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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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コンサート情報です。 ◆Concert Info KSDマンドリンアンサンブル プレコンサート9 日にち：2017年10月7日(土) 開場：13 30 開演：14 00 会場：清瀬けやきホール（西武池袋線 清瀬駅 北口徒歩4分） http //kiyosekeyakihall.jp/access/index.html ◆第一部：Ensemble List ◆第二部：Mini concert ◆Member Mandolin 木下 美桜 鳥越 杏奈 間宮 匠 小泉 知里 花上 友作 岩堀 大河 瀧澤 夕希 Mandola 宮内 駿 三橋 沙織 飯嶋 祐樹 Mandoloncello 荻野 尭彦 日置和也 鈴木 健太 幸坂 翔太 鴨田 さやか Guitar 佐々木 宣博 山田さつき 清水 大介 和田 拓也 Contrabass 積 麻衣子 尾林 直樹 Art Director 髙杉 健人
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俺の子(7ｽﾚ目より) 427 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 14 41 36 ID ??? つわりとかｗｗｗｗｗｗｗｗｗｗｗ 428 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 18 13 03 ID ??? つわりｗｗｗｗ おめでとう銀たん 429 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 18 19 35 ID ??? やはり奴の子ですか銀たん もしや俺の子ですか銀たん 430 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 19 12 52 ID ??? 皆ごめん、多分それ俺の子だ 銀たんは俺が責任持って幸せにするよ 432 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 19 20 46 ID ??? 俺も俺も！ 皆ごめん、多分それ俺の子だ 銀たんは俺が責任持って幸せにするよ 433 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 19 25 31 ID ??? お前らが銀たんの子供の面倒見てる間 銀たんは俺が可愛がってるから安心して子供を育ててくれよ 434 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 19 55 41 ID ??? てめーら何勝手なこと抜かしてやがんだ こちとら籍入れてんだよ ってそこにいる目つきの悪いお回りさんが言ってました 435 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 19 57 29 ID ??? 籍なんて飾りです お回りにはそれが分からんのです 銀たんは今日も俺と同じ布団の中でアンアン言いながら寝るのです 436 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 20 42 19 ID ??? ああ、それ間違いなく俺の子でさぁ、この間旦那に散々中出ししたんで ってそこにいるアイマスクのお兄さんが言ってました 437 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 20 48 47 ID ??? 嘘を言うな貴様、そんなすぐにつわりがきてたまるか とそこにいる小姑なロン毛な人が言ってました 438 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 21 05 00 ID ??? うわあああ銀さんごめんなさいいいい もしかして前に我慢できなかった時の と地味なメガネ君が涙目になってました 440 名前：名無しさん＠ピンキー[sage] 投稿日：2008/05/27(火) 22 22 12 ID ??? 動乱編でちょっといい感じになったからって調子のってんじゃねーぞ幕府の犬が と目つきの悪いエロテロリストが言ってました
