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Disc 1 Disc 2 CD情報 CD名 リリース日 アーティスト REALIZE 2015.08.26 DJ Genki http //djgenki.net/gecd015/ Disc 1 Track No. 曲名 アーティスト 演奏時間 01 Shining World (Album Mix) DJ Genki feat. Yukacco 02 Realize DJ Genki feat. Yukacco 03 Future Maker lapix VS DJ Genki 04 Drop DJ Genki 05 HAPPYHAPPYHAPPY!!!!!! (RE EDIT MIX) DJ Genki 06 Toys (2015 Update Ver.) DJ Genki 07 Candy Star (Album Mix) DJ Genki feat. Yukacco 08 Fake it me 吉河順央 09 Kicky Land RoughSketch VS DJ Genki 10 Dreamer DJ Genki feat. Yukacco 11 Starlit Sky (2015 Update Ver.) DJ Genki feat. Yukacco 12 Just Say Goodbye DJ Shimamura VS DJ Genki feat. Yukacco 13 Shining World (A-Style-Happy-Core Remix!!) Remixed by かめりあ feat. ななひら Disc 2 DJ Mix
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The Basic Assumption Capitalism will not let unprofitable business survive for long. Nuclear Power Generation The calculation of the total cost of the management of a nuclear power generation must include the money paid to have the locals accept a nuclear power plant. to develop the technology to build reactors. to provide a station of pumped-up hydroelectric power, which is a peculiar facility that eats up more electricity than it generates. to finalize the disposition of nuclear wastes, taking a long period of time, minimum 300 year. to handle the crises upon a huge natural disaster. Technological development alone would deprive the business of over half its net profit if the business were entirely private. No one nation has started the final disposition of nuclear wastes. It is difficult to calculate how much money is to be paid for hundreds of years of watching the waste deposits. Natural disasters will add an immense amount to the total cost, too. Nuclear power generation as a whole is not sustainable as capitalist business. Private companies is making money just because tax money is paid to cover most of the front-end and back-end costs. When power generation was privatized in England, no one raised his hand to acquire nuclear power plants and they remained in the public sector. The Motivations The existence of nuclear power plants is nevertheless part of our reality. They are supported by the motivations that do not jive together with capitalism. When North Korea and Iran started their development of nuclear technology, the international community was upset and bewildered. Nuclear technology means something as a threat or a pressure in high politics, that is,military and foreign affairs. I also guess that the act of converting one element into another has a irresistable appeal to some of us. In the early days, several scientists died from exposure to radiation and radioactive materials, literally devoting their lives to the technology and its development. I hear a 15-year-old boy scout caused a disaster by trying to make some plutonium in his hand-made reactor. Such episodes reminds me of alchemist wannabes in the Middle Age. In short, it is not that they run reactors for the purpose of generating electricity. They generate electricity to justify what they do with reactors.
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E.I.01A. Laws of Chess E.I.01A. Laws of Chess 序文 BASIC RULES OF PLAYArticle 1 The nature and objectives of the game of chess Article 2 The initial position of the pieces on the chessboard Article 3 The moves of the pieces Article 4 The act of moving the pieces Article 5 The completion of the game COMPETITION RULESArticle 6 The chess clock Article 7 Irregularities Article 8 The recording of the moves Article 9 The drawn game Article 10 Quickplay Finish Article 11 Points Article 12 The conduct of the players Article 13 The role of the Arbiter (See Preface) Article 14 FIDE 英語版がチェス規約の正式な物であり、これは2008年11月のドレスデンでの第79回FIDE会議において採択され、2009年7月1日より施行された。 この規約における「彼」という表現は「彼女」という意味も含む。 序文 チェス規約は試合中に起こりうる全ての状況を網羅できるわけでも、全ての運営上の問題を規定できるわけでもない。本規約において明確に規定されていない状況の場合、本規約で議論されている類似した状況を学び、正しい決断が導かれるべきである。 本規約はアービター(審判)が必要な能力、正しい判断、絶対的な客観性を持っていると想定している。詳細すぎる規則はアービターから判断の自由を奪い、結果彼から公平性、論理性や特殊な要因に裏付けられた問題の解決策を見つけるのを妨げるかもしれない。 FIDEは全てのチェスプレーヤーと連盟にこの見解を受け入れるよう求める。 FIDEの一員である連盟は、以下の条件を満たすより詳細な規則を設ける事ができる。 a FIDEチェス規約と矛盾しないこと。 b その連盟が関わる地域に限定されたものであること。 c FIDEの試合、選手権あるいは認可を受けたイベント、並びにFIDEタイトル、レーティングトーナメントを規制するものでないこと。 BASIC RULES OF PLAY Article 1 The nature and objectives of the game of chess 1.1 The game of chess is played between two opponents who move their pieces alternately on a square board called a ‘chessboard’. The player with the white pieces commences the game. A player is said to ‘have the move’, when his opponent’s move has been ‘made’. (See Article 6.7) 1.2 The objective of each player is to place the opponent’s king ‘under attack’ in such a way that the opponent has no legal move. The player who achieves this goal is said to have ‘checkmated’ the opponent’s king and to have won the game. Leaving one’s own king under attack, exposing one’s own king to attack and also ’capturing’ the opponent’s king are not allowed. The opponent whose king has been checkmated has lost the game. 1.3 どちらのプレーヤーもチェックメイトに出来ない局面になったとき、ゲームは引き分けとなる。 Article 2 The initial position of the pieces on the chessboard 2.1 The chessboard is composed of an 8 x 8 grid of 64 equal squares alternately light (the ‘white’ squares) and dark (the ‘black’ squares). The chessboard is placed between the players in such a way that the near corner square to the right of the player is white. 2.2 At the beginning of the game one player has 16 light-coloured pieces (the ‘white’ pieces); the other has 16 dark-coloured pieces (the ‘black’ pieces). These pieces are as follows A white king, usually indicated by the symbol A white queen, usually indicated by the symbol Two white rooks, usually indicated by the symbol Two white bishops, usually indicated by the symbol Two white knights, usually indicated by the symbol Eight white pawns, usually indicated by the symbol A black king, usually indicated by the symbol A black queen, usually indicated by the symbol Two black rooks, usually indicated by the symbol Two black bishops, usually indicated by the symbol Two black knights, usually indicated by the symbol Eight black pawns, usually indicated by the symbol 2.3 各駒は以下のような初期配置でチェス盤に並べられる: 2.4 The eight vertical columns of squares are called ‘files’. The eight horizontal rows of squares are called ‘ranks’. A straight line of squares of the same colour, running from one edge of the board to an adjacent edge, is called a ‘diagonal’. Article 3 The moves of the pieces 3.1 It is not permitted to move a piece to a square occupied by a piece of the same colour. If a piece moves to a square occupied by an opponent’s piece the latter is captured and removed from the chessboard as part of the same move. A piece is said to attack an opponent’s piece if the piece could make a capture on that square according to the Articles 3.2 to 3.8. A piece is considered to attack a square, even if such a piece is constrained from moving to that square because it would then leave or place the king of its own colour under attack. 