約 4,733,961 件
https://w.atwiki.jp/fxext/pages/59.html
Firefox75時点での内容 resource //gre/modules/PlacesTransactions.jsm ファイル冒頭の説明文の翻訳概要 GUIDとアイテムIDに関する注意 トランザクションの構築 トランザクションの実行（トランザクションの | transact | メソッド） バッチ シリアル化 トランザクション履歴の構造 メソッド / プロパティ コンストラクター ファイル冒頭の説明文の翻訳 ※機械翻訳を少し手直ししただけなので、意味が分かりにくい所がある。 概要 * Overview * -------- * This modules serves as the transactions manager for Places (hereinafter PTM). * It implements all the elementary transactions for its UI commands creating * items, editing their various properties, and so forth. このモジュールは、Placesのトランザクションマネージャー（以降、PTM）として機能します。 アイテムの作成、さまざまなプロパティの編集など、UIコマンドのすべての基本的なトランザクションを実装します。 * Note that since the effect of invoking a Places command is not limited to the * window in which it was performed (e.g. a folder created in the Library may be * the parent of a bookmark created in some browser window), PTM is a singleton. * It s therefore unnecessary to initialize PTM in any way apart importing this * module. Placesコマンドの呼び出しの効果は、コマンドが実行されたウィンドウに限定されないため（たとえば、ライブラリで作成されたフォルダは、ブラウザウィンドウで作成されたブックマークの親である場合があります）、PTMはシングルトンです。 したがって、このモジュールのインポートとは別に、PTMを初期化する必要はありません。 * PTM shares most of its semantics with common command pattern implementations. * However, the asynchronous design of contemporary and future APIs, combined * with the commitment to serialize all UI operations, does make things a little * bit different. For example, when |undo| is called in order to undo the top * undo entry, the caller cannot tell for sure what entry would it be, because * the execution of some transactions is either in process, or enqueued to be. PTMは、そのセマンティクスのほとんどを一般的なコマンドパターン実装と共有しています。 ただし、現代と将来のAPIの非同期設計と、すべてのUI操作のシリアル化への取り組みにより、状況は少し異なります。 たとえば、| undo | は「元に戻す」エントリのトップを元に戻すために呼ばれますが、呼び出し元はそのエントリが本当にそうであるかを確実には判断できません。一部のトランザクションの実行が処理中であるか、処理待ちになっているかもしれないためです。 * Also note that unlike the nsITransactionManager, for example, this API is by * no means generic. That is, it cannot be used to execute anything but the * elementary transactions implemented here (Please file a bug if you find * anything uncovered). More-complex transactions (e.g. creating a folder and * moving a bookmark into it) may be implemented as a batch (see below). また、例えば nsITransactionManager とは異なり、このAPIは決して汎用なものではありません。 つまり、ここで実装された基本的なトランザクション以外の実行には使用できません（カバーされていないものを見つけたら、バグを報告してください）。 より複合的なトランザクション（例：フォルダーを作成してそこにブックマークを移動する）は、バッチとして実装できます（以下を参照）。 GUIDとアイテムIDに関する注意 * A note about GUIDs and item-ids * ------------------------------- * There s an ongoing effort (see bug 1071511) to deprecate item-ids in Places * in favor of GUIDs. Both because new APIs (e.g. Bookmark.jsm) expose them to * the minimum necessary, and because GUIDs play much better with implementing * |redo|, this API doesn t support item-ids at all, and only accepts bookmark * GUIDs, both for input (e.g. for setting the parent folder for a new bookmark) * and for output (when the GUID for such a bookmark is propagated). GUIDを優先してPlacesのitem-idを廃止するための継続的な取り組みがあります（バグ1071511を参照）。 新しいAPI（たとえば、Bookmark.jsm）が必要最低限のAPIを公開していること、およびGUIDが| redo |の実装ではるかに優れているため、このAPIは入力（例えば、新しいブックマークの親フォルダ設定）および出力（作られたブックマークを伝える時）の両方でitem-idをまったくサポートせず、ブックマークGUIDのみを受け入れます。 * Should you need to convert GUIDs to item-ids, use PlacesUtils.promiseItemId. GUIDをitem-idに変換する必要がある場合は、PlacesUtils.promiseItemIdを使用します。 トランザクションの構築 * Constructing transactions * ------------------------- * At the bottom of this module you will find transactions for all Places UI * commands. They are exposed as constructors set on the PlacesTransactions * object (e.g. PlacesTransactions.NewFolder). The input for this constructors * is taken in the form of a single argument, a plain object consisting of the * properties for the transaction. Input properties may be either required or * optional (for example, |keyword| is required for the EditKeyword transaction, * but optional for the NewBookmark transaction). このモジュールの下部には、全てのPlacesUIコマンドのトランザクションがあります。 これらは、PlacesTransactionsオブジェクトに設定されたコンストラクター（例：PlacesTransactions.NewFolder）として公開されます。 このコンストラクタの入力は、トランザクションのプロパティで構成されるプレーンオブジェクトである単一の引数の形式で取得されます。 入力プロパティは必須またはオプションのいずれかです（たとえば、| keyword |はEditKeywordトランザクションでは必須ですが、NewBookmarkトランザクションではオプションです）。 ※プレーンオブジェクトとは https //www.atmarkit.co.jp/ait/articles/1008/27/news118_4.html new Object、または「{……}」の形式（オブジェクト・リテラルの形式）で作られたオブジェクト * To make things simple, a given input property has the same basic meaning and * valid values across all transactions which accept it in the input object. * Here is a list of all supported input properties along with their expected * values * - url a URL object, an nsIURI object, or a href. * - urls an array of urls, as above. * - tag - a string. * - tags an array of strings. * - guid, parentGuid, newParentGuid a valid Places GUID string. * - guids an array of valid Places GUID strings. * - title a string * - index, newIndex the position of an item in its containing folder, * starting from 0. * integer and PlacesUtils.bookmarks.DEFAULT_INDEX 物事を簡単にするために、特定の入力プロパティは、入力オブジェクトでそれを受け入れるすべてのトランザクションにわたって同じ基本的な意味と有効な値を持っています。 サポートされているすべての入力プロパティとその期待値のリストを次に示します。 url：URLオブジェクト、nsIURIオブジェクト、またはhref。 urls：上記のようなurlの配列。 tag：文字列。 tags：文字列の配列。 guid、parentGuid、newParentGuid：有効なPlaces GUID文字列。 guids：有効なPlaces GUID文字列の配列。 title：文字列 index、newIndex：0から始まる、それを含むフォルダー内のアイテムの位置。整数とPlacesUtils.bookmarks.DEFAULT_INDEX * If a required property is missing in the input object (e.g. not specifying * parentGuid for NewBookmark), or if the value for any of the input properties * is invalid "on the surface" (e.g. a numeric value for GUID, or a string that * isn t 12-characters long), the transaction constructor throws right way. * More complex errors (e.g. passing a non-existent GUID for parentGuid) only * reveal once the transaction is executed. 