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When we re all alone dear and I m in your arms Are you teasing me When you re telling me how I thrill to your charms Are you teasing me * Are you untrue when I m not with you When we re apart are you free Tell me darling while our love is still young Are you teasing me You say that my kiss sends your heart in a whirl Are you teasing me And that you ll be mine till the end of the world Are you teasing me * Refrain You tell me my love makes your life complete Are you teasing me And never from my arms would you long to be Are you teasing me * Refrain （訳詞） ぼくらがふたりきりになってぼくがキミの腕に抱かれているとき ぼくをからかっているの？ ぼくがどれくらいキミの魅力のとりこになっているかってぼくに聞くとき ぼくをからかっているの？ ぼくがキミと一緒じゃない時、キミはキミじゃなくなるの？ ぼくらが別れたらキミは自由になるの？ 答えて、ダーリン、ぼくらの愛は未熟なの？ ぼくをからかっているの？ ぼくのキスでキミの心は千々に乱れるとキミはいう ぼくをからかっているの？ 世界が終わるまでキミはぼくのものだという ぼくをからかっているの？ * Refrain ぼくの愛でキミの生活が満たされるのだとキミはいう ぼくをからかっているの？ ぼくの腕から離れたくないとキミはいう ぼくをからかっているの？ * Refrain
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There is no one not obtained in this world. However, friendship and mutual trust alone cannot be bought with money. "Green of favorite ････ is dyeing in blue" Wrenn said. Because Wrenn had suddenly said such a mere trifle, Lissa thought, " Did you like it? ･･･ It is ････ as for the color like that moss" in the head by chance. 1 line in Wrenn sat on the stone in the vicinity of the garage now. It seems to be fashion skin these days when Pepengin like the pierrot who does Afro with red hair to the stone of the next and has written M his face in the breast pure white sits. In addition, it puts on a brown gentleman clothes and the one of Grasan that it put on the wig of the putting brown hair of 7 and division into three. "Skin these days was negligent" There was a lot of Lobo who did such skin here and there of the town where the custom of beating Bang Bang on ground etc. was made among and thickish Lobo et al. as for the keyboard (It is a toy keyboard)(reference y*utube Ni * Nicot animation) it Lissa and Really Wrenn whom Utsbshi had begun to mean suddenly matched the voice and it said. ｢..so... ..better it in old times... ｣ Lissa and the Wrenn living of What wind are fit (?). And, it began to talk about Utsbshi ･･･ -. The color seems to have been decided only up to seven colors though old skin did not develop now and painted it like the spray can. "Did not it like the place of the face at that time, is the entire face burnt out once, and was the face made up on that with workman s arm?" As for it, ････ Lissa and Wrenn also think also of an honest author who thought so so in the remodeling operation. "Wrenn is doing that pierrot skin. " "It is Do * Ld. " "No this condition for a long time after having the skin of Wrenn. "｢ Hello. ..story way.. roughly. ｣ "..expressing random opinion.. ..stopping..?" "Lissa shall not be Kirecacattel. "｢?It is crazy about the hamburger that the hamburger is loved. ｣ 『･･･』 "?" "Lissa must not settle down. " ｢Ranranl?Ranranl?Ranranl?｣ Person " ". " and "Lissa is a large ejaculation. " of the street clinging. ｢ Provide..come..cantrip..effective..provide.‥｣ "Furnace what ･･･"｢Attack of remnants of satan army. encounter ･･･?No what. ｣ ｢Ranranl?Ranranl?Ranranl?｣ "The satan army begins to have suffered. " "Dona * Domagecc" "The satan army must not explode. " "Well, when Lissa dies, it doesn t continue and random story Nelndana. "? Do "* Ldomagecc Dona * Domagecc Do" ｢. ｣ Terrible..provide..explosion..evade.｢Ranranl?!!Ranranl?!!Ranranl?!!Ranranl?･･･ Ranra｣ ｢No what Ctabareeeeeeeeeeeeeeeeeeeeee. ｣ ｢..Araa.. Do * Ld is ..dying... ｣ "････ ..after all strongest.. ..Utsbshi... " ―――Ranranl following the seventh story?