3.2 The bishop may move to any square along a diagonal on which it stands. 3.3 The rook may move to any square along the file or the rank on which it stands. 3.4 The queen may move to any square along the file, the rank or a diagonal on which it stands. 3.5 When making these moves the bishop, rook or queen may not move over any intervening pieces. 3.6 The knight may move to one of the squares nearest to that on which it stands but not on the same rank, file or diagonal. 3.7 a. The pawn may move forward to the unoccupied square immediately in front of it on the same file, or b. on its first move the pawn may move as in 3.7.a or alternatively it may advance two squares along the same file provided both squares are unoccupied, or c. the pawn may move to a square occupied by an opponent’s piece, which is diagonally in front of it on an adjacent file, capturing that piece. d. A pawn attacking a square crossed by an opponent’s pawn which has advanced two squares in one move from its original square may capture this opponent’s pawn as though the latter had been moved only one square. This capture is only legal on the move following this advance and is called an ‘en passant’ capture. e. When a pawn reaches the rank furthest from its starting position it must be exchanged as part of the same move on the same square for a new queen, rook, bishop or knight of the same colour. The player’s choice is not restricted to pieces that have been captured previously. This exchange of a pawn for another piece is called ‘promotion’ and the effect of the new piece is immediate. 3.8 a. There are two different ways of moving the king by moving to any adjoining square not attacked by one or more of the opponent’s pieces or by ‘castling’. This is a move of the king and either rook of the same colour along the player’s first rank, counting as a single move of the king and executed as follows the king is transferred from its original square two squares towards the rook on its original square, then that rook is transferred to the square the king has just crossed. moves_castling.gif b. (1) The right to castle has been lost a. if the king has already moved, or b. with a rook that has already moved. (2) Castling is prevented temporarily a. if the square on which the king stands, or the square which it must cross, or the square which it is to occupy, is attacked by one or more of the opponent s pieces, or b. if there is any piece between the king and the rook with which castling is to be effected. 3.9 The king is said to be in check if it is attacked by one or more of the opponent s pieces, even if such pieces are constrained from moving to that square because they would then leave or place their own king in check. No piece can be moved that will either expose the king of the same colour to check or leave that king in check. Article 4 The act of moving the pieces 4.1 Each move must be made with one hand only. 4.2 Provided that he first expresses his intention (for example by saying „j’adoube“ or “I adjust”), the player having the move may adjust one or more pieces on their squares. 4.3 Except as providedin Article 4.2, if the player having the move deliberately touches on the chessboard a. one or more of his own pieces, he must move the first piece touched which can be moved b. one or more of his opponent’s pieces, he must capture the first piece touched which can be captured c. one piece of each colour, he must capture the opponent’s piece with his piece or, if this is illegal, move or capture the first piece touched which can be moved or captured. If it is unclear, whether the player’s own piece or his opponent’s was touched first, the player’s own piece shall be considered to have been touched before his opponent’s. 4.4 If a player having the move a. deliberately touches his king and rook he must castle on that side if it is legal to do so b. deliberately touches a rook and then his king he is not allowed to castle on that side on that move and the situation shall be governed by Article 4.3.a c. intending to castle, touches the king or king and rook at the same time, but castling on that side is illegal, the player must make another legal move with his king (which may include castling on the other side). If the king has no legal move, the player is free to make any legal move d. promotes a pawn, the choice of the piece is finalised, when the piece has touched the square of promotion. 4.5 If none of the pieces touched can be moved or captured, the player may make any legal move. 4.6 When, as a legal move or part of a legal move, a piece has been released on a square, it cannot be moved to another square on this move. The move is then considered to have been made a. in the case of a capture, when the captured piece has been removed from the chessboard and the player, having placed his own piece on its new square, has released this capturing piece from his hand b. in the case of castling, when the player s hand has released the rook on the square previously crossed by the king. When the player has released the king from his hand, the move is not yet made, but the player no longer has the right to make any move other than castling on that side, if this is legal c. in the case of the promotion of a pawn, when the pawn has been removed from the chessboard and the player s hand has released the new piece after placing it on the promotion square. If the player has released from his hand the pawn that has reached the promotion square, the move is not yet made, but the player no longer has the right to play the pawn to another square. The move is called legal when all the relevant requirements of Article 3 have been fulfilled. If the move is not legal, another move shall be made instead as per Article 4.5. 