入力オブジェクトに必要なプロパティがない（例：NewBookmarkにparentGuidを指定していない）場合や、いずれかの入力プロパティの値が「表面上」で無効（例：GUIDが12文字長ではない）な場合、トランザクションコンストラクターは適切にスロー（例外エラー）します。 より複雑なエラー（たとえば、parentGuidに存在しないGUIDを渡すなど）は、トランザクションが実行されると明らかになります。 トランザクションの実行（トランザクションの | transact | メソッド） * Executing Transactions (the |transact| method of transactions) * -------------------------------------------------------------- * Once a transaction is created, you must call its |transact| method for it to * be executed and take effect. |transact| is an asynchronous method that takes * no arguments, and returns a promise that resolves once the transaction is * executed. Executing one of the transactions for creating items (NewBookmark, * NewFolder, NewSeparator) resolve to the new item s GUID. * There s no resolution value for other transactions. * If a transaction fails to execute, |transact| rejects and the transactions * history is not affected. トランザクションが作成されたら、実行して有効にするための関数 | transact | を呼び出す必要があります。 | transact | は引数を取らない非同期メソッドであり、トランザクションが実行されると解決する promise を返します。 アイテムを作成するためのトランザクション（NewBookmark、NewFolder、NewSeparator）の1つを実行すると、新しいアイテムのGUIDが resolve 値になります。 他のトランザクションに resolve 値はありません。 トランザクションの実行に失敗した場合、| transact | は reject され、トランザクション履歴は影響を受けません。 * |transact| throws if it s called more than once (successfully or not) on the * same transaction object. | transact | が同じトランザクションオブジェクトで2回以上呼び出された場合（成功したかどうかに関係なく）スロー（例外エラー）します。 バッチ * Batches * ------- * Sometimes it is useful to "batch" or "merge" transactions. For example, * something like "Bookmark All Tabs" may be implemented as one NewFolder * transaction followed by numerous NewBookmark transactions - all to be undone * or redone in a single undo or redo command. Use |PlacesTransactions.batch| * in such cases. It can take either an array of transactions which will be * executed in the given order and later be treated a a single entry in the * transactions history, or a generator function that is passed to Task.spawn, * that is to "contain" the batch once the generator function is called a batch * starts, and it lasts until the asynchronous generator iteration is complete * All transactions executed by |transact| during this time are to be treated as * a single entry in the transactions history. トランザクションを「バッチ」または「マージ」すると便利な場合があります。 たとえば、「すべてのタブをブックマークする」のようなものは、1つのNewFolderトランザクションとそれに続く多数のNewBookmarkトランザクションとして実装できます。すべてを1つの元に戻すまたはやり直しコマンドで元に戻したりやり直したりできます。 そのような場合、| PlacesTransactions.batch | を使用します。 それの引数には、指定された順序で実行され、後でトランザクション履歴の単一のエントリとして処理されるトランザクションの配列、またはバッチを「含む」ためにTask.spawnに渡されるジェネレーター関数を使用できます。ジェネレーター関数はバッチ開始時に呼ばれ、非同期ジェネレーターの反復が完了するまで続きます。この間 | transact | によって実行されるすべてのトランザクションがトランザクション履歴では単一のエントリとして扱われます。 * In both modes, |PlacesTransactions.batch| returns a promise that is to be * resolved when the batch ends. In the array-input mode, there s no resolution * value. In the generator mode, the resolution value is whatever the generator * function returned (the semantics are the same as in Task.spawn, basically). 両方のモードで、| PlacesTransactions.batch | バッチの終了時に解決されるpromiseを返します。 配列入力モードでは、resolve 値はありません。 ジェネレーターモードでは、resolve 値はジェネレーター関数が返すものです（セマンティクスは基本的にTask.spawnと同じです）。 * The array-input mode of |PlacesTransactions.batch| is useful for implementing * a batch of mostly-independent transaction (for example, |paste| into a folder * can be implemented as a batch of multiple NewBookmark transactions). * The generator mode is useful when the resolution value of executing one * transaction is the input of one more subsequent transaction. | PlacesTransactions.batch | の配列入力モードは、ほとんど独立したトランザクションのバッチを実装するのに便利です（たとえば、フォルダー内への | paste | は複数のNewBookmarkトランザクションのバッチとして実装できます）。 ジェネレーターモードは、1つのトランザクションの実行の resolve 値が1つ以上の後続のトランザクションの入力である場合に役立ちます。 * In the array-input mode, if any transactions fails to execute, the batch * continues (exceptions are logged). Only transactions that were executed * successfully are added to the transactions history. 配列入力モードでは、トランザクションの実行に失敗した場合、バッチが続行されます（例外がログに記録されます）。 正常に実行されたトランザクションのみがトランザクション履歴に追加されます。 * WARNING "nested" batches are not supported, if you call batch while another * batch is still running, the new batch is enqueued with all other PTM work * and thus not run until the running batch ends. The same goes for undo, redo * and clearTransactionsHistory (note batches cannot be done partially, meaning * undo and redo calls that during a batch are just enqueued). 警告：「ネストされた」バッチはサポートされていません。別のバッチの実行中にバッチを呼び出すと、新しいバッチは他のすべてのPTM作業と共にキューに入れられ、実行中のバッチが終了するまで実行されません。 同じことは、取り消し、やり直し、およびトランザクション履歴消去にも当てはまります（バッチは部分的に実行できないことに注意してください。つまり、バッチ中の取り消しややり直しの呼び出しは、ただキューに入れるだけということを意味します）。 * ***************************************************************************** * IT S PARTICULARLY IMPORTANT NOT TO await ANY PROMISE RETURNED BY ANY OF * THESE METHODS (undo, redo, clearTransactionsHistory) FROM A BATCH FUNCTION. * UNTIL WE FIND A WAY TO THROW IN THAT CASE (SEE BUG 1091446) DOING SO WILL * COMPLETELY BREAK PTM UNTIL SHUTDOWN, NOT ALLOWING THE EXECUTION OF ANY * TRANSACTION! * ***************************************************************************** 特に重要なのが、バッチ関数からこれらのメソッド（元に戻す、やり直し、トランザクション履歴消去）から返される promise をまったく「待たない（NOT TO await）」ことです。 そのような場合に対処する方法を見つけるまで（バグ1091446を参照）、シャットダウンするまでPTMを完全に停止し、トランザクションの実行を許可しません。 シリアル化 * Serialization * ------------- * All |PlacesTransaction| operations are serialized. That is, even though the * implementation is asynchronous, the order in which PlacesTransactions methods * is called does guarantee the order in which they are to be invoked. 