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https://w.atwiki.jp/yu-nasi/pages/74.html
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https://w.atwiki.jp/fffkindle1212134/pages/14.html
In the great sea of Ignora lay five islands in the shape of a cross. Four pointed in each cardinal direction around a larger central island, to form Ente Isla. The islands protected by the gods. All who lived in Ente Isla knew of Satan, ruler of demons. His very name was synonymous with the terror and cruelty that rule his demon realm. As well as the creatures of the night that thrived in its depravity. Satan was an ambitious ruler. He sought to crush the humans and their world. Thereby, created a land of peace and prosperity for all night s creatures. Four trusted general serve the devil. Adramelech, Lucifer, Alciel, and Malacoda. These four great demons launched merciless attacks on the four continents. However, a lone hero rose up against them. Sacred sword in hand. Along with a band of comrades, the hero crushed Lucifer s army to the west. They went on to defeat Adramelech in the north, and Malacoda in the south. Then the federation of knights led by this hero invaded the central continent, where the demon load kept his castle. ALCIEL Ugh... ALBERTIO Raah! (ALCIEL Damn it...you wretched humans!) (EMERALDA Drag demons into the netherworld!) ALCIEL Ah! (How dare you?!) OLBA Ooohh... haa... Hah! ALCIEL (Are you well, sire? Out of my way!) ALBERTIO EMERALDA Ah! (ALCIEL Apologies, Sire. I have failed. These human forces over came my army. Tis only a matter of time before your castle shall fall) (SATAN I never dreamed one human hero would have the ability to force us into such dire straits) (ALCIEL Sire, I suggest we withdraw for now and regroup. All is not lost yet) (SATAN Hear me, humans! I leave Ente Isla in your hands today! But know this! Pon my return, you and all of Ente Isla shall be crushed!) --- (SATAN Where are we?) (ALCIEL Are you all right? Are you well, Sire?) (SATAN I shall be, Alciel. First, we must find a place to heal) (ALCIEL Yes, Sire, but this place seems awfully noisy. Do you know where we are; what is this world? Could it be---Look at you, Sire! Why have you taken that form? It is small!) (SATAN What? No, it can t be... These are human hands...?) [A car ran fast nearby Satan and Alciel] (SATAN Calm yourself, Alciel. Be careful not to use magic) POLICEMAN A Hey kids, excuse me a sec. Mind if we talk to you? (ALCIEL Do not speak to me so familiarly, human! Do you wish to die right here?) POLICEMAN B Oh, looks like we got a couple of foreigners. POLICEMAN A Well, let s make this a good story. Do you understand the words I m saying right now? (ALCIEL Yet still?! Even not speaking our language... I am a demon, a user of magic who could easily kill---) (SATAN Alciel. Do not use magic right now. We must learn this world. We shall cooperate) POLICEMAN A Do you think it may be hot, huh? Dressed up like that. POLICEMAN B I believe they are cos-playing, sir. It s weird though, we don t give much their kind in this neighborhood. POLICEMAN A This is Sasaki out on patrol. I m gonna couple of youths with minor injuries here. (ALCIEL This seems to be some sort of carriage. But, strangely, it does not need horses) (SATAN It does not seem to be powered by magic either. I wonder how it works) POLICEMAN A Now, boys, would you mind join us in the car? You re not in trouble, so--- (ALCIEL How dare you! Do not presume to touch me, lowly human! Know your place, inferior creature! Die, fool!) Wraaah! POLICEMAN A OK, you two, behave yourselves. --- POLICEMAN A Er...this is katsudon. Okay? SATAN Katu-don... POLICEMAN A Yes, that s right. Yes. SATAN They coated animal flesh in some sort of grain, and fried it in hot oil, then a main gold bird embryo with placed on top. And the whole things heated even further in the fish broth... POLICEMAN A Look, I m not supposed to provide food, but I can t let to injured kids go hungry. Well, this call it my treat, heh heh heh heh... (SATAN More information about this world. Now tell me everything) POLICEMAN A Huh? ...of course... (SATAN Answer my questions) --- (SATAN You here, Alciel?) [Alciel was eating katsudon when Satan entered into his interrogation room] (SATAN Alciel...) (ALCIEL Satan, tis you!) POLICEMAN B Hey not! Son, you kids just waltz on in here?! SATAN (...) POLICEMAN B Uh...right... ALCIEL (You are here, King Satan...I am glad you are all right and found me, Sire) SATAN (I used hypnotism to gain info about this place from a human. Apparently, this world is called Earth) We find ourselves in one of Earth s nations. An archipelago, which they called Japan. We stand now it s capital of Tokyo. And, this building is someplace they call it police-station. These police are evidently a state institution maintaining public order. ALCIEL I see, Sire. And, what is that substance on the table they fed me? SATAN Katsu-doon. It is extremely common food in this country. ALCIEL Katsu-doon...yes, that name has a powerful ring to it. This is of great interest. SATAN Incorrect. Now focus, food is neither interesting nor important right now. In this world, we are only fantasy. These humans don t consider things like demons or even the devil to be authentic. No one believe magic legitimately exists... ALCIEL They do not believe in magic?! How did they survive? -- ALCIEL I see. So, because of the insufficient of magic in this pathetic realm, we are unable to retain our demonic forms... SATAN Yes. But I never imagine stripping of magic case this...Out physical change makes me wonder a humans might actually be the foundation for all living creatures. ALCIEL Surely, you jest, Sire. I m in certain this merely an effect of this world and the Gate. SATAN I still retain a fraction of my magic, but, just quite an effort to stem its outward flow. How was it with you, Alciel? ALCIEL Hum...mmm...Ahh! ...Looks