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Constraining Camera Position and Motion Sometimes you may already know some or all of the path of the camera, for example, · it may be available from a motion controlled camera, · the camera motion may be mechanically constrained by a camera dolly, · you may have measured some on-set camera data to determine overall scene sizing, or · you may have already solved the camera path, then hand-edited it for cleanup. SynthEyes lets you take advantage of this information to improve a solution or help set up the coordinate system, using the trajectory lock controls at the bottom of theSolver Control Panel, theHard and Soft Lock Controldialog, and the camera s seed path information. Warning using camera position, orientation, and field of view locks is avery advanced topic. You need to thoroughly understand SynthEyes and the coordinate system setup process, and have excellent mental visualization skills, before you are ready to consider camera locks. Under no circumstances should they be considered a way to compensate for inadequate basic tracking skills. Concept and Terminology SynthEyes allows you to create locks on path (X, Y, and/or Z translation), rotation (pan, tilt, and roll), and field of view. You can lock one or more channels, and locks are animated, so they might apply to an entire shot, a range of frames, or one frame. Each lock forces the camera to, or towards, the camera s seed path. The seed path is what you see before solving, or after clearing the solution. You can see the seed path at any time using theView/Show seed pathmenu control, or the button on the Hard and Soft Lock Control dialog. Locks may be hard or soft. Hard locks force the camera to the specified values exactly (except if Constrain is off), similar to pegged trackers. Soft locks force the camera towards the specified value, but with a strength determined by a weight value. Locks are affected by theConstraincheckbox on the solver panel, similar to what happens with trackers. With Constrain off, locks are appliedaftersolving, anddo notwarp the solution. All soft locks are treated as hard locks. With Constrain on, locks are applied before and during solving, soft locks are treated as such, and locksdowarp the solution. Field of view locks are not affected by Constrain, and are always applied. Camera position locks are more useful than orientation locks; we’ll consider position locks separately to start with. You can also constrain objects, but this is even more complex. Basic Operation Set up generally proceeds as follows 1. If you have not already attempted to solve the scene, go to step 5. 2. Go to the Solver Control Panel. Click themorebutton to bring up theHard and Soft Lock Controlpanel. 3. Position and animate the camera as desired, creating a key on each frame where you want the position to be constrained. The Get buttons can help with this. 4. Turn on the L/R, F/B, and/or U/D buttons as appropriate depending on the axes to be constrained — these stand for left/right, front/back, and up/down respectively. 5. Adjust the Constrain checkbox as needed. The camera position constraints behave similarly to constraints on the trackers if the Constrain checkbox on, they are enforced exactly during the solve, but if the Constrain checkbox is off, they are enforced only loosely after the completion of the solve. Loosely means that they are satisfied as best as can be, without modifying the trajectory or overall RMS error of the solution. The result of this process is to make the camera match the X, Y, and/or Z coordinates of the seed path at each key. This basic setup can be used to accomplish a variety of effects, as described above and covered in more detail below. At the end of the section, we’ll show some even more exotic possibilities. Using a Camera Height Measurement Suppose the camera is sitting on a moving dolly in a studio, and you measured the camera (lens s) height above the floor, and you have some trackers that are (exactly) on that floor. You can use the height measurement to set up the scene size as follows 1. Show the seed path View/Show Seed Path menu item 2. At frame 0, position the camera at the desired height above the ground plane 2 meters, 48 inches, whatever. 3. Turn on the U/D button on frame 0,turn it back off at frame 1. 4. Set up a main coordinate system using 3 or more trackers on the floor. Make sure tonotcreate a size constraint in the process if using the *3 button on the Coordinate system panel or the Coord button on the Summary panel, select the 2nd(on-axis) tracker, and in the Coordinate panel, change it from Lock Point (at 20,0,0) to On X Axis or On Y Axis. 5. Solve with Go! on the Solver panel Note that you can use whatever more complex setup you like in step 4, as long as it completely constrains both the translation and rotation, but not the size. WARNING You might be tempted to think “Hmmm, the camera is on a dolly, so the entire path must be exactly 43 inches off the floor, let me set that up!” (by not turning U/D back off). But this is almost alwaysa bad idea! The obvious problem is that the dolly track is never really completely flat and free of bumps. If the vertical field of view is 2 meters, and you are shooting 1080i/p HDTV, then