4.7 A player forfeits his right to a claim against his opponent’s violation of Article 4 once he deliberately touches a piece. Article 5 The completion of the game 5.1 a. The game is won by the player who has checkmated his opponent’s king. This immediately ends the game, provided that the move producing the checkmate position was a legal move. b. The game is won by the player whose opponent declares he resigns. This immediately ends the game. 5.2 a. The game is drawn when the player to move has no legal move and his king is not in check. The game is said to end in ‘stalemate’. This immediately ends the game, provided that the move producing the stalemate position was legal. b. The game is drawn when a position has arisen in which neither player can checkmate the opponent’s king with any series of legal moves. The game is said to end in a ‘dead position’. This immediately ends the game, provided that the move producing the position was legal. (See Article 9.6) c. The game is drawn upon agreement between the two players during the game. This immediately ends the game. (See Article 9.1) d. The game may be drawn if any identical position is about to appear or has appeared on the chessboard at least three times. (See Article 9.2) e. The game may be drawn if each player has made at least the last 50 consecutive moves without the movement of any pawn and without any capture. (See Article 9.3) COMPETITION RULES Article 6 The chess clock 6.1 ‘Chess clock’ means a clock with two time displays, connected to each other in such a way that only one of them can run at one time. ‘Clock’ in the Laws of Chess, means one of the two time displays. Each time display has a ‘flag’. ‘Flag fall’ means the expiration of the allotted time for a player. 6.2 a. When using a chess clock, each player must make a minimum number of moves or all moves in an allotted period of time and/or may be allocated an additional amount of time with each move. All these must be specified in advance. b. The time saved by a player during one period is added to his time available for the next period, except in the ‘time delay’ mode. In the time delay mode both players receive an allotted ‘main thinking time’. Each player also receives a ‘fixed extra time’ with every move. The countdown of the main time only commences after the fixed time has expired. Provided the player stops his clock before the expiration of the fixed time, the main thinking time does not change, irrespective of the proportion of the fixed time used. 6.3 Immediately after a flag falls, the requirements of article 6.2 a. must be checked. 6.4 Before the start of the game the arbiter decides where the chess clock is placed. 6.5 At the time determined for the start of the game the clock of the player who has the white pieces is started. 6.6 a. Any player who arrives at the chessboard after the start of the session shall lose the game. Thus the default time is 0 minutes. The rules of a competition may specify otherwise. b. If the rules of a competition specify a different default time, the following shall apply. If neither player is present initially, the player who has the white pieces shall lose all the time that elapses until he arrives, unless the rules of the competition specify or the arbiter decides otherwise. 6.7 a. During the game each player, having made his move on the chessboard, shall stop his own clock and start his opponent’s clock. A player must always be allowed to stop hisclock. His move is not considered to have been completed until he has done so, unless the move that was made ends the game. (See the Articles 5.1.a, 5.2.a, 5.2.b, 5.2.c and 9.6) The time between making the move on the chessboard and stopping his own clock and starting his opponent‘s clock is regarded as part of the time allotted to the player. b. A player must stop his clock with the same hand as that with which he made his move. It is forbidden for a player to keep his finger on the button or to ‘hover’ over it. c. The players must handle the chess clock properly. It is forbidden to punch it forcibly, to pick it up or to knock it over. Improper clock handling shall be penalised in accordance with Article 13.4. d. If a player is unable to use the clock, an assistant, who must be acceptable to the arbiter, may be provided by the player to perform this operation. His clock shall be adjusted by the arbiter in an equitable way. 6.8 A flag is considered to have fallen when the arbiter observes the fact or when either player has made a valid claim to that effect. 6.9 Except where one of the Articles 5.1.a, 5.1.b, 5.2.a, 5.2.b, 5.2.c applies, if a player does not complete the prescribed number of moves in the allotted time, the game is lost by the player. However, the game is drawn, if the position is such that the opponent cannot checkmate the player’s king by any possible series of legal moves. 6.10 a. Every indication given by the clocks is considered to be conclusive in the absence of any evident defect. A chess clock with an evident defect shall be replaced. The arbiter shall replace the clock and use his best judgment when determining the times to be shown on the replacement chess clocks. b. If during a game it is found that the setting of either or both clocks was incorrect, either player or the arbiter shall stop the clocks immediately. The arbiter shall install the correct setting and adjust the times and move counter. He shall use his best judgement when determining the correct settings. 6.11 If both flags have fallen and it is impossible to establish which flag fell first then a. the game shall continue if it happens in any period of the game except the last period b. the game is drawn if it happens in the period of a game, in which all remaining moves must be completed. 6.12 a. If the game needs to be interrupted, the arbiter shall stop the clocks. b. A player may stop the clocks only in order to seek the arbiter’s assistance, for example when promotion has taken place and the piece required is not available. c. The arbiter shall decide when the game is to be restarted in either case. d. If a player stops the clocks in order to seek the arbiter’s assistance, the arbiter shall determine if the player had any valid reason for doing so. If it is obvious that the player had no valid reason for stopping the clocks, the player shall be penalised according to Article 13.4. 6.13 If an irregularity occurs and/or the pieces have to be restored to a previous position, the arbiter shall use his best judgement to determine the times to be shown on the clocks. He shall also, if necessary, adjust the clock’s move counter. 6.14 Screens, monitors, or demonstration boards showing the current position on the chessboard, the moves and the number of moves made, and clocks which also show the number of moves, are allowed in the playing hall. However, the player may not make a claim relying solely on information shown in this manner. Article 7 Irregularities 7.1 a. If during a game it is found that the initial position of the pieces was incorrect, the game shall be cancelled and a new game played. b. If during a game it is found that the chessboard has been placed contrary to Article 2.1, the game continues but the position reached must be transferred to a correctly placed chessboard. 