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Conceal One Iが試行錯誤の末に作り上げた人造魔人製造№48 開発中に廃棄されたものを除けば、3機目の人造魔人である 人間の少女と全く変わらない姿と機能を有している 「可燃性の水と相分離する疎水性の物質」を対象の周囲に発生させ、さらに蛋白質と炭水化物からなる衣で対象をコーティングし、一気に揚げてしまう （自称）心の優しい可愛らしい少女 電子頭脳に深刻な異常があるサディスト 生きた人間を唐揚げにするのが大好き Iの元から離反して、そのまま行方不明となる――後にとある軍事施設で修復不可能なまでに破壊された状態で発見される 行方不明となっている間に自身を改造している１）全身に暗器を仕込む ２）サーモグラフィーによる360度、熱源探知が可能となる Iが自負する最高のステルス機能を搭載していた自身を発信源とする波長や自身から反射する波長（音波や光など）を解析して改竄するというもの 「その程度じゃ死なせないから、多分平気です♡」 「その程度じゃ死なせないから、多分平気です☆」
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概要 Arcoscephaleはかつて既知の世界の多くを征服した古き王国です。 数世紀前の王国の没落以来、伝統は人々に唯一残されたものとなりました。 太古のカルトのMisticとPriestessはまだArcoscephaleの王に仕えています。 歩兵隊、騎兵隊は未だ絶望的なほどに古風ですが、新たなる神の目覚めは多少の変化を齎しました。 いくらかの伝統は放棄され、騎兵隊は改良されました。 高い技量を持つ軽装なPhalangiteは、Cardacesやより重装備なHopliteに代わりつつあります。 かつての王たちを援助した賢明なるAstrologerは殺されたか追放されましたが、Sibylと呼ばれる新たな種類の預言者が現れました。 Sibylは一度は強大であった王国を導き、目覚めし神の強い基盤となるための大きな助けとなります。 治療に関する豊富な知識を持つPriestessは、古き王国の全盛期に建設された古代の神殿で訓練されます。 Priestessは神の支配圏内にある州と敵軍を占うことにも長けています。 種族 人間 軍事 重装の槍兵隊、戦象、猿の戦士 魔法 星、緑、火、地、水、多少の死 聖職者 平均的。治療術 支配力 占い（正確で自動的な、支配力内の軍事情報取得） 要塞技術 レベル3（Citadel） 初期宝石 星3、緑1 魔法土地 The Sibylline Caves、The Cerulean Tower、Gymnasium 指揮官 名称 コスト 制限 雇用条件 解説 Scout 25g,4r 要塞 偵察兵：敵地の偵察を担う。森林と山地のサバイバル能力あり Phalangite Commander 75g,19r 要塞 指揮官：標準的な指揮官。指揮上限80 Hoplite Commander 75g,30r 要塞 指揮官：より重装備な指揮官。指揮上限80 Hypaspist Commander 70g,24r 要塞 指揮官：士気が高めの指揮官。指揮上限80 Agema Commander 105g,40r 要塞 指揮官：騎乗した指揮官。指揮上限は平凡だが、配下の士気は高めになる。指揮上限80 Strategos 110g,30r 要塞 指揮官：最上位指揮官。指揮上限120。老齢 Priestess 155g,1r 要塞 聖職者：レベル2の聖職者。緑1の魔法スキルと優れたHealer技能を持ち、支援的な面で活躍する Mystic 120g,1r 要塞 魔術師：星を中心に幅広い魔力を持ち得る魔術師。研究に適している Sibyl 230g,1r 2ターン雇用 首都 聖職者：レベル2の聖職者。星と緑を中心とした魔法スキルも持つ。有能な占師でもある 兵士 名称 コスト 制限 雇用条件 解説 Slinger 7g,2r 要塞 投石兵：安価な射撃兵。軽装の敵に対してはそれなりに有効 Peltast 10g,6r 要塞 軽歩兵：槍と手槍、盾を持つ軽歩兵。牽制に適する Phalangite 13g,19r 要塞 歩兵：長槍と盾を持つ歩兵。Hopliteよりやや軽装だが、行軍が早く隊列を組むのも得意 Hoplite 13g,30r 要塞 重歩兵：長槍と盾を持つ重歩兵。隊列を組んでの分厚い前線構築を得意とする。マップ移動力1 Hypaspist 16g,24r 要塞 重歩兵：槍と盾を持つ重歩兵。役割はHopliteに似ているが、こちらのほうが軽装な代わりに技量は上で行軍も早い Agema Companion 35g,40r 要塞 重騎兵：長剣、突撃槍、盾を持つ騎兵。他国騎士よりやや軽装だが、技量は劣らない。マップ移動力2 War Elephant 100g,62r 要塞 戦象：蹂躙能力を持つサイズ6の軍用動物。防具を与えられており、乗り手が2本の長槍で迎撃も行うため比較的倒されにくい Cerulean Warrior 20g,20r 首都 重歩兵：槌矛と小盾を持つサイズ3のBandar兵。