約 7,114,120 件
https://w.atwiki.jp/xboxonescore/pages/152.html
CastleStorm Definitive Edition 項目数:46 総ポイント:1000 難易度:★★☆☆☆ 感度が設定できないため繊細な操作が苦手な人は苦労します。 http //www.xboxachievements.com/game/castlestorm-definitive-edition/achievements/ About to Get Real Unlocked Dark Forest in the Campaign mode.キャンペーンモードで「暗黒の森」を出現させよう。 20 Vikings Gonna Vike Unlocked Kingskeep in the Campaign mode.キャンペーンモードで「王の天守」を出現させよう。 20 Jewel Heist Unlocked Donkey Island in the Campaign mode.キャンペーンモードで「ロバの島」を出現させよう。 20 Saddle Up Your Donkeys Unlocked Ore Mine in the Campaign mode.キャンペーンモードで「鉱山」を出現させよう。 20 This Mine Is My Mine Unlocked Creek Crossing in the Campaign mode.キャンペーンモードで「小川の横断」を出現させよう。 30 Clear Eyes Full Hearts Unlocked Mountain Entrance in the Campaign mode.キャンペーンモードで「山の入口」を出現させよう。 30 Rock Blocked Unlocked Mountain Passage in the Campaign mode.キャンペーンモードで「山の通り道」を出現させよう。 30 Northern Exposure Unlocked Viking Border in the Campaign mode.キャンペーンモードで「バイキングとの境界」を出現させよう。 30 A Fistful of Hammers Unlocked Norsheim in the Campaign mode.キャンペーンモードで「ノルスハイム」を出現させよう。 35 The Family Business Unlocked Troll Village in the Campaign mode.キャンペーンモードで「トロルの村」を出現させよう。 35 Friends in Large Places Unlocked Bladgard in the Campaign mode.キャンペーンモードで「ブラッドガルド」を出現させよう。 35 Peace... Forever? Finished the Campaign mode.キャンペーンモードを終了する。 40 All-Star Reached 100% completion in Campaign mode by obtaining all the stars.すべてのスターを獲得して、キャンペーンモードで達成率100%を目指そう。 25 Angry Demolition You destroyed 3 enemy rooms with one shot.1回の射撃で敵の部屋を3つ破壊する。 15 Budding Architect Battle won using a custom castle built in the Castle Editor.ゲームモードを問わず、城エディタで作ったカスタムの城で戦闘に勝利する。 15 Upgrayedded Upgraded a troop, projectile, spell or bonus room to its maximum level.ゲームモードを問わず、軍隊、飛び道具、呪文、またはボーナス部屋を最大レベルまでアップグレードする。 20 Hard Hat Area Enemy troop killed by collapsing his own castle on him.ゲームモードを問わず敵の頭上で敵の城を崩壊させ、軍隊を倒す。 15 Eagle Eye Flag carrier killed with a Homing Eagle.ゲームモードを問わず、「ホーミングイーグル」を使って敵の旗持ちを倒す。 15 Return to Sender Enemy troop killed by a deflected projectile of his own side.ゲームモードを問わず、敵の放った飛び道具を跳ね返して敵の軍隊を倒す。 15 Ten Heads Made 10 headshot kills in a row.ゲームモードを問わず、連続10ヘッドショットを達成する。 20 Troll Hunter Killed a troll with a hero.ゲームモードを問わず、英雄でトロルを倒す。 15 Dragon Slayer Killed a dragon with a hero.ゲームモードを問わず、英雄でドラゴンを倒す。 20 Crowd Control x5 or higher multikill reached.5倍以上の複数キルを獲得します。 15 Dropping Like Flies x10 or higher killing streak reached.10倍以上の連続キルを獲得します。 15 Fight in the Shade Shot 30 or more javelins within a shooting frenzy.大乱射中に最低30のやりを投げます。 15 Here I Am Finished an Xbox Live ranked match.Xbox LIVEのランクマッチを終了させます。 15 Taste of Victory Won an Xbox Live ranked match.Xbox LIVEのランクマッチで勝利します。 20 Fear No One Won an Xbox Live ranked match against a player with higher multiplayer level.Xbox LIVEのランクマッチで自分よりも高いマルチプレイヤー ランクを持つプレイヤーに勝利します。 25 Survival Honor Posted result on every Single-Player Survival leaderboard.すべてのシングルプレイヤー サバイバルランキングに結果を投稿します。 30 Against the Machine You won a Skirmish battle on the most difficult AI setting.もっとも難しいAI設定でスカーミッシュバトルに勝利します。 15 Chip Off the Old Block Won the King s Tournament with the mystery knight.謎の騎士で王のトーナメントに優勝する。 15 Princesslessness Held back all the attackers in the Shiny Forest.シャインフォレストにて、攻撃をすべて食い止める。 20 Princess Rescued Rescued the Princess from the city of Stonecrest.ストーンクレストの街から王女を救出します。 20 Flight to Vikingland Secured the Royal Airport and got a flight to Vikingland.バイキングの国への飛行便を確保するため、王宮の飛行場を守る。 20 LZ Secured Captured the Skyship Harbor of Vikingland.バイキングの国のスカイシップハーバーを奪取する。 20 Monster Killer Killed the monster protecting Bladgard.ブラッドガルドを守っているモンスターを倒す。 20 Royal Revenge Defeated the final boss of the Royal Guard campaign.近衛兵キャンペーンの最終ボスを倒す。 30 Superstar Earned all the stars of the Royal Guard campaign.近衛兵キャンペーンですべてのスターを獲得する。 15 Prison Breaker Escaped from the prison of Vikingland.バイキングランドの牢獄から逃げた。 15 This is My Town! Liberated Norsheim.ノースハイムを解放した。 15 Throwing Like a Girl Proved yourself a worthy leader in the Battle Arena.バトルアリーナの価値あるリーダーとして証明した。 15 Unwelcome Arrival Captured the Royal Airport.ロイヤルエアポートを奪った。 25 No Kingdom for the Old Man Secured King Edgar s safety.エドガー王の安全を守った。 25 Fate of Traitors You defeated the traitor s army at Stonecrest.裏切り者の軍隊をストーンクレスで破った。 25 For My Father Defeated the final boss of the Viking Elites campaign.バイキングエリートキャンペーンの最後のボスを打ち負かした。 30 Megastar Earned all the stars of the Viking Elites campaign.バイキングエリートキャンペーンの星を全て獲得した。 20 Angry Demolition https //youtu.be/qKc0TR8Szts Budding Architect お城のエディットからお城を創り保存。 保存したお城でステージクリアすれば解除されます。 Upgrayedded 武器、軍隊、呪文のいずれか一つを最大レベルにする。 レベルは最大で15まであり、普通に遊んでれば解除される。 Ten Heads キャンペーンのRoyal ArenaからMelee Masteryのミッションにて 敵兵士を弓でヘッドショットすれば解除される。 https //www.youtube.com/watch?v=XdepfyyeDt8 Megastar キャンペーンの全ての星を取る。 このゲームで最も難しく、ハードモードでのプレイを強要される。 https //www.youtube.com/watch?v=ccEQS5Jhs9s list=PL8eF-Qf_UGLQj8-YlaDNdVYKTOPIJ-Vql
https://w.atwiki.jp/v-lyrics/pages/403.html