7.2 If a game has begun with colours reversed then it shall continue, unless the arbiter rules otherwise. 7.3 If a player displaces one or more pieces, he shall re-establish the correct position on his own time. If necessary, either the player or his opponent shall stop the clocks and ask for the arbiter’s assistance. The arbiter may penalise the player who displaced the pieces. 7.4 a. If during a game it is found that an illegal move, including failing to meet the requirements of the promotion of a pawn or capturing the opponent’s king, has been completed, the position immediately before the irregularity shall be reinstated. If the position immediately before the irregularity cannot be determined the game shall continue from the last identifiable position prior to the irregularity. The clocks shall be adjusted according to Article 6.13. The Articles 4.3 and 4.6 apply to the move replacing the illegal move. The game shall then continue from this re-instated position. b. After the action taken under Article 7.4.a, for the first two illegal moves by a player the arbiter shall give two minutes extra time to his opponent in each instance; for a third illegal move by the same player, the arbiter shall declare the game lost by this player. However, the game is drawn if the position is such that the opponent cannot checkmate the player’s king by any possible series of legal moves. 7.5 If during a game it is found that pieces have been displaced from their squares, the position before the irregularity shall be re-instated. If the position immediately before the irregularity cannot be determined, the game shall continue from the last identifiable position prior to the irregularity. The clocks shall be adjusted according to Article 6.13. The game shall then continue from this re-instated position. Article 8 The recording of the moves 8.1 In the course of play each player is required to record his own moves and those of his opponent in the correct manner, move after move, as clearly and legibily as possible, in the algebraic notation (See Appendix C), on the scoresheet prescribed for the competition. It is forbidden to write the moves in advance, unless the player is claiming a draw according to Article 9.2, or 9.3 or adjourning a game according to the Guidelines of Adjourned Games point 1.a. A player may reply to his opponent’s move before recording it, if he so wishes. He must record his previous move before making another. Both players must record the offer of a draw on the scoresheet. (See Appendix C.13) If a player is unable to keep score, an assistant, who must be acceptable to the arbiter, may be provided by the player to write the moves. His clock shall be adjusted by the arbiter in an equitable way. 8.2 The scoresheet shall be visible to the arbiter throughout the game. 8.3 The scoresheets are the property of the organisers of the event. 8.4 If a player has less than five minutes left on his clock at some stage in a period and does not have additional time of 30 seconds or more added with each move, then for the remainder of the period he is not obliged to meet the requirements of Article 8.1. Immediately after one flag has fallen the player must update his scoresheet completely before moving a piece on the chessboard. 8.5 a. If neither player is required to keep score under Article 8.4, the arbiter or an assistant should try to be present and keep score. In this case, immediately after one flag has fallen,the arbiter shall stop the clocks. Then both players shall update their scoresheets, using the arbiter’s or the opponent’s scoresheet. b. If only one player is not required to keep score under Article 8.4, he must, as soon as either flag has fallen, update his scoresheet completely before moving a piece on the chessboard. Provided it is the player’s move, he may use his opponent’s scoresheet, but must return it before making a move. c. If no complete scoresheet is available, the players must reconstruct the game on a second chessboard under the control of the arbiter or an assistant. He shall first record the actual game position, clock times and the number of moves made, if this information is available, before reconstruction takes place. 8.6 If the scoresheets cannot be brought up to date showing that a player has overstepped the allotted time, the next move made shall be considered as the first of the following time period, unless there is evidence that more moves have been made. 8.7 At the conclusion of the game both players shall sign both scoresheets, indicating the result of the game. Even if incorrect, this result shall stand, unless the arbiter decides otherwise. Article 9 The drawn game 9.1 a. The rules of a competition may specify that players cannot agree to a draw, whether in less than a specified number of moves or at all, without the consent of the arbiter. b. If the rules of a competition allow a draw agreement the following apply A player wishing to offer a draw shall do so after having made a move on the chessboard and before stopping his clock and starting the opponent’s clock. An offer at any other time during play is still valid but Article 12.6 must be considered. No conditions can be attached to the offer. In both cases the offer cannot be withdrawn and remains valid until the opponent accepts it, rejects it orally, rejects it by touching a piece with the intention of moving or capturing it, or the game is concluded in some other way. The offer of a draw shall be noted by each player on his scoresheet with a symbol. (See Appendix C.13) A claim of a draw under Article 9.2, 9.3 or 10.2 shall be considered to be an offer of a draw. 9.2 The game is drawn upon a correct claim by the player having the move, when the same position, for at least the third time (not necessarily by a repetition of moves) a. is about to appear, if he first writes his move on his scoresheet and declares to the arbiter his intention to make this move, or b. has just appeared, and the player claiming the draw has the move. Positions as in (a) and (b) areconsidered the same, if the same player has the move, pieces of the same kind and colour occupy the same squares, and the possible moves of all the pieces of both players are the same. Positions are not the same if a pawn that could have been captured en passant can no longer be captured in this manner. When a king or a rook is forced to move, it will lose its castling rights, if any, only after it is moved. 