約 4,124,538 件
https://w.atwiki.jp/titanquest/pages/715.html
Hades' Scepter 日本語訳:ハデス セプター 性能 154 Base Fire Damage 攻撃速度 とても遅い(AE) Speed Slow 102 Burn Damage Over 3 Seconds +28% Fire Damage +28% 火傷ダメージ(AE) 47% Elemental Resistance +29 Inteligence +296 Energy +1.5 Energy Regeneration/Seconds +76 Defensive Ability +1 Eruption +2 Volativity Grants Skill Ancestral Horn Required Level 44 Required Inteligence 500 解説 レジェンダリーの序盤までの育成になら使えると思う。ドリーム持ってるならメアのマスターマインドで英霊強化とゴーレム強化ってネタに使えるかもしれない・・・
https://w.atwiki.jp/ddrdp/pages/1942.html
Trust -DanceDanceRevolution mix-(踊) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FA(SA) その他 Trust -DanceDanceRevolution mix- Tatsh feat. ヨーコ SN2 踊8 164 213 / 13 STREAM VOLTAGE AIR FREEZE CHAOS 41 47 23 29 5 楽譜面(4) / 踊譜面(8) / 激譜面(11) / 鬼譜面(-) 属性 渡り、リズム難 譜面 http //eba502.web.fc2.com/fumen/ddr/sn2/trust_d_8t.html 解説 歯抜けの8分と同時が主で、故にリズム難とも言える -- 名無しさん (2014-12-14 19 58 37) 名前 コメント コメント(私的なことや感想はこちら) 名前 コメント
https://w.atwiki.jp/sami1127/pages/28.html
ちゃんと基本わかってればはまらないことだけど。 エラー内容がわかりにくくてまたはまる可能性あるので。 一見大丈夫そうなsqlMapなのにNestedSQLExceptionが出る件。 com.ibatis.common.jdbc.exception.NestedSQLException --- The error occurred in sqlMap/xml_name.xml. --- The error occurred while applying a result map. --- Check the namespace.resultMapId. --- Check the result mapping for the propertyName property. --- Cause com.ibatis.sqlmap.client.SqlMapException Error getting nested result map values for basePictures . Cause java. sql.SQLException Column column_name not found. … Caused by com.ibatis.sqlmap.client.SqlMapException Error getting nested result map values for basePictures . Cause java.sql.SQLException Column column_name not found. … ... 30 more Caused by java.sql.SQLException Column column_name not found. … で、↓がXML。 resultMap id="pkResult" class="jp.co.aaaa.bbb.data.BaseItem" result ・・・ / /resultMap !-- 検索結果 拡張Bean -- resultMap id="extResult" class="jp.co.aaaa.bbb.data.BaseItem" extends="pkResult" … result property="namespace2Properties" resultMap="namespace2.extResult" / result property="namespace3Properties" resultMap="namespace3.extResult" / /resultMap !-- SQL文 プライマリ検索 -- select id="selectByPrimaryKey" parameterClass="Integer" resultMap="extResult" SELECT include refid="namespace1.select" / , include refid="namespace2.select" / FROM namespace1 as baseitem LEFT JOIN infonow_test.namespace2 as cndt ON baseitem.namespace1_id = cndt.namespace1_id WHERE baseitem.namespace1_id = #Id# /select !-- SQL文 条件検索 -- select id="selectByOption" parameterClass="jp.co.aaa.bbb.dao.FindOption" resultMap="extResult" SELECT include refid="namespace1.select" / , include refid="namespace2.select" / , include refid="namespace3.select" / FROM ( namespace1 as baseitem LEFT JOIN namespace2 as cndt ON baseitem.namespace1_id = cndt.namespace1_id ) LEFT JOIN namespace3 as pict ON baseitem.namespace1_id = pict.namespace1_id include refid="where" / include refid="orderBy" / include refid="limit" / /select /sqlMap PK検索の時はnamespace3いらないんでJOINしてないんですが、プロパティーはextResultのresultmapで紐付けられてる。 