全ての | PlacesTransaction | 操作はシリアル化されます。 つまり、実装が非同期であっても、PlacesTransactionsメソッドが呼び出される順序は、それらが実行される順序を保証します。 * The only exception to this rule is |transact| calls done during a batch (see * above). |transact| calls are serialized with each other (and with undo, redo * and clearTransactionsHistory), but they are, of course, not serialized with * batches. このルールの唯一の例外は、バッチ中の | transact | 呼び出しです。（上記を参照）。 | transact | 呼び出しは互いに（元に戻す、やり直し、およびトランザクション履歴消去も）シリアライズされますが、もちろん、バッチではシリアライズされません。 トランザクション履歴の構造 * The transactions-history structure * ---------------------------------- * The transactions-history is a two-dimensional stack of transactions the * transactions are ordered in reverse to the order they were committed. * It s two-dimensional because PTM allows batching transactions together for * the purpose of undo or redo (see Batches above). トランザクション履歴は、トランザクションの2次元スタックです。トランザクションは、コミットされた順序とは逆に順序付けられます。 2次元なのは、PTMでは、元に戻すまたはやり直しの為にトランザクションのバッチ処理を許可しているためです（上記のバッチを参照）。 * The undoPosition property is set to the index of the top entry. If there is * no entry at that index, there is nothing to undo. * Entries prior to undoPosition, if any, are redo entries, the first one being * the top redo entry. undoPositionプロパティは、トップエントリのインデックスに設定されます。 そのインデックスにエントリがない場合、元に戻すものは何もありません。 undoPositionより前のエントリは、もしあれば、それはredoエントリであり、最初のそれはトップredoエントリです。 * [ [2nd redo txn, 1st redo txn], = 2nd redo entry * [2nd redo txn, 1st redo txn], = 1st redo entry * [1st undo txn, 2nd undo txn], = 1st undo entry * [1st undo txn, 2nd undo txn] = 2nd undo entry ] * undoPostion 2. * * Note that when a new entry is created, all redo entries are removed. 新しいエントリが作成されると、すべてのredoエントリが削除されることに注意してください。 メソッド / プロパティ PlacesTransactions.batch(transactionsToBatch) 引数：トランザクションの配列 or ジェネレーター関数 返り値：promise （resolve値：なし or ジェネレータ関数の返り値） PlacesTransactions.undo() 返り値：promise （resolve値：なし） PlacesTransactions.redo() 返り値：promise （resolve値：なし） PlacesTransactions.clearTransactionsHistory(undoEntries = true, redoEntries = true) 引数：undo,redo履歴を削除するかの真偽値 返り値：promise （resolve値：なし） PlacesTransactions.length 履歴のエントリー数 PlacesTransactions.entry(index) 引数：履歴のindex（0以上length未満の整数） 返り値：トランザクションの配列（undo順、つまり実行順の逆順） PlacesTransactions.undoPosition undoのトップエントリーのindex PlacesTransactions.topUndoEntry undoのトップエントリー（トランザクションの配列） PlacesTransactions.topRedoEntry redoのトップエントリー（トランザクションの配列） コンストラクター コンストラクター 必須プロパティ オプションプロパティ PlacesTransactions.NewBookmark(properties) url, parentGuid index, title, keyword, tags PlacesTransactions.NewFolder(properties) title, parentGuid index, children PlacesTransactions.NewSeparator(properties) parentGuid index PlacesTransactions.Move(properties) guid, newParentGuid newIndex PlacesTransactions.EditTitle(properties) guid, title PlacesTransactions.EditUrl(properties) guid, url PlacesTransactions.EditKeyword(properties) guid, keyword postData, oldKeyword PlacesTransactions.SortByName(properties) guid PlacesTransactions.Remove(properties) guids PlacesTransactions.Tag(properties) urls, tags PlacesTransactions.Untag(properties) urls tags PlacesTransactions.RenameTag(properties) oldTag, tag PlacesTransactions.Copy(properties) guid, newParentGuid newIndex Untagはオプションのtagsを指定していない場合、urlsに設定されている全てのタグが削除される
https://w.atwiki.jp/touhoukashi/pages/3029.html
【登録タグ A-One Akane L TOHO EUROBEAT VOL.7 曲 麓の神社】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/gtavi_gta6/pages/2897.html
National Transfer Storage Co. 概要 解説 概要 日本語：ナショナル・トランスファー ストレージ 業種：倉庫業 所在地：ラ・メサ - ベスプッチ大通りとポピュラー・ストリートの交差点。 解説 Darnell Bros.の向かいにある倉庫。
https://w.atwiki.jp/nicepaper/pages/376.html
cakePHP3であとからテーブルのカラムを追加したり、削除したり、indexを付けたい時というのは運営してよくあります。 そんな中で、どんな変更をしたのかの軌跡を記録したりする方法について考えていきます。 Migrations 基本コマンド 既存のデータベースからマイグレーションファイルを作成する（もうすでにテーブルを作っている人用） migrationファイルを作成（詳細は後日） ステータス確認 実行。 元に戻す（ロールバック）。 Migrations cakePHPのDBバージョン管理システム。 基本コマンド 既存のデータベースからマイグレーションファイルを作成する（もうすでにテーブルを作っている人用） bin/cake bake migration_snapshot Initial プロジェクト内のディレクトリで実行。 migrationファイルを作成（詳細は後日） bin/cake bake migration addrelease_news ステータス確認 bin/cake migrations migrate status 実行。 bin/cake migrations migrate 元に戻す（ロールバック）。 bin/cake migrations rollback
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/0souchi/pages/18.html
Decoration 名前 Population Range Cost 必要条件 サイズ WelomeSign 10 2 S1000 最初から 1x1 Billboard 15 2 S1200 最初から 2x1 WhiteFlowerbed 6 2 S600 最初から 1x1 RelayTower 6 2 M150 最初から 1x1 GreenTree 6 2 S650 最初から 1x1 BeachVolleyballCout 9 2 S2500 最初から 3X2 Treehouse 30 2 D14 最初から 1x1 HotDogStand 10 2 S1200 最初から 1x1 OrangeTree 8 2 S800 最初から 1x1 CobblestonePatch 2 5 S500 最初から 1x1 ATM 18 2 S1600 最初から 2x1 GiantTrampoline 18 3 S5000 最初から 2x2 PinkTree 33 3 D16 最初から 1x1 "Capitalism" 150 5 D299 最初から 2x1 PinkFlowerbed 33 3 D16 最初から 1x1 SuperHighDive 36 4 D16 最初から 2x2 BlueFlowerbed 10 2 S1200 最初から 1x1 WeightliftingArena 25 3 S9000 最初から 1x1 TacoTruck 18 2 M600 最初から 1x2 Playground 24 2 S2500 最初から 2x2 RockClimbingTerrace 36 4 D22 最初から ? FoodTruckCorner 33 3 S18 最初から 1x2 CherryBlossomTree 30 3 D17 最初から 1x1 martialArtsTatami 30 4 S1500 最初から 3x2 OrangeFlowerbed 14 2 人口400 1x1 PineTree 15 2 人口500 1x1 FerrisWheel 38 3 人口650 ? ConstructionCrane 20 2 人口700 1x1 Clotheslines 18 2 人口800 2x1 PizzaTruck 25 2 人口1500 1x2 Gazebo 33 2 人口900 1x1 Grove 24 2 人口1000 2x2 LampholderStatue 25 2 人口1100 2x1 yellowFlowerbed 16 2 人口1200 1x1 OldShippingCrane 45 3 人口1300 ? GiantRedwood 23 2 人口1450 1x1 GraffitiWall 26 2 人口1600 2x1 Plaza 24 2 人口1800 1x1 BellTower 36 2 人口2000 1 AtlasStatue 25 2 人口2100 1 Graveyard 18 3 人口2200 4 BigGraveyard 20 3 人口2500 ? PalmTree 26 2 