9.3 The game is drawn, upon a correct claim by the player having the move, if a. he writes his move on his scoresheet and declares to the arbiter his intention to make this move, which shall result in thelast50 moves having been made by each player without the movement of any pawn and without any capture, or b. the last 50 consecutive moves have been made by each playerwithout the movement of any pawn and without any capture. 9.4 If the player touches a piece as in Article 4.3 without having claimed the draw he loses the right to claim, as in Article 9.2 or 9.3, on that move. 9.5 If a player claims a draw as in Article 9.2 or 9.3 he may stop both clocks. (See Article 6.12.b) He is not allowed to withdraw his claim. a. If the claim is found to be correct, the game is immediately drawn. b. If the claim is found to be incorrect, the arbiter shall add three minutes to the opponent’s remaining thinking time. Then the game shall continue. If the claim was based on an intended move, this move must be made as according to Article 4. 9.6 The game is drawn when a position is reached from which a checkmate cannot occur by any possible series of legal moves. This immediately ends the game, provided that the move producing this position was legal. Article 10 Quickplay Finish 10.1 A ‘quickplay finish’ is the phase of a game when all the (remaining) moves must be made in a limited time. 10.2 If the player, having the move, has less than two minutes left on his clock, he may claim a draw before his flag falls. He shall summon the arbiter and may stop the clocks. (See Article 6.12.b) a. If the arbiter agrees the opponent is making no effort to win the game by normal means, or that it is not possible to win by normal means, then he shall declare the game drawn. Otherwise he shall postpone his decision or reject the claim. b. If the arbiter postpones his decision, the opponent may be awarded two extra minutes and the game shall continue, if possible in the presence of an arbiter. The arbiter shall declare the final result later in the game or as soon as possible after a flag has fallen. He shall declare the game drawn if he agrees that the final position cannot be won by normal means, or that the opponent was not making sufficient attempts to win by normal means. c. If the arbiter has rejected the claim, the opponent shall be awarded two extra minutes time. d. The decision of the arbiter shall be final relating to (a), (b) and (c). Article 11 Points 11.1 Unless announced otherwise in advance, a player who wins his game, or wins by forfeit, scores one point (1), a player who loses his game, or forfeits scores no points (0) and a player who draws his game scores a half point (½). Article 12 The conduct of the players 12.1 The players shall take no action that will bring the game of chess into disrepute. 12.2 Players are not allowed to leave the ‘playing venue’ without permission from the arbiter. The playing venue is defined as the playing area, rest rooms, refreshment area, area set aside for smoking and other places as designated by the arbiter. The player having the move is not allowed to leave the playing area without permission of the arbiter. 12.3 a. During play the players are forbidden to make use of any notes, sources of information or advice, or analyse on another chessboard b. Without the permission of the arbiter a player is forbidden to have a mobile phone or other electronic means of communication in the playing venue, unless they are completely switched off. If any such device produces a sound, the player shall lose the game. The opponent shall win. However, if the opponent cannot win the game by any series of legal moves, his score shall be a draw. c. Smoking is permitted only in the section of the venue designated by the arbiter 12.4 The scoresheet shall be used only for recording the moves, the times of the clocks, the offers of a draw, and matters relating to a claim and other relevant data. 12.5 Players who have finished their games shall be considered to be spectators. 12.6 It is forbidden to distract or annoy the opponent in any manner whatsoever. This includes unreasonable claims, unreasonable offers of a draw or the introduction of a source of noise into the playing area. 12.7 Infraction of any part of Articles 12.1 to 12.6 shall lead to penalties in accordance with Article 13.4. 12.8 Persistent refusal by a player to comply with the Laws of Chess shall be penalised by loss of the game. The arbiter shall decide the score of the opponent. 12.9 If both players are found guilty according to Article 12.8, the game shall be declared lost by both players. 12.10 In the case of Article 10.2.d or Appendix D a player may not appeal against the decision of the arbiter. Otherwise a player may appeal against any decision of the arbiter, unless the rules of the competition specify otherwise. Article 13 The role of the Arbiter (See Preface) 13.1 The arbiter shall see that the Laws of Chess are strictly observed. 13.2 The arbiter shall act in the best interest of the competition. He should ensure that a good playing environment is maintained and that the players are not disturbed. He shall supervise the progress of the competition. 13.3 The arbiter shall observe the games, especially when the players are short of time, enforce decisions he has made and impose penalties on players where appropriate. 13.4 The arbiter can apply one or more of the following penalties a. warning b. increasing the remaining time of the opponent c. reducing the remaining time of the offending player d. declaring the game to be lost e. reducing the points scored in the game by the offending party f. increasing the points scored in the game by the opponent to the maximum available for that game g. expulsion from the event. 13.5 The arbiter may award either or both players additional time in the event of external disturbance of the game. 13.6 The arbiter must not intervene in a game except in cases described by the Laws of Chess. He shall not indicate the number of moves made, except in applying Article 8.5, when at least one flag has fallen. The arbiter shall refrain from informing a player that his opponent has completed a move or that the player has not pressed his clock. 13.7 a. Spectators and players in other games are not to speak about or otherwise interfere in a game. If necessary, the arbiter may expel offenders from the playing venue. If someone observes an irregularity, he may inform only the arbiter. b. Unless authorised by the arbiter, it is forbidden for anybody to use a mobile phone or any kind of communication device in the playing venue and any contiguous area designated by the arbiter. Article 14 FIDE 14.1 Member federations may ask FIDE to give an official decision about problems relating to the Laws of Chess.