ゆめのつづき [ TAG Dixie Flatline L-Y Len Luka Miku Rin title ゆ] Music Dixie Flatline/Dixie Flatline Lyric Dixie Flatline/Dixie Flatline Arrange Dixie Flatline/Dixie Flatline Vocal Hatsune Miku, Kagamine Rin, Kagamine Len, Megurine Luka The creator s comment from NicoNico Douga I devote this song to the senior creators who have greatly led the popularity of Vocaloids. (Vocaloidブームの大きな牽引力となった初期からの作曲者の方々に捧げます。) Videos PVs ■ Show/Hide Video http //www.nicovideo.jp/watch/sm7911934 http //www.nicovideo.jp/watch/sm7911934 Translations ■ Show/Hide Romaji 2009-08-20 Checked by damesukekun 2009-08-20 22 15 Generated automatically watashi wa koko ni iru yo anata ga toshi wo totte mo yume no tsuzuki kyou mo asu mo utai tsuzukeru ichido tsuita taisetsu na tomoshibi kie nai you ni zutto mimamotte ruyo hajimari wa min-na kon-na fuu ni watashi ni uta nanka utae nai to doredake motome tsuzukete mo kokoro wa kono te ni todoka nai demo anata wa chigatta no omoi wo sosoide kureta no kon-na watashi wo shinjite kureta omoi wa hitotsu ni natte kono mune ni atsuku yadotte soshite kiseki ga watashi wa koko ni iru yo nagare yuku tsukihi no naka de kimi ga kureta daiji na mono utai nagara mebuki sodachi hanasaku sono hi made inoyu you ni zutto mitsume te iru yo kaketa biizu (beads) tsunagu you ni daiji ni daiji ni uttatte kita hito no you ni wa deki nai kedo watashi no kotoba de aruite kita kiite kureru hito mo fuete min-na no kokoro ni hibiite watashi no uta de naite kureta anata no kimochi wo komete watashi no kansha wo komete sora e hanatsu yo watashi wa koko ni iru yo anata ga toshi wo totte mo yume no tsuzuki kyou mo asu mo utai tsuzukeru ichido tsuita taisetsu na tomoshibi kie nai you ni zutto mimamotte ruyo watashi wa koko ni iru yo anata ga toshi wo totte mo yume no tsuzuki kyou mo asu mo utai tsuzukeru ichido tsuita taisetsu na tomoshibi kie nai you ni zutto mimamotte ruyo watashi wa koko ni iru yo nagare yuku tsukihi no naka de kimi ga kureta daiji na mono utai nagara mebuki sodachi hanasaku sono hi made inoyu you ni zutto mitsume te iru yo [部分編集] ■ Show/Hide Translation The Thread of a Dream 2009-08-20 First Entry 2009-08-20 22 50 16 (Thu) Last update Trasnlated by damesukekun Title The Thread of a Dream Lyric I am here I go on singing the thread of a dream today and tomorrow, if you grow old and watching the precious light once lit so that it won t go out At first everyone said it was impossible for me to sing I was asking for again again still no one let my hands feel his heart But you did, you gave me your affection and believed immature me Our feelings became one and dwelled in my heart emotionally then a miracle... I am here I go on singing the precious thing you gave me in the passing time and watching it to the day when it sprouts, grows and blooms I have sung dearly as to connect the broken beads I can t do like a human being still I have made my way with my own words More people came to listen to me and my songs reached their hearts They shed tears with my songs Now I release this song to the sky putting your affection and my gratitude I am here I go on singing the thread of a dream today and tomorrow, if you grow old and watching the precious light once lit so that it won t go out I am here I go on singing the thread of a dream today and tomorrow, if you grow old and watching the precious light once lit so that it won t go out I am here I go on singing the precious thing you gave me in the passing time and watching it to the day when it sprouts, grows and blooms Note This translation is by permission of the composer. 作者様のご了解のもと翻訳しました。 Comment If you have any advise or opinion for this post please write here.この投稿に対して助言、ご意見などありましたらこちらに書き込んで下さい。 Name Comment すべてのコメントを見る Last modified 2009-08-20 22 50 16 (Thu) Original Lyric, Nicosound MP3, etc http //www5.atwiki.jp/hmiku/pages/6188.html http //nicosound.anyap.info/sound/sm7911934 http //www.nicomimi.com/play/sm7911934 Sub video, PV, other fan made video in YouTube http //www.youtube.com/watch?v=vceDQ0fUUT8 [Add] http //www.youtube.com/watch/xxxxxxxxx ADD LINK すべてのコメントを見る http //www.youtube.com/watch?v=vceDQ0fUUT8 (Information in this page is based on HatsuneMiku@Wiki) _
https://w.atwiki.jp/touhoukashi/pages/6169.html
【登録タグ L Sound CYCLONE witch ミストレイク 曲 東方 Compilation CD-BOOK 萃星霜 参 秘境のマーメイド】 【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/vocaloidenglishlyric/pages/77.html
【Tags Miku R tR doriko】 Original Music Title ロミオとシンデレラ Romeo and Cinderella (Romio to Shinderera) Music Lyrics written, Voice edited by doriko Singer 初音ミク (Hatsune Miku) Fanmade Promotional Videos Click here for the Japanese Lyrics English Lyrics (translated by TeamMikuHatsune): Don t let my romance become Juliet in a tragedy Take me out of here... That s what I m feeling like Goodnight, dad and mom At least you should enjoy your dreams it s high time adults went to bed Enchanting choking caramel I cross my naked legs shyly How farther we ll go tonight? Don t bite me, go easy I don t like bitter things yet It s because of mom s cakes I d always been eating If something is unknown, you may well be curious about that Show me everything Only you ll see my... I ve been longing just like Cinderella I ll run away with nothing but my uniform May the magic stop the time before the villains bother us I want to run away just like Juliet But don t call me with that name Yes we re to be bound Or it would be too boring Honey, you re going to live with me? I d applied a little flashy mascara I promise to