約 5,220,009 件
https://w.atwiki.jp/gtavi_gta6/pages/1415.html
Pacific Standard Public Deposit Bank 概要 解説 店舗、外見など 概要 日本語：パシフィック・スタンダード銀行 業種：金融業（銀行） 所在地：バインウッド大通り 解説 設立：1903年 作中内では国内最大規模を誇ると語られる銀行。ロスサントスに最大の支店を持つ。 オフライン、オンライン共にプレイヤーがこの銀行に預金することは出来ず、名前が出てくることもない等店舗の作り込みの割に影の薄い銀行だったが、待望の強盗ミッションであるパシフィック銀行強盗でターゲットとなる。 オフラインでは全ての部屋に入ることが出来る。 鉄製のドアの向こう側にある階段を登ったところにある非常口だけは開かないが、この非常口の向こう側にある部屋は別のドアから入ることが可能。 オンラインでは上記で述べた鉄製のドアは開かなくなっているが、代わりにオフラインでは開かなかった非常口が開くようになっているので、鉄製のドアの向こう側に行くには一旦2階へ登り、そこから非常口を経て入る必要がある。 アトマイザーを足元に撃った時の反動で飛び越えることは可能。 地下室に入ることもでき(オンラインでは入れない)、そこには金庫室がある。 金庫室の扉は普段は閉まっているが、扉のすぐ右側あたりに両手銃を持って立ち、〇ボタンで殴れば開く。しかし、中に特別なものは特にない。 また9 00～23 00の間にのみ、店内に客と銀行員が数十人現れる。恐らくその間の時間が営業時間なのであろう(しかし、この時間になっても一人も現れないことがある) 時計はちゃんと稼動している。 店舗、外見など ロビー ATM 図面 銀行が建築図を公表すると、セキュリティ面で大変危険なのだが…。 金庫室
https://w.atwiki.jp/battlestationsmidway/pages/24.html
―――破壊された真珠湾。 Henry Right after Pearl it became clear how badly we d misjudged Japan s intentions.And capabilities.We were getting our ass kicked all over the Pacific theatre. パールハーバーのすぐ後、いかに我々が日本の意図を誤解していたかが明らかになった。その能力も。我々は太平洋の至る所でめちゃめちゃにやっつけられていた。 We weren t just fighting a country. 我々はただ国だけと戦っているのではなかった。 we were fighting a whole different way of thinking. 我々は考え方すべての違いと戦っていた。 ―――ハワイ島からフィリピンへと伸びる線 I was deployed to the Philippines. 私はフィリピンへと配属された。 Japanese forces were swarming all over the islands. 島中が日本軍でいっぱいだった。 They captured territory north of Luzon.were pushing south. 彼らはルソン島北部を制圧し、南に向かっていた。 On arrival.my orders were to report to Admiral Hart. 私の受けた命令は着き次第、ハート提督の元に出頭することだった。 ―――フィリピン島司令部――― Admiral Hart Welcome to the other goddamn side of the world,Walker. 世界のくそったれな反対側までようこそ、ウォーカー。 I understand you personally shot down numerous enemy aircraft and sunk Jap submarines at Pearl? 君が一個人としては非常にたくさんの敵航空機を撃墜し、日本の潜水艦を沈めたことは知っている。 Quite nice considering you d been too busy drinking beer and chasing skirt all night to report for duty on board your vessel. 一晩中、ビールを飲むことやスカートを追いかけ回すのに忙しすぎて船に出頭できなかったことを思えば非常に良いことだ。 Henry Guilty as charged,sir. 罪悪感でいっぱいです、サー。 Hart You re under my command now,and I do not. repeat,not.expect my officers to be making whoopee and chugging alcohol in a combat zone.We re clear,Walker? 君は今や私の指揮下にある。そして、私は私の士官が戦場でバカ騒ぎやアルコールをガンガン飲むことを期待しない。繰り返すぞ、期待しない。理解したか、ウォーカー？ Henry Sir. はい。 Hart I ve assigned you a PT boat. 君をＰＴボートに配属した。 We ve reports of a Japanese invasion fleet heading straight for us. 我々は日本の侵攻艦隊がこちらへまっすぐにむかっているとの報告を受けた。 I ve briefed Lieutenant Kennedy on your arriaval you ll take flotilla command. ケネディ大尉に君が来ることは説明してある。君が船団の指揮をとることもな。 Henry Aye Aye,Admiral. 承知しました、提督。
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Battle Ages 項目数 14+2 総ポイント 1000+100 難易度 ★★☆☆☆(～850 [Moving on Up][Hold the Line]以外) ★★★☆☆(1000) 配信日 2016年4月20日 国内未配信 実績「Moving on Up」と「Hold the Line」が取得が困難。 アップデートにより実績が追加されたが難易度が上がった Ancient Age Advance your settlement to the Ancient Age 25 Classical Age Advance your settlement to the Classical Age 25 Medieval Age Advance your settlement to the Medieval Age 50 Renaissance Age Advance your settlement to the Renaissance Age 50 Industrial Age Advance your settlement to the Industrial Age 50 Run the Gauntlet Achieve 60 stars in the the campaign 100 City of Science Completed 30 scientific researches 100 Moving on Up Acquire 2500 trophies in battle 100 Sticky Fingers Steal 1000000 coins from the enemy 100 Hold the Line Achieve 250 defensive victories 50 For the Win Achieve 250 offensive victories 50 Field of Dreams Build 30 new buildings in your settlement 100 Grow Your Empire Upgrade 100 buildings in your settlement 100 Win Streak Win 10 consecutive victories against the enemy 100 アップデート Modern Age(項目1 実績50) Modern Age Advance your settlement to the Modern Age 50 アップデート Atomic Age(項目1 実績50) Atomic Age Advance your settlement to the Atomic Age 50 ■戦闘時の星評価について 合計で3つまで獲得できる。 