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https://w.atwiki.jp/oblivion1/pages/54.html
神秘なるXARXESについての解説 第一巻 Mankar Camoran著 ようこそ、novitiate, and know first a reassurance Mankar Camoranも以前はあなた同様に、眠り、愚かで、原始的だった。我ら死すべき定めの子は、leave the dreaming-sleeve of birth the same, unmantled save for the symbiosis with our mothers, thus to practice and thus to rapprochement, until finally we might through new eyes leave our hearths without need or fear that she remains behind. In this moment we destroy her forever and enter the demesene of Lord Dagon. Reaer, this book is your door to that demesne, and though you be a destroyer you must still submit to locks, Lord Dagon would only have those clever enough to pause; all else the Aurbis claims in their fool running. Walk first, Heed. The impatience you feel is your first slave to behead. Enter as Lord Dagon has written come slow and bring four keys. Know that then you are royalty, a new breed of destoryer, whose garden shall flood with flowers known and unknown, as it was in the mythic dawn. Thus shall you return to your first primal wail and yet come out different. It shall this time be neonymbiosis, master akin to Master, whose Mother is miasma. Every quarter has known us, and none bore our passing except with trembling. Perhaps you came to us through war, or study, or shadow, or the alignment of certain snakes. Though each path matters in its kind, the prize is always thus welcome, novitiate, that you are here at all means that you have the worthiness of kings. Seek thy pocket now, and look! There is the first key, glinting with the light of a new dawn. Night follows day, and so know that this primary insight shall fall alike unto the turbulent evening sea where all faiths are tested. Again, a reassurance even the Usurper went under the lliac before he rose up to claim his fleet. Fear only for a second. Shaken belief is like water for a purpose in the garden of the Dawn we shall breathe whole realities. Enter as Lord Dagon has written come slow and bring four keys. Our Order is based on the principles of his mighty razor Novitiate, Questing Knight, Chaplain, and Master. Let the evil ones burn in its light as if by the excess of our vision. Then shalt our Knowledge go aright. However, recall that your sight is yet narrow, and while you have the invitation, you have not the address. My own summons came through a book Lord Dagon wrote himself in the deserts of rust and wounds. Its name is the Mysterium Xarxes , Aldmeretada aggregate, forefather to the wife of all enigma. Each word is razor-fed and secret, thinner than cataclysms, tarnished like red-drink. That I mention it at all is testament to your new rank, my child. Your name is now cut into its weight. Palace, hut, or cave, you have left all the fog worlds of conception behind. Nu-mantia! Liberty! Rejoice in the promise of paradise! Endlessly it shall form and reform around you, deeds as entities, all-systems only an hour before they bloom to zero sums, flowering like vestments, divine raiment worn to dance at Lord Dagon s golden feet. In his first arm, a storm, his second the rush of playgued rain, the third all the tinder of Anu, and the fourth the very eyes of Padhome. Feel uplifted in thine heart that you have this first key, for it shall strike high and low into the wormrot of false heavens. Roaring I wandered until I grew hoarse with the gospel. I had read the mysteries of Lord Dagon and feeling anew went mad with the overflow. My words found no purchase until I became hidden. These were not words for the common of Tamriel, whose clergy long ago feigned the very existence of the Dawn. Learn from my mistake; know that humility was Mankar Camoran s original wisdom. Come slow, and bring four keys. Offering myself to that daybreak allowed the girdle of grace to contain me. When my voice returned, it spoke with another tongue. After three nights I could speak fire. Red-drink, razor-fed, I had glimpsed the path unto the garden, and knew that to inform others of its harbor I had to first drown myself in search s sea. Know ye that I have found my fleet, and that you are the flagship of my hope. Greetings, novitiate, Mankar Camoran was once you, asleep, unwise, protonymic, but Am No More. Now I sit and wait to feast with thee on all the worlds of this cosmos. Nu-mantia! Liberty!