人口2750 1x1 Promenade 20 3 人口3000 1x1 GiantScreen 30 2 人口3500 1x2 CampingArea 22 3 人口4000 3x2 Statue 15 3 人口4200 1x1 WaterTower 27 2 人口4800 1x1 BasketballCourt 45 2 人口5400 ? PublicPool 32 2 人口6000 2x2 CylinderGarage 53 3 人口7000 ? Orchard 32 2 人口8000 2x2 Amphitheater 35 2 人口9000 2x2 TheArch 38 3 人口10000 ? TennisCourt 32 2 人口11000 1x2 "MeritsofIndustry" 36 2 人口11500 ? SoccerPitch 36 3 人口12000 ? StreetFair 35 2 人口13000 ? ExoticFruitorchard 36 2 人口14000 ? DoggyPark 36 2 人口15000 ? HedgeMaze 25 3 人口16000 ? BikeRack 18 3 人口17000 ? HotAirBalloonRide 30 4 人口18000 ? DrivingRange 30 4 人口19000 ? WarMonument 22 3 人口20000 ? PEgyptianStatue 68 3 人口21000 ? DinoSkeleton 45 4 人口22000 ? CityLake 32 3 人口23000 ? SatelliteDish 22 3 人口24000 ? FroyoHut 28 3 人口25000 ? ArcheryRange 53 4 人口26000 ? HeartStatue 28 3 人口27000 ? PerpetualWaterfallMill 54 4 人口28000 ? TickerBillboard 30 3 人口29000 ? LargeFountain 32 3 人口30000 ? BoogiePlaza 44 3 人口31000 ? CherryOrchard 44 3 人口33000 ? LemonadeStand 20 3 人口34000 ? MakeoutPoint 48 4 人口35000 ? ChampionshipTorch 27 3 D15 最初から 1x1
https://w.atwiki.jp/syusei/pages/16.html
Transactionサンプル applicationContext.xml beans bean id="myAction" class="com.app.TestAction" property name="jdbcTemplate ref bean="jdbcTemplate"/ /property /bean !-- jdbcTemplateの定義 -- bean id="jdbcTemplate" class="org.springframework.jdbc.core.JdbcTemplate" property name="dataSource" ref local="dataSource"/ /property /bean !-- コネクションプーリングの定義 -- bean id="dataSource" class="org.enhydra.jdbc.pool.StandardXAPoolDataSource" destroy-method="shutdown" property name="dataSource" ref bean="xaDataSource"/ /property /bean !-- XAデータソース -- bean id="xaDataSource" class="org.enhydra.jdbc.standard.StandardXADataSource" destroy-method="shutdown" property name="transactionManager" ref bean="jotm"/ /property property name="driverName" value org.postgresql.Driver /value /property property name="url" value jdbc postgresql //host port/db?user=xxx amp;password=xxx /value /property /bean !-- JOTM -- bean id="jotm" class="org.springframework.transaction.jta.JotmFactoryBean"/ !-- SpringのUserTransaction -- bean id="transactionManager" class="org.springframework.transaction.jta.JtaTransactionManager" property name="userTransaction" ref bean="jotm"/ /property /bean !-- Base DAO -- bean id="sampledb_dao" class="com.app.SampleDbDAO" property name="jdbcTemplate" ref bean="jdbcTemplate"/ /property /bean /beans Java Source // DAO final BaseDAO dao = (BaseDAO)wac.getBean("sampledb_dao"); // プログラミングによるトランザクション制御 PlatformTransactionManager txManager = (PlatformTransactionManager)wac.getBean("transactionManager"); // TransactionTemplateを使用する TransactionTemplate txTemplate = new TransactionTemplate(txManager); txTemplate.execute(new TransactionCallbackWithoutResult() { @Override protected void doInTransactionWithoutResult(TransactionStatus status) { dao.insertData("hoge1", "Yaaaahooooo!!!"); dao.insertData("hoge2", "Hyaaaaaaaaa!!!"); // rollback status.setRollbackOnly(); } }); /* // トランザクションの属性設定 DefaultTransactionDefinition def = new DefaultTransactionDefinition(); def.setPropagationBehavior(TransactionDefinition.PROPAGATION_REQUIRED); // トランザクションの開始 TransactionStatus status = txManager.getTransaction(def); // DAO呼び出し（更新） dao.insertData("hoge", "Really?"); dao.insertData("hoge2", "Happy!"); // ロールバック txManager.rollback(status); */
https://w.atwiki.jp/wiki2_ema/pages/44.html
NANA MIZUKI LIVE FORMULA 2007-2008 supported by アニメロミックス ※さいたまスーパーアリーナ 当日券販売 ■日時 1/3 15：00～ 当日券売り場にて販売 ■価格 6,300円（税込） ■問合 オデッセー ■TEL 03-3560-3930 （12月29日～1月6日までは年末年始休業のためつながりません。） ■HP http //www.ody-net.com/ ※12/31大阪公演 1/3埼玉公演NEW 開場前グッズ販売のお知らせ 開始時間 大阪16：30～(予定)／埼玉10 00～(予定) ※販売時間が前後する可能性がございます。 恐れ入りますが、ご了承くださいますようお願い申し上げます。 出演者：水樹奈々 料金：前売：￥5,900/当日：￥6,300(tax in.) 席種：全席指定 企画・制作：シグマ・セブン／アップフロントプランニング 後援：KING RECORDS 協賛：dwango／SEVEN SEAS MUSIC ROUND１ 12月2日（日) 名古屋国際会議場 センチュリーホール 開場 17：30 開演 18：30 Thank you, Sold out！ (問)サンデーフォークプロモーション 052-320-9100 ROUND２ 12月15日（土） 広島アステールプラザ 大ホール 開場 17：30 開演 18：30 Thank you, Sold out！ (問)夢番地 082-249-3571 ROUND３ 12月16日（日） 松山市民会館 大ホール 開場 17：30 開演 18：30 一般発売日 10月7日(日) (問)デューク 089-947-3535 ROUND４ 12月22日（土） 東京厚生年金会館 開場 17：30 開演 18：30 Thank you, Sold out！ (問)オデッセー 03-3560-3930 ROUND５ 12月24日（月・祝） 仙台サンプラザホール 開場 17：00 開演 18：00 Thank you, Sold out！ (問)キョードー東北 022-296-8888 ROUND６ 12月31日（月） ｸﾞﾗﾝｷｭｰﾌﾞ大阪 ﾒｲﾝホール （ｶｳﾝﾄﾀﾞｳﾝLIVE） 開場 21：30 開演 22：30 Thank you, Sold out！ (問)サウンドクリエーター 06-6357-4400 ROUND７ 2008年1月3日（木）さいたまスーパーアリーナ 開場 17：00 開演 18：00 一般発売日 10月27日(土) (問)オデッセー 03-3560-3930 ☆開場時間・開演時間は変更することがあります。 ☆ファンクラブ先行優先予約は8月27日をもって、締め切らせていただきました。 たくさんのお申込ありがとうございました。
https://w.atwiki.jp/fffkindle1212134/pages/36.html
Code Geass 21. The School Festival Declaration Situations evolve -- our desires have no bearing on that. Time flows on unaffected by our struggles. On this point, Lelouch should be pleased for he possesses true self-determination; he can change destiny itself by applying the absolute power to compel anyone to obey him the power of Geass. STAGE 21 THE SCHOOL FESTIVAL DECLARATION Yes, it is true that the invasion by the Chinese Federation and the terrorism of the Black Knights have disrupted our society. But that is a completely separate issue! The fact remains that you both have been absent from class far too often! I don t care how good your grades are or that you re Princess Euphemia s knight! If you don t improve, you will repeat this year! Sounds like she s still going strong. She may carry on all night. I m telling you, Zero s our savior! Even Elevens can move up in the world! Just look at Suzaku Kururugi! If it hadn t been for Zero, the Chinese Federation would