拠点破壊で☆１つ 全体の50％で☆1つ 全部の建築物破壊で☆1つ(実質3つ) Age系実績 週間報酬がアップデートでなくなり、ログインボーナスに切り替わった これにより宝石の入手が難しくなった。 1日3時間？間隔でお金や宝石(5)等が貰える程度 Run the Gauntlet キャンペーンでの通算なので1ステージ最大3スターなので最低でも20ステージは行わなければならない。 ステージ数は十分あるため拠点建築がある程度進んでからやる方が楽 出せる兵隊の数を増やし、飛来させるアイテムの使用回数も増やせばよい。 Moving on Up 拠点のランクが初期状態の時なら兵士の金額も作成スピードも速いため 一気に行えば容易だが、拠点ランクが上がった後(実績「Industrial Age」取得後)は 2500になるまで一気に行くことは困難なためかなり過酷になる。 コンプを目指すなら先にこの実績を目指すことをオススメする。 Hold the Line 戦闘評価を0で守りきる必要があるため条件が非常に厳しい。 通算で250回も誰かが挑んでくるのを待つ他無い。 そもそも負ける戦いを挑む人は居ないため配信当時からプレイしても1年で50程度。 フレンド協力者が居る場合 拠点ランクを同じにし、レベルやプレイヤーランク(トロフィーの数値)も同じ程度にする。 その状態で検索すれば検索に出る場合がある。 これを利用して、対戦を挑み兵士を1人だして即帰還で評価0になる。 ただし、プレイヤーランクがかなり下がるため差が開きすぎないよう注意。
https://w.atwiki.jp/gtav/pages/1958.html
Pacific Bluffs Country Club 概要 解説 店舗、外見など 概要 日本語：パシフィックブラフスカントリークラブ 業種：観光業 所在地：パシフィックブラフス - グレートオーシャン高速道路 解説 ここではサーフィン、ジェットスキーなどのマリンスポーツをはじめとし、バスケットボール、テニス、ビーチバレー、プールを楽しむことができる。プレイヤーはテニスのみ利用可。 アクセスはグレートオーシャン高速道路のみで駐車場は63台お障害者スペース4台が無料で利用可。 店舗、外見など 外観 テニスコート プール
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/stokunaga/pages/17.html
International Conferences 1. M. Yagi, S. Tokunaga, T. Ueda, S.-I. Itoh, M. Azumi, K. Itoh, T. S. Hahm and P. H. Diamond, “Transport Simulation based on Global Turbulence Code”, US-Japan JIFT Workshop on Integrated Modeling Integrated Modeling of Multi-Scale Physics in Fusion Plasmas II, ORNL, TN, USA, January 2007 2. S. Tokunaga, S.-I. Itoh, M. Yagi, M. Azumi, “Multi-scale transport simulation with ion temperature gradient driven drift wave turbulence” 12th Numerical Experirment of Tokamak meeting, Kyoto, Japan, March 2007 (Poster) 3. S. Tokunaga, M. Yagi, S.-I. Itoh and M. Azumi, “Multi-scale transport simulation with ion temperature gradient driven drift wave turbulence”, The 2nd Japan-Korea Workshop on Theory and Simulation of Magnetic Fusion Plasmas with 6th Burning Plasma Simulation Initiative (BPSI) meeting, Fukuoka, Japan, August 2007 (Oral) 4. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Non-local turbulent effect on internal transport barrier collapse in reversed shear configuration”, 11th IAEA technical meeting on H-mode Physics and Transport Barriers, L5-A1, Tsukuba, Japan, September 2007 (Oral) 5. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Non-local turbulent effect on internal transport barrier collapse in reversed shear configuration”, 11th IAEA technical meeting on H-mode Physics and Transport Barriers, P5-13, Tsukuba, Japan, September 2007 (Poster) 6. S. Tokunaga, M. Yagi, S.-I. Itoh, K. Itoh, 9th Cross Strait Symposium, Pohang, Korea, November 2007 (Poster) 7. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Multi-scale transport simulation research with ion temperature gradient driven drift wave turbulence and toroidal momentum source” 13th Numerical Experirment of Tokamak meeting, Kyoto, Japan, March 2008 (Poster) 8. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, 2nd ITER International Summer School, Fukuoka, Japan, July 2008 (Poster) 9. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Multi-scale transport simulation of internal transport barrier formation and collapse” 22nd IAEA Fusion Energy Conference, TH/P8-19, Geneva, Switzerland, October 2008 (Poster)  10. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Toroidal momentum source profile effect on internal transport barrier collapse” 7th Burning Plasma Simulation Initiative, Fukuoka, Japan, December 2008 (Oral) 11. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Toroidal momentum source effect on turbulence evolution” 14th Numerical Experirment of Tokamak meeting, Kyoto, Japan, March 2009 (Poster) 12. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Safety factor profile dependence of turbulent structure formation in relevant to internal transport barrier relaxation” 4th IAEA-TM on the Theory of Plasma Instabilities, P2-01, Kyoto, Japan, May 2009 (Poster) 13. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Global Transport Simulation with Radial Electric Field Source”, Asia Plasma and Fusion Association 2009 and Asia-Pacific Plasma Theory Conference 2009, Aomori, Japan, October 2009 (Poster) 14. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Global Transport Simulation with Radial Electric Field Source”, US-Japan JIFT Workshop 2009 on “Advanced Simulation Methods in Plasma Physics”, Toki, Japan, December 2009 (Oral) 15. M. Yagi, S. Tokunaga, S.-I. Itoh and K. Itoh, “Off-resonance mode and poloidal flow shear effect on ITB formation”, US-Japan WS on Hierarchical Self-Organization of Turbulence and Flows in Plasmas, Oceans and Atmospheres, San Diego, US, March 2010 16. S. Tokunaga, M. Yagi, S.-I. Itoh, K. Itoh, S. S. Kim, Hogun Jhang, P. H. Diamond “Contrastive gyro-fluid simulation study of ITB formation” 5th Japan-Korea Workshop on Theory and Simulation of Magnetic Fusion Plasmas , Pohang, Korea, July 2010 (Oral) 17. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Multi-scale transport simulation of ITG turbulence in reversed shear plasma”, 1st WCI symposium, Jeju, Korea, September 2010 (Oral) 18. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Equilibrium flow shear and magnetic shear effect on zonal flow generation and toroidal mode coupling” 23rd IAEA Fusion Energy Conference, TH/P8-05, Daejeon, Korea, October 2010 (Poster) 19. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, P. H. Diamond, “Analysis of interaction mechanism of off-resonant mode in reversed shear plasma”, 52nd Annual Meeting of the APS Division of Plasma Physics, TP9.101, Chicago, IL, USA, November 2010 (Poster)  20. Hogun Jhang, S. Tokunaga, S. S. Kim, P. H. Diamond “Role of intrinsic and external torque in ion profile de-stiffening and transport barrier formation A gyrofluid simulation study”, Joint EU-US Transport Task Force Workshop, Mom II, San Diego, USA, April 2011 21. S. Tokunaga, Hogun Jhang, S. S. Kim, P. H. Diamond, “Avalanching heat transport in steady state internal transport barriers with reversed magnetic shear”, 1st Asia Pacific Transport Working Group (APTWG) International Conference, B-P9, Toki, Japan, June 2011 (Poster) 22. Hogun Jhang, S. Tokunaga, S. S. Kim, P. H. Diamond “Role of intrinsic and external torque in the improvement of ion thermal confinement and internal transport barrier formation” 1st Asia Pacific Transport Working Group (APTWG) International Conference, PLI-3, Toki, Japan, June 2011 23. Hogun Jhang, S. S. Kim, S. Tokunaga, P. H. Diamond “Dynamics of and avalanching transport in internal transport barriers with reversed magnetic shear” 13th International Workshop on H-mode Physics and Transport Barriers, P5. 12, Oxford, UK, October 2011 24. S. Tokunaga, Hogun Jhang, S. S. Kim, P. H. Diamond, “Analysis of avalanches originated in q-minimum region”, Japan-US JIFT workshop on "Hierarchical Self-Organization of Turbulence and flows in Plasmas, Oceans and Atmospheres", Domestic Conferences 1. 