roughly your track must beperfectly flat to 1 millimeteror so to have a sub-pixel impact. If your track is that flat, congratulations. The conceptually more subtle, but bigger impact problem is this a normal tripod head puts the camera lens very far from the center of rotation of the head—roughly 1 foot or 0.25 meter. As you tilt the head, the position of the camera increases and decreases up to that much in height! Unless your camera does not tilt during the shot, or you have an extra-special nodal-pan head, the camera height will change dramatically during the shot. A Straight Dolly Track Setup If your camera rides a straight dolly track, you can use the length of that track to set the scale, and almost the entire coordinates system if desired. While the camera height measurement setup discussed above is simpler, it is appropriate mainly for a studio environment with a flat floor. The dolly track setup here is useful when a dolly track is set up outdoors in an environment with no clearly-defined ground plane—in front of a hillside, say. For this setup, you should measure the distance traveled by the camera head down the track, by a consistent point on the camera or tripod. For example, if you have a 20’ track, the camera might travel only 16’ or so because there will be a 2’ dead zone at each end due to the width of the tripod and dolly. Measure the starting/ending position of the right front wheel, say. Next, clear any solved path (or click View/Show seed path), and animate the camera motion, for example moving from 0,0,0 at the beginning of the shot to 16,0,0 at the end (or wherever it reaches the maximum, if it comes back). You now have two main options A) mostly tracker-based coordinate setup, or B) mostly dolly-based coordinate setup, for side-of-hillside shots. For setup A, turn on only the L/R camera axis constraint checkbox on the first and last frames (only). The X values you have set up for the camera have set up an X positioning for the scene, so when you set up constraints on the trackers, they should constrain rotation fully, plus the front/back and up/down directions—but not the L/R direction since that would duplicate and conflict with the camera constraint (unless you are careful and lucky). For setup B, turn on L/R, F/B, and U/D on the first and last frames (only). You should take some more care in deciding exactly what coordinate values you want to use for each axis of the animated camera path, because those will be defining the coordinate system. [By setting keys only at the beginning and end of the shot, you largely avoid problems with the camera tilting up and down—at most it tilts the overall coordinate system from end to end, without causing conflicting constraints.] If the track is not level from end to end, you can adjust the beginning or ending height coordinate of the tracker as appropriate. But usually we expect the track to have been leveled from end to end. With X, Y, and Z coordinates keyed at the beginning and end of the shot, you have already completely constrained translation and scale, and have constrained 2 of the 3 rotation axes. The only remaining unconstrained rotation axis is a rotation around the dolly. To constrain this remaining rotation requires only a single additional tracker, and only its height measurement! On the set, you should measure the relative height of a trackable feature compared to the track (usually this will be to the base of the track, so you should also measure the height of the camera versus the base). You can measure this height using a level line (a string and a clip-on bubble level) and a ruler. On theCoordinate System Control Panel, select the tracker and set it toAny XY Planeand set the Z coordinate (for Z-up mode), or selectAny XZ Planeand set the Y coordinate (for Y-up mode). Now you’re ready to go! This setup is a valuable one for outdoor shots where a true vertical reference is required, but the features being tracked are not structured (rocks, bushes, etc). Again, we recommendnot trying to constrain the camera to be exactly linear, though you can easily set this up by locking Y and Z to be fixed for the duration of the shot, with single-frame locks on X at the beginning and end of the shot. This setup forces the camera motion to be exactly straight, but moving in an unknown fashion in X. Although the motion will be constrained, the setup willnotallow you to use fewer trackers for the solve. Using a Supplied Camera Path This section addresses the case where you have been supplied with an existing camera translation path, either from a motion-controlled camera rig, or as a result of hand-editing a previous camera solution, which can be useful in marginal tracks where you have a good idea what the desired camera motion is. After editing the path, you want to find the best orientation data for the given path. If you have an existing camera path in an external application (either from a rig, or after editing in maya or max, for example), typically you will import it using a standard or custom camera-path import script. Be sure that the solved camera path is cleared first, so that the seed path is loaded. If you have a solved camera path in SynthEyes, you can edit it directly. First, select the camera, and hit the