have conquered Kyushu! But it isn t what is said on the news. Cause the Britannians control the media! I don t care as long as there s peace. The peace of slavery?! That s what Kururugi wants! So opinions in the ghettos are split? Some are submissive; some are defiant. But they ll all be shocked when they find out Zero s goal is to start an independent nation. Yeah right, that s totally crazy! We need to be realistic. I agree with Zero. Well, isn t it true? If we stick with him, we might catch a huge lucky break! Maybe I ll even get my dream of being a bureaucrat. A bureaucrat?! Seriously?! Hey, even I had a dream once! If I hadn t thrown in with the Black Knights, I d probably be hooked on Refrain by now. Refrain might bring back her memory... so I could find out who Zero is. But what would I do I knew? Ohgi? In that other issue, we wanted to ask for instructions, but we haven t been able to reach Zero. Then I ll just go ahead as planned. I m telling you, don t -- it s a trap. But we need inside sources. They also said there s someone there who wants to join us. Anyway, tomorrow s the only time we ll be able to use the escape route Diethard set up for us. Ladies and gentlemen, thank you for waiting! The Ashford Academy school festival, which is the most open event in the Tokyo Settlement, is about to start! It will begin at the sound of this voice! Are you sure it s all right to do this, Milly? Very sure! Okay -- MEOW! School is really noisy today... Welcome, step right up! Get your Britannian rolls! Yes, another one just like this! Two! See the shocking expose, The Zero Report! Don t miss it! Photos! Photos of Prince Clovis! That s what I thought. So even Sawasaki and the others turned out to be useful. We ve covered all the tasks at hand. Yes. We gathered all the sector data on the emergency countermeasures that they left behind. The press?! We ve identified the solar panels used in each settlement as well as the energy storage sites. Oh, and what about that collaborator issue? I ve handled most of it myself -- about 72% is complete. And Tohdoh? He s drawing up a list of occupation targets -- broadcasting stations and such. I need you to check them, including the dummy plans we re sending to Kyoto. I understand. I ll confirm tomorrow. Oh, and I know we re late in reporting this to you, but regarding the operation of the Zero Squad, Ohgi has-- There s trouble! There s huge, huge trouble! I ll have to contact you later. Hmm? Trouble? What are you doing goofing off like that?! You re the festival chairman! But everything is running fine! There s no problem. Besides, you re taking charge of that part, right? It was two meters wide up through last year, then suddenly you declared we had to have a twelve meter pizza. Uh-huh. Isn t it great? It s gonna be the largest one of its kind in the world! Just the oven and ingredients are causing an uproar, and now there s a TV crew roaming around campus? You know we can t show our faces. But we have to document making the pizza! You can run things from the control booth, okay? President s orders. Okay, stop right there! Rivalz! We re all set on this end! Wow, you re in a sunny mood. Something good happen? Yeah, you could say that! Sorry, but an Eleven from the ghetto walking around alone would be-- It s all right. If you re afraid that some Britannians, ah-- You needn t worry about me so much. I m okay, really. Anyway, is this going to help you with your work? Yes. I can gather data for our development project. I understand. That s good then. What the hell am I doing? If I get the chance, I should hand her over to the cops or a hospital. No, I can t... If they connect me to the Black Knights, it would implicate everyone. Even so, I can t just kill her... I can t. Here we are. Is something wrong? No, I used to be a school teacher, so I was feeling a little nostalgic. Why did you stop teaching? My best friend since we were little kids... well, he s since passed on. You could say that I m living out his dream in his place. It s kind of a heavy thing for me to carry around. Let s go in! No! I can t go into a Britannian school -- I m an Eleven! That doesn t matter! The campus is open today! Come on! Yeah, in you go, you two! What?! Hey, I found them first! That s a relief. I thought you were never going to come back to school. It s on purpose?! Why didn t you tell anyone... about who I really am? You re Kallen Stadtfeld right now, aren t you? Not Kallen Kouzuki, right? Hmm? Are you trying to draw me in by acting friendly? On the battlefield, I won t show any mercy, but I want to try to persuade you here. I know this is against the rules, but while we re at school, I d rather try to change your mind here than defeat you in combat later. Something s different about you. Suzaku, the truck s here. The cheese-- You came back. Uh... yeah. I m not as sick now, so... Kallen, what we were talking about has nothing to do with school, okay? Yeah, I get it. Kallen, if you don t mind, could you go and check in with your class? They seemed to be a bit shorthanded. Sure, I don t mind. I DO MIND!!! This thing actually scares them? I m gonna get Lelouch for this! He should ve told me I had to be part of the horror house. Hmph! The only person I let order me around is Zero! Oh great, here comes another couple. Why couldn t they make this whole thing mechanical if they ve got this dumb screen? It s sweltering inside of here! It s like those early Glasgows! C mon, move your ass. Hurry! MOVE YOUR AAAAAAASS!!! Ohgi?! You re back safe? Fortunately, yes. School festivals are such