https://w.atwiki.jp/bemani2sp/pages/1818.html
GENRE TITLE ARTIST bpm notes CLEAR RATE MYSTERIOUS ROCK RESISTANCE セリカ 184 679 n%(yyyy/mm/dd) 攻略・コメント 名前 コメント
https://w.atwiki.jp/false999/pages/27.html
HTML5のvideoタグの利用時に使用すると便利なライブラリ 通常videoタグではブラウザごとの対応コーデックが統一されておらず、複数のフォーマットの動画を用意する必要がある。 また、html5非対応ブラウザに対しては、FlashやSilverlightなどで対応するようにする必要がある。 その際にvideoタグでの動画再生とFlash等での再生でUIが異なることが問題の一つとしてある。 MediaElement.jsはそれらに統一のUIを提供してくれる。 HTML5 VideoまとめとMediaElement.js スマートフォン向けHTML5のVIDEOタグを使った動画再生 ~MediaElement.js編~ MediaElement公式
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【登録タグ B CALEN EUROBEAT HOLIC II Nana Takahashi SOUND HOLIC デザイアドライブ 幻想★あ・ら・もーど 曲 西宮れん】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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} /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; 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https://w.atwiki.jp/ozisan7/pages/42.html
Elements(MAXIMIZERLIVEVer.) 全員 Ah--- 奥 Ah 遠い昔 奥 福(下) この星に降りた 影 聖なるメシア 描いた ブループリント忘れてる誰もがみんな 影 きた(下) 悲しみで 遠藤 天空を仰いで 遠以外 風を纏って 遠藤 祈りをささげよう 遠以外 出でよシルフィー 遠藤 太陽大地 奥(上) 遠 精霊の声がひびく 奥 影 眠れない夜は星をつかんで スターライト抱きしめる 遠 福 湧き上がる力 目覚めるときを見逃すな 奥 きた 深い霧たとえ道を閉ざしても All out 風を起こせ 痛みはきっと 福 強くなる君への 全員 gift --2-- どんな指名を背負ってるのか きた わからなくてもいい ただ 前を見る 福 あなたたちはひとつ 福以外 アルケーの夢 福 魂に届く声 福以外 出でよさらまんだあ 奥 福 繋いだ手のぬくもりを炎に変え 奥 影 眠れない夜にいざなう悪夢 ダークネス 焼き払う 遠 福 もしも堕天使の放つ矢に射抜かれても 奥 きた ながした血を汚しはしないさ Always そばにいるよ 眠るがいい 福 友よ絆ずっと 全員 Ever 奥 天空を仰いで 奥以外 おなじ宇宙で 奥 祈りを捧げよう 奥以外 生きるElements 遠 奥 命護る精霊の声が響く 奥 影 眠れない夜は月に寄り添いムーンライト 抱かれよう 遠 福 降り注ぐ力目覚めるときを見逃すな 奥 きた 深い霧たとえ道を閉ざしても all right 描いた地図 思い出せる 福 強くなる君への 全員 Gift Ah ここに集う選ばれし者よ
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攻撃・毒 強化・回復 増殖・生産 特殊 対設置 Mutationで付加されるスキル ※ アクティブスキル(カードを置いた後、手動で発動)のみ掲載。 ※ 使用カードは、Upgrade版が同じ場合は省略。 攻撃・毒 名称 効果 使用カード Devour 自分よりHPが小さいクリーチャーを食べ、自分を攻撃+1/HP+1する。 Gra - OtyughTim - Scarab Ignite 全クリーチャーに1ダメージ与え、相手本体に20ダメージ与える。使用後このカードは消滅する。 Air - Unstable Gas Infection 指定したクリーチャーに毒1を与える。 Dar - Parasite Inflate 指定したクリーチャーに毒1を与える。 Wat - Toadfish Sniper 指定したクリーチャーに3ダメージ与える。 Air - Owl's Eye Paradox 対象クリーチャーを攻撃力>HPなら一撃死させる。 Ent - Maxwell's Demon Poison 相手本体に毒1を与える。 Wat - Chrysaora 強化・回復 名称 効果 使用カード Ablaze 自分に攻撃+2する。