https://w.atwiki.jp/newrose/pages/44.html
autolink M-65パンツはナイロン・コットン素材とナイロン・レーヨン素材の2種類確認した。 素材によって縮む縮まないなど気を付けるべき点があるかとラベルを確認した。 素材は違っても表示は共通であった。 ナイロン・コットンだろうがナイロン・レーヨンだろうが、この指示に従って、 気を使うことなくいずれもガンガン洗濯機にかけて乾燥機にかけることが分かった。 確かに戦場で洗濯に気を使うことはできるはずもなくヘビーデューティーに作られているのだろう。 ナイロン・コットンの表示 ナイロン・レーヨンの表示 DSA 100-72-C-1636 WINFIELD MFG. CO., INC. DSA100-74-C-1106 WINFIELD MFG. CO., INC. 50% NYLON 50% COTTON 50% NYLON 50% RAYON TROUSERS, COLD WEATHER, COTTON AND NYLON, WIND TROUSERS, COLD WEATHER, NAYLON AND RAYLON, WIND RESISTANT SATEEN OLIVE GREEN, ARMY SHADE 107 RESISTANT SATEEN OLIVE GREEN, ARMY SHADE 107 1.Wear as outer garment in cold-wet climate or as the innar layer 1.Wear as outer garment in cold-wet climate or as the innar layer of the cold-dry uniform. of the cold-dry uniform. 2.Button in linar for extra warmth . Remove it when damp or wet 2.Button in linar for extra warmth . Remove it when damp or wet and allow to dry. and allow to dry. 3.Attach suspender hooks to waist loops. 3.Attach suspender hooks to waist loops. 4.Adjust waist by buckle straps. 4.Adjust waist by buckle straps. 5.Ventirate by loosening drawcords. 5.Ventirate by loosening drawcords. 6.Wear leg bottoms outside foot gear and secure drawcords. 6.Wear leg bottoms outside foot gear and secure drawcords. 7.Brush off snow and frost before entering heated shelter. 7.Brush off snow and frost before entering heated shelter. 8.Avoid contact with heated stoves, open fires or other high heat 8.Avoid contact with heated stoves, open fires or other high heat source; faburic may fuse. source; faburic may fuse. 9.Dry trousers and liner separataly. 9.Dry trousers and liner separataly. 10.Lubricate slide fasteners with lead pencil graphite or wax. 10.Lubricate slide fasteners with lead pencil graphite or wax. 11.Wash by hand or machine, with slide fastener closed, in hot 11.Wash by hand or machine, with slide fastener closed, in hot with mild soap or detergent, Rinse thoroughly and drip or machine dry with mild soap or detergent, Rinse thoroughly and drip or machine dry DO NOT REMOVE THIS LABEL DO NOT REMOVE THIS LABEL (大体翻訳) 1.寒く湿った気候の下ではアウターとして、寒く乾燥した気候の下は制服のインナーとして着用すること。 2.最大限の保温を得るためライナーをボタン留めすること。湿り気を帯びたり、濡れた時にはライナーを外して乾燥させること。 3.サスペンダーフックをウエストループに付けること。 4.バックルストラップでウエストを調整すること。 5.ドローコードを緩めて換気をすること。 6.ズボンのすそはブーツの外に出し、ドローコードを確保すること。 7.暖房のきいたシェルターに入る際は雪や霜を払い落とすこと。 8.熱いストーブや裸の火や他の高熱の熱源との接触を避けること。生地が溶けるかもしれない。 9.ズボンとライナーは別々に乾燥させること。 10.ファスナーの開閉を滑らかに保つため鉛筆の黒鉛またはワックスを塗ること。 11.洗濯は手洗いまたは洗濯機ですること。洗濯の際は、ジッパーを閉じ、ぬるま湯でマイルドソープか合成洗剤を使うこと。よくすすいで手で絞るか乾燥機で乾かすこと。 このラベルをはがすことを禁ず。
https://w.atwiki.jp/jtvwiki/pages/23.html
http //zh-tw.justin.tv/serjun555555555555555 http //www.twitch.tv/serjunplaygame 屬性 にぱ~☆ 好像有點傲嬌受 好摸 6 55 Mod Akaiseven 社長超好摸的欸www (2013/1/27) 巨人(1.6米型) (2013/05/25) 三無角色(無夢想、無希望、無目標) (2013/11/17) 難笑 沒梗 無聊 看到妹就一直汁,噁心 膽小 沒用 自大 孤僻 自私 嘴砲 負面 沒毅力 愛酸人 自怨自艾 基本資料 暱稱:社長 年齡:大四(2013/9學年度) 生日:5/3 身高、體重:129、129 實況年份:2010 實況內容:TS Mario、星海、看電競、掛播動畫or日劇、上島、放生觀眾、吃布丁(?)、吃狗食、萌笑、Drag here、各種發病、現在要幹嘛? 特色和事件 笑聲可愛,手指、手臂纖細,皮膚很白。 常常罵自己台的觀眾是神經病,不過實際上是個傲嬌。 因為PSP轉接頭的問題很困擾,原因是求方便買了三合一的轉接頭發現問題相當多,鍵盤觀眾指導之下目標轉向鍍金接頭。 曾因粗(ㄕㄡˇ)心(ㄐㄧㄢˋ)把早期帳號Serjun555關掉,後來求助神龍6tan才把帳號救回,不過變成閒置偶爾看看以前的精華才會用。 獲有JTV"最宅"稱號~(社長你在宅什麼啦) 是個重度假面騎士、鋼彈及遊戲王迷,會在實況的時候喊出裡面的台詞。 例如:我がマスラオの奧義を!(我的猛男奧義!)(語出鋼彈00) 註:マスラオ來自日本漢字「益荒男」,意義為「勇猛的男人」 來細數你的罪行吧!(語出假面騎士W)) 喜好玩TS MARIO的ドM,能使用黛西公主的關就一定會選,是個公主廚。 玩TSM的時候完全不能誇,逢誇必馬。 TSM在一些有時間限制的關卡常常99命花完都沒過,不過通常在花完之前就樂(ㄋㄨˋ)關了。 TSM卡關的時候,如果有觀眾建議社長可以換馬大叔或是香菇小弟來通關。通常回應是:你不懂啦!! 常常看星海比賽看完之後人就消失,放生觀眾過一段時間才回來。 2012/6/13當晚約十點半看完之後果不其然人又消失,不過這次放生直到凌晨三點都未歸,大約凌晨三點半左右台就突然關了,留下一群苦等的觀眾。 看看我,我甚至沒有辦法飛出窗外。(語出玩具總動員) 有一段時間特別愛玩QWOP、GIRP,遊玩時會播放成龍的男子漢作為背景音樂。掀起JTV一陣男子漢風潮 用羽入當大頭貼,唱 なのです☆ 萌萌的(收錄自咪醬剪的精華-社長專用台歌) 看完星海電競比賽之後經常即興作圖(使用小畫家、滑鼠),右為作品之一 去哭哭米台(imurukukuk)時,哭哭米會為社長唱Just Be Friends。 曾因實況鬼畜眼鏡被BAN。 很會唱Under The Darkness。 目前正以龜速遊玩著第二次機器人大戰z再世&破界篇。 「 社長是個大笨蛋! 」事件 某晚大約凌晨三點半,社長實況時說:「我討厭短頭髮。」 過不久突然有位觀眾跳出來在聊天室說:「社長我也是短頭髮耶!」 社長便答:「那我也討厭你!」 大約五分鐘之後,突然有位女性Call in進來哭著說:「嗚嗚嗚,社長我討厭你!!!」 最後社長用盡全身力氣憋笑道歉,並且創造出名句「社長是個大笨蛋!」 曾經是個瘋狂魚粉。(註:魚=費許=fish7333,為過去知名實況主之一。) 廚力非常高、不下兔爹蘇三,但是個隱性廚。 曾率領觀眾進攻鐵蛋與水煮蛋台 也有跟人戰戰過 三歲控 巡音流歌控,曾表示:「除了巡音以外,其他都是軟體。」 疑似JTV神秘力量、幕後黑手(待求證)。 極小機率發病唱歌,歌聲稍勝人皇兔爹。 近期迷上台灣歐郎,時常在實況發病耍廚時模仿該影片。 曾經推崇藍色鐵捲門,直到知道原來他是個 … (ry 曾經在訊訊台說:「我看實況有點LAG,可以點我的ID按修改嗎?」造成一時轟動,成為名句。 你是說…他…?那麼…他…國王陛下!(語出玩具總動員) 買了PS3 (日期待補) 自從知道JOJO OP1會被ban之後就一直嘗試然後開始瘋狂死亡之路 曾經疑似讓sonet的ip全部被賈斯丁鎖住 (Serjungatakiriba死亡的時候) 2013的暑假找到工作了,沒有社長台的日子是寂寞的 在伊諾可交到男朋友之後,一直費盡心機唱衰人家,叫人家分手,最後把她趕出JTV 把自己的MGS借給魯蛋,以為這樣能靠魯蛋推薦就會紅 聽說要去當替代役了 跟D2好像還不錯,結果一黑掉就跟人家撇清關係
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/starcraft2story/pages/152.html