fun! I feel so free! The one she keeps whacking... doesn t he look like Lloyd? No great wonder. Working under that guy must really drive her out of her mind. Right, the pizza s starting later. Definitely don t have time to be doing this. Yes. Oh, the Drama Club? I ve spoken to the Film Club about it. How can I prepare my coup d etat-- I m sorry! The handle just broke in two! Soldiers? How peaceful the world is. Say, aren t you Suzaku s friend? Hey, you, boy! Where am I supposed to go to eat the biggest pizza in the world? Oh, so here you are. Good work, getting them here from Area 18 in one night. Your forces are impressive, Cornelia. You flatter me. I m honored that you deployed your regular troops to fill in for them, Schneizel. It was the least I could do. The Glaston Knights who were stand by in the homeland have joined us here. And that means... we even have Sattel Waffes for the Gloucesters. I understand. And I m going to play this card in my negotiations with the Chinese Federation. Please do. What a great honor... being asked for assistance by Princess Cornelia, who is unmatched on the battlefield. Please, don t tease me about this... But I m sincere. On the field of combat, you shine more beautifully and brightly than any flower or butterfly at a soirée -- yes, like the Flash herself. Please, stop saying that. You know I m only-- Now where could Euphy have disappeared to? I told her I was coming to see you off. I had a long talk with Euphy last night. Last night? Yes. Ah, and about the other matter -- Bartley s project. Oh yes, I really don t mind, but will he actually be of any use to us? I m asking about the biggest pizza in the world. I ll bring you some, now wait in your room! I don t believe you, because you re a liar. I m not going to deceive you over a pizza! The military and the press are here! What if they see you?! I ll wear a disguise. I don t like cold pizza. Right now I have a school festival and a coup d etat to run! Why did you come into the school? Oh, that s my fault. Who are you, anyway? You re definitely not an Eleven. What s your name? This is, ah... She s my... Kallen! Authorized personnel only. Could you get them out of here now? Ohgi?! I m really sorry, but there s something I want to talk to Suzaku about. It s all right, Your Highness. Euphy, I think this is a wonderful idea you ve come up with. Really?! Then?! You should follow the path you believe in with all your heart. I ll discuss it with Cornelia so that she understands. Suzaku, my brother approved my idea. Now we can-- I m so sorry! Are you all right? I m fine. Are you okay? Huh? Nunnally?! Huh? That voice, is it you? He s seen Ohgi now... This is bad! If they see me here with C.C. then... A propane tank for the burner? I m sure the spare ones are here, maybe in back. Kallen? Oh... hello, what s up? Are there any spare fuel tanks in the back there? Rivalz needs one for the pizza. Uh, maybe they re over on the other side. Oh, okay. Can this get any more annoying...?! You can use your Geass, can t you? It d be dangerous to use it on Ohgi and whoever that is with him, and I ve already used it on everyone else here. Well it s your own fault then. You shouldn t use it so freely. Your comments are not helping! Is that Lelouch? Are you here? There s something important I want to ask you about. Find a way to get out of here fast...! Shirley, can it wait? I m going to create a diversion -- use it to get away! What re you talking about?! You re never around in the first place! Aaagh! Huh? The panels are falling! Run away! Don t just stand there! Watch out! Uh... I... thank you. I m just glad you re okay. But where d all this smoke come from? It must be for detecting gas leaks. It looks like the valve was knocked loose. Never mind that. Can someone help me, please? I m in a little pain here. What s the matter? My ankle... it s a very familiar feeling. Sorry you got caught in that weirdness back there. No, it was actually sort of fun! I haven t felt this excited in a long time. I think it s better you move out of Area 11 now. Whoever shot you wouldn t come after you. You should be safe. You know, Ohgi... I wonder if the person I used to be was as happy as I am now. So... Can you tell me what you were going to say... when we were back there at the school? You started with "She s my..." She s my what? Well... you see... I really don t think I d mind becoming an Eleven. Will you keep our secret? I mean, about Lelouch and I being here? But if you just stay like this... All I want to is to be with my brother; that s all that matters. Do you remember that time you and I got into a great big argument? On which of us was going to marry Lelouch when we grew up? Yes, I do! We put Lelouch on the spot by making him decide right then and there! So, how about now? Huh? Do you still love him, even to this day? All right! Any moment! We are about being the historic task of the making of the world s largest pizza! Please note that this contraption at my feet is an oven specially built just for this occasion -- a fabulous waste of money! Yes, I understand, Shirley. I promise I ll make time for you. Right now just send Group B to the stage to help. Right. This feels so easy. If I make a mistake here, no one s life is on the line. Not bad! Got everything on schedule, huh? I ve learned to manage people lately. Still, they seem so optimistic, don t they? The Chinese Federation attacked just the other day, but look at everyone. That s why we need this. Hm? Festivals are necessary... for everyone, all the time. You still need to learn a