it work, Sire. SATAN No. I highly doubt this carriage was conjured with magic. ALCIEL Alas... --- SATAN If I adjust the amount of magic I released, I won t run out for a fair amount of time. The undeniable problem is currently have no way to amass more. However, if Earth is familiar with the concept of magic, even as imaginary, we may have a chance. The pass left to us now is to discover that method, and regain our natural strength. Until then, we have no choice but to live in this world, and obey these human s rules. ALCIEL What a cruel reality this is... SATAN Indeed. But, we might as well do what we can. --- SATAN We must obtain official records, that what is called a war-d office. Ugg... ALCIEL (You are changing colors) PUBLIC OFFICE CLERK Huh? ...Okay...here... SATAN Good. Next, we create accounts at that bank. To do so, use this. ALCIEL What is that paper? SATAN Tis this country s currency. I borrowed it from that police officer human. Right before, I created our own personal seal. I have to say I m rather proud of my self... ALCIEL As am I... BANK CLERK Here you are. SATAN Good. Last way, we must secure base of operations from a real-tor. ...(We are) two...Searching...(We) need hou-se. REALTOR A Sure, what sort of home? Did you have in mind, sir? ALCIEL (He understood you!) SATAN (Calm down! Seriously, Alciel! A little language acquisition is nothing for me; nothing I say!) ALCIEL Nn-nn. SATAN (Yes,) okay, bro! (I) am final getting the grooving! --- REALTOR B The landlady dislocation is a very admirable person. If I may speak frankly, she said she wants to set an example by taking on persons of unknown background, like the two of you fine gentlemen. ALCIEL (This is complete...) SATAN (...shit. Even I can tell that) ALCIEL (Well, at least it is a two story house, with six rooms; that is good, Sire, right?) REALTOR B You ll be renting room 201 here. ALCIEL (Is he for real? Just one room?) SATAN (We should be grateful it has a roof. Certainly when you compare it to the Devil s Castle---) MIKI Good afternoon. ALCIEL (It is...human?) MIKI You two adorable creatures are the new rental applicants, correct? ALCIEL (It can speak!) REALTOR B This woman owns these apartments, and lives next door. MIKI The name is Miki Shiba. And, kanji that s with characters meaning beauty and radiance. Ah, but please, boys, call me Mikity instead. That s so much more fun...No? SATAN AND ALCIEL (Totally...) --- ALCIEL Sire, are you sure we should waste our time here? SATAN Remember, and this world they like to say patience is a virtue. In the end this castle might be a welcome change of pace. ALCIEL Oh, Sire... SATAN We have no other choice, but we will move forward from here...way... ALCIEL Ah! King Satan?! Sire! King Satan! --- SATAN Urk...I didn t realize this body was one that required food. ALCIEL Well, we do have a human body now, Sire. SATAN That gruesome IV drip thing will cost as much as a full month rent on the castle! You know what that s called?! Rubbing salt in a wound! This what the nerve certainty... ALCIEL That uncanny landlady spared us a good deal of trouble, Sire. She tell me that Japan requires resident to carry something called health insurance. SATAN Never mind her. Money is a clearly essence in this human s society, so we need to posses it somehow. I cannot afford to expend more of my magic. So, that means we really only have one option left to us. ALCIEL And, what is that, Sire? SATAN (Gulp) --- ALCIEL Curses! Did it wrong again... SATAN You idiot! Resume forms do not grow on trees, you know! Okay, my new name is Sadao Maou. ALCIEL And mine, Shiro Ashiya. Do you find this name strange, Sire? SATAN It s a little late to ask that now! We ve already made both our IDs! --- ASHIYA King Satan. MAOU Yeah? ASHIYA Might I suggest you to put a little more thought into your spending. MAOU Give me a break! I put thought the spending! Summer s around the corner, so we need a fridge. And, owning a washing machine is cheaper than a laundromat in the long run. And, I have to have the bike to get to work. ASHIYA It s not what you purchase I concerned me, Sire. I just think pay in installments would be better choice than buying them all at once. MAOU Well, I hate loans. ASHIYA Don t so me, Sire. MAOU Now go all you want! But Installment plans come with interesting fees. And, I m gonna pay for something I can touch with my own two hands. ASHIYA Impeccably word it, Sire, but do tell me...How are we supposed to make it to payday on milk, jelly and all way we have cucumbers too?! MAOU I see your point. But calm down, it s not like we don t have any money left, I swill have some cash. I ll be fine until payday. Don t forget they give me lots of food at work too. ASHIYA We re gonna die...You propose we eat burgers and flies three times a day until you get pay? What is this, Super Size Me? [If ain t take?] high-calorie, high-cholesterol item such a young age? I m looking forward to next ten years from now that I hope you don t die prematurely of a lifestyle-related illness before we get home! I must... MAOU Stop freaking out! I gotta go to work! ASHIYA Wait, Sire! MAOU Lecture me later! ASHIYA That s not it! You forget your umbrella! MAOU Let s roll, Dullahan! Yah! ASHIYA ...And he s off. Guess, I ll get ready too.
https://w.atwiki.jp/isoroku_be/pages/67.html
