約 5,042,666 件
https://w.atwiki.jp/chex/pages/348.html
Basilisk / バジリスク Basic Information Type Vehicle Durabilty 1100p OKE Weight 9080kg Payload 28600kg Payload in Engine Power 150% 42900kg On-Board Arms 3 Weapon 1 Assault Gun, Beam Gun, Electromagnetic Pulse Gun, Napalm Gun, Shell, Shotgun, Cannon Weapon 2 Rocket Launcher(S16/M8/L4) , Missile Launcher(S16/M8/L4), Land Mine Dispenser(8), Aerial Mine Dispenser(8), Special Launcher(Sonic Blaster(16),the others(8)) Weapon 3 The same as Weapon 2. On-Board Options 4 On-Board Energy 3400GJ 680kg On-Board Energy in its rate 150% 5100GJ 1020kg Heat Resist 3200P Attack Attack Low Chop. Attack High Hit upward from left to right. Attack Far Dash pushing his left arm. Special Move Number Name Summary 1 Right Rotate Strafe Rapid fire with weapon1 rotating about 70 deg. rightward. 2 Left Rotate Strafe The converse of 1. 3 Strafe Forward Rapid fire with weapon1 from about 60 deg. left to about 60 deg. right centering the front. Feature Often Observed Styles
https://w.atwiki.jp/wm_rev/pages/102.html
(101p) SIEGE EQUIPMENT LISTS There are three distinct siege equipment lists; the fortification list, the siege equipment list and the siege artillery equipment list. These lists work in the same way, but access to them is dependant upon the specific restrictions of a particular scenario. The scenario special rules will specify exactly which lists may be used by which side. Earthworks are available to both the attacker and the defender, as are siege artillery. All equipment is available to all armies of all races in Warmaster for siege battles unless stated otherwise. No army may ever have more than two wallbreaching artillery per 1000 points. Remember that also cannons and rock lobbers count as wall breaching! FORTIFICATION LIST Troop / Type / Attack / Structure Points / Armour / Command / Unit Size / Points per Unit / Min/Max / Special Gateway / Building / - / 12 / Special / - / 40mm / 40 / 1/- / ※1 Gateway Tower / Building / - / 12/25 / Special / - / 40mm / 150 / -/- / ※1 ※2 Wall / Building / - / 20 / Special / - / 40mm / 55 / -/- / ※1 Sally Gate / Building / - / - / Special / - / 20mm / +10 / -/1 / ※3 Tower / Building / - / 30 / Special / - / 40x40mm / 200 / -/- / ※1 Palisade Tower / Building / - / 25 / Special / - / 40mm / 165 / -/- / ※1 ※2 Palisade Wall / Building / - / 15 / Special / - / 40mm / 45 / -/- / ※1 Earthwork / Fieldwork / - / - / Special / - / 40x10mm / 15 / -/- / ※3 ※4 Special Rules ※1 Only defenders are allowed to invest points into fortification with the exception of earthworks. ※2 The gateway may be destroyed independently with a Structure Point value of 12. If the tower is destroyed the gateway is destroyed with it. ※3 Sally Gates may secretly be placed in any piece of wall