become a good girl tomorrow Forgive me this time The borderline of the black lace, Nobody secures it today, How far we re going beyond it? So hard that I bit you, So hard that it hurts, I m in love with you But Dad seems to hate you, though You gave me a hand holding a collar for me Take me away my Romeo So far that they rebuke us The bell sounds just like Cinderella I ll leave my GLASS Shoe So find me soon Before my bad dream annoys me Surely she did the same thing She lied that she dropped it accidentally Yes, I ll do the same I want to endear myself to him See, I m here Would you try looking into my heart? It s filled with desire, isn t it? But it s not enough, stuff more into it So hard that you cannot be there anymore, maybe? But that wouldn t make sense Happiness seems to be stored in the small box, rather than the larger one What should I do? Something should be done or I ll let you down But greedy dad and mom are living usual life Yes, I ll accept my nature "The golden axe is what I ve lost" Cinderella who had told too much lies Is said to have been eaten by the wolf What should I do? Something should be done Or I ll be eaten Please save me before that Romaji lyrics (transliterated by managarmr): Watashi no koi wo higeki no JULIET ni shinaide Koko kara tsuredashite… Sonna kibun yo PAPA to MAMA ni oyasuminasai Seizei ii yume wo minasai Otona ha mou neru jikan yo Musekaeru miwaku no CARAMEL Hajirai no suashi wo karameru Konya ha doko made ikeruno? Kamitsukanaide yasashikushite Nigaimono ha mada kirainano MAMA no tsukuru okashi bakari tabetaseine Shiranai koto ga aru no naraba Shiritai to omou futsuu deshou? Zenbu misete yo Anata ni naraba misete ageru watashi no... Zutto koishikute CINDERELLA Seifuku dake de kaketeikuwa Mahou yo jikan wo tomete yo Warui hito ni jamasarechauwa Nigedashitai no JULIET Demo sono namae de yobanaide Sou yo ne musubarenakuchane Sou janai to tanoshikunaiwa Nee watashi to ikitekureru? Senobi wo shita nagai MASCARA Iiko ni naru yo kitto asu kara Ima dake watashi wo yurushite Kuroi LACE no kyoukaisen Mamoru hito ha kyou ha imasen Koetara doko made ikeruno? Kamitsuku hodo ni itai hodo ni Suki ni natteta no ha watashi desho PAPA ha demone anata no koto kirai mitai Watashi no tame to sashidasu te ni Nigitteru sore ha kubiwa desho Tsuredashite yo watashi no ROMEO Shikarareru hodo tooku he Kane ga narehibiku CINDERELLA GLASS no kutsu ha oite ikuwa Dakara ne hayaku mitsukete ne Warui yume ni jirasarechauwa Kitto ano ko mo soudatta Otoshita nante uso wo tsuita Sou yo ne watashi mo onaji yo Datte motto aisaretaiwa Hora watashi ha koko ni iru yo Watashi no kokoro sotto nozuitemimasenka? Hoshii mono dake afurekaetteimasenka Mada betsuhara yo motto motto gyuutto tsumekomunde Isso anata no ibasho made mo umeteshimaouka Demo soreja imi nai no Ooki na hako yori chiisana hako ni shiawase ha aru rashii Doushiyo kono mama ja watashi ha Anata ni kirawarechauwa Demo watashi yori yokubari na PAPA to MAMA ha kyou mo kawarazu Sou yo ne sunao de ii no ne Otoshita no ha kin no ono deshita Usotsukisugita CINDERELLA Ookami ni taberareta rashii Doushiyou kono mama ja watashi mo Itsuka ha taberarechauwa Sono mae ni tasuke ni kite ne
https://w.atwiki.jp/vocaloidenglishlyric/pages/106.html
【Tags Meiko Miriam shu-tP tC C】 Original Music Title Close My Eyes Music and lyrics written, Voice edited by shu-tP Music arranged by shu-tP Main Singer Meiko, Chorus Miriam Click here for the Japanese Lyrics English Lyrics (translated by Minato777): Every time I touch, I feel wistful We still have and share the feeling Hold the feeling you forgot Tightly in your hand (Forever) I love you (Forever) I believe you The words thrown in the sky is still ringing in the memory (Forever) I love you (Forever) I ll never forget Anyday, whenever I close my eyes, you are there I want to be by your side just a little more The dawn is coming nearby Don t let go of my hand you hold Not to be washed away (Forever) I love you (Forever) I believe you The words thrown in the sky is still ringing in the memory (Forever) I love you (Forever) I ll never forget Anyday, whenever I close my eyes, you are there Romaji lyrics (transliterated by yourvocaloidsongdatabase): Fureru tabini setsuna kunaru tsunaga tteiru tsuzu iteru wasure teita kono omoi wo tsuyoku nigiri shimete (Itsumademo) Aishi teru (Itsumademo) Shinji teru Ano sora he nage ta kotoba wa kioku ni hibii teru (Itsumademo) Aishi teru (Itsumademo) Wasure nai Itsuno hi mo hitomi toji reba soko niwa kimi ga iru Mou sukoshi dake sobaniitai chikadu iteru yo akemae kasame ta te wo hanasa naide nagasa renai youni (Itsumademo) Aishi teru (Itsumademo) Shinji teru Ano sora he nage ta kotoba wa kioku ni hibii teru (Itsumademo) Aishi teru (Itsumademo) Wasure nai Itsuno hi mo hitomi toji reba sokoniwa kimi ga iru (Itsumademo) Aishi teru (Itsumademo) Shinji teru Ano sora he nage ta kotoba wa kioku ni hibii teru (Itsumademo) Aishi teru (Itsumademo) Wasure nai Itsuno hi mo hitomi toji reba soko niwa kimi gairu
https://w.atwiki.jp/skyrimparma/pages/23.html