Blast button on the 3-D panel. This transfers the path data from the solved path store into the seed path store. Clear the solved path and edit the seed path. Rewind and turn on all 3 camera axis locks L/R, F/B, and U/D. Next, configure the solver s seeding method. This requires some care. You can use the Path Seeding methodonly if your existing path includes correct orientation and field of view data. Otherwise, you can use the Automatic method or maybe Seed Points. The Refine mode is not an option since you have already cleared the solution to load the seed path, and don’t have orientation data anyway or you’d use Path Seeding. You can use Seed Points mode if you are editing the path in SynthEyes—but be sure to hit theSet Allbutton on the Coordinate System Setup Control panelbeforeclearing the prior solution, so that the points are set up properly as seeds. You should probablynotmake them locks, unless you are confident of the positions already. With the camera path locked to a complex path (other than a straight line), no further coordinate system setup is required, or it will be redundant. You can solve the scene first with the Constrain checkbox off, then switch to Refine mode, turn on Constrain, and solve again. This will make it apparent during the second solve whether or not you have any problems in your constraint setup, instead of having a solution fail unexpectedly due to conflicting constraints the first time. Camera-based Coordinate System Setup The camera axis constraints can be used in small doses to set up the coordinate system, as we’ve seen in the prior sections. Typically you will want to use only 1 or 2 keys on the seed path; 3 or more keys will usually heavily constrain the path and require exact knowledge of the camera move timing. Roughly, each keyed frame is equivalent in effect to a constrained tracker located at the same spot. You should keep that in mind as you plan your setup, to avoid under- or over-constraining the coordinate system. Soft Locks So far we have described hard locks, which force the camera exactly to the specified values. Soft locks pull more gently on the camera path, for example, to add stability to a section of the track with marginal tracking. In either case, for a lock to be active, the corresponding lock button (U/D, L/R, pan, etc) must be on. The weight values on the Hard and Soft Lock dialog controls whether locks are hard or soft. If the weight is zero (the default), it is a hard lock. A non-zero weight value specifies a soft lock. Weight values range from 1 to 120, with 60 a nominal neutral value. However, we recommend that when creating soft locks, you start with a weight of 10, and work upwards through 20, 30, etc until the desired effect is obtained. Weight values are in decibels, a logarithmic scale where 20 decibels is a factor of 10, and 6 decibels is a factor of two. So 40 is 10 times stronger than 20, and 26 is twice as strong as a weight of 20. (Decibels are commonly used for sound level measurements.) A lock can switch from hard to soft on a frame-by-frame basis, ie frames 0-9 can be hard, and 10-14 soft. You may need to key the weight track carefully to avoid slow transitions from 20 down to 0, for example. Soft locks are treated as such only when the Constrain check box is on it is the solver that distinguishes between hard and soft locks. If Constrain is off, the locks will be applied during the final alignment, when they do not affect the path at all, just re-orient it, so soft locks are treated the same as hard locks. Note that the soft lock weight isnota path blending control. You might naively be tempted to set up a nominal locked path, and try to animate the soft lock weights expecting a smooth blend between the solved path and your animated locked path. But that is not what will happen. The weight changes how seriously SynthEyes takes your request that the camera should be located at the specified position—but it will affect the tracker positions and everything else as well. Orientation Locks You can apply Pan, Tilt, and Roll rotation locks as well as translational locks. They can be used for path editing and, to a lesser extent, for coordinate system setup. For example, a roll-angle constraint can be used to keep the camera forced upright. That can be handy on tripod shots with large pans small amounts of lens distortion can bend the path into a banana shape; the roll constraint can flatten that back out. If the camera looks in two different directions with the roll locked, it constrainstwodegrees of freedom only a single pan angle is undetermined! For example, if looks along the X axis then along the Y axis, both with roll=0. You might want to think about that for a minute. The perspective window s local-coordinate-system and path-relative handles can help make specific adjustments to the camera path. Inherently, SynthEyes is not susceptible to “gimbal-lock” problems. However, when you have orientation locks, you are using pan, tilt, and roll axes that do define overall north and south poles, and you may encounter some problems if you are trying to lock the camera almost straight up or down. If this is the case, you may want to change your coordinate system so those views are along the +Y and –Y axes, for example. Object