and are not revealed to the attacker until used. They may not be targeted separately by the attacker and do not weaken the structure of the wall (unless they are open). One defending unit may cross the sally gate per round either on order or initiative. For that reason a defending unit directly touching the Sally Gate may draw a line of sight as if it were invisible. Whenever a unit leaves or returns by the Sally Gate the defenders need to open and close the gates. Roll 3 dice. If the result is equal to or more than the distance of the nearest enemy the Sally Gate counts as open and has to be closed by a successful command. An open Sally Gate counts as defended. ※4 Gives fortified status when shot at, defended status if in combat. May be removed by troops being in contact and rolling a 6 with their attacks. (102p) SIEGE EQUIPMENT LIST Troop / Type / Attack / Structure Points / Armour / Command / Unit Size / Points per Unit / Min/Max / Special Boiling Oil or Rock Dropper / Machine / - / - / Special / - / 1 / 5 / -/- / ※1 Log Rams / Machine / - / - / Special / - / 1 / 5 / -/- / ※2※3※5 Ladders / Machine / - / - / Special / - / - / 5 / -/- / ※2 Sow / Machine / - / 3 / 3+ / - / 1 / 5 / -/- / ※2※3 Mantles / Machine / - / - / Special / - / - / 10 / -/- / ※2※4 Siege Towers / Machine / - / 3 / 3+ / - / 1 / 20 / -/- / ※2※3 Battering Ram / Machine / 1 / 3 / 3+ / - / 1 / 10 / -/- / ※2※3※5 Special Rules ※1 Defenders Only - Only defenders in a siege scenario may use these. ※2 Attackers Only - Only attackers in a siege scenario may use these. ※3 Have a move of 15. Are not driven back by shooting. ※4 Give defended status. Are lost if carrying units are charging or are driven back more than half their move. ※5 Rams always make one automatic hit when battering. SIEGE ARTILLERY LIST Troop / Type / Attack / Hits / Armour / Command / Unit Size / Points per Unit / Min/Max / Special Mangonel / Artillery / 0/4 / 3 / 0 / - / 1 / 80 / -/1 / ※2※3 Bombard / Artillery / 0/4 / 3 / 0 / - / 1 / 130 / -/1 / ※1※2※3 Tribock / Artillery / 1/6 / 4 / 0 / - / 1 / 120 / -/1 / ※2※3 Special Rules ※1 Cannon like - Shots from a Bombard bounce like cannons and get +1 when shooting at defended or fortified targets. May not be used by Elves of any kindred, or Bretonnians. ※2 Wall Breaching artillery - No army may ever have more than two wall breaching artillery per 1000 points. All of the following count as wall-breaching artillery Mangonels, Bombards, Tribocks, Cannons, SkullChukkas, Rock-Lobbers, Trebuchets and EarthShacker Cannons. ※3 Shooting straight ahead - may only draw line of sight in the corridor that extends straight forward in the width of the front edge.
https://w.atwiki.jp/wiki7_moonlight/pages/9.html