Alteration 変性 StudiesNoviceAlteration 学問 素人の変性術 1 --- You ve decided to study the basics of Alteration. Let other mages dally with the flash of fire and ice - you ll show them what magical control truly is.素人レベルの変性魔法の呪文をランダムで修得する。また変性魔法の持続時間が延びる StudiesApprenticeAlteration 学習 見習いの変性術 20 ↑ While still only an aspiring student of magical theory, you ve begun to manipulate pure magical energy in unique ways.見習いレベルの変性魔法の呪文をランダムで修得する。また攻撃を受けるごとにマジカが少し回復する StudiesAdeptAlteration 学問 精鋭の変性術 40 ↑ As a skilled transmuter, magic protects you, empowers your swordarm and even carries you through the aether, abilities that no mere fire mage could hope to replicate.精鋭レベルの変性魔法の呪文をランダムで修得する。またフレッシュ系呪文の防御値が上昇する StudiesExpertAlteration 学問 熟練者の変性術 65 ↑ Your control of magical forces baffles lesser mages, rendering you nearly unassailable by force of magic or arms, but true mastery still eludes you.熟練者レベルの変性魔法の呪文をランダムで修得する。また物理移動系と瞬間移動系呪文の攻撃力と移動速度が上昇する StudiesMasterAlteration 学問 達人の変性術 90 ↑ Some of the highest forms of magical manipulation are yours to command, with foes simply banished from your sight at your will - but the very energies of creation beckon you further still...達人レベルの変性魔法の呪文をランダムで修得する。通常はデュアルキャストで詠唱する呪文の全てを片手で詠唱できるようになる MagesToolbox 魔術師の道具箱 25 StudiesNoviceAlteration 学問 素人の変性術 While not as powerful as a bolt of lightning or intimidating as a conjured daedra, mastery of functional magics might save your life just as quickly.実用系呪文のマジカ消費量が半分に軽減される MageArmor0 魔術師の鎧 30 StudiesApprenticeAlteration 学習 見習いの変性術 Only a fool would travel unarmored in dangerous lands, but you smirk at such small-minded fears. The fool is the one that thinks a mage like you is ever defenseless.標準的な胴具を身に付けていない場合、フレッシュ系呪文の性能が上昇する MageArmor1 魔術師の鎧 50 ↑ A warrior is nothing without their armor, but a true mage is armored even with nothing, with impenetrable magical protection a mere gesture away.標準的な胴具を身に付けていない場合、フレッシュ系呪文の性能が大幅に上昇する Spellweaver0 スペルウェーバー 25 StudiesApprenticeAlteration 学習 見習いの変性術 Alteration isn t just about projecting magical energy; the study of magic itself allows you to better manipulate magicka for all manner of effects.全ての魔法スキルの全呪文のマジカ消費量が軽減される Spellweaver1 スペルウェーバー 45 ↑ Guided by your will, magical energy flows easily through you, efficiently powering your spells and giving you magical endurance most casters only dream of.全ての魔法スキルの全呪文のマジカ消費量が更に軽減される Spellbinder スペルバインダー 40 Spellweaver0 スペルウェーバー The signature skill of the spellblade, you no longer need to compromise on your choice of spell or blade, instead channeling magic directly through the weapon.切換可能な力、スペルバインダーを使えるようになる。右手の武器を振ると左手の呪文が発動する Blink0 瞬き 45 StudiesAdeptAlteration 学問 精鋭の変性術 Not content to defy the rules of nature by moving yourself through space, your focus and reach extends even further.瞬間移動系呪文の距離が伸びる Blink1 瞬き 75 ↑ Compared to lesser mages, you are like a god, capable of stepping through the aether anywhere you wish to be with but a single thought and gesture.瞬間移動系呪文の距離が更に伸びる KineticCrush キネティッククラッシュ 50 StudiesAdeptAlteration 学問 精鋭の変性術 While magicka can easily create elemental energy, nothing is purer than force itself. With concentration, you project unstoppable kinetic power to batter foes.物理移動系呪文がデュアルキャストで増強される。またブロックされなくなる SecondSkin 第二の皮 60 MageArmor0 "魔術師の鎧 In discovering the true nature of protection spells, each empowers your body with powerful conjunctive magical boons and enhanced fortification.フレッシュ系呪文の性能が上昇し、標準的な胴具を身に付けていない場合に、フレッシュ系の各呪文で2つ目の効果が発現する Arcana Body 95 SecondSkin 第二の皮 Second Skin Your skill in skin transmogrification has reached its final level of expertise; all conjured spell armor now matches the highest grade of arcane craftsmanship. SacrificialCasting 生け贄の詠唱 45 StudiesAdeptAlteration 学問 精鋭の変性術 A dangerous path tread by only the strong, you transmute your body directly into shapeable energy. While painful, this sacrifice fuels your magical power.切換可能な力、"生け贄の詠唱"を使えるようになる。あらゆる呪文の詠唱に要するマジカを体力とマジカで均等に分けて消費される Lifelink ライフリンク 65 SacrificialCasting 生け贄の詠唱 Some nefarious mages use darker magics to continue fueling their powerful spells, tapping into their devotees to stave off the risk of magical enervation.ライフリンクの呪文を使えるようになる。ライフリンクは、生け贄の詠唱が効果中にしか使えない。召喚生物やフォロワーなりを犠牲にして治癒を図る FleshToPower フレッシュトゥパワー 85 Lifelink ライフリンク As a master medium between life and magical energy, you create a destructive localized backlash when coming down from your magical rages.生け贄の詠唱の効果切れの際、半径30フィート内にいる全員を麻痺させ、かつ体力を吸収する FocusTheCreator フォーカス 創造者 95 StudiesMasterAlteration 学問 達人の変性術 スペルプリズムの呪文を使えるようになる。放たれた呪文の方向へ反応する装置を地面に設置する Mindforge マインドフォージ 30 Studies Apprentice Alteration Combining magic and melee combat equally, a dedicated swordmage walks a delicate path of martial and mystical balance, spending his Magicka wisely.武器に追加効果付与する呪文の持続時間が倍になる Mindcutter マインドカッター 60 Mindforge Unlike lesser swordmages, with crudely bound combat magics, you gracefully sheathe your weapons in energies that slice through foes as easily as the keenest blades.武器に追加効果付与する呪文の攻撃対象の防御値上昇効果を発生させなくする Chronokinesis0 時間操作 80 Blink0 瞬き KineticCrush キネティッククラッシュ As your control over matter intensifies, you ve begun to manipulate time itself with every magical shift you make and blast of force you create.