毎ターン使える。 Ear - Graviton Fire EaterFir - Fire Spirit Adrenaline 指定したクリーチャーの攻撃回数を増やす。 Lif - Green Nymph Dive 1ターン攻撃力が2倍になる。魔法で攻撃力Upしている分にも適応される。 Lig - PegasusAir - Wyrm Evolve Shrieker(8/3)に進化。 Ear - Graboid Growth 成長。自身を攻撃+2/HP+2する。毎ターン使える。 Lif - Forest SpiritFir - Lava Golem Hatch ランダムで別のクリーチャーに変化する。 Tim - Fate Egg Heal 指定したクリーチャーのHPを5回復する。 Lig - Guardian Angel Immortality 指定したクリーチャーを、魔法やスキルの対象とならないようにする。※自身の成長スキルは可能。盾からの反撃は受ける。 Tim - Anubis Immortal 指定したクリーチャーを、魔法やスキルの対象とならないようにする。※自身の成長スキルは可能。盾からの反撃は受ける。 Aet - Turquoise Nymph Lycanthropy 自身を攻撃+5/HP+5させる。(1度だけ) Ent - Lycanthrope Improved Mutation 指定したクリーチャーを攻撃力/HPを強化したMutantに変化させる。 Ent - Fallen Druid 増殖・生産 名称 効果 使用カード Deja Vu 自身のコピーを1体作る。 Tim - Deja Vu FireFfly Fireflyを生成する。 Air - Firefly Queen Luciferine 自軍のスキルの無いクリーチャー全てに、毎ターン1 ポイント生成する能力を付加する。 Lig - White Nymph Nymph's tears 指定した柱を1枚消費し、その柱と同属性のNymphを生み出す。 Wat - Nymph Queen Photosynthesis 2 Lifポイント生成する。 Lif - Rustler Unstable Gas Unstable Gasを生成する。 Air - Blue Nymph 特殊 名称 効果 使用カード Aflatoxin 指定したクリーチャーに毒2を与え、死亡後はmalignant cellに変える。 Dea - Grey Nymph Antimatter 指定したクリーチャーの攻撃力を反転する。 Ent - Purple Nymph Black Hole 相手の全属性ポイントを3ずつ奪い、自分の本体HPを回復する。 Gra - Amber Nymph Burrow 潜る。攻撃されないが攻撃力は半減する。地上に戻ることも可能。 Ear - AntlionEar - ShriekerDar - Devourer等 Congeal 指定したクリーチャーを凍らせて4ターン行動停止させる。 Wat - Arctic Octopus Freeze 指定したクリーチャーを凍らせて3ターン行動停止させる。 Wat - Arctic Squid Gravity Pull (指定したクリーチャーまたは自身に)重力場を付加し、本体に対する攻撃を代わりに受けさせる。 Gra - Armagio Hasten 追加でカードを1枚引く。 Tim - Golden HourglassTim - Sundial Liquid Shadow 指定したクリーチャーに毒1を与え、吸血鬼にする。 Dar - Black Nymph Lobotomize 指定したクリーチャーのスキルを消す。 Aet - Lobotomizer Mutation 指定したクリーチャーにMutationをかける。※Abomination 50% ,Mutant 40% ,即死 10%※Mutantとは外見、ステータス、スキルがランダムなクリーチャー。 Ent - Fallen Elf Petrify 指定したクリーチャーをHP+20し、6ターン行動停止させる。 Ear - Anburn Nymph Precognition 相手の手札を覗き見する。追加でカードを1枚引く。 Tim - Golden Nymph Psionic wave 指定したクリーチャーのスキルを消す。 Air - Mind Flayer Rage 指定したクリーチャーを攻撃+5/HP-5する。 Fir - Red Nymph Reverse Time 指定したクリーチャーを退場させ、次に引くカードにさせる。 Tim - Eternity 対設置 名称 効果 使用カード Destroy 指定した設置型カードを破壊する。 Ear - Pulverizer Steal 柱や武器などの設置型カードを盗み、自分の物として利用する。 Ent - Mutationより Tsunami 指定した柱カードを3枚破壊する。 Wat - Trident Mutationで付加されるスキル .