Tracking You can also use locks on moving objects, in addition to cameras. However, there are several restrictions on this, because moving objects are solved relative their hosting camera path, but the locks are world coordinate system values. If a moving object has path locks, then 1. the host camera must have been previously solved, pre-loaded, or pre-keyed, and the camera solving mode set to Disabled, 2. the translation axis locks must either all be on, or all off, and 3. the rotation axis locks must either all be on, or all off. Normally, when SynthEyes handles shots with a moving camera and moving object, it solves camera and object simultaneously, optimizing them both for the best overall solution. However, when object locks are present, SynthEyes must be able to access the camera solution first, in order to be able to apply the object locks. With the camera path, SynthEyes changes the translation and rotation axis lock values into a form usable for the object, but the individual axes are no longer available, and either all must be constrained, or none. SynthEyes will automatically turn all the enables on or off together if a moving object is active. Object locks have very hard-to-think-about impacts on the local coordinate system of the trackers within the object. Most object locks will wind up over-constraining the object coordinate system. We recommend that object locking be used only to work on the object path, not to try to set up the object coordinate system.
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Desecration Tree T1 Devouring Touch 5 (edit) 受けたダメージの一部を回復に回す +4%のライフタップ(最大いくつだ？) T2 Covenant of Arms 5 (edit) 全ての攻撃に追加のUnholy属性のダメージを与える機会を得る Vigor Leech 5 (edit) Drain Lifeのスペルを強化し、受けたダメージからスタミナに変換する能力を付加 T3 Ether Leech 1 (edit) Vigor Leech(5)が必要 Drain Lifeのスペルを強化して、受けたダメージからマナに変換する能力を付加 Curse of Gwahlur 5 (edit) 攻撃をしてくる敵に呪いをかけて、Unholyダメージを与えている間敵のヘルスを吸収する 3回分(対象3体まで？)効果が累積する それぞれの呪いは敵にかかったの呪いのダメージを強化する Talisman Mastery 5 (edit) タリスマンを掲げている間、Soul Covenantスペルの力が増す T4 Corrupt Weapon 2 (edit) 全てのメレー攻撃に、短時間Unholyダメージ(DoT)を与える機会を得る Improved Dread Fury 5 (edit) Dead FuryのオーラにUnholyダメージを与える効果を追加 更にこの呪文が有効な間は魔法のダメージを変換して少しヘルスが回復する Approach of Death 1 (edit) Covenant of Armsを改良して、敵のHPが低くなればなるほどダメージが増加 Improved Martyrdom 5 (edit) Martyrdomを改良してパーティ全体のマナとスタミナを回復 Healingは20%ずつ改善 T5 Improved Soul Covenants 1 (edit) 発動によりSoul Covenantの発動率を増加 Sacrificial Fury 1 (edit) Martyrdomを改良して、ダメージを強化 T6 Desecrated Blood 3 (edit) Covenant of Warを改良して、発動率を増加するとともに被るダメージを低減 ダメージは33%ずつ減少 Improved Infusion 5 (edit) Aura of Infusionを強化してマナリジェネを追加 Ritualistic Bloodshed 2 (edit) カウンター攻撃の能力を追加 発動すると若干のマナを消費 (Spell) Soul Barrier 3 (edit) マナが続く限りバリアを張る 少量のヘルスダメージをマナダメージに変換 このFeatによりSoul Barrierのスペルが与えられる T7 Body of Pestilence 1 (edit) Vile Pestilenceが必要(5) Convenant of Pestilenceを改良して、移動ペナルティを除去できる Vile Pestilence 5 (edit) Convenant of Pestilenceを強化して、スペルによるダメージを強化 ダメージは25%ずつ増加 Pestilential Cloud 1 (edit) Vile Pestilence(5)が必要 Convenant of PestilenceをAE化 Cabalistic Hunger 5 (edit) ダメージの一部を変換してヘルスを回復 +1.5%ずつの魔法的なライフタップ Soul Infusion 2 (edit) Soul Barrier(3)が必要 敵対的なスペル攻撃をマナを消費して緩和する T8 Vile Putrescence 1 (edit) Covenant of Putrescence(5)が必要 Covenant of Putrescenceを強化して、敵に影響を与える範囲を拡大 (Spell) Covenant of Putrescence 5 (edit) Vile Pestilence(5)が必要 全てのメレー攻撃に周囲の敵全てに毒ダメージを与える機会を得る Soul Covenantの効果は重複しない このFeatによりCovenant of Putrescenceのスペルが与えられる Improved Blood Pact 5 (edit) Blood Pactの再使用時間の短縮とヘルス消費量の減少 再使用時間を-5分、ヘルス消費を20%減少 Invulnerable Soul 5 (edit) Cabalistic Hunger(5)が必要 Covenant of Invulnerabilityに発動された攻撃(コンボのことか？)のダメージを低減する効果を追加 T9 (Combo) Warped Dread 1 (edit) Invulnerable Soul(5)が必要 異界との強いつながりによりダメージを減少し防御する力を召還する このシールドは敵の攻撃を逸らしてミスさせる機会を増やす このFeatによりWarped Dreadのコンボが与えられる (Spell) Dooming Presence 1 (edit) Covenant of Putrescence(5)が必要 周囲に恐怖を与える暗雲を召還 このFeatはスペルDooming Presenceが与えられる
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(2021-10-13) How do managerial, task, and individual factors inflruence flexible work arrangement participation and abandonment? (2021-10-13) Workplace strategy a new workplace model (2021-10-13) Workplace reform a new social contract for Australia (2021-10-13) Workplace performance a sustainable approach (2021-10-13) Is workplace bullying always perceived harmful? The cognitive appraisal theory of stress perspective (2021-10-13) Celebrating differences while reserving commonality work values of Chinese public organization employees (2021-10-13) Greg J Bamber, Fang Lee Cooke, Virginia Doellgast and Chris F Wright (eds) (2021) International and comparative employment relations. SAGE, 406 pages. (2021-10-13) Russell D. Lansbury (2021) Crossing boundaries Work and industrial relations in perspective. Routledge, London and New York. (2021-10-13) Issue Information ‐ TOC (2021-10-13) Victim or master of HRM implementation the frontline manager conundrum (2021-10-11) Pivoting after almost 50 years of SHRM research toward a stakeholder view (2021-10-07)