物理移動系と瞬間移動系呪文で時間の流れが遅くなる Chronokinesis1 時間操作 95 ↑ The petty rules of space and time begin to bow to your will, as your powerful teleports and blasts of force alter reality with every casting.物理移動系と瞬間移動系呪文で時間の流れが遅くなる Architect of Magic魔法の創造者 100 Studies Master Alteration 学問 達人の変性術 Something draws you, pulls at you. You feel as if this loose thread might help you unravel even greater magical secrets... 何かに引きずられるような、いや引っ張られているのか。まるで中空を漂う長細い糸が導こうとしているのか。摩訶不思議で謎に満ちている秘密を暴こうと言うのか。この糸を辿って行った先ある秘密を... ArchitectOfMagic1 魔法の創造者 100 ↑ The highest masters of magic are right to fear you, as your mastery of the very source of magic itself gives you dominion over yet another epic focus of magical skill.通常1つしか取得できないFocusのPerkを変性魔法に限りもう1つ取得できる Focus The Creator フォーカス 創造者 95 StudiesMasterAlteration 学問 達人の変性術 The highest art of the mage that focuses on creation. You ve mastered the very essence of Magicka itself, creating a universal device that manipulates and amplifies any spells cast at it.スペルプリズムの呪文を使えるようになる。放たれた呪文の方向へ反応する装置を地面に設置する Focus TheSpherebender フォーカス スペルバインダー 95 StudiesMasterAlteration 学問 達人の変性術 The highest art of the alteration mage. Physical reality quickly warps at your beck and call, and you ve mastered magic that hurls foes aside like leaves in the wind.物理移動系と瞬間移動系呪文のクールダウンが短縮される。またキネティックシフトの呪文を使えるようになる。キネティックシフトは物理移動と瞬間移動の2つの特性を併せ持つ超強力な呪文
https://w.atwiki.jp/saigai_ota/pages/24.html
I-100 Introduction to Incident Command System Self-Paced Student Workbook https //extranet.gov.ab.ca/srd/HTC/documents/ICS%20Docs/2011%20ICS%20I-100%20Self-Paced%20Student%20Workbook.pdf FEMA http //emilms.fema.gov/IS100b/indexMenu.htm ICS ORIENTATION http //www.cdsoutdoor.com/docs/ICS%20I-100.pdf
https://w.atwiki.jp/orange_sherbet/pages/31.html
Everyday Conversations / Manners - draft Definition This is the stage between the final step of making friends and the first step of actually meeting people. The goal here is to give you a better understanding of stereotypical conversation models, so that differences between Japanese conversations and what you may be used to will not be a problem. Explanation American people typically feel comfortable talking to anyone. For example, at the airport when they re waiting for the plane or with people who they are sitted next to in the plane. Some Japanese, especially older people, talk to people they are seated next to on the train or plane, this particular sort of incident is still pretty rare, and in general, Japanese people hesitate to talk to people they don t know. One of the reasons for this hesitation is that they don t know how to stop the conversation once they start it. They are afraid of being awkward after ending the conversation. It is often said that Japanese is a high context language, in which it is considered better to be quiet than be loud or talkative. However, Japanese people hate silence during the conversation and most feel pressured to break these awkward pauses. Americans, by contrast, do not feel this compulsion and can stop the conversation whenever they want. Their subconscious ability to terminate the conversation or then start another conversation again at will is very strong. Japanese and American Conversation model Japanese catch ball Basically the movement of a Japanese style conversation is throw-catch-return-catch-return.... Therefore people are expected to throw balls that are easy to catch so that the other person can easily return them. If the topic is hard to catch or throw back, the conversation will fail, and if there is nothing that the other person can "return the ball with," the conversation will end. For example, in cell phone e-mail communication, if you want the message to continue, you are expected to add some questions so that the other person has something to reply to. Otherwise they might just read and not feel the need to reply, or just reply with a simple answer like "I see" and the conversation will end. American bowling People can throw out any topic, and someone else will find something interesting to base their response on and then conversation will continue. Therefore there is no need to worry about a conversation topic. It can be said they are good at catching any sort of ball that may be thrown, whereas Japanese are not good at catching balls that are not thrown directly to them. Argument and Specific conversation topics Basically, Americans tend to engage in arguments more often, even in daily conversation. Japanese people, on the other hand, do not like to argue at all. To avoid arguing, when Japanese people talk to someone who they are not close with, there are taboo topics such as politics, religions, and baseball. For Americans however, politics and religon are considered good discussion topics since "arguing" these topics will allow you to get to know the other person better. Non-verbal Language One thing that OYRs must look out for in the course of their interaction with Japanese people is ambiguity. It is important to understand that a large part of Japanese culture the abiltiy to say things indirectly and one is expected to be able to "read the atmosphere," a concept refered to as "KY." Physical Contact Physical contact is a popular greeting among western cultures. In contrast, it is rare in