ので、NestedSQLException発生。 そらそうだわな。 なので↓のようにResultMapをちゃんと分けて、使いたいメンバーにのみマッピングしてあげる。 !-- プライマリ検索用ResultMap -- resultMap id="primaryResult" class="jp.co.aaa.bbb.data.BaseItem" extends="extResult" groupBy="namespace1_id" result property="namespace2Properties" resultMap="namespace2.extResult" / /resultMap !-- 条件検索用ResultMap -- resultMap id="optionResult" class="jp.co.aaa.bbb.data.BaseItem" extends="extResult" groupBy="namespace1_id" result property="namespace2Properties" resultMap="namespace2.extResult" / result property="namespace3Properties" resultMap="namespace3.extResult" / /resultMap !-- SQL文 プライマリ検索 -- select id="selectByPrimaryKey" parameterClass="Integer" resultMap="primaryResult" … /select !-- SQL文 条件検索 -- select id="selectByOption" parameterClass="jp.co.aaa.bbb.dao.FindOption" resultMap="optionResult" … /select 30分ほど悩んだ。。。orz
https://w.atwiki.jp/solutionlog/pages/44.html
Asynchronous Method Invocation セッションビーンに非同期メソッドを実装できる メソッドが起動される前に、制御がクライアントに返される クライアントはJavaSE Concarrency APIで結果の取得、キャンセル、例外チェックなどをおこなう 長い時間実行するタスク、集中的なプロセッサタスク、バックグラウンドタスク スループットやレスポンスタイムの向上 クライアントは非同期メソッドが実行中に別のタスクを行うことができる 非同期メソッドの戻り値はFuture V 処理が終わったかどうかのチェック 処理が完了するのを待つ 最終結果の取得 実行のキャンセル Creating an Asynchronous Business Method メソッドまたはクラスに@Asynchronousを付与 Webサービスエンドポイントは非同期にできない メソッドシグニチャ @Asynchronous public void xxx(...) @Asynchronous public Future ResultType xxx(...) throws MyAplException Future V の実装AsyncResult V を使って結果を返す new AsyncResult ResultType (result-obj); クライアントからキャンセルされたかどうかはSessionContext.wasCancelled()で判断 Calling Asynchronous Methods fromEnterprise Bean Clients クライアントは非同期メソッドを呼んだ直後にFuture V を返却される 最終結果の取得 キャンセル 処理が完了したかどうかのチェック 例外は発生したかどうかのチェック 実行がキャンセルされたかのチェック Retrieving the Final Result froman Asynchronous Method Invocation 最終結果の取得はFuture V .get クライアントは、実行完了まで待たされる 処理がキャンセルされていたらCancellationException 処理で例外が発生していたらExecutionException get(long timeout, java.util.concurrent.TimeUnit unit)でクライアントのタイムアウトを実現 実行が完了しているかはFuture V .isDone Cancelling an Asynchronous Method Invocation 処理の実行をキャンセルするためには、Future V .cancel キャンセルできたらtrueを返却 キャンセルできなかった時に、mayInterruptIfRunningパラメータによって、セッションビーンからキャンセル要求の有無を確認できる mayInterruptIfRunningがtrue/false - SessionContext.wasCancelledがtrue/false 実行がキャンセルされたかどうかを確認するにはFuture V .isCancelled Checking the Status of an Asynchronous Method Invocation メソッド実行が完了したかどうかを確認するにはFuture V .isDone 正常に終了した場合、キャンセルされた場合、例外が発生した場合にtrue
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/kbhyakka/
Concrète TOP PAGE コンクレート KBとHyakkaによる音楽評論サイトです。 50 Best Albums of All Time S評価一覧 アーティスト一覧 Recommended Underground Albums *Genre Rock/Pop Art rock/Prog rock Psychedelia Kraut rock Hard rock Punk New wave/Post-punk Alternative/Indie Neo-psychedelia Post rock Folk Acid folk Electronic Downtempo/Trip Hop Modern Electronic Hip hop Jazz/Fusion Funk Soul/R&B Classical Avant-garde/Experimental Industrial World Country/Country rock Blues/Blues rock Anime Hyakka_Music →https //www.youtube.com/channel/UCS9_EVMNbrx_5utazuwWbhg