情報 作者名：しらたま 引用元：なでしこプログラム掲示板「代用関数ポインタ」 概要 なでしこで関数ポインタを扱えるようにする。 本体 ●VirtualAlloc({参照渡し}lpAddress,dwSize,flAllocationType,flProtect)=DLL("kernel32.dll", "LPVOID VirtualAlloc( LPVOID lpAddress, int dwSize, DWORD flAllocationType, DWORD flProtect )") ●VirtualFree({参照渡し}lpAddress,dwSize,dwFreeType)=DLL("kernel32.dll", "BOOL VirtualFree( LPVOID lpAddress, int dwSize, DWORD dwFreeType )") ●MoveMemory({参照渡し}d,{参照渡し}s,l)=DLL("kernel32.dll", "VOID RtlMoveMemory( LPVOID Destination, LPVOID Source, int Length )") ●GetProcAddress(hModule,{参照渡し}lpProcName)=DLL("kernel32.dll", "DWORD GetProcAddress( HMODULE hModule, // DLL モジュールのハンドル LPCSTR lpProcName // 関数名 )") ●GetModuleHandle({参照渡し}ModuleName) =DLL("kernel32.dll", "HMODULE GetModuleHandleA( LPCTSTR ModuleName )") !MEM_COMMIT=$1000 !MEM_RELEASE=$8000 !PAGE_EXECUTE_READWRITE=$40 !変数宣言が必要 それ待避用スタックとは配列 ●それプッシュ それ待避用スタックにそれを配列追加 ●それポップ Aとは整数 Aはそれ待避用スタックの配列要素数 それはそれ待避用スタック[A-1] それ待避用スタックのA-1を配列削除 ●AddBinary({参照渡し}target,value,size) MoveMemory(target,POINTER(value),size) target=target+size ！関数ポインタ既定イベント名=「前処理」 ！nako_group_execポインタ=GetProcAddress(GetModuleHandle(「dnako.dll」),「nako_group_exec」) ■関数ポインタ ・{イベント}イベント ・{整数}ダミー関数 ・{非公開}前処理～ F引数数 回 引数[回数-1]=0 MoveMemory(POINTER(引数[回数-1]),スタックアドレス+4+4*回数,4) 自身→イベント ・{配列}引数 ・{非公開 整数}スタックアドレス ・{整数}返り値 ・{非公開}F引数数 ・引数数←引数数設定→引数数取得 ・{非公開}引数数設定(V)～ それプッシュ pcとは整数 もしダミー関数=0ならば ダミー関数はVirtualAlloc(0,64,MEM_COMMIT,PAGE_EXECUTE_READWRITE) pc=ダミー関数 AddBinary(pc,$55,1) //push ebp AddBinary(pc,$EC8B,2) //mov ebp,esp pc-ダミー関数という AddBinary(pc,$BA,1) pc-ダミー関数という AddBinary(pc,POINTER(スタックアドレス),4) //mov edx,POINTER(スタックアドレス) AddBinary(pc,$2A89,2) //mov dword ptr [edx],ebp AddBinary(pc,$68,1) AddBinary(pc,POINTER(関数ポインタ既定イベント名),4) //push char* AddBinary(pc,$68,1) AddBinary(pc,ADDR(自身),4) //push PHiValue AddBinary(pc,$B8,1) AddBinary(pc,nako_group_execポインタ,4)//mov eax,nako_group_execポインタ AddBinary(pc,$D0FF,2) //call eax AddBinary(pc,$058B,2) AddBinary(pc,POINTER(返り値),4) //mov eax,POINTER(返り値) AddBinary(pc,$5D,1) //pop edp AddBinary(pc,$C2,1) AddBinary(pc,V*4,2) //ret 8 ＃AddBinary(pc,$00,1) F引数数はV それポップ ・{非公開}引数数取得～ それはF引数数 ・作る～ スタックアドレスは0 返り値は0 ダミー関数=0 F引数数は-1 ・解放～ VirtualFree(ダミー関数,0,MEM_RELEASE) //サンプルプログラム ＃実行テスト１（GDIオブジェクト(ペン)列挙） ●GetDesktopWindow()=DLL("user32.dll","HWND GetDesktopWindow()") ●GetDC(hwnd)=DLL("user32.dll", "HDC GetDC( HWND hwnd )") ●ReleaseDC(w,d)=DLL("user32.dll", "int ReleaseDC( HWND hWnd, HDC hDC )") ●EnumObjects(hdc,nObjectType,lpObjectFunc,lParam)=DLL("gdi32.dll", "int EnumObjects( HDC hdc, int nObjectType, int lpObjectFunc, int lParam )") !OBJ_PEN=1 ログとはメモ そのレイアウトは「全体」 hdesktopとは整数 hdcとは整数 テストとは関数ポインタ その引数数は2 そのイベントは～ バッファとは文字列 バッファに16を確保 表示バッファとは文字列 MoveMemory(バッファ,INT(自身→引数[0]),16) バッファの1を「int」でバイナリ取得 それで条件分岐 0ならば、それは「実線」 1ならば、それは「破線」 2ならば、それは「点線」 3ならば、それは「一点鎖線」 4ならば、それは「二点鎖線」 5ならば、それは「非表示」 6ならば、それは「塗りつぶし」 表示バッファは「ペンタイプ：」＆それ＆改行 バッファの5を「int」でバイナリ取得 表示バッファは表示バッファ＆「X：」＆それ バッファの9を「int」でバイナリ取得 表示バッファは表示バッファ＆「 Y：」＆それ＆改行 バッファの13を「int」でバイナリ取得 表示バッファは表示バッファ＆「RGB：」＆HEX(それ)＆改行 ログのテキストはログのテキスト＆表示バッファ 自身→返り値は10 hdesktop=GetDesktopWindow() hdc=GetDC(hdesktop) EnumObjects(hdc,OBJ_PEN,テストのダミー関数,100) いう ReleaseDC(hdesktop,hdc)#*/ ＃実行テスト２(子ウィンドウ列挙) ●EnumChildWindows(hWndParent,lpEnumFunc,lParam) =DLL("user32.dll", "BOOL EnumChildWindows( HWND hWndParent, LPWNDENUMPROC lpEnumFunc, LPARAM lParam )") ●GetWindowText(hWnd,{参照渡し}lpString,nMaxCount) =DLL("user32.dll", "int GetWindowTextA( HWND hWnd, LPTSTR lpString, int nMaxCount )") ●GetDesktopWindow()=DLL("user32.dll","HWND GetDesktopWindow()") ログとはメモ そのレイアウトは「全体」 テストとは関数ポインタ その引数数は2 そのイベントは～ バッファとは文字列 表示バッファとは文字列 バッファに128を確保 GetWindowText(自身→引数[0],バッファ,127) バッファのそれ バイト左部分 表示バッファは自身→引数[0]＆「,」＆それ＆改行 ログのテキストはログのテキスト＆表示バッファ 自身→返り値は1 EnumChildWindows(GetDesktopWindow(),テストのダミー関数,0) 名前 コメント
https://w.atwiki.jp/sendai_mtg/pages/314.html
1位 カキヌマショウタ （デッキリスト記入中） 2位 サイトウシンタロウ 10《島/Island》 3《古えの墳墓/Ancient Tomb》 2《裏切り者の都/City of Traitors》 3《霧深い雨林/Misty Rainforest》 1《沸騰する小湖/Scalding Tarn》 1《引き裂かれし永劫、エムラクール/Emrakul, the Aeons Torn》 4《渦まく知識/Brainstorm》 3《定業/Preordain》 4《呪文貫き/Spell Pierce》 4《思案/Ponder》 1《師範の占い独楽/Sensei s Divining Top》 2《衝動/Impulse》 1《直観/Intuition》 4《実物提示教育/Show and Tell》 3《狡猾な願い/Cunning Wish》 3《ドリーム・ホール/Dream Halls》 4《Force of Will》 4《全知/Omniscience》 4《無限への突入/Enter the Infinite》 サイドボード 1《計略縛り/Trickbind》 1《直観/Intuition》 1《火想者の予見/Firemind s Foresight》 1《残響する真実/Echoing Truth》 1《エラダムリーの呼び声/Eladamri s Call》 4《神聖の力線/Leyline of Sanctity》 1《有毒の蘇生/Noxious Revival》 1《蟻の解き放ち/Release the Ants》 1《拭い捨て/Wipe Away》 1《否定の契約/Pact of Negation》 2《防御の光網/Defense Grid》 3位 まぁー「蒼白い肌のAXL.」 12《島/Island》 4《魂の洞窟/Cavern of Souls》 4《変わり谷/Mutavault》 1《Karakas》 4《呪い捕らえ/Cursecatcher》 4《銀エラの達人/Silvergill Adept》 4《アトランティスの王/Lord of Atlantis》 4《真珠三叉矛の達人/Master of the Pearl Trident》 3《幻影の像/Phantasmal Image》 4《真の名の宿敵/True-Name Nemesis》 1《ヴェンディリオン三人衆/Vendilion Clique》 4《霊気の薬瓶/AEther Vial》 4《目くらまし/Daze》 3《行き詰まり/Standstill》 4《Force of Will》 サイドボード 4《虚空の杯/Chalice of the Void》 3《白鳥の歌/Swan Song》 1《四肢切断/Dismember》 1《梅澤の十手/Umezawa s Jitte》 2《残響する真実/Echoing Truth》 1《トーモッドの墓所/Tormod s Crypt》 2《墓掘りの檻/Grafdigger s Cage》 1《外科的摘出/Surgical Extraction》 4位 kazi「Grixis delver」 4《沸騰する小湖/Scalding Tarn》 4《汚染された三角州/Polluted Delta》 2《Volcanic Island》 3《Underground Sea》 1《Tropical Island》 1《Badlands》 4《不毛の大地/Wasteland》 4《秘密を掘り下げる者/Delver of Secrets》 4《死儀礼のシャーマン/Deathrite Shaman》 3《真の名の宿敵/True-Name Nemesis》 2《墓忍び/Tombstalker》 1《呪文貫き/Spell Pierce》 4《渦まく知識/Brainstorm》 3《もみ消し/Stifle》 4《思案/Ponder》 4《稲妻/Lightning Bolt》 1《二股の稲妻/Forked Bolt》 4《思考囲い/Thoughtseize》 3《目くらまし/Daze》 1《四肢切断/Dismember》 3《Force of Will》 サイドボード 1《Force of Will》 1《赤霊破/Red Elemental Blast》 1《紅蓮破/Pyroblast》 1《二股の稲妻/Forked Bolt》 2《古えの遺恨/Ancient Grudge》 1《外科的摘出/Surgical Extraction》 1《墓掘りの檻/Grafdigger s Cage》 1《水没/Submerge》 1《悪魔の布告/Diabolic Edict》 1《呪文貫き/Spell Pierce》 1《ヴェンディリオン三人衆/Vendilion Clique》 1《真髄の針/Pithing Needle》 1《被覆/Envelop》 1《突然の衰微/Abrupt Decay》 5位 ハヤシタツロウ「俺たちが起こした奇跡で食うルッコラはうまいか？」 