Japan and can be used only among people with close relations such as family or lovers. It is also said that Japanese people s personal space space is wider than that of westerners, so Japanese people may feel their personal space has been intruded upon even though westerners see it is as a normal distance. Personal space is private, and can be both physical and mental, which is why people feel uncomfortable when someone enters their space. Examples The physical cnotact issue story A Japanese girl went to the UK. She stayed at the house of an older British man as a homestay. Every time she came back to the house, the British man hugged her as though she were his daughter. He behaved this way around everyone, however, the Japanese girl did not like his hug. She said to us "彼は私にセクハラをしている"。(this is sexual harassment) The British man did not know she felt this way, but her feelings seemed to be clear after awhile. Because of this issue, the British man felt awkward as though he could not be close to the girl. Physical contact was a normal greeting and the old man never thought she minded it, but in fact, she was nervous and worried about the physical contact all the time. Non-verbal communication story At the welcome party for new comers held in our dormitory, we (the OYRs) were given the privilege of getting food first. After getting our share, we immediately started eating while everyone else stood quietly in line to get their food. Some time passed by when suddenly, one of our dorm mates (who was American) told us to stop eating. My fellow OYRs and I were shocked and immediately stopped eating. It turned out that we were supposed to wait for everyone to get their food and then eat together. When we asked why no one told us, she said they were too shy to speak up. I scanned the room and all I could see were expressionless faces who are trying to avoid looking at our direction. It was quite awkward. Solution / Recommendation / Suggestion etc. It seems that the typical image of a Japanese, from an outsider s point of view, is that they are "shy" and "sensitive" and they feel the need to be "thoughtful" to others. Americans, on the other hand, are generally stereotyped as "active" and "outgoing." Because of these stereotypes, it may seem that Japanese and American styles are exact opposites, which would make it impossible for them to communicate well. The Japanese may seem shy and senstive because they are so worried about the flow of the conversation. The easy solution for Japanese people is to not think too much and to focus on being themselves when meeting new people. Talk about whatever you want. Talk about what s going on; what you did recently, your plans, what you ve been busy with, etc. The best thing for foreigners to remember is that Japanese people are naturally "shy" and "sensitive" in comparison, so they should try to take the initiative in conversations and make the other person feel comfortable and at home with you. Personal space and physical contact may depend on the personality of each individual, but an understanding of each other s culture is also important. Edit this page
https://w.atwiki.jp/marketresearch/pages/31.html
Location-based Services Market Scope The global Location-based Services market size is expected to register an exponential CAGR valued at USD in 2032, is the very large growth connectivity across the globe in today’s modern society, with rising applications on the Location-based Services and future technological innovations Location-based Services technology is expected to provide high-speed services, a new generation of applications, services, and business opportunities that have not been seen before. The increasing demand for connected devices has been the major factor that drives the growth in the global Location-based Services market. However, various governments across the globe have implemented strict regulations. Future technological advancements due to Location-based Services market Size are expected to provide huge opportunities for the growth of Location-based Services Market Business. Sample Copy of This Report https //www.quincemarketinsights.com/request-sample-69586?utm_source=openpr/pranali Location-based Services Market Top Competitive Players The Location-based Services Market has major key players such as the examination likewise distinguishes and investigations significant business systems utilized by these fundamental Location-based Services market players, like A portion of the primary contenders ruling the worldwide Location-based Services market Key Players Alcatel-Lucent SA, Apple, Inc., AT T Inc., Bharti Airtel, LTD., Cisco Systems, Inc., Google Inc., HERE, International Business Machines Corporation, Microsoft Corporation, Oracle Corporation, and Qualcomm Inc. Location-based Services Market Segmentation The global Location-based Services Market has an estimation of USD to grow its market size at the end of 2023 expect to CAGR Value 2032 The global Location-based Services market segmentation based on the By type, application, By Component By end-user, and region. The software segment was expected to show significant market growth