https://w.atwiki.jp/gcalendar_api/pages/16.html
Google Apps Calendar API Concepts and Use Cases 元ページ Google Calendar APIを使うと、GoogleカレンダーのWebインターフェイスでできる様々な操作をあなたのプログラム上で実現できます。 公開されているカレンダーを検索や表示することもできますし、認証されたセッションを使うことによってプライベートに設定されているカレンダーにアクセスすることもできます。そして、イベントの作成、編集、削除や、カレンダー自体の作成、編集、削除も可能です。 カレンダーをWebサイトやアプリケーションに組み込みたいときは、Google Calendar APIが役に立つでしょう。例えば、Webアプリケーションの中でカレンダーを作成したり表示したりすることができますし、既にユーザが使っているデスクトップアプリケーション内のカレンダーと同期させたりすることもできます。あなたがつくるアプリケーションが、新しいカレンダーの使い方を生み出すのです。 小さいけれども機能的なクライアントアプリケーションを作ってGoogle Calendar APIの利用を始めたいときは、 Write your First App の手順に従ってください。 Calendar concepts Googleカレンダーはいくつかの基本的な考え方を基に作成されています。 Event(イベント) カレンダーに所属する一つのイベントを指します。 イベントには、タイトル・開始時間と終了時間・出席者の情報が含まれます。 Calendar(カレンダー) 一つのカレンダーに対するメタデータの集合です。この中には例えば説明文などが含まれます。 Calendar List(カレンダーリスト) カレンダーUIの中で確認できるユーザーカレンダーリスト上のすべてのカレンダーの一覧です。 Setting(設定) カレンダーUIのユーザ設定です。例えばユーザのタイムゾーン情報などです。 ACL(アクセス制御リスト) アクセス制御リストです。ルールのタイプやスコープなどの情報を持っています。 Color(カラー) カレンダーUIで表示されている色のリストです。イベント用のリストとカレンダー用のリストがあります。 Free/busy(空いている/埋まっている) カレンダーがイベントを持っていない時間帯を表します。 Google Calendar API data model ぞれぞれのリソースは独立したエンティティであり、ユニークな識別子を持ちます。 Google Calendar APIは5つのタイプのリソースを使用しています。 Event Resource ひとつのカレンダーの中のひとつのイベントを表します。 Calendars Resource 個々のカレンダーのメタデータを表します。 Settings Resource Color Resource一人のユーザのユーザ設定を表します。 ACL Resource アクセス制限リストを表します。 Color Resource カレンダーUIにおいて、色の一覧を表します。 Free/busy Resource カレンダーの空いている/埋まっている時間帯を表します。 Google Calendar APIのデータモデルは、「collections」(コレクション)というリソースの集まりを基に作られています。 Events Collection 特定のCalendars Resourceに含まれている、 すべてのEvent Resourceから構成されています。 Calendars Collection 特定のユーザにおけるすべてのCalendar Resourceから構成されています。 CalendarList Collection 特定のユーザにおけるすべてのCalendarList Resourceから構成されています。 Settings Collection 特定のユーザにおけるすべてのSettings Resourceから構成されています。 ACL Collection 特定のユーザに適用される、すべてのACL Resourceから構成されています。 About event resources
https://w.atwiki.jp/dominions4/pages/24.html
Early Age Early Ageは魔法に満ち溢れています。そして文明はまだ始まったばかりです。 ほとんどの地域ではまだ鉄が使われておらず、鎧や武器は木、石、青銅で作られています。 この時代において、魔術師はもっとも強大で、豊富な魔法の資源があります。 それは伝説の時代です。 Middle Age 文明は発展を続け、鉄のような最新の技術を今や大部分の国が利用できます。 魔術師はかつての力の一部を失い、魔法の資源は以前ほど豊かではありません。 Late Age Late Ageにおいて、鉄鋼はすぐに利用でき、大部分の兵の装備に使われる存在です。 魔法の資源は減少を続けましたが、魔術師はより組織化されました。 多用な魔法属性についての彼らの知識は、以前よりも拡大しています。 適正気候一覧 国ページへのショートカット EA +... Arcoscephale, Golden Era Ermor, New Faith Ulm, Enigma of Steel Marverni, Time of Druids Sauromatia, Amazon Queens T'ien Ch'i, Spring and Autumn Machaka, Lion King Mictlan, Reign of Blood Abysia, Children of Flame Caelum, Eagle Kings C'tis, Lizard Kings Pangaea, Age of Revelry Agartha, Pale Ones Tir na n'Og, Land of the Ever Young Fomoria, The Cursed Ones Vanheim, Age of Vanir Helheim, Dusk and Death Niefelheim, Sons of Winter Kailasa, Rise of the Ape Kings Lanka, Land of Demons Yomi, Oni Kings Hinnom, Sons of the Fallen Ur, The First City