\documentclass[b4paper,landscape,fleqn,papersize]{jsarticle} %----------------------------------------------------------------------------- \usepackage[dvipdfm]{graphicx}\usepackage{amsmath,amssymb} \usepackage{MePoTeX}\usepackage{ka2ra,ka2ramp}\usepackage{okumacro,enumitem} \usepackage{multicol}%\usepackage{ascmac,eclarith,qbgraph,enumitem} \usepackage{fp}% 統計計算用 %----------------------------------------------------------------------------- \setlength{\columnseprule}{0.2pt}\setlength{\fboxrule}{0.2pt} \setlength{\textwidth}{350truemm}\setlength{\textheight}{240truemm} \setlength{\oddsidemargin}{-18truemm}\setlength{\topmargin}{-20truemm} \setlength{\headheight}{0mm}\setlength{\headsep}{0mm} \pagestyle{empty} %-------------------------------------------------------------------------------- \makeatletter\input{qbGraphMePoTeXmacro}\makeatother %-------------------------------------------------------------------------------- %------------------------------------------------------------------------ %TeXによる簡単なデータセットのリストに関するマクロ集(\qbDataシリーズ) \makeatletter%===========================================================================makeatletter % \qbDSet#1#2 データセット #2で与えられたデータセットを#1と名付ける。#1は「\hoge」のように------------------------------ \def\qbDSet#1#2{\edef#1{#2}}% %\edef is similar to \def in that it allows you to define new macros or replace an existing macro. %------------------------------------------------------------% % 数値計算のfp.styによる個数・和・二乗の和・平均・分散など % %------------------------------------------------------------% % 特にデータセットは直接与えても \qbDataSet で変数化して使ってもどちらでも良い。お気楽極楽。 %\qbDCntV#1#2 データの個数関数 #1で与えられたデータの個数を数えた結果を#2に渡す。------------------------------------------------- \def\qbDCntV#1#2{\FPset\tmpCnt{0}% \@for\m =#1\do{\FPadd\tmpCnt\tmpCnt{1}}\FPclip#2\tmpCnt}% % \qbDCnt#1 データの個数 #1で与えられたデータの個数を数えた結果。------------------------------------------------- \def\qbDCnt#1{\FPset\tmpCnt{0}% \@for\m =#1\do{\FPadd\tmpCnt\tmpCnt{1}}\FPclip\tmpCnt\tmpCnt\tmpCnt}% % \qbDCntRV#1(#2)#3 #2未満のデータの個数 #1で与えられたデータの個数の度数分布用。------------------------------------------------- \def\qbDCntRV#1(#2)#3{\FPset\tmpCnt{0}\FPset\tmpRval{#2}% \@for\m =#1\do{\FPset\tmpO\m\FPiflt\tmpO\tmpRval\FPadd\tmpCnt\tmpCnt{1}\fi}% \FPclip#3\tmpCnt}% % \qbDCntR#1(#2) #2未満のデータの個数 #1で与えられたデータの個数の度数分布用。------------------------------------------------- \def\qbDCntR#1(#2){\FPset\tmpCnt{0}\FPset\tmpRval{#2}% \@for\m =#1\do{\FPset\tmpO\m\FPiflt\tmpO\tmpRval\FPadd\tmpCnt\tmpCnt{1}\fi}% \FPclip\tmpCnt\tmpCnt\tmpCnt}% % \qbDCntSV#1(#2,#3)#4 #2以上#3未満のデータの個数 #1で与えられたデータの個数の度数分布用。------------------------------------------------- \def\qbDCntSV#1(#2,#3)#4{\qbDCntRV#1(#2)\tmpCnta\qbDCntRV#1(#3)\tmpCntb% \FPsub\tmpCnt\tmpCntb\tmpCnta\FPclip#4\tmpCnt}% % \qbDCntS#1(#2,#3) #2以上#3未満のデータの個数 #1で与えられたデータの個数の度数分布用。