4《溢れ返る岸部/Flooded Strand》 2《汚染された三角州/Polluted Delta》 1《沸騰した小湖/Scalding Tarn》 1《霧深い雨林/Misty Rainforest》 3《Tundra》 3《Volcanic Island》 1《Karakas》 6《島/Island》 2《平地/Plains》 3《瞬唱の魔道士/Snapcaster Mage》 2《ヴェンディリオン三人衆/Vendilion Clique》 4《渦巻く知識/Brainstorm》 1《思案/Ponder》 2《呪文貫き/Spell Pierce》 4《剣を鍬に/Swords to Plowshares》 3《師範の占い独楽/Sensei’s Divining Top》 3《相殺/Counterbalance》 2《天使への願い/Entreat the Angels》 1《議会の採決/Council’s Judgement》 4《Force of Will》 3《精神を刻む者、ジェイス/Jace,the Mind Sculptor》 サイドボード 1《狼狽の嵐/Flusterstorm》 2《赤霊破/Red Elemental Blast》 3《安らかなる眠り/Rest in Peace》 3《石鍛冶の神秘家/Stoneforge Mystic》 1《摩耗・損耗/Wear・Tear》 1《非公開》 1《血染めの月/Blood Moon》 1《非公開》 1《至高の評決/Supreme Verdict》 1《殴打頭蓋/Batterskull》 （デッキリスト記入中） 6位 タカキナガマサ 3《湿地の干潟/Marsh Flats》 3《新緑の地下墓地/Verdant Catacombs》 1《吹きさらしの荒野/Windswept Heath》 2《Scrubland》 2《Bayou》 1《Savannah》 1《沼/Swamp》 1《森/Forest》 1《平地/Plains》 1《Karakas》 1《地平線の梢/Horizon Canopy》 4《不毛の大地/Wasteland》 1《ヨーグモスの墳墓、アーボーグ/Urborg, Tomb of Yawgmoth》 4《死儀礼のシャーマン/Deathrite Shaman》 4《闇の腹心/Dark Confidant》 4《石鍛冶の神秘家/Stoneforge Mystic》 1《刃砦の英雄/Hero of Bladehold》 4《思考囲い/Thoughtseize》 2《コジレックの審問/Inquisition of Kozilek》 4《剣を鍬に/Swords to Plowshares》 1《師範の占い独楽/Sensei s Divining Top》 1《森の知恵/Sylvan Library》 3《突然の衰微/Abrupt Decay》 1《梅澤の十手/Umezawa s Jitte》 3《未練ある魂/Lingering Souls》 3《ヴェールのリリアナ/Liliana of the Veil》 1《火と氷の剣/Sword of Fire and Ice》 1《議会の採決/Council s Judgment》 1《殴打頭蓋/Batterskull》 サイドボード 2《窒息/Choke》 1《仕組まれた疫病/Engineered Plague》 1《真髄の針/Pithing Needle》 1《議会の採決/Council s Judgment》 2《ガドック・ティーグ/Gaddock Teeg》 1《虚無の呪文爆弾/Nihil Spellbomb》 1《壌土からの生命/Life from the Loam》 1《破滅的な行為/Pernicious Deed》 3《スレイベンの守護者、サリア/Thalia, Guardian of Thraben》 2《外科的摘出/Surgical Extraction》 7位 タドコロヨシユキ「AXL.サキバシリ⇒ジェネレーション！」 4《Badlands》 4《Taiga》 4《新緑の地下墓地/Verdant Catacombs》 2《溶鉄の尖峰、ヴァラクート/Valakut, the Molten Pinnacle》 1《Bayou》 1《ファイレクシアの塔/Phyrexian Tower》 1《踏み鳴らされる地/Stomping Ground》 4《森/Forest》 2《沼/Swamp》 2《山/Mountain》 4《老練の探険者/Veteran Explorer》 1《桜族の長老/Sakura-Tribe Elder》 1《漁る軟泥/Scavenging Ooze》 1《永遠の証人/Eternal Witness》 1《ウッド・エルフ/Wood Elves》 1《高原の狩りの達人/Huntmaster of the Fells》 1《最後のトロール、スラーン/Thrun, the Last Troll》 1《酸のスライム/Acidic Slime》 1《原始のタイタン/Primeval Titan》 4《陰謀団式療法/Cabal Therapy》 4《師範の占い独楽/Sensei’s Divining Top》 4《燃え立つ願い/Burning Wish》 3《突然の衰微/Abrupt Decay》 3《破滅的な行為/Pernicious Deed》 2《風景の変容/Scapeshift》 4《緑の太陽の頂点/Green Sun’s Zenith》 8位 蟲とーくんの中の人「蟲とーくん式コンバットエルフ」 4《ガイアの揺籃の地/Gaea s Cradle》 4《霧深い雨林/Misty Rainforest》 3《新緑の地下墓地/Verdant Catacombs》 2《Bayou》 2《ドライアドの東屋/Dryad Arbor》 1《ペンデルヘイヴン/Pendelhaven》 1《Taiga》 1《Savannah》 1《ケッシグの狼の地/Kessig Wolf Run》 1《森/Forest》 4《ラノワールのエルフ/Llanowar Elves》 4《クウィリーオン・レインジャー/Quirion Ranger》 4《ワイアウッドの共生虫/Wirewood Symbiote》 4《エルフの幻想家/Elvish Visionary》 3《遺産のドルイド/Heritage Druid》 2《樺の知識のレインジャー/Birchlore Rangers》 2《死儀礼のシャーマン/Deathrite Shaman》 2《女王スズメバチ/Hornet Queen》 2《孔蹄のビヒモス/Craterhoof Behemoth》 1《ヴィリジアンのシャーマン/Viridian Shaman》 1《聖遺の騎士/Knight of the Reliquary》 4《緑の太陽の頂点/Green Sun s Zenith》 4《突然の衰微/Abrupt Decay》 3《自然の秩序/Natural Order》 サイドボード 4《トーモッドの墓所/Tormod s Crypt》 3《忘却の輪/Oblivion Ring》 2《最後のトロール、スラーン/Thrun, the Last Troll》 1《Karakas》 1《自由なる者ルーリク・サー/Ruric Thar, the Unbowed》 1《領土を滅ぼすもの/Realm Razer》 1《進歩の災い/Bane of Progress》 1《世界棘のワーム/Worldspine Wurm》 1（非公開）
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原文：Audio Devices Rev. 2.0 Spec and Adopters Agreement(ZIP) USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 21 , e.g. piano, guitar, synthesizer, drum machine, etc. he expectation is of audio devices, such as a mixer panel. th e is sufficiently different from the above descriptions as to be ction Category Codes” of this specification. l ot 1 A C c a c t In g me audio function. 3.1 as defi sync y cloc o a c speed endpoi hat occurs at the beginning of every microframe to l lationship between different physical audio channels. Indeed, the virtual spatial position of an audio source is directly related to and influenced by the phase differences that are applied to the different physical audio channels used to reproduce the audio source. Therefore, it is imperative that USB audio functions respect the phase relationship among all related audio channels. However, the responsibility for maintaining the phase • Musical Instrument A musical instrument • Pro-Audio A device not typically used by consumers of audio, e.g. editing equipment, multitrack recording equipment, etc. •Audio/Video The audio from a device that also supplies simultaneous video where t that the audio is tightly coupled to the video, e.g. a camcorder, a DVD player, a television, etc. • Control Panel A device that is used to control the flow of audio through a system • Oer Any device whose primary purposconsidered a completely different form of device. The assigned codes can be found in Appendix A.7, “Audio Fun Alher Category codes are unused and reserved by this specification for future use. 0 Clock Domains 3. lock Domain is defined as a zone within which all sampling clocks are derived from the same master synchronous and their timing clok. Therefore, within the same Clock Domain, all sampling clocks are reltionship is constant. However, the sampling clocks can be at different sampling frequencies. The master clok can be generated in many different ways. An internal crystal could be the master clock, the USB star of frame (SOF) could be used or even an externally supplied clock could serve as a master clock. eneral, multiple different Clock Domains can exist within the sa 1 Audio Synchronization Types Each isochronous audio endpoint used in an AudioStreaming interface belongs to a synchronization type ned in Section 5 of the USB Specification. The following sections briefly describe the possible hronization types. 3.11.1 Asynchronous Asnchronous isochronous audio endpoints produce or consume data at a rate that is locked either to a k external to the USB or to a free-running internal clock. These endpoints cannot be synchronized t start of frame (SOF) or to any other clock in the USB domain. 3.11.2 Synchronous The clock system of synchronous isochronous audio endpoints can be controlled externally through SOF synhronization. Such an endpoint must lock its sample clock to the 1ms SOF tick. Optionally, a high-nt could lock its clock to the 125 μs SOF t improve accuracy. 3.11.3 Adaptive Adaptive isochronous audio endpoints are able to source or sink data at any rate within their operating range. This implies that these endpoints must run an internal process that allows them to match their naturadata rate to the data rate that is imposed at their interface. 