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■下記の設定の明確化と追加を行います。 １ 123p Heroes s Feastのサービス 下記のこの設定がないと、Heroes s Feastを出すためにお店にECL9以上でかつGreater Mark of HospitalityかDivine Caster 9レベル以上の者の存在または参加が不可欠（Heroes s FeastのScrollとかでも大分無理がありますし）となり、Eberron世界のパワー人口バランスに矛盾が発生するので追加します。 最低１１人以上、最大２０人までのLeast Mark of Hospitalityを持った各者が、同時にGreater DragonShard Focus ItemであるBag of Bounty 261pを所持し、Heroes s Feastの呪文を唱える行為の真似（勿論、本当に唱える事はできないが）をする事によって、１回だけ儀式参加人数分の食事量＝Caster LevelのHeroes s Feastの呪文の効果が発生させることが可能だとします。 １度この行為に参加したLeast Mark of Hospitalityを持った者は、８時間以上の完全休養を取らない限り、新たなにこの儀式に参加してHeroes s Feastを出すことはできません。つまり、１１人全員が完全に８時間以上完全休養した者達でなければならない、ということです。 また、Bag of Bounty 261pも１日に２回しかHeroes s Feastを出す儀式に使用できません。 料理代金はひとり分60gp、一式最低660gpから1200gpとします（すべて標準的価格）。 ■Using Action Points Augment a die roll One action point can be spent to add a bonus of +1d6 to one d20 roll. Activate a class ability If your character has a class ability usable a limited number of times per day, you can spend two action points to use the ability one additional time. For example, the human paladin can smite evil once per day, but you can spend two action points to do it a second time in the same day. Boost defense You can spend one action point as a free action to double the normal bonuses for fighting defensively. This gives a character a +4 dodge bonus to AC, +6 if it has 5 or more ranks in Tumble. Emulate feat You can spend one action point at the beginning of your round to gain the benefits of a feat for which your character meets the prerequisites but does not currently have. For example, the goblin fighter has a Dexterity of 15, so it meets the prerequisite for the Two-Weapon Fighting feat. You can spend an action point at the beginning of your round to reduce the penalties for the character to fight with two weapons at the same time. Extra attack You can spend one action point during a full attack action to gain an extra attack at your highest attack bonus. The attack can be either a melee or a ranged attack. For example, when the human monk takes a full attack action, it can either use flurry of blows for +1/+1 to hit, or make one attack with its longsword for +5 to hit. If you spend an action point the monk gains an additional attack, making its flurry of blows +1/+1/+1 to hit or +5/+5 with its longsword. Hasten infusion You can spend one action point to lower the casting time of one of the gnome artificer痴 infusions to 1 round. Spell boost You can spend one action point as a free action to increase your caster level for one spell you cast by 2. You must choose to spend the action point before you cast the spell. For example, you can spend an action point before the human wizard casts dispel magic from its scroll to boost its caster level to 4 instead of 3, improving the wizard痴 chances of successfully dispelling something. Spell recall You can spend one action point to retain a spell your character just cast (for those who prepare spells) or retain a spell slot for a spell your character just cast (for spontaneous casters). For example, you can spend an action point after your half-orc druid casts cure light wounds so it is still prepared and can be cast again, or you can spend an action point after your dwarf bard casts sleep from its repertoire to retain the spell slot. Stabilize You can spend one action point to automatically stabilize if dying. Improve feat You can spend an action point as a free action to improve a feat your character already has. Some examples are below. Blind-Fight You can eliminate your character痴 miss chance for a single attack. Combat Expertise You can double the bonus to AC granted by the feat, so taking a penalty of -1 on an attack roll gives your character a +2 dodge bonus to AC. Dodge You can increase the dodge bonus granted by the feat by +2, making it +3. Improved Critical You can double your critical range for one weapon (effectively tripling it, since it was doubled by the feat). This effect does not stack with any other effects that increase threat range (so it will not work in conjunction with the keen edge spell). Improved Initiative You can double the bonus for the feat, gaining a +8 bonus instead of +4. Metamagic feats You can spend an action point to apply a metamagic feat your character knows to a spell it is casting with no level increase and no casting time increase. 名前 コメント すべてのコメントを見る
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曲名 アーティスト フォルダ 難易度 BPM NOTES/FREEZE(SHOCK) Inspiration DKC Crew X 激8 147 255/14 STREAM VOLTAGE AIR FREEZE CHAOS 52 42 50 26 10 譜面 http //eba502.web.fc2.com/fumen/ddr/x/inspirat_4m.html 動画 http //www.youtube.com/watch?v=qHbxt9xlweo (x3.0,NOTE) 解説 足8らしい素直な譜面｡ビジステップの切り返しができれば特に難所もない｡ -- 名無しさん (2013-07-23 12 16 39) X初出のときは足9だったがX2になって足8に降格している。 -- 名無しさん (2014-07-13 15 51 34) 名前 コメント コメント(感想など) 名前