魔法抵抗が低いが、強靭で技量も高い Heart Companion 20g,30r 首都 重歩兵：Sacred。長槍と盾を持つ重歩兵。戦闘力自体は平凡だが神聖な兵としては安価 地方守備隊 種別 指揮官 兵士 備考 地上下位 Phalangite Commander Peltast 10 Phalangite 10 Slinger 10 地上上位 Priestess Hoplite 10 魔法技能 条件 名称 固定 変動 備考 要塞 Priestess 12 Sacred 要塞 Mystic 1 +1 100% +1 50% +1 50% +1 50% 首都 Sibyl 212 +1 100% +1 10% Sacred 固有魔法 領域 使用 名称 主属性 副属性 宝石 解説 Conjuration Lv5 儀式 Monster Boar 3 10 指定した州にMonster Boarを潜伏させ、不安度を増加させます 前作からの変更点 固有魔法Summon Sirrushを喪失した コメント 名前 コメント
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曲名 アーティスト バージョン 難易度 BPM NOTES/FREEZE(SHOCK) e-motion e.o.s 2nd 激8 145 133/0 STREAM VOLTAGE AIR FREEZE CHAOS 40 41 63 0 7 激譜面(8) 譜面 http //www.ddr.sh/steps/basic/e/e-motion/4m_e-motion_a_p.html 動画 http //www.youtube.com/watch?v=_MkCHGNYYII (x1.0,VIVID) 解説 DDR2nd時代にbeatmania IIDXとコラボした「CLUB VERSION 2」が初出であり、DDR2013現在ではGENOM SCREAMSと共に最も古い移植曲の一つ。 曲が70秒にも満たないほど短いのが特徴。そのためノート数も133と極めて少ない。 DDR2013に収録されているSP・DPの激・鬼譜面における最小ノートを誇る（ショックアローも1ノートと数えた場合）。 完全に余談になるが、CS版1st~CLUB VER.2はディスクにサントラ機能が搭載されている。サントラの発売されていないCLUB VERも、CS版さえあればe-motionやGENOM SCREAMSを含め全ての収録曲を聞くことができる。 -- 名無しさん (2017-07-23 04 15 49) コメント コメント(感想など) 踏んでて楽しい譜面だなー そして神曲だ - 名無しさん 2013-09-09 11 42 07 曲が短いから解禁イベントで役立つ - 名無しさん 2017-07-13 14 19 58
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Origin Pulsation(楽) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FA(SA) その他 Origin Pulsation Alkome WORLD 楽6 170 238 / 2 楽譜面(6) / 踊譜面(11) / 激譜面(14) 属性 譜面 https //livedoor.blogimg.jp/yanmar195/imgs/a/a/aa6df197.png 譜面動画 https //www.youtube.com/watch?v=TEzFSmWeANU (x2.75, NOTE) 解説 2024/6/27追加。無条件解禁。 「DanceDanceRevolution 25th Anniversary 楽曲クリエイターオーディション」合格楽曲。 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
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スキルについて スキル一覧スキル：攻撃系 スキル：防御系 スキルについて スキル一覧 スキル：攻撃系 スキル名 最大スキルLv 効果 所有カード スキル1 5 カードの攻撃力×3倍ダメージ テンプレート1 スキル：防御系 スキル名 最大スキルLv 効果 所有カード スキル2 5 カードの防御を1.5倍にする テンプレート2
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雑談などでよくある質問をまとめています。 合成・編成について質問１ 質問２ ストーリー・クエスト攻略質問１ 質問２ その他質問１ 質問２ [部分編集] 合成・編成について 質問１ 回答１ 質問２ 回答２ ストーリー・クエスト攻略 質問１ 回答１ 質問２ 回答２ その他 質問１ 回答１ 質問２ 回答２