https://w.atwiki.jp/chex/pages/301.html
Procedure for Participation in Tournament Procedure for Participation in TournamentWhat’s Tournament? How to Transmit and Receive Data? How to Participate? What’s Tournament? The tournament is an event that each player gathers with their own team and fight for a championship. However it’s difficult that we actually gather to transmit and receive data, and there are few possibilities that the developer of CHE plans an event to us. So the tournaments begin under a form that someone of players hold it and that the others participate in it. How to Transmit and Receive Data? Fortunately for us, there is an official uploader managed directly by the developer. An organizer looks for participants with this uploader. Moreover an unofficial uploader is given to us by volunteers. How to Participate? When you participate in tournaments, you should CAREFULLY read notes about them. The following is an example of participation in a tournament. 1. Acquisition of SATLOKE’s Account You need to acquire previously an SATLOKE’s account before notice of tournaments because a man often gets pressed just before a deadline. If you access http //satloke.jp/en/index.php?l=english and register, you can use all the SATLOKE’s systems. In addition you should decide your owner name when you register so as to correspond with your player name used in CHE. You can always vary your owner name and player name. Please be carefull so as not to forget or lose your ID and password. Organizer’s Request We want you to vary a default player name “Player” in order to avoid confusion.Please name your player name as uniquely as possible. 2.Making Your Team You must prepare your team conforming to tournament’s regulations. Please name your OKEs. Moreover please name your team. Moreover please register your team’s emblem too. (The ranking table becomes beautiful.) Moreover please paste an emblem on your OKE as well. (The replay becomes attractive.) Lastly please set the locked or unlocked of your OKE’s software. 3.Saving Team Data Folder First, please save your team data the folder for saving in order to copy it into a PC. (In CHE you can.) Organizer’s Request We want you to vary a default file name “TEAM + number” in order to avoid confusion.Please name your file name as uniquely as possible. 4.Upload Team Data onto SATLOKE After you log in SATLOKE, please upload your team data according to a procedure. I think it good for you to previously upload your team data when you are busy just before a deadline. Please refer to the following if you don’t know how to connect PC to PSP or how to upload. http //satloke.jp/en/guide/index.html In addition if you attach SATLOKE tags to a template of tournament referring Explanation of SATLOKE tags(sorry, still untranslated), you can express your policy how you want to deal with your team as owner. In CHP a state that there is every time a debut man continued over 4 years. A state in CHE is similar to the state, tournaments is heating up due to them. Participation is more important than winning. It’s not too much to say that participation in tournaments is a main part of this game. Let’s participate without reserve!
https://w.atwiki.jp/keroro00innovator/pages/3100.html
Visible Elf Visible Elf アーティスト 愛島セシル(鳥海浩輔)&天草シオン(山下大輝) 発売日 2016年11月9日 レーベル b-green デイリー最高順位 6位(2016年11月9日) 週間最高順位 6位(2016年11月15日) 月間最高順位 21位(2016年11月) 年間最高順位 160位(2016年) 初動売上 8995 累計売上 12287 収録内容 曲名 タイアップ 視聴 1 Visible Elf うたの☆プリンスさまっ♪ マジLOVEレジェンドスター 劇中歌 2 甘美なるアルカディア うたの☆プリンスさまっ♪ マジLOVEレジェンドスター キャラソン 3 導き光 ランキング 週 月日 順位 変動 週/月間枚数 累計枚数 1 11/15 6 新 8995 8995 2 11/22 16 ↓ 1689 10684 3 11/29 ↓ 612 11296 4 12/6 356 11652 2016年11月 21 新 11652 11652 5 12/13 635 12287 関連CD JUSTICE IMPULSE Lovely Eyes マジLOVEレジェンドスター
https://w.atwiki.jp/titanquest/pages/537.html
Geras Walking Stick 日本語訳:ゲーラス ウォーキング スティック 性能 127 ~ 137 Base Cold Damage 攻撃速度 とても遅い(AE) Speed Slow 55% Pierce Resistance 44% Elemental Resistance 58% Poison Resistance +27 Intelligence +315 Health +186 Energy +1.5 Energy Regeneration per second +97% Casting Speed -20% Movement +109% Increase in Projectile Speed ラヴィッジ・オブ・タイム +2(AE) Required Player Level 39 Required Intelligence 434 解説 PierceとElementalのResistanceが稼げる上、 CastingSpeedも上がる。 杖メインの場合はIncreaseProjectileSpeedも魅力的である。 Movementが大きく減じられるが、戦闘時に切り替えれば問題ない。 攻撃用のメインとして十分使える。 但し、戦闘中にコレを使う場合は移動がとろくなっていることを忘れないように。