bit more. Okay, lesson learned. Lelouch! Nunnally, how s the pizza-- Sorry, I need a second! Call me if something happens! Huh? It looks like the ingredients are all prepared! Now, introducing our special dough tosser the Ashford family Ganymede! Yes, it s a bit of an antique, however, at the controls is the student council s special member and Princess Euphemia s personal knight, SUZAKU KURURUGI!! Listen... is that because of... Yes. There are lots of Elevens who came here today. It s an open festival after all, and this is Suzaku s school. So they came to see him? Yes. Suzaku is like a ray of hope for many Elevens. They revere him. I see. Ganymede, a third-generation Knightmare. The type used by Lady Marianne the Flash, isn t that correct? It s just a fundamental frame. A big puppet for events like this. An unorthodox design dropped for the next generation of Knightmares due to Lady Marianne s death. I m guessing that s the real reason you want to marry me. So now you get it. He has no attraction whatsoever to the opposite sex. Well... I get the general idea, anyway. And again! Can he get it any larger, folks?! C mon, Sir Suzaku! We ve got high hopes for you! Last year, it was my turn to do it, but I can t compare to a real pro. This is a day of sweet surprises. To think you and Nunnally were so close all this time, and that you and Suzaku are friends as well. What is that guy doing? This is no time to be hitting on some pretty girl! I never want to see people unhappy ever again. Remember, we can t meet after this. That s not true. I ve found a solution for everything. Lelouch! Is that Princess Euphemia?! Princess Euphemia?! What s up? Over there. It s her! Princess Euphemia! Princess Euphemia?! Lelouch! Take Nunnally away! Sorry to leave you alone at a time like this! That s right! The sub-viceroy is near the main entrance! I copy! I ll send in the backup team! Camera! Get a link to the studio, quick! All right! Princess Euphemia s here! No way! Why?! Where-- where is she?! Everyone, stop! Don t run! Please don t panic! Pizza... Guess we should ve left this to the pros. What do you think? I m afraid I m just gonna have to give up on this one... and some other things. Everyone, stop this at once! Do you realize who this is?! This is the sub-viceroy, the third Imperial princess! Thanks for your help! We ll take over from here. Stand back of-- H.I. TV! A comment! Just one word, please! Princess Euphemia, it s me, Nina! I II get you out of here... This is getting tight! Please excuse me! No, don t! You don t say? Already? You ve escaped on your own? I d say that s excellent, Deputy Commander. We ll stay right here. Right. Looks like we wasted the equipment space inside the news van. There s no need for the captain of the Zero Squad to escape now either. I d like you to continue to stay under cover here in the settlement. I ll introduce you to Zero later on. I understand. Oh, wow... Princess Euphemia, you re not hurt, are you?! I m fine! Thank you, Suzaku! Are you okay, Nunnally? Yes. How about Euphemia? She s all right. Suzaku s taking care of her. I see... Lelouch, guess what? Euphy said that she and Suzaku are becoming very close now. They make a nice couple, don t you agree? Nunnally, you... Thank heavens, they re all right! Princess Euphemia, down here! Can I get a statement, please?! Could you please network this broadcast nationwide? Huh? You mean go live now? Euphy? I have a very important announcement! Hmm? Your Highness! It s Princess Euphemia! What s she doing now? And we go to our special live coverage. I am Euphemia, sub-viceroy of Area 11 of the Holy Britannian Empire. There is something of great consequence that I wish to tell you all today! Now what? This little girl makes such a fuss. I, Euphemia li Britannia, hereby declare the formation of the Specially Administrated Zone of Japan in the area surrounding Mt. Fuji! What?! Britannia has--?! They re recognizing... Japan?! Dammit! I never thought of this game! Even though it s only a limited area! Within the Specially Administrated Zone of Japan, Elevens will be permitted to call themselves Japanese. Restrictions against Elevens and special rights for Britannians will no longer exist within this zone. It will be a place where Elevens and Britannians live side-by-side as equals! Stop this, Euphy! I already thought through every detail of that scenario! It s nothing but an empty dream! Do you hear me, Zero? I don t care about your past nor who you are underneath that mask! I beg of you! Join us in creating the special zone of freedom! Join Zero? No way! Just think about Prince Clovis! WHAT IS SHE DOING?! Zero, help me build a new future within Britannia! A place for everyone! Long live Princess Euphemia! The Japanese Zone? Why s she doing that now? That s pretty obvious. She s in love with an Eleven. I m finished! Either way I go, the Black Knights will break apart over this! The reason we exist has vanished! How could this have happened so easily?! You think you can just take it all from me like this?! Even if it is a place where we can be ourselves?! You know nothing... You understand nothing! I am the terrorist who hides his face, and you... Lelouch! Now we can be like before! No, the past is dead and gone... Euphemia! The Specially Administrated Zone of Japan. If I cooperate, I give up the right to use force; oppose it, and the people will become my enemies, and the Black Knights collapse. Euphemia, the third princess who innocently holds good intentions like a sword! For Nunnally and me, your very existence has become a crime!