徳永晋介、伊藤早苗、矢木雅敏、安積正史、 “イオン温度勾配駆動型ドリフト波乱流の非線形シミュレーション”、 第23回プラズマ・核融合学会年会、29aC30P, 筑波大、2006年11月 (Poster) 2. 徳永晋介、矢木雅敏、伊藤早苗、安積正史、 “グローバルITG乱流コードを用いた輸送シミュレーション”、 第五回核燃焼プラズマ統合コード研究会、九州大、2006年12月 (Oral) 3. 徳永晋介、伊藤早苗、矢木雅敏、安積正史、 “イオン温度勾配駆動型ドリフト波乱流の非線形シミュレーション”、 第10回プラズマ・核融合学会九州沖縄山口支部会、九州大、2006年12月 (Poster)  4. 矢木雅敏、徳永晋介、安積正史、伊藤早苗、伊藤公孝、 “Global ITGコードを用いた輸送シミュレーション” プラズマ・核融合研究におけるHigh Performance Computingワークショップ、大型シミュレーシ ョン研究会、2007年1月 5. 徳永晋介、矢木雅敏、伊藤早苗、伊藤公孝、 “トカマクプラズマにおける内部輸送障壁形成と崩壊のマルチスケール輸送シミュレーション” 第57回理論応用力学講演会、日本学術会議、2008年6月 (Oral) 6. 徳永晋介、矢木雅敏、伊藤早苗、伊藤公孝 、 “Multi-scale transport simulation of internal transport barrier formation and collapse”、 第8回核燃焼プラズマ統合コード研究会、九州大、2009年12月 (Oral)
https://w.atwiki.jp/gtavi_gta6/pages/1958.html
Pacific Bluffs Country Club 概要 解説 店舗、外見など 概要 日本語：パシフィックブラフスカントリークラブ 業種：観光業 所在地：パシフィックブラフス - グレートオーシャン高速道路 解説 ここではサーフィン、ジェットスキーなどのマリンスポーツをはじめとし、バスケットボール、テニス、ビーチバレー、プールを楽しむことができる。プレイヤーはテニスのみ利用可。 アクセスはグレートオーシャン高速道路のみで駐車場は63台お障害者スペース4台が無料で利用可。 店舗、外見など 外観 テニスコート プール
https://w.atwiki.jp/zillionsofgames/pages/215.html
The Battle of Animals (Shou Dou Qi) Shou Dou Qi is an old Chinese game for two players. One finds this game under many different names, most common The Jungle Game, or just Jungle. One can find descriptions of this game in several game books. One can debate whether one can call this game a chess variant - it probably is not, although it sometimes is regarded as such. Rules The game is played on a board of nine rows and seven columns. The board has several special areas each player has at his side of the board a Den, which is surrounded by three Traps. In the middle of the board there are two Lakes. Each player has eight pieces an Elephant, a Lion, a Tiger, a Leopard (here depicted by J for Jaguar), a Dog, a Wolf, a Cat, and a Mouse (also called Rat). Each piece moves one square horizontally or vertically (not diagonally). The mouse is the only animal that is allowed to go to a water square; none of the other animals may move to a water square. The lion and the tiger may jump over the water, when going in a horizontal and vertical straight line. (They jump to a square at the border of a lake to another square at the border of the same lake. For instance, a lion at a4 can only jump to d4.) When jumping, there may not be a mouse on one of the squares that is crossed; there may be a mouse on the square that is landed on. Pieces have a strength stronger pieces take weaker pieces. The elephant can take all other pieces, the lion all other pieces except the elephant, the tiger is the third strongest piece, i.e., wins from all pieces except lion and elephant, then come in order the jaguar/leopard, dog, wolf, cat, and mouse. There is one exception a mouse can take an elephant. However, the elephant can also take a mouse, i.e., the moving player wins the battle between elephant and mouse. One takes a piece by moving a stronger piece (or a piece of equal strength) via a legal move to the square containing that piece. When jumping, lions and tigers can take pieces that are on the square they land on. Mice may not take elephants from outside a water square. A piece can take a piece of equal strength when two pieces are of equal strength, then the piece that moves takes the other piece. A piece of a player in one of his own trap squares cannot be taken by the opponent. Pieces in a trap square of the opponent are very weak they can be taken by any other piece when in such a trap square. As observed by Jeff Mallett, this rule makes it much easier to obtain a draw one should just have fill each of ones traps by a piece and the opponent can never