研究施設 EB-103 06 36 - 現地時間 Adjutant Warning, Dominion forces in sectors three, four, and six. 警告、帝国軍がセクター3,4,6に侵入しました。 Raynor Sarah... サラ・・・ Adjutant All personnel must evacuate. 全職員は速やかに退避して下さい。 Nova This is Nova. Begin your sweep -- find Kerrigan! こちらノヴァ。捜索開始せよ――ケリガンを見つけなさい! Dominion Ghost Bravo team, acknowledged. ブラヴォーチーム、了解。 Raynor Sarah! サラ! Raynor Sarah? サラ? Kerrigan The killing will never stop until Mengsk is dead. メンスクが死なない限り、この殺し合いは終わらない。 Kerrigan I m going to make him pay. この代償を支払わせてやる。 Raynor That s enough of that. もういい。 Raynor Get it together, darling. 俺と居るんだ、ダーリン。 Nova Bravo team, come in. ...are you there Bravo? ブラヴォーチーム、どうした。...聞こえてるのブラヴォー? Nova All units to sector six, go go go! 全隊員はセクター6へ、急げ! Raynor We got to go. さぁ行こうか。 Kerrigan Been a long time... 大分開いちゃったわね... Raynor Like riding a bike. 覚えているもんさ。 Kerrigan Yep, like riding a bike. えぇ、そうね… ▼未確認文言(未実装の可能性あり) Squad 3 was wiped out! ■■■ Damaged hostile breaking apart. ■■■ Squad 5, you cannot return to the Hyperion. Repeat! Do not attempt to return! Landing bay destroyed. ■■■ Two more hostiles down. ■■■ +管理人条件メモ[Group] ▼管理人条件メモ(Group) Zerg02 Cutscene Exertions
https://w.atwiki.jp/katteorg/pages/26.html
Justice to Believe 作詞:水樹奈々 作曲・編曲:上松範康 PS2用ゲーム『WILD ARMS the Vth Vanguard』テーマソング 水樹奈々の14作目のシングル『Justice to Believe/アオイイロ』に収録 オープニングのギターと風の音が荒野な雰囲気を醸しており、まさに『WILD ARMS』な一曲 Justice to Believe 【オススメ度】 ★★★★☆ 【カラオケワンポイント】 サビに引き音(息を吸う時の「ひっ」という音)を『言う』くらいの勢いで入れて、一音一音ビブラートを掛けるような気持ちで歌うと水樹奈々っぽいと思います。 [N]
https://w.atwiki.jp/warband/pages/702.html
#hint_1 |'I shall fear the Dothraki the day they teach their horses to run on water.' Ned, to Robert Baratheon #hint_2 |'Never forget what you are, for surely the world will not. Make it your strength. Then it can never be your weakness. Armour yourself in it, and it will never be used to hurt you.' Tyrion Lannister #hint_3 |Benioff praises the show's composer Ramin Djawadi for coming up with a memorable version of 'The Rains of Castamere.' Early in the development process, they discussed the idea of making the show's theme song into 'The Rains of Castamere,' but Weiss argued against it, and Benioff agrees it was the right call. #hint_4 |'First, I have to finish The Winds of Winter and A Dream of Spring,' Martin says. 'That's going to take me a while. I have to write quickly, because these guys are catching up to me.' - George RR Martin when asked if he would make a prequel to the books. #hint_5 |Illyrio Mopatis is a wealthy and powerful Magister in the Free City of Pentos. He is a dealer in spices, gemstones, dragon bone, and other things. #hint_6 |Why aren't the characters at par with their in age in the novel? For if we showed a 14 year old Daenerys getting raped by Khal Drogo then you'd be interviewing us in custody. #hint_7 |The first book of the series Game of thrones came out in 1996. #hint_8 |Martin's admiration for wolves came from supporting the Wild Spirit Wolf Sanctuary in New Mexico. #hint_9 |The majority of the cast have not read any of the books. The actors on the series feel that reading the books and spoiling the storyline will interfere in how they portray their characters, and knowing their fate my cause issues with how they act. #hint_10 |The Iron Throne was made with dragon's fire and a thousand swords. #hint_11 |'Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods' - Old Nan #hint_12 |'The Dothraki were wise where horses were concerned, but could be utter fools about much else.' Daenerys Targaryen hint_1|You can adjust the modification settings from within the Camp menu. hint_2|Increase your commoners trust by helping villages and farmers. hint_3|Your religion will effect your recruiting abilities. hint_4|Your men need rest when travelling, otherwise their morale will suffer. hint_5|Find hidden locations around the world map for some extra experience points. hint_6|Don't forget to speak with everyone you meet, some may have special quests for you. hint_7|You may need to visit the Citadel in Old Town to learn how to read hint_8|Wights require special weapons to be killed. hint_9|Whitewalkers require special weapons to be killed. hint_10|Speak to an Armour or Weapon smith to power up some of your gear. hint_11|The Dornish have some of the fastest horses in the game. hint_12|Playing music in towns will give your men's morale a boost. hint_13|Owning various locations will give you access to special troops. hint_14|Some villages allow recruitment of special units. hint_15|Valyrian weapons can be bought from a weapon smith somewhere in Essos. hint_16|If being chased on the world map you can wait in the various taverns or temples of your religion that are scattered about the map. hint_17|Selling