3.12 Inter Channel Synchronization An important issue when dealing with audio, and 3-D audio in particular, is the phase re USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 22 dware, and all of the audio peripheral devices or l delay essed in number of (micro)frames and is due to the fact that the audio function must buffer at least one (micro)frame worth of samples to effectively remove Furthermore, some audio functions will introduce extra delay because and process the audio data streams (for example, compression and t of (micro)frame n) is the first sample of the packet it sends over USB during (micro)frame (n+δ). δ is the audio function’s internal delay expressed pplies for an audio sink function. The first sample in the packet, received ust be the first sample that is fully reproduced during (micro)frame ernal delays of all audio functions involved. Clock Entities and they are used to describe and manipulate the clock signals inside the audio function. inal e. ed together is a guarantee (by construction) that the protocol and format, used over these e Unit. Likewise, there is a Terminal descriptor (TD) for every Terminal in the audio function. In addition, these descriptors provide all e audio function. They fully describe how Terminals and relationis shared among the USB host software, har functions. To provide a manageable phase model to the host, an audio function is required to report its internafor every AudioStreaming interface. This delay is expr packet jitter within a (micro)frame. they need time to correctly interpret decompression). However, it is required that an audio function introduces only an integer number of (micro)frames of delay. In the case of an audio source function, this implies that the audio function must guarantee that the first sample it fully acquires after SOFn (star in (micro)frames. The same rule aover USB during (micro)frame n, m (n+δ). By following these rules, phase jitter is limited to ±1 audio sample. It is up to the host software to synchronize the different audio streams by scheduling the correct packets at the correct moment, taking into account the int 3.13 Audio Function Topology To be able to manipulate the physical properties of an audio function, its functionality must be divided into addressable Entities. Two types of such generic Entities are identified and are called Units and Terminals. In addition, a special type of Entity is defined. These Entities are called Units pvide the basic building blocks to fully descri robe most audio functions. Audio functions are built by connecting together several of these Units. A Unit has one or more Input Pins and a single Output Pin, where each Pin represents a cluster of logical audio channels inside the audio function (see Section 3.13.1, “Audio Channel Cluster”). Units are wired together by connecting their I/O Pins according to the required topology. Note that it is perfectly legal to connect the Output Pin of an Entity to multiple Input Pins residing on different other Entities, effectively creating a one-to-many connection. In addition, the concept of a Terminal is introduced. There are two types of Terminals. An Input Term (IT) is an Entity that represents a starting point for audio channels inside the audio function. An Output Terminal (OT) represents an ending point for audio channels. From the audio function’s perspective, a USB endpoint is a typical example of an Input or Output Terminal. It either provides data streams to the audio function (IT) or consumes data streams coming from the audio function (OT). Likewise, a Digital toAnalog converter, built into the audio function is represented as an Output Terminal in the audio function’smodel. Connection to the Terminal is made through its single Input or Output Pin. Input Pins of a Unit are numbered starting from one up to the total number of Input Pins on the Unit. The Output Pin number is always one. Input Terminals have only one Output Pin and its number is always onOutput Terminals have only one Input Pin and it is always numbered one. The information, traveling over I/O Pins is not necessarily of a digital nature. It is perfectly possible to use the Unit model to describe fully analog or even hybrid audio functions. The mere fact that I/O Pins are connect connections (analog or digital), is compatible on both ends. Every Unit in the audio function is fully described by its associated Unit descriptor (UD). The Unit descriptor contains all necessary fields to identify and describe th necessary information about the topology of thUnits are interconnected. This specification describes the following eight different types of standard Units and Terminals that are considered adequate to represent most audio functions available today and in the near future USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 23 re side le Clock Output pin. Clock Input Pins are lock gnal at en or Q. The values P and Q are fixed for a given Clock Multiplier. The new clock u f Clock Source, Clock Selector, and Clock Multiplier Entities, the most complex c nted and exposed to Host software. oc t Pins are fundamentally different from Input and Output Pins defined for Units and rry only clock signals and therefore cannot be connected to Unit or Terminal hey are only used to express clock circuitry topology. a single Clock Input Pin that is connected to a Clock Output Pin of a oc nal carried by that Clock Output Pin determines at which sampling frequency h y the Terminal is operating. ncies between which the Sampling Rate Converter Unit is converting. ch cribed by a Clock Entity descriptor (CED). The Clock Entity descriptor contains n tify and describe the Clock Entity. e etailed in Section 4, “Descriptors” of this document. at eric audio driver should be able to fully control the c • Input Terminal (IT) • Output Terminal (OT) • Mixer Unit (MU) • Selector Unit (SU) • Feature