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Microscopy of Pulp and Paper (Supplement I No. 177) Inst of Paper Science &? InstofPaperScience&? ジャンル別? Substores-UnknownASINs-8 Cameroon Road Map (Macmillan Traveller's Maps) Macmillan Education Ltd? MacmillanEducationLtd? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-ForeignLanguageNonfiction-French? Subjects-Nonfiction-Education-Reference-Atlases&Maps? Subjects-Reference-Atlases&Maps? Subjects-Travel-Atlases&Maps? Subjects-Travel-General? What Is Scripture? SCM Press? Wilfred Cantwell Smith? SCMPress? WilfredCantwellSmith? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-English(British)? Subjects-Reference-Dictionaries&Thesauruses-English(British)? Subjects-Religion&Spirituality-General? State Mandates on Local Governments in Iowa Inst of Public Affairs? Institute of Public Affairs? InstofPublicAffairs? InstituteofPublicAffairs? ジャンル別? Substores-UnknownASINs-8 Understanding Industrial Relations in Modern Japan (Studies on the Modern Japanese Economy) Palgrave Macmillan? Kazuo Koike? PalgraveMacmillan? KazuoKoike? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-Economics-Labor&IndustrialRelations? Subjects-Nonfiction-Economics-Labor&IndustrialRelations? Subjects-Professional&Technical-Accounting&Finance-Economics-Labor&IndustrialRelations? Jerome Robbins Little, Brown? Amanda Vaill? Little,Brown? AmandaVaill? ジャンル別? Substores-UnknownASINs-8 Subjects-Biographies&Memoirs-General? All Occasion, Any Occasion, Promise Favor Card Plague Gift Instruction Workbook Prosperity & Profit Unlimited? Alfreda Staff? Prosperity&ProfitUnlimited? AlfredaStaff? ジャンル別? Substores-UnknownASINs-8 Samuel Green (Macmillan Organ Studies) Palgrave Macmillan? D. Wickens? PalgraveMacmillan? D.Wickens? ジャンル別? Substores-UnknownASINs-8 Subjects-Entertainment-Music-Instruments&Performers-Piano? End Matter to Antitrust Law Little Brown & Co Law & Business? Areeda? LittleBrown&CoLaw&Business? Areeda? ジャンル別? Substores-UnknownASINs-8 Subjects-Reference-General? Searching the Scriptures SCM Press? Elisabeth Schussler Fiorenza? SCMPress? ElisabethSchusslerFiorenza? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-Women sStudies-FeministTheory? Subjects-Religion&Spirituality-Bible&OtherSacredTexts-Bible-StudyGuides,History&Reference-General? Subjects-Religion&Spirituality-Bible&OtherSacredTexts-Bible-StudyGuides,History&Reference-Concordances? Follett Vest-Pocket French Dictionary French-English, English-French Amer Printing House for Blind? R. Switzer? AmerPrintingHouseforBlind? R.Switzer? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-English(All)? Subjects-Reference-Dictionaries&Thesauruses-English(All)? Formats-LargePrint? Auf Deutsch! 3b Photocpy Cas French Macmillan ELT? McNab Rosi? MacmillanELT? McNabRosi? ジャンル別? Substores-UnknownASINs-8 Little, Brown's Medical-Nclexprep Little Brown & Co? Janice Horman Stecchi? Sally Lambert Lagerquist? LittleBrown&Co? JaniceHormanStecchi? SallyLambertLagerquist? ジャンル別? Substores-UnknownASINs-8 Subjects-Medicine-Nursing? Subjects-Professional&Technical-Medical-Nursing-General? Subjects-Science-Medicine-Nursing? Britain's Investments Overseas on the Eve of the First World War Palgrave Macmillan? Desmond Christopher St.Martin Platt? PalgraveMacmillan? DesmondChristopherSt.MartinPlatt? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing? Market Weighton, Goole and Stamford Bridge (Landranger Maps) Ordnance Survey? Ordnance Survey? OrdnanceSurvey? OrdnanceSurvey? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-Education-Reference-Atlases&Maps? Subjects-Reference-Atlases&Maps? Subjects-Travel-Atlases&Maps? Wilderness Preservation A Guide to Wilderness Selection on the Blm Lands Stanford Environmental Law Society? Haugrud? 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Substores-UnknownASINs-8 Enameling on Glass, Porcelain Bisque, China Scott Pubns? Ruth P. Cooper? ScottPubns? RuthP.Cooper? ジャンル別? Substores-UnknownASINs-8 Wonderland 2 Posters Argentina Macmillan ELT? Read C et el? MacmillanELT? ReadCetel? ジャンル別? Substores-UnknownASINs-8 Meeting Basic Competencies in Practical Science and Health A Workstudy Book to Improve Daily Living Skills Amer Printing House for Blind? Eileen L. Corcoran? AmerPrintingHouseforBlind? EileenL.Corcoran? ジャンル別? Substores-UnknownASINs-8 Formats-LargePrint? New Integrated Science (THONEL/INT) Macmillan Education Ltd? O. Jegede? MacmillanEducationLtd? O.Jegede? ジャンル別? Substores-UnknownASINs-8 Subjects-Children sBooks-Science,Nature&HowItWorks? Subjects-Science? Sparkle 1 Sb Turkish Macmillan ELT? Pritchard G? MacmillanELT? PritchardG? ジャンル別? Substores-UnknownASINs-8 Real Estate Profit Power Regal Amer Marketing Co? Jerry Parks? RegalAmerMarketingCo? JerryParks? ジャンル別? Substores-UnknownASINs-8 Sparkle 1 AB Turkish Macmillan ELT? Pritchard G? MacmillanELT? PritchardG? ジャンル別? Substores-UnknownASINs-8 More Than Four A Guide for Multipleharness Weavers Charles T Branford? Mary E. Laughlin? CharlesTBranford? MaryE.Laughlin? ジャンル別? Substores-UnknownASINs-8 Maori Mantle Charles T Branford? H. Ling Roth? CharlesTBranford? H.LingRoth? ジャンル別? Substores-UnknownASINs-8 Tartan Weavers Guide Charles T Branford? Will Scarlett? CharlesTBranford? WillScarlett? ジャンル別? Substores-UnknownASINs-8 Business Administration Trans-Atlantic Pubns? L. Hall? Trans-AtlanticPubns? L.Hall? ジャンル別? Substores-UnknownASINs-8 Time's Up Amer Printing House for Blind? Florence Parry Heide? AmerPrintingHouseforBlind? FlorenceParryHeide? ジャンル別? Substores-UnknownASINs-8 Formats-LargePrint? Staying Safe Sexual Assault How to Protect Yourself Rape Crisis Center? Elizabeth Ozer? Kenge Toure? RapeCrisisCenter? ElizabethOzer? KengeToure? ジャンル別? Substores-UnknownASINs-8 Antitrust Law Little Brown & Co Law & Business? P. E. Areeda? LittleBrown&CoLaw&Business? P.E.Areeda? ジャンル別? Substores-UnknownASINs-8 Sparkle 1 TB Turkish Macmillan ELT? Pritchard G et el? MacmillanELT? PritchardGetel? ジャンル別? Substores-UnknownASINs-8 Juvenile Smoking Initiation and Advertising A 16 Country Survey of the Perceived Role of Advertising and Other Factors Bearing on Juvenile Smoking Intl Advertising Assn? J. J. Boddewyn? IntlAdvertisingAssn? J.J.Boddewyn? ジャンル別? Substores-UnknownASINs-8 Law of Seamen/With Supplements Clark Boardman Callaghan? Martin J. Norris? ClarkBoardmanCallaghan? MartinJ.Norris? ジャンル別? Substores-UnknownASINs-8 Communication Training Through Amplification Audiologic Management of Adults College Hill Pr? Carl A. Binnie? CollegeHillPr? CarlA.Binnie? ジャンル別? Substores-UnknownASINs-8 Sparkle 2 Sb Turkish Macmillan ELT? Pritchard G? MacmillanELT? PritchardG? ジャンル別? 