスオーディションサンプリングとうまくいくpick、才能、へのリスン。 あなたの瞬間を達成することにあなたが責任があるミッション、それから直接トップ産業ボイスの才能のためのダイアログを書いてください。 ゲームプレイに脈絡を与えるために、直ちに識別可能なテーマを使うデザインミッション。 何かをクールで、そして新しくしてください、それから月曜日の朝に劇場の中に全部の会社を爆発してください。 What is the design team like? デザインチームはどんなですか？ We emphasize the need to exercise responsibility, a sense of ownership, and design sense on whatever we are working on - when something doesn t seem fun or just isn t working, we expect to hear people bring these issues up and say "we gotta fix this and here are some ways we could do it" as opposed to "I m just following orders...tell me what to do." 我々が一体何上で作業しているかについて、我々は動作試験応答性、オーナーシップの感覚とデザイン感覚に必要を強調します － 何かが面白そうに思われません、あるいはただ機能していないだけであるとき、我々は人々が上へこれらの交付を持って来て、そして、反対されるように、「我々はこれを修理しなければならなくて、そしてここで我々がそれをすることができた若干の方法です」と言うのを聞くことを予期します、から「私はただオーダーの後であって．．．私に何をするべきか言います」。 We keep our team roles flexible - scripters with art/geo ability get to use their art/geo skills, and geo guys with scripting ability still get to create gameplay. You never know what will happen over the course of a project. 我々は我々のチームロールをフレキシブルにしておきます － 芸術/ geo能力を持っているscriptersが使用に（彼・それ）らの芸術/ geoスキルを取ります、そしてスクリプティング能力スチルを持っているgeo人たちがゲームプレイを作ることができます。 あなたは決してプロジェクトの間に何が起きるであろうか知りません。 Our team culture tends to steer away from the idea of writing reams of design documentation. Or following such docs and schedules to the letter. Being able to originate concepts, document them succinctly, and pitch your ideas are skills that we value, but these alone will not get you hired. At IW, there is a high premium placed on designers who can actually make stuff (geo) and/or make stuff happen (scripting). How do you guys make design decisions? Do I get any creative freedom? 我々のチーム文化はデザインの執筆リーム（１リーム＝５００枚）の考えから離れてドキュメンテーションの舵を取る傾向があります。 あるいはこのようなドキュメンテーションと予定表によれば文字に。 簡潔にコンセプト、文書彼らを創作することが可能である、そして程度であって、あなたの考えはあなたが調達した我々価値感、しかしこれらだけが取らないであろうスキルです。 IWに実際に（geo）「材料を作って」、そして／あるいは（スクリプティング）「材料を起きさせる」ことができるデザイナーに対して与えられた高いプレミアムが、そこに、あります。 君たちがどのようにデザイン判断をしますか？ 私は創造的な自由を取りますか？ At the working on a mission level, design decisions are generally left up to the scripter or whoever originated/championed the concept. If it works, great. If not, we find a way to make it good or find a better alternative. We avoid micromanagement like the plague. During times of heavy production, there are weekly reviews of missions in the IW theater, where we play through the level with a group of peers present and give (sometimes very frank) feedback on what we see. 「ミッション上で作業すること」レベルにおいて、設計デシジョンが一般にscripterあるいは考えを創作して / 擁護した人は誰にでも任せられます。 もしそれが機能するなら、素晴らしい。 もしそうでなければ、我々はそれを良い事にする方法を見いだします、あるいは発見はもっと良い選択肢を見いだします。 我々は伝染病のような極小管理を避けます。 激しい生産の時代の間に、IW劇場の中にミッションの毎週見直しがあります、そしてそこで我々は同輩現在のグループと共にレベルを通してプレーして、そして、我々が何を見るかについて、（時々非常に率直な）フィードバックをします。 All developers at IW are encouraged to originate new concepts and features which go onto the many bulletin boards around the office in the form of index cards. Some of our designers have such diverse talents that they are able to go off on their own initiative, prototype new ideas from scratch, and demo them to the whole team. Our rule is, "If it s cool, it goes in the game." IWにおいてのすべてのデベロッパーはインデックスカードのフォームの中にオフィスの周りに多くの掲示板に行く新しいコンセプトと機能を創作するよう奨励されます。我々の設計者の若干がそれらが（彼・それ）ら自身のイニシアチブに出発して、ゼロから新しい考えのプロトタイプを作って、そしてチーム全体にそれらをデモすることが可能であるような多様な才能を得ます。我々のルールはそうです、「もしそれがクールであるなら、それはゲームに入ります」。 