Unit (FU) • Sampling Rate Converter Unit • Effect Unit (EU) • Processing Unit (PU) • Extension Unit (XU) Besides Units and Terminals, the concept of a Clock Entity is introduced. Three types of Clock Entities adefined by this specification • Clock Source (CS) • Clock Selector (CX) • Clock Multiplier (CM) A Clock Source provides a certain sampling clock frequency to all or part of the audio function. A Clock Source can represent an internal sampling frequency generator, but it can also represent an external sampling clock signal input to the audio function. A Clock Source has a single Clock Output Pin that carries the sampling clock signal, represented by the Clock Source. The Clock Output Pin number is always one. A Clock Selector is used to select between multiple sampling clock signals that might be available inan audio function. It has multiple Clock Input Pins and a sing numbered starting from one up to the total number of Clock Input Pins on the Clock Selector. The COutput Pin number is always one. A Clock Multiplier is used to derive a new clock signal with a different frequency from the clock siits single Clock Input Pin. It does this by multiplying that clock signal frequency by a numerator P and thdividing it by a denominat signal is guaranteed to be synchronous with the input clock signal. A Clock Multiplier has one Input Pin and one Output Pin and their numbers are always one. Bysing a combination o clok systems can be represe Clk Input and Outpu Terminals. Clock Pins ca Input and Output Pins. T Each Input and Output Terminal has Clk Entity. The cloc k sigtheardware represented b Each Sampling Rate Converter Unit has two Clock Input Pins that are typically connected to the Clock Output Pins of two different Clock Entities. The clock signals carried by those Clock Output Pins determine the sampling freque Ea Clock Entity is des allecessary fields to iden Th descriptors are further d The ensemble of Unit descriptors, Terminal descriptors and Clock Entity descriptors provide a full description of the audio function to the Host. This information is typically retrieved from the device enumeration time. By parsing the descriptors, a gen audio function, except for the functionality represented by Extension Units. Those require vendor-specifiextensions to the audio class driver. USB Device Class Definition for Audio Devices Release 2.0 May 31, 2006 24 software must be notified of these changes to remain ‘in sync’ with the ck Sources, a Clock Selector, and two Clock onnected into the overall topology of the the onnector on the audio tion of a Headphone Out jack on the audio device. 6 lt is o nto the audio device and OT 11 could rding purposes. z for ut cy of 48 kHz to OT 9 for driving the headphone. Since all sampling freq he audio function are at all times derived from a single master clock (internal or external a The descri Entity is. F external co t indicates th the Output Pin of IT 1, Input Pin 2 is connected to the Output Important Note The complete set of audio function descriptors provides only a static initial description of the audio function. During operation, a number of events can happen that force the audio function to change its state. Host audio function at all times. An extensive interrupt mechanism is in place to report any and all state changes to Host software. Figure 3-2, “Inside the Audio Function” illustrates the concepts defined above. Using the iconic symbols defined further, it describes a hypothetical audio function that incorporates 16 Entities three Input Terminals, five Units, three Output Terminals, two Clo Multipliers. Each Entity has its unique ID (from 1 to 16) and descriptor that fully describes the functionality of the Entity and also how that particular Entity is c audio function. Input Terminal 1 (IT 1) could be the representation of a USB OUT endpoint used to stream audio fromHost to the audio device. IT 2 could be the representation of an analog Line-In c device whereas IT 3 could be an analog Microphone-In connector on the audio device. Selector Unit 4 (SU4) selects between the audio coming from the Host and the audio present at the Line In connector. Feature Unit 5 (FU 5) is then used to manipulate the audio (Volume, Bass, Treble …) before it is presented to Output Terminal 9 (OT 9). OT 9 could be the representa At the same time, all three input sources (USB OUT, Line In, and Mic In) are connected to a Mixer Unit(MU 6) that effectively mixes the three sources together. The output of the Mixer is then fed into a Processing Unit 7 (PU 7) that could perform some audio processing algorithm(s) on the mix. The resu in turn sent to FU 8 where some final adjustments to the audio (Volume …) are made. FU 8 is connected tOT 10 and OT 11. OT 10 could represent speakers incorporated i represent a USB IN endpoint used to send the processed audio to the Host for reco Clock Source 12 (CS 12) could represent an internal sampling frequency generator, running at 96 kHinstance. Clock Source 15 (CS 15) could be the representation of an external master sampling clock inpthat can be used to synchronize the device to an external source. Clock Selector 13 (CS 13) enables selection between the two available Clock Sources. The output of CS 13 provides a sampling frequency to IT 1, IT 2, IT3, OT 10, and OT 11 of 96 kHz. Clock Multiplier CM 14 further multiplies that clock signal by 0.5, providing a sampling frequen uencies used inside t ), ll audio streams in the audio function are synchronous. ptors, associated with each Entity clearly indicate to the Host what the exact nature of each or instance, the IT 2 descriptor contains a field that indicates to the Host that it represents an nnector on the device, used as an analog Line In. Likewise, the MU 6 descriptor has a field thaat its Input Pin 1 is connected to Pin of IT 2, and Input Pin 3 is connected to the Output Pin of IT 3. For further