prisoners to the Nights Watch will boost their numbers. hint_18|If you don't want to sell your prisoners, you can put them to work in the mines. Just remember to have enough guards on duty. hint_19|You can leave men in the field by using the troop quarters feature. hint_20|Only the first tier of your settlement cannot be attacked. hint_21|Wights are fast, make sure you have a strong shield wall to protect your archers. hint_22|You can buy a small cheap boat to get you around in the early game. hint_23|Try and send cheap fodder in as the vanguard, then pick the rest of your troops up before the real siege begins. hint_24|Joining a Lords army is a good way to level up and earn some coin in the early game. hint_25|Ironborn get a bonus for travelling on the seas. hint_26|There are lots of hidden locations all over the map. Can you find them all. hint_27|Being the King or Queen of The Seven Kingdoms allows you to capture and send Lords to The Wall. hint_28|Assisting the Nights Watch will help in beating back the Whitewalkers. hint_29|Slave trading is forbidden in Westeros. hint_30|Maesters can be found in castle halls throughout Westeros. hint_31|Healers can be found in towns throughout Essos. hint_32|There are lots of special parties roaming the map that you can either conquer or recruit. hint_33|Take King's Landing and outfit your companions with Kingsguard armour for your own special guards. hint_34|Bannermen and religious units will increase the courage of your men on the battlefield. hint_35|Using spies can be difficult and costly but if successful can be devastating. hint_36|The higher your relations with the lord you are serving, the higher the chance of being granted leave from the army.
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The first released option pack is the "Rumble Pak" (NTR-A-ZV / model NTR-008), which comes bundled with Metroid Prime Pinball. This black cartridge is exactly the same size as a normal GBA game pak, but contains a small actuator made by ALPS to make it rumble. Grab a demo with source code to use the Rumble Pak here. This is a bad way to do it, as it's just a cleaned up version of a debug app. It'd be much better to set up a timer interrupt and adjust the frequency or enable/disable it. The rumble pak is pretty simple internally (this info comes from a NTR-A-ZV-USA cart, PCB screened NTR-NRC-01), and only wires up to a few pins on the GBA Cartridge Port * VCC * /WR * AD1 * IRQ (grounded) * GND AD1 runs into a little 8 pin chip, which is probably just a latch on the rising edge of /WR. A line runs from this chip to a transistor that is directly connected to the actuator. The only other chip on the board is a 5 pin jobber, probably a power component. Using the cartridge is simplicity itself, it just latches bit 1 of any value written to the cartridge and uses that to put the actuator in a particular position. Code snippet #define P __attribute__ (*1) typedef struct sGBAHeader { P uint32 entryPoint; P uint8 logo[156]; P char title[0xC]; P char gamecode[0x4]; P uint16 makercode; P uint8 is96h; P uint8 unitcode; P uint8 devicecode; P uint8 unused[7]; P uint8 version; P uint8 complement; P uint16 checksum; } tGBAHeader; #undef P #define GBA_HEADER (*(tGBAHeader *)0x08000000) #define GBA_BUS (*2) #define RUMBLE_PAK (*(vuint16 *)0x08000000) bool isRumbleInserted(void) { uint16 four[4]; sysSetCartOwner(true); // First, check for 0x96 to see if it #039;s a GBA game if (GBA_HEADER.is96h == 0x96) { return false; } else { // Now check to see if it #039;s true open bus, or if D1 is pulled low four[0] = GBA_BUS[0] amp; 0xFF; four[1] = GBA_BUS[1] amp; 0xFF; four[2] = GBA_BUS[2] amp; 0xFF; four[3] = GBA_BUS[3] amp; 0xFF; return (four[0] == 0x00) amp; amp; (four[2] == 0x00) amp; amp; (four[1] == 0x01) amp; amp; (four[3] == 0x01); } } void setRumble(bool position) { RUMBLE_PAK = position ? 2 0; } The actuator doesn't have an on/off setting like a motor, it rumbles when you switch it between the two settings. Switch frequently for a fast rumble, and fairly slowly for more of a 'tick' effect. I am currently detecting if it is a rumble pak or plain open bus by the fact that the rumble pak seems to pull AD1 low, or at least keep it from mirroring A1 during an open-bus read. Additional notes The firmware can detect the Rumble Pak as an option pak, but it does not provide an enable/disable rumble option in the alarm menu (on v3 firmware). They apparently changed the design between creation of the firmware and creation of the rumble pak. It would be interesting to see if this is different in v4 firmware, although I doubt it will be.