Berytos, The Phoenix Empire Atlantis, Emergence of the Deep Ones R'lyeh, Time of Aboleths Pelagia, Pearl Kings Oceania, Coming of the Capricorns MA +... Arcoscephale, The Old Kingdom Ermor, Ashen Empire Sceleria, The Reformed Empire Pythium, Emerald Empire Man, Tower of Avalon Eriu, Last of the Tuatha Ulm, Forges of Ulm Marignon, Fiery Justice Mictlan, Reign of the Lawgiver T'ien Ch'i, Imperial Bureaucracy Machaka , Reign of Sorcerors Agartha, Golem Cult Abysia , Blood and Fire Caelum, Reign of the Seraphim C'tis, Miasma Pangaea, Age of Bronze Asphodel, Carrion Woods Vanheim, Arrival of Man Jotunheim, Iron Woods Vanarus, Land of the Chuds Bandar Log, Land of the Apes Shinuyama, Land of the Bakemono Ashdod, Reign of the Anakim Atlantis, Kings of the Deep R'lyeh, Fallen Star Pelagia, Triton Kings Oceania, Mermidons LA +... Arcoscephale, Sibylline Guidance Pythium, Serpent Cult Lemuria, Soul Gates Man, Tower of Chelms Ulm, Black Forest Marignon, Conquerors of the Sea Mictlan, Blood and Rain T'ien Ch'i, Barbarian Kings Jomon, Human Daimyos Agartha, Ktonian Dead Abysia, Blood of Humans Caelum, Return of the Raptors C'tis, Desert Tombs Pangaea, New Era Midgård, Age of Men Utgård, Well of Urd Bogarus, Age of Heroes Patala, Reign of the Nagas Gath, Last of the Giants Atlantis, Frozen Sea R'lyeh, Dreamlands
https://w.atwiki.jp/ddr_dp/pages/774.html
Dance Dance Revolution(X-Special)(鬼) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FA(SA) その他 Dance Dance Revolution(X-Special) DDR ALL STARS X 鬼13 150 353 / 35 STREAM VOLTAGE AIR FREEZE CHAOS 74 62 47 59 55 楽譜面(7) / 踊譜面(8) / 激譜面(12) / 鬼譜面(11) / 鬼(X-Special)譜面(13) 属性 渡り、交互難、リズム難、縦連、フリーズアロー 譜面 http //eba502.web.fc2.com/fumen/ddr/x/ddr_xs_8s.html 譜面動画 http //www.youtube.com/watch?v=qrtxnL12n6I (x2.0, NOTE, Clap) プレイ動画 http //www.youtube.com/watch?v=LdMvvnUNC-s (x1.5, NOTE) 解説 X-スペにしてはとても素直な配置、色々な踏ませ方を要するが13強~14位の難易度です。 -- 名無しさん (2010-04-20 19 43 29) 13に降格しました。 -- 名無しさん (2011-01-28 23 02 23) X2にて15→13に二段階降格。開幕の全FA地帯は逆足スタートなので予め捻って備えておこう。縦連が目立つがスイッチで踏みやすくなる箇所が多く、縦連からスキップの箇所や後半の縦2連交じりの滝はスイッチすると踏みやすい -- 名無しさん (2015-03-06 22 42 03) 名前 コメント コメント(私的なことや感想はこちら) 簡単14ぐらい -- 名無しさん (2009-11-16 20 22 43) 15の要素は全く無い。 -- 名無しさん (2010-05-28 03 38 04) 出だしはFAで隠れているが付点8分5連が3セット。逆足で入るとうまく踏める。局所難だが全体で考えればそこまで難しくなく降格は妥当。 -- 名無しさん (2014-02-22 00 11 40) クリア自体は足13妥当だが、局所難気味で、適正レベルだとまともに踏めなさそうな部分がチラホラ。綺麗に踏むには、高い技術とセンスが必要。研究・粘着したら踏み方の幅が広がるかも? -- 名無しさん (2018-12-08 11 28 10) 名前 コメント
https://w.atwiki.jp/wiki7_sirius/pages/60.html
2/17(金)Prismatic Quest第三章~ Deception ~Vault of the Fallen フォールンゲート最下層の特殊インスタンスにいるLV54Epic4のドラゴンを、野良含む20名で倒してきました。 友達を呼んでくれたSincyan、Nataliiさん、Chezniさんありがとう。 肝心の戦闘はと言うと、参加者のがんばりでとくに苦労することもなく倒せました。 鉄箱からはすっごいベルトやロジウムの塊などたくさんのアイテムも! ギルメンでこれから三章に入る人もいますし、また行きましょう!! コメント等どうぞ 企画していただきありがとうございました。Lv49以下は入れないという困った規制がありましたが、無事に終えてよかったです。再入場制限は、やはり6日でしょうか? ちょっと不明です。毎週水曜日がFG、木曜日がFMG、金曜日がCT、土曜日がダラサーとすると効率よく回りそうです。 企画者は死にそうですがw -- GAL (2006-02-18 09 04 14)