details on descriptor contents, refer to Section 4, “Descriptors” of this document. USB Device Class Definition for Audio Devices Audio Function Release 2.0 May 31, 2006 25 PU SU Descr.FU Descr.MU Descr Selector UnitFeature UnitMixer UnitProcessing Unit Feature Unit PU Descr.FU Descr.1234567891011USB OUTAnalogLine INOUT AnalogMic INHeadphone Speakers USB IN 12 Clock Source Clock Multiplier 14 15 ITITITIT Descr.IT Descr.IT Descr.OTOT OT OT Descr.OT Descr.OT Descr. Clock Source Clock Selector 13 CSD CSD CXD P/Q CMD Figure 3-2 Inside the Audio Function Inside an Entity, functionality is further described through Audio Controls. A Control typically provides access to a specific audio or clock property. Each Control has a set of attributes that can be manipulated or that present additional information on the behavior of the Control. A Control can have the following attributes • Current setting attribute • Range attribute triplet consisting of • Minimum setting attribute • Maximum setting attribute • Resolution attribute As an example, consider a Volume Control inside a Feature Unit. By issuing the appropriate Get requests, the Host software can obtain values for the Volume Control’s attributes and, for instance, use them to correctly display the Control on the screen. Setting the Volume Control’s current attribute allows the Host software to change the volume setting of the Volume Control. Additionally, each Entity in an audio function can have a memory space attribute. This attribute optionally provides generic access to the internal memory space of the Entity. This could be used to implement vendor-specific control of an Entity through generically provided access. information. Inside the audio function, complete abstraction is made of the actual physical representation 3.13.1 Audio Channel Cluster An audio channel cluster is a grouping of audio channels that carry tightly related synchronous audio 1 - 6 - 11 - 16 - 21 - 26 - 31 - 36 - 41 - 46 - 51 - 56 - 61 - 66 - 71 - 76 - 81 - 86 - 91 - 96 - 101 - 106 - 111 - 116 - 121 - 126 - 131 - 136 - 141 ここを編集
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メニューページで#nomenu()プラグインはご利用できません。３カラムでなく、２カラムのデザインテンプレートをご利用ください。 TORINESIA β @wiki について 2009年7月31日からβテストが開始されたオンラインゲーム「TORINESIA（トリネシア）」の情報をまとめる非wiki（個人用wiki）として運用しています。 現在トップページと公式情報以外は非公開で作業を進めています。 2010年4月6日にβ版が終了し、2010年4月7日正式版がオープンしました。 公式サイト TORINESIA TORINESIA BLOG （2009年9月7日 open） 共有wikiのご案内 wikiの編集に関わりたい方は、他に複数作られている共有wikiをご利用ください。 TORINESIA @ウィキ （@wiki） TORINESIA Wiki （PukiWiki）
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[ill.bell] Make up and Dress up!! Perfection of the Heartbreaker!! 才能 技量 個人差 遺伝子 (She doesn t give a ****) "ただでさえ天使" その目付き 俺を採点し (Sweetest Devil) 突破 Next Level CuteからSexy 変幻自在 アマアマに融かす10cm以内 (Sweerie Girl 触れたくなる Cynical なスマイル) She s "Saucy" So i gotta make her really justified, "相愛" (She s a Liar 誘淫 Desire just like...) もう止められん求められるがままに 誘われる your trap [hook] Sweety Breezy Pow! Get Busy 性テキな I see, Whatever All Night, All Night Sweety Eazy Mode or Crazy ノーガードで愛し合えば Alright, Alright [雨天決行] その美貌はLike a 対Me用Killer 眼と眼が合ったタイミングでキラッ☆(的な) あざとい 大体が気楽 なのに褒めない事を何だが嫌う 気付けないと拗ねる メイク ヘアー ネイル めんどくさい Mail即座に返事 それでも好き なんだから天使 (ねぇねぇ☆今日何の日か解る( ´艸｀)？) 解りません。 (4月突破した倦怠期ッ!!) あぁ...細かい記念日 現代人 (今日はちょっと豪勢にケンタッキー) その生活感あるチョイスがGood でも会計割り勘ちょい縋る 誰の経済事情の所為が痛感 また来月の為に性出すか [hook] Sweety Breezy Pow! Get Busy 性テキな I see, Whatever All Night, Allnight (Put Ya Hands Up!) Sweety Eazy Mode or Crazy ノーガードで愛し合えば Alright, Alright ビッチ気味 Boo My Honey クリンチして抱き合えば 後悔後悔 淫靡 Witch 女豹 Lady ノーガードで愛し合えば 崩壊崩壊 [AO] So Tight 締め付けるクエスチョン 相対的 油断大敵 見透かされてたね、チョイスしたアンサー (Hit My Brain! Brain! ズボラな漢) 不安がってる大嫌いさ何回も難解を I Don t Know 無言の台詞のストーリー (迷い、葛藤し、脱走志願) 決して千切れやしない雁字搦めな芝居 呪縛にも似た地雷 (愛愛愛愛) Make Me Hot 2 da Brazin 思いは裏腹にブレーキ あれもこれも演技 Show me ya true face, baby [ill.bell] 愛 の名の クリーチャー 握った スピーカー ステイジ上のディーヴァ 挑発的ヴィーナス Gettin wet n sweeter 甘く 絡まって 絞り尽くしてくれ (Blaze) BlackとPinkyで灼熱 スタイラス・デバイス (Grace) Just dancing upon it 歌い出す世界 (Embrace) Only you 交わし合った誓い 忘れない "だからキスして Do you love sweet devil?" [hook] Sweety Breezy Pow! Get Busy 性テキな I see, Whatever All Night, All Night Sweety Eazy Mode or Crazy ノーガードで愛し合えば Alright, Alright ビッチ気味 Boo My Honey クリンチして抱き合えば 後悔後悔 淫靡 Witch 女豹 Lady ノーガードで愛し合えば 崩壊崩壊
https://w.atwiki.jp/touhoukashi/pages/3266.html
【登録タグ A-One P T.Stebbins TOHO EUROBEAT VOL.17 花映塚 幽霊楽団 ～ Phantom Ensemble 曲 東方妖々夢 ～ Ancient Temple】 【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 ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** 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 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/touhoukashi/pages/6439.html
【登録タグ 709sec. D SOUND HOLIC かわいい悪魔 ～ Innocence メイド幻想 ～ Icemilk Magic 幻 -MABORO- 曲 禁じざるをえない遊戯】 【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 ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** 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 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/tmiya/pages/118.html
5.2 修飾子 (Modifiers) 構文 Modifier = LocalModifier | AccessModifier | override LocalModifier = abstract | final | sealed | implicit | lazy AccessModifier = ( private | protected ) [AccessQualifier] AccessQualifier = [ (id | this ) ] Member definitions may be preceded by modifiers which affect the accessibility and usage of the identifiers bound by them. If several modifiers are given, their order does not matter, but the same modifier may not occur more than once. Modifiers preceding a repeated definition apply to all constituent definitions. The rules governing the validity and meaning of a modifier are as follows . メンバー定義には修飾子が先行することがあり、 それらは結びつく識別子のアクセス性と使用法に影響を与えます。 複数の修飾子が与えられていても、その順番は重要ではありません。 しかし同じ修飾子は一度以上は現れはいけません。 定義の繰り返しに先行する修飾子は、各定義すべてに適用されます。 修飾子の有効性と意味を決定する規則は次の通りです。 ・ The private modifier can be used with any definition or declaration in a template . Such members can be accessed only from within the directly enclosing template and its companion module or companion class (§5.4). They are not inherited by subclasses and they may not override definitions in parent classes . ・ private 修飾子はテンプレート中の任意の定義または宣言と共に使えます。 そのようなメンバーは、直接に取り囲むテンプレートとそのコンパニオンモジュール あるいはコンパニオンクラス (§5.4)中からのみアクセスできます。 それらはサブクラスによって継承されません。 また、それらは親クラス中の定義をオーバライドできません。 The modifier can be qualified with an identifier C (e.g. private[C]) that must denote a class or package enclosing the definition. Members labeled with such a modifier are accessible respectively only from code inside the package C or only from code inside the class C and its companion module (§5.4) Such members are also inherited only from templates inside C . 修飾子は識別子 C で 限定修飾(qualified) でき (たとえば private[C])、 この C は定義を囲むパッケージあるいはクラスを表していなければなりません。 そのような修飾子が印されたメンバーは、パッケージ C のコード中から、 あるいはクラス C とそのコンパニオンモジュール (§5.4)のコード中からのみ、 それぞれアクセス可能です。 そのようなメンバーはまた、C 中のテンプレートからのみ継承されます。 An different form of qualification is private[this]. A member M marked with this modifier can be accessed only from within the object in which it is defined. That is, a selection p.M is only legal if the prefix is this or O.this, for some class O enclosing the reference. In addition, the restrictions for unqualified private apply . private[this] は限定修飾の異なる形です。この修飾子を使ってマークされた メンバー M は、それが定義されたオブジェクト内からのみアクセスできます。 すなわち、選択 p.M は、その参照を囲むあるクラス O があって、 前置子が this あるいは O.this である場合のみ正しいとされます。 加えて、限定修飾なしの private の制約が適用されます。 限定修飾子がない private と印されたメンバーは、 クラス非公開(class-private) と呼ばれるのに対して、 private[this] と印されたメンバーは、 オブジェクト非公開(object-private) と呼ばれます。 メンバーは、もしそれがクラス非公開あるいはオブジェクト非公開で、private[C] (ここで C は識別子) とマークされていないなら、 非公開(private) です。; 後者の場合、そのメンバーは 限定非公開 (qulified private) と呼ばれます。 Class-private or object-private members may not be abstract, and may not have protected or override modifiers . クラス非公開あるいはオブジェクト非公開のメンバーは、抽象であってはならず、 また、protected あるいは override 修飾子を持ってはいけません。 ・ protected 修飾子はクラスメンバ定義に適用されます。 クラスの protected メンバーは、次の中からアクセスできます。 the template of the defining class, all templates that have the defining class as a base class, the companion module of any of those classes. 定義しているクラスのテンプレート、 定義しているクラスを基底クラスとしてもつ、すべてのテンプレート それらクラスの任意のコンパニオンモジュール protected 修飾子は、識別子 C で限定修飾できます(たとえば、protected[C])。 ここで C は、その定義を囲むクラスあるいはパッケージを表さなくてはなりません。 そのような修飾子を印されたメンバーもまた、パッケージ C 中のすべてのコードから、 あるいはクラス C とそのコンパニオンモジュール (§5.4)中のすべてのコードから、 それぞれアクセス可能です。 protected 識別子 x は、 次の 1 つが適用される場合に限り、選択 r.x 中でメンバー名として使えます。 そのアクセスがメンバーを定義しているテンプレート中にあるか、あるいは、限定修飾 C が与えられている場合は、そのアクセスがパッケージ C 中あるいはクラス C 中、あるいはそのコンパニオンモジュール中にある。あるいは、 r は、予約語 this あるいは super の 1 つ。あるいは r の型が、そのアクセスを含むクラスの型インスタンスに適合する。 protected[this] は、限定修飾の異なる形です。 この修飾子を印された メンバー M は、それが定義されたオブジェクト内からのみアクセスできます。 すなわち、選択 p.M は、その参照を囲むあるクラス O に対して、前置子が this あるいは O.this である場合のみ正しいとされます。 加えて、限定修飾なしの protected の制約が適用されます。 ・ override 修飾子は、クラスメンバ定義または宣言に適用されます。 これは親クラス中の他のある具象メンバー定義をオーバライドする、 メンバー定義/宣言について必須です。もし override 修飾子が 与えられていれば、少なくとも 1 つのオーバライドされる(具象あるいは抽象の) メンバー定義/宣言がなければなりません。 ・ override 修飾子は abstract 修飾子と組み合わされるとき、意味が追加されます。 この修飾子の組合せは、トレイトの値メンバーに対してのみ許されます。 We call a member M of a template incomplete if it is either abstract (i.e. defined by a declaration), or it is labeled abstract and override and every member overridden by M is again incomplete . テンプレートのメンバー M は、もしそれが抽象(すなわち、 宣言によって定義されている)であるか、あるいは、abstract かつ override と印されているなら、 不完全(incomplete) と呼ばれます。 そして、M によってオーバライドされたすべてのメンバーは、再び不完全です。 abstract override 修飾子の組合せは、 メンバーが具象か抽象かということに影響を与えないことに注意してください。 メンバーは、もしそれに関して宣言だけが与えられていれば 抽象(abstract) であり、 もし完全な定義が与えられていれば 具象(concrete) です。 ・ The abstract modifier is used in class definitions. It is redundant for traits, and mandatory for all other classes which have incomplete members. Abstract classes cannot be instantiated (§6.10) with a constructor invocation unless followed by mixins and/or a refinement which override all incomplete members of the class. Only abstract classes and traits can have abstract term members . ・ abstract 修飾子はクラス定義の中で使います。これはトレイトには不必要であり、 不完全なメンバーを持つ他のすべてのクラスでは必須です。 抽象クラスは、 クラスのすべての不完全なメンバーをオーバライドするミックスインや細別 (refinement) が後に続かないなら、 コンストラクタ呼び出しでインスタンス化 (§6.10) することはできません。 抽象クラスとトレイトだけが抽象項(term)メンバーを持てます。 abstract 修飾子は、クラスメンバ定義についても override と一緒に使えます。 その場合、前の議論が適用されます。 ・ final 修飾子は、クラスメンバ定義とクラス定義に適用されます。 サブクラス中で final クラスメンバー定義をオーバライドしてはいけません。 テンプレートは final クラスを継承できません。 final はオブジェクト定義には不必要です。final クラス/オブジェクトのメンバーは、 暗黙のうちに同様に final です。ですから、 それらについても final 修飾子は不必要です。 final は不完全なメンバーに適用できず、 また、1 つの修飾子リスト中で sealed とは一緒には使えません。 ・ The sealed modifier applies to class definitions. A sealed class may not be directly inherited, except if the inheriting template is defined in the same source file as the inherited class. However, subclasses of a sealed class can be inherited anywhere . ・ sealed 修飾子は、クラス定義に適用されます。 sealed クラスは、継承するテンプレートを継承されるクラスと同じソースファイル中で定義する場合を除き、直接には継承できません。 しかし、sealed クラスのサブクラスはどこででも継承できます。 ・ lazy 修飾子は値定義に適用されます。 遅延評価 Val は、それが最初にアクセスされる (決して起きないかもしれない)ときに初期化されます。 遅延評価 Val をその初期化中にアクセスしようとすると、 動作がループするかもしれません。初期化中に例外が送出された場合は、 その値は初期化されていないとみなされ、 後のアクセスでその右辺の評価が再び試みられるでしょう。 Example 5.2.1 次のコードは限定修飾された private の使用を示します。 package outerpkg.innerpkg class Outer { class Inner { private[Outer] def f() private[innerpkg] def g() private[outerpkg] def h() } } ここで、メソッド f へのアクセスは、OuterClass 内ならどこにでも現れることができますが、その外では現われることはできません。 メソッド g へのアクセスは、Java の package-private の場合と同じように、 パッケージ outerpkg.innerpkg 内のどこにでも現われることができます。 最後に、メソッド h へのアクセスは、パッケージ outerpkg 内の、 そのパッケージが含むパッケージを含めて、どこにでも現われることができます。 Example 5.2.2 クライアントにクラスの新しいインスタンスを構築させないための 1 つの方法は、 そのクラスを abstart かつ sealed と宣言することです。 object m { abstract sealed class C (x Int) { def nextC = new C(x + 1) {} } val empty = new C(0) {} } たとえば、上記のコード中でクライアントは、既存の m.C オブジェクトの nextC メソッドを呼び出すことによってのみ、クラス m.C のインスタンスを生成できます。; クライアントはクラス m.C のオブジェクトを直接生成できません。 実際、次の 2 つの行はどちらもエラーです。 new m.C(0) // **** error C は abstract なのでインスタンス化できない new m.C(0) {} // **** error sealed クラスからの不正継承 基本コンストラクタを private とすることで、同じようなアクセス制限を課すことが できます(Example 5.3.2 参照)。 前 目次 次 5章つづき