Some design decisions are generally based on having a good measure of buy-in from the team. This happens in situations where nobody seems to have a great answer. On rare occasions, one of the leads or the project lead may step in and make the final call on a contentious issue. 若干の設計判断が一般にチームから buy-in の良い手段を受け取っていることに基づいて行なわれます。 これは誰も素晴らしい答を得るように思われない状態の中に起きます。 まれな場合に、先行あるいはプロジェクト先行の１つは論争的な発行に関して最終のコールに足を踏み入れて、そして作るかもしれません。 Other decisions to change the game are made as a result of end-user usability testing. We bring in complete strangers to play our game in a separate room monitored by video cameras and take notes on everything that goes awry. It s also fun to see what unexpected things occur when observing someone who has never played your game before. 変化、ゲーム、への他のデシジョンがエンドユーザ有用性テストの結果としてされます。 我々は我々のゲームをするコンプリート見知らぬ人の中にビデオによってモニターされた別個の部屋の中にカメラを持って来て、そして曲って行くすべてでメモをとります。 どんな意外なことが、前に一度もあなたのゲームをしたことがない誰かを観察するとき、起こるか見ることは同じく面白いです。 There are also many informal hallway meetings where discussions are held and decisions get made. People drop in or out at will, depending on how interested they are in that particular discussion. In general, buy-in is very important. Great games are made when everyone believes in what they re doing. 同じく解説が行なわれる、そしてデシジョンがされる多くの非公式の「廊下のミーティング」があります。 それらがあの特定の解説にどれぐらい興味を持っているかによって、意志の中にあるいは離れて緩和に居住してください。 一般に、 buy-in は最重要です。 皆がそれらが何の中にしているか信じるとき、素晴らしいゲームが作られます。 Have questions for the IW Design Team on how to become a designer? Join the discussion on the forums here どのようにデザイナーになるべきかについて、IWデザインチームのための質問を得ます？ ジョイン、ここのフォーラムに関するディスカッション： [ How to Become a Designer at Infinity Ward http //www.infinityward.com/community/forum/index.php?topic=21472.0 ] (Original "http //www.infinityward.com/wiki/index.php?title=Become_A_Designer_At_Infinity_Ward") 名前 すべて読む
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Riding in Mounted Games (Allen Rider Guides) J.A.Allen & Co Ltd?Jeanne O Malley? Twilight Crossings Double Dragon Pub?Jeanne AllenSheri L. McGathy?Shannah Biondine? Designers Guide to Color 3 Chronicle BooksJeanne AllenIkuyoshi Shibukawa? Showing Your Colors A Designer's Guide to Coordinating Your Wardrobe Chronicle BooksJeanne Allen Dressing With Color The Designer's Guide to over 1,000 Color Combinations Chronicle BooksJeanne AllenIkuyoshi Shibukawa?Yumi Takahashi? Designers Guide to Color, 3 Chronicle BooksJeanne AllenIkuyoshi Shibukawa? Designer's Guide to Japanese Patterns, 2 Chronicle BooksJeanne Allen Designer's Guide to Japanese Patterns 3 Chronicle BooksJeanne Allen The May Massee Collection Creative Publishing for Children, 1923-1963, a Checklist William Allen White Library, Emporia State University, Emporia, May Massee Collection?Emporia State University. William Allen White Memorial Libra?George V. Hodowanec?Jeanne Frederickson?Emporia State University William Allen White Memorial Library? The French Consul's Wife Memoirs of Celeste De Chabrillan in Gold-rush Australia Melbourne Univ Pr?Patricia Clancy?Jeanne Allen The French Consul's Wife Memoirs of Celeste De Chabrillian in Gold-Rush Australia (Miegunyah Press Series. Series 2, No. 18.) Melbourne Univ Pr?Celeste Venard De Chabrillan?Patricia Clancy?Jeanne Allen Designer's Guide to Color (Designer's Guide to Color) Chronicle BooksChronicle BooksJeanne AllenJames Stockton Ecology Oxford Univ Pr (Sd)?Timothy F. H. Allen?Stephen R. Carpenter?Anthony R. Ives?Robert L. Jeanne?James F. Kitchell?Nancy E. Langston?Monica G. Turner?Stanley I. Dodson? Designer's Guide to Color 3 (Designer's Guide to Color) Chronicle BooksIkuyoshi Shibukawa?Yumi