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Redout Lightspeed Edition 項目数：34 総ポイント：1000 難易度： VANGUARD Obtain the Class 1 ESA-AGR ship. 10 DRAGOON Obtain the Class 4 ESA-AGR ship. 40 CENTAUR Obtain the Class 1 Koeniggswerth ship. 10 ODIN Obtain the Class 4 Koeniggswerth ship. 40 QAREEN Obtain the Class 1 Sulha AG ship. 10 MARID Obtain the Class 4 Sulha AG ship. 40 GILA Obtain the Class 1 Conqueror ship. 10 IINI Obtain the Class 4 Conqueror ship. 40 TAKATORA Obtain the Class 1 ASERA ship. 10 NOBUNAGA Obtain the Class 4 ASERA ship. 40 GT9 STRADALE Obtain the Class 1 Lunare Scuderia ship 10 GTX COMPETIZIONE Obtain the Class 4 Lunare Scuderia ship. 40 CHALLENGER Unlock a Class 2 ship. 20 PRO Unlock a Class 3 ship. 30 ACE Unlock a Class 4 ship. 40 TRICK UP YOUR SLEEVE Obtain an active powerup. 10 TACTICIAN Obtain all active powerups. 40 SNEAKY SNEAKY Obtain a passive powerup. 10 HIDDEN POWER Obtain all passive powerups. 40 NATURAL BORN WINNER Win your first gold medal. 30 FASTER THAN EVER Break the speed of sound. 40 HARDCORE Win a Score Endurance event. 30 CHALLENGE THE WORLD Win an online match. 30 CALLING HOUSTON Miss a landing. 10 ENLIGHTENED Win the final Career event. 50 ON A ROLL Win 3 consecutive events. 30 SHINY SHINY GOLD Win 15 Career events. 20 PILE UP TROPHIES Win 45 Career events. 40 秘密の実績 SHOW OFF Install all upgrades on a Class 1 ship. 50 TUNING MANIAC Install all upgrades on a Class 4 ship. 50 BETTER THAN EVER Win a platinum medal. 50 RESPWND Explode 5 times in a single lap. 40 FLAWLESS Run a perfect lap in Score Endurance. 20 PHOTO FINISH Win a Race by less than 500ms. 20
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Uniquely New Jersey (Heinemann State Studies) Heinemann Library? Mark Stewart? HeinemannLibrary? MarkStewart? Substores-UnknownASINs-35 Subjects-Children sBooks-History&HistoricalFiction-General? Subjects-Children sBooks-History&HistoricalFiction-UnitedStates-State&Local? Subjects-Children sBooks-People&Places-ExploretheWorld-UnitedStates? Mathercise Classroom Warm-Up Exercises Book B (Book B) Key Curriculum Pr? Michael Serra? KeyCurriculumPr? MichaelSerra? Substores-UnknownASINs-35 Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-PureMathematics-Algebra? Vldb 5 Year Set Proceedings on Very Large Databases Morgan Kaufmann Publishers Inc,US? VLDB? MorganKaufmannPublishersInc,US? VLDB? undefined undefined Adelaide Hoodless Dundurn Press? C. Macdonald? DundurnPress? C.Macdonald? Substores-UnknownASINs-35 Subjects-Biographies&Memoirs-General? Subjects-Home&Garden-How-to&HomeImprovements? Harold Town Works on Paper, 1952-1987 Dundurn Pr Ltd? 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Substores-UnknownASINs-35 Subjects-Computers&Internet-Databases-General? Proceedings of the International Joint Conference on Artificial Intelligence Morgan Kaufmann Publrs.,U.S.? MorganKaufmannPublrs.,U.S.? undefined undefined Another Path to My Garden Dundurn Group Ltd ,Canada? Marilyn Noell? DundurnGroupLtd,Canada? MarilynNoell? Substores-UnknownASINs-35 Subjects-Medicine-Administration&Policy-PublicHealth? Subjects-Science-Medicine-Administration&Policy-PublicHealth? Simcoe's Choice Dundurn Group Ltd ,Canada? Guy St.Denis? DundurnGroupLtd,Canada? GuySt.Denis? undefined undefined Canadian Obituary Record Dundurn Group Ltd ,Canada? Robert M. Stamp? DundurnGroupLtd,Canada? RobertM.Stamp? Substores-UnknownASINs-35 Subjects-Biographies&Memoirs? Tick (Bug Books) Heinemann Library? Monica Harris? HeinemannLibrary? MonicaHarris? Substores-UnknownASINs-35 Subjects-Children sBooks-Ages4-8-General? Subjects-Children sBooks-Animals-Bugs&Spiders-Nonfiction? 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EdwardS.Rogers? DonaldB.Smith? Substores-UnknownASINs-35 Subjects-History? Woolly Mammoth (Gone Forever (Heinemann Library).) Heinemann Library? Rupert Matthews? HeinemannLibrary? RupertMatthews? Substores-UnknownASINs-35 Subjects-Children sBooks-Ages4-8-General? Subjects-Children sBooks-Animals-Dinosaurs-Nonfiction? Subjects-Outdoors&Nature-Fauna-Fossils? Subjects-Outdoors&Nature-Ecology-Animals-Dinosaurs-Children sBooks-Nonfiction? Subjects-Science-EarthSciences-Geology-General? Subjects-Science-Evolution-Fossils? Subjects-Science-Nature&Ecology-Animals-Dinosaurs-Children sBooks-Nonfiction? Proceedings Vldb Conference 1988-1998 Morgan Kaufmann Publishers Inc,US? VLDB? MorganKaufmannPublishersInc,US? VLDB? Substores-UnknownASINs-35 Subjects-Computers&Internet-Databases-General? Northern Algoma A People's History Dundurn Pr Ltd? Daniel Douglas? DundurnPrLtd? DanielDouglas? Substores-UnknownASINs-35 Subjects-History-Americas-Canada-General? 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