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GuidelinesforauthorsandpeerreviewersofeconomicsubmissionstotheBMJ の翻訳ページ 原文 翻訳 Over the past decade interest in the economic evaluation of health care intervenctions has risen. これはペンですこれはペンですこれはペンですこれはペンですこれはペンですこれはペンですこれはペンですこれはペンですこれはペンです Reviews of published studies have,however,shown gaps inthe quality of work. あなたは少年ですか? 1. Was a well-defined question posed in answerable form? 1.1. Did the study examine both costs and effects of the service(s) or programme(s)? 1.2. Did the study involve a comparison of alternatives? 1.3. Was a viewpoint for the analysis stated and was the study placed in any particular decision-making context? 2. Was a comprehensive description of the competing alternatives given (i.e. can you tell who did what to whom, where, and how often)? 2.1. Were there any important alternatives omitted? 2.2. Was (should) a do-nothing alternative be considered? 3. Was the effectiveness of the programme or services established? 3.1. Was this done through a randomised, controlled clinical trial? If so, did the trial protocol reflect what would happen in regular practice? 3.2. Was effectiveness established through an overview of clinical studies? 3.3. Were observational data or assumptions used to establish effectiveness? If so, what are the potential biases in results? 4. Were all the important and relevant costs and consequences for each alternative identified? 4.1. Was the range wide enough for the research question at hand? 4.2. Did it cover all relevant viewpoints? (Possible viewpoints include the community or social viewpoint, and those of patients and third-party payers. Other viewpoints may also be relevant depending upon the particular analysis.) 4.3. Were the capital costs, as well as operating costs, included? 5. Were costs and consequences measured accurately in appropriate physical units (e.g. hours of nursing time, number of physician visits, lost work-days, gained life years)? 5.1. Were any of the identified items omitted from measurement? If so, does this mean that they carried no weight in the subsequent analysis? 5.2. Were there any special circumstances (e.g., joint use of resources) that made measurement difficult? Were these circumstances handled appropriately? 6. Were the cost and consequences valued credibly? 6.1. Were the sources of all values clearly identified? (Possible sources include market values, patient or client preferences and views, policy-makers’ views and health professionals’ judgements) 6.2. Were market values employed for changes involving resources gained or depleted? 6.3. Where market values were absent (e.g. volunteer labour), or market values did not reflect actual values (such as clinic space donated at a reduced rate), were adjustments made to approximate market values? 6.4. Was the valuation of consequences appropriate for the question posed (i.e. has the appropriate type or types of analysis – cost-effectiveness, cost-benefit, cost-utility – been selected)? 7. Were costs and consequences adjusted for differential timing? 7.1. Were costs and consequences that occur in the future ‘discounted’ to their present values? 7.2. Was there any justification given for the discount rate used? 8. Was an incremental analysis of costs and consequences of alternatives performed? 8.1. Were the additional (incremental) costs generated by one alternative over another compared to the additional effects, benefits, or utilities generated? 9. Was allowance made for uncertainty in the estimates of costs and consequences? 9.1. If data on costs and consequences were stochastic (randomly determined sequence of observations), were appropriate statistical analyses performed? 9.2. If a sensitivity analysis was employed, was justification provided for the range of values (or for key study parameters)? 9.3. Were the study results sensitive to changes in the values (within the assumed range for sensitivity analysis, or within the confidence interval around the ratio of costs to consequences)? 10. Did the presentation and discussion of study results include all issues of concern to users? 10.1. Were the conclusions of the analysis based on some overall index or ratio of costs to consequences (e.g. cost-effectiveness ratio)? If so, was the index interpreted intelligently or in a mechanistic fashion? 10.2. Were the results compared with those of others who have investigated the same question? If so, were allowances made for potential differences in study methodology? 10.3. Did the study discuss the generalisability of the results to other settings and patient/client groups? 10.4. Did the study allude to, or take account of, other important factors in the choice or decision under consideration (e.g. distribution of costs and consequences, or relevant ethical issues)? |10.5. Did the study discuss issues of implementation, such as the feasibility of adopting the ‘preferred’ programme given existing financial or other constraints, and whether any freed resources could be redeployed to other worthwhile programmes? 名前 10.5の翻訳は、こうしたほうが良いと思います - 岡本 2014-11-04 20 14 31