Takahashi?Jeanne Allen Now Voyager Univ of Wisconsin Pr?Jeanne Thomas Allen? Readings in Ecology Oxford Univ Pr (Sd)?Stanley I. Dodson?Timothy F. H. Allen?Stephen R. Carpenter?Kandis Elliot?Anthony R. Ives?Robert L. Jeanne?James F. Kitchell?Nancy E. Langston?Monica G. Turner? Showing Your Colours Angus & Robertson (UK)?Jeanne Allen Designer's Guide to Color Angus & Robertson (UK)?Jeanne Allen Needed, One Dad Harlequin Mills & Boon?Jeanne Allan?Jeanne Allen The Papers of James Madison 5 November 1811-9 July 1812 With a Supplement 5 March 1809-19 October 1811 (Papers of James Madison Presidential Series) Univ of Virginia Pr?James Madison?Robert Allen Rutland?Jeanne Kerr Cross?Jewel L. Spangler?Ellen J. Barber?Martha J. King?Anne Mandeville Colony?J. C. A. Stagg? The Designer's Guide to Japanese Patterns Thames & Hudson Ltd?Jeanne Allen The Designer's Guide to Japanese Patterns Thames & Hudson Ltd?Jeanne Allen Now Voyager (Wisconsin/Warner Bros. Screenplay Series) Univ of Wisconsin Pr?Jeanne Thomas Allen? Young Soviet Film Makers Allen & U?Jeanne Vronskaya? Book of the Dragon Orbis Pub.?Judy Allen?Jeanne Griffiths? Young Soviet Film Makers Allen & U?Jeanne Vronskaya? Beautiful People's Diet Book WH Allen?Luciana Avedon?Jeanne Molli? Ethical Intersections Allen & Unwin?Jeanne Daly? Rachel and the Tough Guy (Enchanted) Harlequin Mills & Boon?Jeanne Allan?Jeanne Allen Lady Bought with Rifles WH Allen?Jeanne Williams? The Most Daring Dreams New Concepts Pub?Jeanne Allen Caillou Walks His Dog Walks His Dog (Backpack (Caillou)) Editions Chouette Inc?Nicole Nadeau?Joceline Sanschagrin?Jeannine Beaulieu?Roger Harvey?Francine Allen?Jeanne Verhoye Millet?Cinar Animation? Caillou Goes on an Adventure Goes on an Adventure (Backpack (Caillou)) Editions Chouette Inc?Nicole Nadeau?Joceline Sanschagrin?Jeannine Beaulieu?Roger Harvey?Francine Allen?Jeanne Verhoye Millet?Cinar Animation? School Choice Programs What's Happening in the States Heritage Foundation?Jeanne Allen Ethical Interactions Allen & Unwin?Jeanne Daly? Perspectives in Midwifery Practice Butterworth-Heinemann Ltd?Jeanne Siddiqui?Rosie Allen? Caillou Is Sick (Backpack (Caillou)) Editions Chouette Inc?Nicole Nadeau?Joceline Sanschagrin?Jeannine Beaulieu?Roger Harvey?Francine Allen?Jeanne Verhoye Millet?Cinar Animation? Caillou Hurts Himself Hurts Himself (Backpack (Caillou)) Editions Chouette Inc?Nicole Nadeau?Joceline Sanschagrin?Jeannine Beaulieu?Roger Harvey?Francine Allen?Jeanne Verhoye Millet?Cinar Animation? Caillou Sleeps over Sleeps over (Backpack (Caillou)) Editions Chouette Inc?Nicole Nadeau?Joceline Sanschagrin?Jeannine Beaulieu?Roger Harvey?Francine Allen?Jeanne Verhoye Millet?Cinar Animation? Designer's Guide to Samurai Patterns (Designer's Guide to Japanese Patterns) Chronicle BooksJeanne Allen Caillou Goes to Work (Backpack (Caillou)) Editions Chouette Inc?Nicole Nadeau?Joceline Sanschagrin?Jeannine Beaulieu?Roger Harvey?Francine Allen?Jeanne Verhoye Millet?Cinar Animation? The Designer's Guide to Japanese Patterns Thames & Hudson Ltd?Jeanne Allen Die hohe Kunst des Small talk. Schlagfertig und witzig in allen Lebenslagen. Moderne Verlagsges., M.?Jeanne Martinet? The Designer's Guide to Samurai Patterns Thames & Hudson Ltd?Jeanne Allen
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テト譜 このテンプレの特徴 FINしてISOしてNEO 強み、弱み 強み 強いて言うなら2巡目確定妥協がある 弱み 3巡目が組みにくい 派生一覧 ない その他 名前の由来は FINとISOとNEOをするのでそれぞれの頭文字をとってFIN、「これがほんとのFIN()」という意味を込めて真 になりました