https://w.atwiki.jp/xboxonescore/pages/1088.html
Train Station Renovation 項目数：54 総ポイント：1000 難易度：★☆☆☆☆ 一度クリアしたステージはクリア状況をリセットしない限り再度プレイできないので、 取り逃した実績がある場合は最初からやり直す事になる。 特に「Segregation is my passion」には注意。 技術を求められるような実績は無いので時間さえかければコンプは容易。 棚の傍など狭い場所にあるゴミを拾うと同時にゴミが一杯になると、ゴミ袋が地中に移動して回収できなくなる等のバグが発生する場合がある。 こうなると100％クリアは不可能になるので、ゴミを拾う際は要注意。 The old man s proud You ve completed Cleanvillle;Cleanvillleを完了させる 15 On the swamp You’ve completed Mudborough;Mudboroughを完了させる 15 Pumped it out You ve completed Gemtown;Gemtownを完了させる 15 I m the best at the playground You ve completed Enville;Envilleを完了させる 15 The blueprint on the wall… You’ve completed Catrough;Catroughを完了させる 15 Hooligans You ve completed Philville;Philvilleを完了させる 15 Radiation expert You ve completed Railtown;Railtownを完了させる 15 Light at the end of the tunnel… You’ve completed Highland Tunnel;Highland Tunnelを完了させる 15 The mouse ran up the clock... You ve completed Farmley;Farmleyを完了させる 15 Turntable mechanic You ve completed Playford Hills;Playford Hillsを完了させる 15 It s a small step for a Renovator... You picked up your first trash;初めてゴミを拾う 15 Senior Renovator You picked up 1000 small trash;小さいゴミを1000個拾う 15 Segregation expert 200 items were correctly thrown into a segregated container;200個のアイテムをリサイクルボックスに正しく入れる 15 #1 pick in the draft 3 pointer from Renovator;3ポイントシュートの距離からゴミを入れる 15 First star You managed to collect the first star;最初の星を獲得する 15 10 stars award You managed to collect 10 stars;星を10個獲得する 20 30 stars award You managed to collect 30 stars;星を30個獲得する 25 I’m pretty sure there is a little more! You managed to collect 75 stars!;星を75個獲得する 30 80 stars? Your Majesty… You managed to collect all 80 stars;85個の星を全て獲得する 50 Train mechanic You managed to repair 30 train parts!;列車のパーツを30個修復する 15 Storyteller You managed to complete all the tasks!;1ステージ内での全てのタスクを完了させる 15 Infinite power! Congratulations you managed to upgrade all tools!;全てのツールのアップグレードを完了させる 20 I like trains You created your first train on the model;初めて列車の模型を組み立てる 5 GET OVER HERE Nice try Renovator! Now come back to the station!;駅の外に出る 10 Getting started You ve completed Tutorial;チュートリアルを完了させる 10 Wait... what? There are tool upgrades? Complete the game without upgrades;ツールをアップグレードせずにゲームを完了させる 25 You can actually take a ride???? You’ve completed Rocky Hills Resort;Rocky Hills Resortを完了させる 15 It was all flooded You ve completed Carlsea;Carlseaを完了させる 15 Snowman s buddy You ve completed Oakdown;Oakdownを完了させる 15 Renovation of the underground? Sounds cool! You’ve completed Yellow Street Underground;Yellow Street Undergroundを完了させる 15 Godlike Renovator You ve completed Limingham;Liminghamを完了させる 15 Master of Cleanville You’ve completed Cleanville with 100% progress;Cleanvilleの作業を100%完了させる 25 Master of Mudborough You’ve completed Mudborough with 100% progress;Mudboroughの作業を100%完了させる 25 Master of Gemtown You’ve completed Gemtown with 100% progress;Gemtownの作業を100%完了させる 25 Master of Enville You’ve completed Enville with 100% progress;Enville withの作業を100%完了させる 25 Master of Catrough You’ve completed Catrough with 100% progress;Catroughの作業を100%完了させる 25 Master of Philville You’ve completed Philville with 100% progress;Philvilleの作業を100%完了させる 25 Master of Railtown You’ve completed Railtown with 100% progress;Railtownの作業を100%完了させる 25 Master of Highland Tunnel You’ve completed Highland tunnel with 100% progress;Highland tunnelの作業を100%完了させる 25 Master of Farmley You’ve completed Farmley with 100% progress;Farmleyの作業を100%完了させる 25 Master of Playford Hills You’ve completed Playford Hills with 100% progress;Playford Hillsの作業を100%完了させる 25 Master of Rocky Hills Resort You’ve completed Rocky Hills Resort with 100% progress;Rocky Hills Resortの作業を100%完了させる 25 Master of Carlsea You’ve completed Carlsea with 100% progress;Carlseaの作業を100%完了させる 25 Master of Oakdown You’ve completed Oakdown with 100% progress;Oakdownの作業を100%完了させる 25 Master of Yellow Street Underground You’ve completed Yellow Street Underground with 100% progress;Yellow Street Undergroundの作業を100%完了させる 25 Master of Limingham You’ve completed Limingham with 100% progress;Liminghamの作業を100%完了させる 25 Mr Sandbox You managed to collect 25 stars and unlocked Sandbox Mode!;星を25個集めてSandbox Modeをアンロックする 10 That looks cool! You painted your first wall;初めて壁を塗る 5 This floor looks different! You changed floor material for the first time;初めて床を変える 5 I wonder if I… Oh my! You changed material on the ceiling;初めて天井を変える 5 I’ll paint one train myself for fun! You painted your first train;初めて列車に色を塗る 5 Segregation is my passion 400 items were correctly thrown into a segregated container;400個のアイテムをリサイクルボックスに正しく入れる 20 The Boss You’ve $200.000 on your account;$200,000所有する 40 Having fun? You threw the pump in the designated place with maximum force;指定された場所に全力でポンプを投げる 10 #1 pick in the draft ゴミ箱に入ったゴミが固定された時点で離れていても解除される模様。 I like trains 事務所の隣のジオラマにある駅を調べると、リワードで入手した列車のミニチュア一覧が表示される。 そこから列車を選んで組み立てればいい。 Segregation is my passion 全ステージクリアまでに解除する必要があるため、序盤のうちから意識しておかないと解除できない可能性あり。 ゴミ袋だけでは全然足りないので、廃棄コストを覚悟のうえでドラム缶や鉄柱など 入れられるものを片っ端から入れていけば若干の余裕をもって解除できる。 Having fun? 最初に解除できるタイミングはMudborough(ステージ2)。 トイレの排水を行う際、緑色で表示されている場所へ排水ポンプを全力で投げて収まれば解除。