reach the den (except by Zugzwang). One can play instead e.g. any piece in a trap square is weaker than any other piece. Or just treat trap squares as ordinary squares, as is done in a book by R. C. Bell. However, read the comment of Ralf "Panther" Gering. A player may not move a piece to his own den. A player wins the game by moving a piece to the den of the opponent. Variant rules Jean-Louis Cazaux wrote about the precise rules of this game. As described above, the elephant can take the rat; in other descriptions of the game, the elephant cannot take the rat, i.e., the rat is stronger than the elephant in all cases. He has played both variants, and writes that he prefers very much the variant where the elephant cannot take the rat It gives more importance to the Rat, the game becomes more tactic with really 4 and not 3 major pieces. Also, in one of the software programs for Jungle, the Wolf is ranked above the Dog; this difference is not important, as it is unlikely that they meet, as they are defensive pieces. TheChessVariantPages：The Battle of Animals（Shou Dou Qi） http //www.chessvariants.com/other.dir/animal.html
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―――フィリピンに迫る赤い矢印 Henry The enemy was continuing to slice through the Pacific like a samurai sword through a watermelon. 日本刀がスイカを切るように敵は太平洋を切り取り続けた。 The East Indies.Kuala Lumpur.New Guinea.Singapore ... 東インド。クアランプール。ニューギニア。シンガポール……。 ―――クロースアップされるバリ島 ―――飛行場に待機する戦闘機 I was given command of our base at Bali.A dry land posting. 私はバリ島の基地の指揮権を与えられた。陸上勤務だ。 We are tasked with defending Bali.Our airfield is strategically vital. 我々はバリ島の防衛を課せられた。我々の飛行場は戦略上の要所だ。 It gets over-run.the enemy are in position to encircle Java. それは限度を超している。敵はジャバを取り囲む位置にいた。 ―――日本の船団に切り替わる it s the Philippines all over again.And that cannot happen ... フィリピンの完全なる再現だ。そして、それを起こすわけにはいかない……。
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(111p) NAVAL OPERATIONS Another option to spice a campaign up is to add ship battles on sea. Main task of fleets in a campaign is to support ground operation on shores. Of course this is only possible when your map includes a sea. The main problem is that ship battles are not included in Warmaster rules and so you would need to play them using some stand-alone rule system with its own models (eg. old Man O’War game). For this reason the naval operation rules are optional and can be used only when at least two players agree on that. Set sails! Naval operations can only take place at sea, not on rivers. Players who agreed on involving naval operations can challenge each other to fight sea battles in the same manner as in ordinary ground battles. Sea battles are fought in Battle sequence no matter the order. A player who wins a sea battle gets a Naval Advantage over the defeated player. Naval Advantage means you can conquer a shore tile of the player defeated at sea for 1 EP less (usually 2) while it costs 1 EP more for the defeated player to conquer a shore tile (usually 4) of the player who has Naval Advantage over him. Note that a player still has to defeat another player in a Warmaster battle in order to conqer his shore tiles. The Naval Advantage only makes it easier or more difficult depending on the situation at sea. The Naval Advantage is carried over into subsequent campaign rounds and lasts until the player with the advantage is defeated in naval battle by any involved player. Involved players with no shore ports can still fight sea battles for Naval Advantage, however they cannot conquer another player s shore tiles until a sea port is built.