in the global Location-based Services market in 2023. However, in terms of market revenue, the segment is estimated to dominate the market share in 2032. Segmentation By Component (Hardware, Software, and Services), By Technology (GPS, Assisted GPS (A-GPS), Enhanced GPS (E-GPS), Enhanced Observed Time Difference, Observed Time Difference, Cell ID, Wi-Fi, and Others), By Application (Location-based Advertising, Business Intelligence Analytics, Fleet Management, Mapping Navigation, Local Search Information, Social Networking Entertainment, Proximity Marketing, Asset Tracking, and Others), and By Industry Vertical (Transportation Logistics, Manufacturing, Government Public Utilities, Retail, Healthcare Life Sciences, Media Entertainment, IT Telecom, BFSI, Hospitality, and Others) Location-based Services Market Regional Analysis The geographic analysis of the Location-based Services market has been conducted for generally utilized because of innovation arrangement. Tech goliaths Europe, Asia Pacific, North America, Africa, South America, and Middle East, and it is expected to register strong growth during the forecast period 2032. North America is the most significant revenue contributor to the global Location-based Services infrastructures in terms of research development in Location-based Services market technology, design/ deployment, and the presence of key market players. The region is well known for its high adoption rate of new advanced technologies, including the Research wearable technology. A reliable and fast connectivity required for these technologies is expected to be addressed by Location-based Services . In North America, with Location-based Services market to deliver many years of value to consumers and enterprises in the foreseeable future, various projects such as Next Generation activities are primarily cantered around academia with additional efforts from agencies of the US government and (Standard Developing Organizations). These entities, through public-private partnerships, are actively engaging in scientific and applied research in emerging technologies. Therefore, North America is expected to maintain its leadership in new technologies that will underpin Location-based Services Market technology. North American market has been segmented into the US, Canada, and Mexico. justifying support for digital transformation research and development, Infrastructure and manufacturing and widespread government-agency adoption of Location-based Services and Location-based Services applications. •North America (United States, Canada and Mexico) •Asia-Pacific (China, Japan, Korea, India, Southeast Asia and Australia) •South America (Brazil, Argentina) •Europe (Germany, France, United Kingdom, Russia and Italy) •Middle East Africa (UAE, Egypt, Saudi Arabia, and South Africa) Make an Enquiry for purchasing this Report @ https //www.quincemarketinsights.com/enquiry-before-buying/enquiry-before-buying-69586?utm_source=openpr/pranali Drivers •In this Exploration, the rising acknowledgment of Location-based Services by purchasers is making these suppliers to offer more imaginative however secure stage for money related exchanges to their clients Location-based Services Market Growth Factors •Expanding interest for and security in Location-based Services. •Developing mindfulness about the advantages of Location-based Services Market observation frameworks. •The multiplication of cutting-edge innovations and highlights Location-based Services Market •Rising number of street mishaps and fatalities across the globe. •Developing interest for associated Location-based Services Years considered for this report •Historical year – 2019-2020 •Base year – 2021 •Estimated Year -2022 •Forecast period – 2023 to 2032 FAQ •What will be the growth rate of the Location-based Services market? •What are the important factors that drive the market share of the global Location-based Services market? •What are the key factors dividing the market size of the Global Location-based Services market? •Who are the top manufacturers in the Location-based Services market? •What are the major market opportunities, challenges, and threats faced by the Location-based Services market? •Who are the leading distributors, traders, and dealers of the Location-based Services market? •What are the sales, price, and revenue analyses of the top manufacturers of the Location-based Services market? •What is the impact of covid-19 on the Global Location-based Services market? •How the market has been segmented in this market research report? About Us QMI has the most comprehensive collection of market research products and services available on the web. We deliver reports from virtually all major publications and refresh our list regularly to provide you with immediate online access to the world’s most extensive and up-to-date archive of professional insights into global markets, companies, goods, and patterns. Contact us Quince Market Insights Phone +1 208 405 2835 Email sales@quincemarketinsights.com Website https //www.quincemarketinsights.com/
https://w.atwiki.jp/oblivion1/pages/75.html