------------------------------------------------- \def\qbDCntS#1(#2,#3){\qbDCntRV#1(#2)\tmpCnta\qbDCntRV#1(#3)\tmpCntb% \FPsub\tmpCnt\tmpCntb\tmpCnta\FPclip\tmpCnt\tmpCnt\tmpCnt}% % \qbDCntD#1[#2](#3)(#4) #2刻みで#3から#4段階の度数分布 #1で与えられたデータの個数の度数分布用。------------------------------------------------- \def\qbDCntD#1[#2](#3)(#4){% \FPset\tmpCnti{0}\FPset\tmpAdd{#2}\FPset\tmpMin{#3}\FPset\tmpCmax{#4}% \loop \FPadd\tmpCnti\tmpCnti{1}\FPclip\tmpCnti\tmpCnti%(\tmpCnti,\tmpCmax) \FPadd\tmpMax\tmpMin\tmpAdd\FPclip\tmpMax\tmpMax\tmpMin ~\tmpMax$ $ \qbDCntS#1(\tmpMin,\tmpMax)\par% \FPset\tmpMin\tmpMax% \FPiflt\tmpCnti\tmpCmax% \repeat }% % \qbDataSumV#1#2 データの合計関数 #1で与えられたデータの合計を計算した結果を#2に渡す。------------------------------------------------- \def\qbDSumV#1#2{\FPset\tmpSum{0}% \@for\m =#1\do{\FPadd\tmpSum\tmpSum\m}\FPclip#2\tmpSum}% % \qbDSum#1 データの合計 #1で与えられたデータの合計の値。------------------------------------------------- \def\qbDSum#1{\FPset\tmpSum{0}% \@for\m =#1\do{\FPadd\tmpSum\tmpSum\m}\FPclip\tmpSum\tmpSum\tmpSum}% % \qbDataSummV#1#2 データの2乗の合計 #1で与えられたデータの2乗の合計を計算した結果を#2に渡す。------------------------------------------------- \def\qbDSummV#1#2{\FPset\tmpSum{0}% \@for\m =#1\do{\FPmul\tmpOne\m\m\FPadd\tmpSum\tmpSum\tmpOne}\FPclip#2\tmpSum}% % \qbDSumm#1 データの2乗の合計 #1で与えられたデータの2乗の合計の値。------------------------------------------------- \def\qbDSumm#1{\FPset\tmpSum{0}% \@for\m =#1\do{\FPmul\tmpOne\m\m\FPadd\tmpSum\tmpSum\tmpOne}\FPclip\tmpSum\tmpSum\tmpSum}% % \qbDAvgV#1#2 データの平均関数 #1で与えられたデータの平均を#2に渡す。------------------------------------------------------ \def\qbDAvgV#1#2{\qbDSumV{#1}\tmpSum\qbDCntV{#1}\tmpCnt \FPdiv\tmpAvg\tmpSum\tmpCnt\FPclip#2\tmpAvg}% % \qbDAvg#1 データの平均 #1で与えられたデータの平均の値。------------------------------------------------------ \def\qbDAvg#1{\qbDSumV{#1}\tmpSum\qbDCntV{#1}\tmpCnt \FPdiv\tmpAvg\tmpSum\tmpCnt\FPclip\tmpAvg\tmpAvg\tmpAvg}% % \qbDAvggV#1#2 データの2乗の平均 #1で与えられたデータの2乗の平均を#2に渡す。------------------------------------------------------ \def\qbDAvggV#1#2{\qbDSummV{#1}\tmpSum\qbDCntV{#1}\tmpCnt \FPdiv\tmpVar\tmpSum\tmpCnt\FPclip#2\tmpVar}% % \qbDAvgg#1 データの2乗の平均 #1で与えられたデータの2乗の平均の値。------------------------------------------------------ \def\qbDAvgg#1{\qbDSummV{#1}\tmpSum\qbDCntV{#1}\tmpCnt \FPdiv\tmpVar\tmpSum\tmpCnt\FPclip\tmpVar\tmpVar\tmpVar}% % \qbDVarV#1#2 データの分散関数 #1で与えられたデータの分散を#2に渡す。------------------------------------------------------ \def\qbDVarV#1#2{\qbDAvgV{#1}\tmpAvg\qbDAvggV{#1}\tmpAvgg \FPmul\tmpAvg\tmpAvg\tmpAvg\FPsub\tmpVar\tmpAvgg\tmpAvg\FPclip#2\tmpVar}% % \qbDVar#1 データの分散 #1で与えられたデータの分散の値。------------------------------------------------------ \def\qbDVar#1{\qbDAvgV{#1}\tmpAvg\qbDAvggV{#1}\tmpAvgg \FPmul\tmpAvg\tmpAvg\tmpAvg\FPsub\tmpVar\tmpAvgg\tmpAvg\FPclip\tmpVar\tmpVar\tmpVar}% % \qbDStdV#1#2 データの標準偏差 #1で与えられたデータの分散の値を#2に渡す。