The Charwich-Koniinge Letters, Book III 13 Last Seed, 3E 411 Wayrest, High Rock My Dear Koniinge, Please forgive the quality of the handwriting on this note, but I have not long to live. I can only reply in detail to one part of your letter, and that is that I fear Baliasir, contrary to what you ve heard, is very much real. Had he been but a figment of that caretaker s imagination, I would not be feeling life ebb from me as I write this. Lady Moorling has sent for healers, but I know they won t arrive in time. I just need to explain what happened so that you ll understand, and then all my affairs in this world will be ended. The one advantage of my condition is that I must be brief, without my habitually ornamental descriptions of people and places. I know that you will appreciate that at least. It started when I came to Wayrest, and through my friend Lady Moorling and her court connections was introduced to Baliasir himself. I had to proceed carefully, not wanting him to know of our designs on Azura s Star which I presumed he possessed, given to him by his servant Hadwaf Neithwyr. His function in Queen Elysana s court seemed to be decorative, like so many of her courtiers, and it was not hard to differentiate myself from the others when we began conversing on the school of mysticism. Many of the other hangers-on at the palace can speak eloquently on the subject of the magickal arts, but it seemed that only he and I had deep knowledge of the craft. Many a nobleman or adventurer who aren t mages by profession learn a spell or two from the useful schools of restoration or destruction. I told Baliasir quite truthfully that I had never learned any of that (oh, but I wish I knew some healing spells of the school of restoration now), but that I had developed some small skill in mysticism. Not enough to be a Psijic, of course, but in telekinesis, password, and spell reflection I had some amateur ability. He responded with compliments, which allowed me to segue into the topic of another spell of mysticism, the soul trap. I told him I was unlearned but curious about that spell. And very naturally and comfortably, I was able to bring up the subject of Azura s Star, the endless well of souls. Imagine how I had to hold back my excitement when he leaned in and whispered to me, 的f that interests you, come to Klythic s Cairn west of the city tomorrow night.・BR I couldn t sleep at all. The only thing I could think of was how I would get the Star when he showed it to me. I still knew so little about Baliasir, his past and his power, but the opportunity was too great to let pass. Still, I must admit that I held hopes that you would arrive, as you threatened you might in your letter, so I might have someone of physical strength to aid me in my adventure. I am growing weaker and weaker as I write this, so I must proceed with the basic facts. I went to the crypt the following night, and Baliasir led me through the maze of it to the repository where he kept the Star. We were talking quite casually, and as you ve so often said, it seemed an excellent time for an ambush. I grabbed the Star and unsheathed my blade in what I felt was amazing speed. He turned to me and I suddenly felt that I was moving like a snail. In a flash, Baliasir changed his form and became his true self, not man or mer, but daedra. A colossal daedra lord who swiped back the Star from my grasp and laughed at my sword as it thudded against his impenetrable hide. I knew I had been beaten, and I threw myself towards the corridor. A blue flash of energy coursed through me, flung by Baliasir s claws. At once, I began to feel death. He could have smote me with a thousand spells, but he chose the one where I could lie down, and suffer, and hear him laugh. At the very least, I did not give him that pleasure. Already struck, it was too late for me to cast a counterspell of mysticism, one to dispel the magicka, reflect it or absorb it as my own. But I did still know how to teleport myself, what mystics term Recall, to whatever place I d last set a spiritual anchor. I confess that at the time, I didn t remember where that would be. Perhaps in Bhoriane when I arrived in the Iliac Bay, or in Kambria, or in Grimtry Garden where I met the caretaker, or my hostess s palace in Wayrest. I prayed that I had not set the anchor last when I was with you in Morrowind, for it said that if the distance is too great, one can be caught between dimensions. Still, I was willing to take that chance, rather than being the plaything of Baliasir. I cast the spell and found myself back on the doorstep of Lady Moorling s palace. To be out of the crypt and away from the daedra was a relief, but I had so hoped that I had been smart enough to cast an anchor near a Mages Guild or a temple where I could find a healer. Instead, knowing I was too weak to walk far, I beat on the door and was taken here, where I write this letter, lying in my bed. As I wrote those words, dear Elysbetta, Lady Moorling, came in, quite tearfully and frantic, to tell me the healers should be hre withn but a few minute. But I wil be ded ere they arrve. I know thes are m last wors. Der frend, stay away frm this cursd place. Yr Frend, Charwich