------------------------------------------------------ \def\qbDStdV#1#2{\qbDVarV{#1}\tmpVar\FProot\tmpStd\tmpVar{2}\FPclip#2\tmpStd} % \qbDStd#1 データの標準偏差 #1で与えられたデータの分散の値。------------------------------------------------------ \def\qbDStd#1{\qbDVarV{#1}\tmpVar\FProot\tmpStd\tmpVar{2}\FPclip\tmpStd\tmpStd\tmpStd} %------------------------------------------------------------------------------% % データのリスト処理 データを追加する・頭や胴体を取り出す・逆順にする など % %------------------------------------------------------------------------------% % \qbLSet#1#2 リスト定義 #2で与えられたリストを#1と名付ける。#1は「\hoge」のように------------------------------ \def\qbLSet#1#2{\edef#1{#2}}% %\edef is similar to \def in that it allows you to define new macros or replace an existing macro. % \qbLempty#1 よくわからない リスト #1 が空かどうかを判定するらしい。ちょっと意味不明。 \def\qbLempty#1{}%\relax% % \qbLcons#1#2 cons リスト #1 の先頭に #2 を追加する。 \def\qbLcons#1#2{\ifx#1\empty\edef#1{#2}\else\edef#1{#2,#1}\fi}% \def\qbLconsV#1#2#3{\ifx#1\empty\edef#1{#2}\else\edef#3{#2,#1}\fi}% % \qbLappend#1#2 append リスト #1 の末尾に #2 を追加する。 \def\qbLappend#1#2{\ifx#1\empty\edef#1{#2}\else\edef#1{#1,#2}\fi}% \def\qbLappendV#1#2#3{\ifx#1\empty\edef#1{#2}\else\edef#3{#1,#2}\fi}% % \qbLlast#1#2 last リスト #1 の先頭を取り出し #2 に渡す。 \def\qbLlastV#1#2{\@for\m =#1\do{\let\tmpLast\m}\let#2\tmpLast}% \def\qbLlast#1{\@for\m =#1\do{\let\tmpLast\m}\tmpLast}% % \qbLnthV#1#2#3 nth リスト #1 の#2番目を取り出し #3 に渡す。 \def\qbLnthV#1#2#3{\FPset\tmpC@nt{0}% \@for\m =#1\do{\FPadd\tmpC@nt\tmpC@nt{1}\FPifeq\tmpC@nt{#2}\let#3\m\fi}}% % \qbLnth#1#2 nth リスト #1 の#2番目を取り出す。 \def\qbLnth#1#2{\FPset\tmpC@nt{0}% \@for\m =#1\do{\FPadd\tmpC@nt\tmpC@nt{1}\FPifeq\tmpC@nt{#2}\m\fi}}% % \qbLcarV#1#2 car リスト #1 の先頭を取り出す。 \def\qbLcarV#1#2{\FPset\tmpC@nt{0}% \@for\m =#1\do{\FPadd\tmpC@nt\tmpC@nt{1}\FPifeq\tmpC@nt{1}\let#2\m\fi}}% % \qbLcar#1#2 car リスト #1 の先頭を取り出し #2 に渡す。 \def\qbLcar#1{\FPset\tmpC@nt{0}% \@for\m =#1\do{\FPadd\tmpC@nt\tmpC@nt{1}\FPifeq\tmpC@nt{1}\m\fi}}% % \qbLcdrV#1#2 cdr リスト #1 の2番目以降の胴体を取り出し #2 に渡す。 \def\qbLcdrV#1#2{\FPset\tmpC@nt{0}\let\tmpCdr\empty% \@for\m =#1\do{\FPadd\tmpC@nt\tmpC@nt{1}\FPifgt\tmpC@nt{1}\qbLappend\tmpCdr\m\fi}\let#2\tmpCdr}%\fi}% % \qbLcdr#1 cdr リスト #1 の2番目以降の胴体を取り出し #2 に渡す。 \def\qbLcdr#1{\FPset\tmpC@nt{0}\let\tmpCdr\empty% \@for\m =#1\do{\FPadd\tmpC@nt\tmpC@nt{1}\FPifgt\tmpC@nt{1}\qbLappend\tmpCdr\m\fi}\tmpCdr}% % \qbDataRndSet#1(#2,#3,#4,#5) 乱雑 #2個のデータで値は#3~#4の範囲で小数点以下は#5桁のデータセット#1------------------------------ %------------------------------------------------------------------------------% % データの順番に関すること 最大値・最小値・レンジ・中央値・ など % %------------------------------------------------------------------------------% % \qbDMaxV#1#2 データの最大値関数 #1で与えられたデータの最大値を#2に渡す。 \def\qbDMaxV#1#2{\qbLcarV#1\tmpMax% \@for\m =#1\do{\FPsub\tmpOne\tmpMax\m\FPifneg\tmpOne\FPset\tmpMax\m\fi}\FPclip#2\tmpMax}% % \qbDMax#1 データの最大値 #1で与えられたデータの最大値。 \def\qbDMax#1{\qbLcarV#1\tmpMax% \@for\m =#1\do{\FPsub\tmpOne\tmpMax\m\FPifneg\tmpOne\FPset\tmpMax\m\fi}\FPclip\tmpMax\tmpMax\tmpMax}% % \qbDMinV#1#2 データの最小値関数 #1で与えられたデータの最小値を#2に渡す。 \def\qbDMinV#1#2{\qbLcarV#1\tmpMin% \@for\m =#1\do{\FPsub\tmpOne\tmpMin\m\FPifpos\tmpOne\FPset\tmpMin\m\fi}\FPclip#2\tmpMin}% % \qbDMin#1 データの最小値 #1で与えられたデータの最小値。 \def\qbDMin#1{\qbLcarV#1\tmpMin% \@for\m =#1\do{\FPsub\tmpOne\tmpMin\m\FPifpos\tmpOne\FPset\tmpMin\m\fi} \FPclip\tmpMin\tmpMin\tmpMin}% % \qbDRng#1 データのレンジ #1で与えられたデータのレンジ。 \def\qbDRng#1{\qbDMaxV#1\tmpMax\qbDMinV#1\tmpMin \FPsub\tmpRng\tmpMax\tmpMin\FPclip\tmpRng\tmpRng\tmpRng}% % \qbDMedV#1#2 メディアン #1 \def\qbDMedV#1#2{\qbDCntV#1\tmpC@nt\FPadd\tmpC@nt\tmpC@nt{1}% \FPdiv\tmpC@nt\tmpC@nt{2}\FPtrunc\tmpC@ntt\tmpC@nt{0}% \FPifeq\tmpC@ntt\tmpC@nt\qbLnthV#1\tmpC@ntt#2% \else\qbLnthV#1\tmpC@ntt\tmpMed\FPadd\tmpC@ntt\tmpC@ntt{1}\qbLnthV#1\tmpC@ntt\tmpMedd% \FPadd\tmpMed\tmpMed\tmpMedd\FPdiv\tmpMed\tmpMed{2}\FPclip#2\tmpMed\fi}% % \qbDMed#1 メディアン #1 \def\qbDMed#1{\qbDCntV#1\tmpC@nt\FPadd\tmpC@nt\tmpC@nt{1}% \FPdiv\tmpC@nt\tmpC@nt{2}\FPtrunc\tmpC@ntt\tmpC@nt{0}% \FPifeq\tmpC@ntt\tmpC@nt\qbLnth#1\tmpC@ntt% \else\qbLnthV#1\tmpC@ntt\tmpMed\FPadd\tmpC@ntt\tmpC@ntt{1}\qbLnthV#1\tmpC@ntt\tmpMedd% \FPadd\tmpMed\tmpMed\tmpMedd\FPdiv\tmpMed\tmpMed{2}\FPclip\tmpMed\tmpMed\tmpMed\fi}% % \qbDQua#1#2#3 四分位数 #1 \def\qbDQua#1{\qbDCntV#1\tmpC@nt\FPadd\tmpC@nt\tmpC@nt{1}% \FPdiv\tmpC@nt\tmpC@nt{2}\FPtrunc\tmpC@ntt\tmpC@nt{0}% \FPifeq\tmpC@ntt\tmpC@nt$(\qbLnth#1\tmpC@ntt)$% \else\qbLnthV#1\tmpC@ntt\tmpMed\FPadd\tmpC@ntt\tmpC@ntt{1}\qbLnthV#1\tmpC@ntt\tmpMedd% \FPadd\tmpMed\tmpMed\tmpMedd\FPdiv\tmpMed\tmpMed{2}\FPclip\tmpMed\tmpMed\tmpMed\fi}% % \qbDFstHlf#1#2 \def\qbDFstHlf#1#2{\def\tmpC@nt{0}\edef#2{\empty} \qbDCntV{#1}\tmpL@n\FPadd\tmpL@n\tmpL@n{1}\FPdiv\tmpL@n\tmpL@n{2}% \@for\m =#1\do{\FPadd\tmpC@nt\tmpC@nt{1}\FPiflt\tmpC@nt\tmpL@n\qbLappend#2\m\fi}}% % \qbDSndHlf#1#2 \def\qbDSndHlf#1#2{\def\tmpC@nt{0}\edef#2{\empty} \qbDCntV{#1}\tmpL@n\FPadd\tmpL@n\tmpL@n{1}\FPdiv\tmpL@n\tmpL@n{2}% \@for\m =#1\do{\FPadd\tmpC@nt\tmpC@nt{1}\FPifgt\tmpC@nt\tmpL@n\qbLappend#2\m\fi}}% %No}} %--Sort関連----------------------------------------------------------------------- % \qbDsubSort#1#2 \def\qbDsubSort#1#2{\qbDMinV#1\foo\qbDSet\tmpLst{}% \@for\m =#1\do{\FPifeq\m\foo\qbLappend#2\m\else\qbLappend\tmpLst\m\fi} \let#1=\tmpLst}% % \qbDSortV#1#2 \def\qbDSortV#1#2{\qbDSet#2{} \loop\qbDCntV#1\foo\FPifgt\foo{1}\qbDsubSort#1#2\repeat \qbLappend#2#1} % \qbDSort#1 \def\qbDSort#1{\qbDSet\tmpSort{} \loop\qbDCntV#1\foo\FPifgt\foo{1}\qbDsubSort#1\tmpSort\repeat \qbLappend\tmpSort#1\tmpSort} % \FPmod \def\FPmod#1#2#3{\FPdiv\tmpVal{#2}{#3}%$1)\tmpVal$ \FPtrunc\tmpVal\tmpVal{0}%$2)\tmpVal$ \FPmul\tmpVal\tmpVal{#3}% \FPsub\tmpVal{#2}\tmpVal\FPclip#1\tmpVal}% % %--Box plot関連----------------------------------------------------------------------- \def\qbBoxPlot(#1,#2,#3,#4,#5,#6)[#7](#8,#9){ \FPsub\tmpRng{#9}{#8}\FPadd\tmpRng\tmpRng{2} \FPsub\tmpLx{#8}{1}\FPclip\tmpLx\tmpLx \begin{qbPMP}[#7mm](\tmpRng,4.2)(\tmpLx,-0.7) \qbPenSize(0.1)\sendMP{% vardef mylabel(expr pic, p) = label(pic, p);enddef; draw ((#8-.5,0)--(#9+.5,0)--(#9+.5,3)--(#8-.5,3)--cycle) scaled w; for i=#8 upto #9 draw (*1) shifted (i*w,0);endfor; for i=#8 step 5 until #9 draw (*2) shifted (i*w,0); %mylabel(TEX decimal(i),(i*w,-w/2));endfor; %label(TEX(decimal(i)),(i*w,-w/2));endfor; これは駄目 label(decimal(i),(i*w,-w/2));endfor; }% \qbPenSize(0.3)\sendMP{% draw (*3) shifted (#1,0)) scaled w;draw (*4) shifted (#2,0)) scaled w; draw (*5) shifted (#3,0)) scaled w;draw (*6) shifted (#4,0)) scaled w; draw (*7) shifted (#5,0)) scaled w; draw (*8) scaled w;draw (*9) scaled w; draw (*10) scaled w;draw (*11) scaled w; draw (*12) shifted (#6,1.5)) scaled w; draw (*13) shifted (#6,1.5)) scaled w; for i=#8 upto #9 draw (*14) shifted (i*w,0);endfor; label(btex $#1$ etex,(#1*w,-1.2w)); label(btex $#2$ etex,(#2*w,-1.2w)); label(btex $#3$ etex,(#3*w,-1.2w)); label(btex $#4$ etex,(#4*w,-1.2w)); label(btex $#5$ etex,(#5*w,-1.2w)); label(btex $#6$ etex,(#6*w,2w)); }% \end{qbPMP}} % % \qbDrndSet[#1,#2,#3](#4)#5 #1 レンジ #2 最小設定値 #3 四捨五入の桁数 #4 データの個数 #5 データ名 % \def\qbDrndSet[#1,#2,#3](#4)#5{%----------------------------------------------------------- \def\tmpCnt{0}\edef#5{\empty}\FPadd\tmpDmx{#4}{1}% \loop\FPadd\tmpCnt\tmpCnt{1}\FPiflt\tmpCnt\tmpDmx% \FPrandom\tmpEle\FPrandom\tmpElee\FPrandom\tmpEleee \FPadd\tmpEle\tmpEle\tmpElee\FPadd\tmpEle\tmpEle\tmpEleee\FPdiv\tmpEle\tmpEle{3} \FPmul\tmpEle\tmpEle{#1}\FPadd\tmpEle\tmpEle{#2}\FPround\tmpEle\tmpEle{#3}% \qbLappend#5\tmpEle \repeat}%--------------------------------------------------------------- % \qbDview \def\qbDview[#1]#2(#3){%----------------------------------------------------------------------- \def\tmpC@nt{0}\vspace{3mm} \begin{minipage}{#1\textwidth} \@for\m =#2\do{\FPadd\tmpC@nt\tmpC@nt{1}$\m%, \hfill$\FPmod\tmpC@ntt\tmpC@nt{#3}\FPifeq\tmpC@ntt{0}\par\fi} \end{minipage}\vspace{3mm}}%------------------------------------------------------------------------------- % \makeatother%============================================================================makeatother %------------------------------------------------------------------------ \begin{document} %------------------------------------------------------------------------ \noindent{\LARGE \bfseries 数学I}%\hspace{2mm} {\renewcommand{\arraystretch}{0.35} \begin{tabular}{c}{\scriptsize 京都府立}\\{\scriptsize 桂高等学校}\end{tabular}}\hspace{2mm} %\MPkatsurasym(4mm)\hfill {\large {\gt 統計}\hspace{8mm} {\Large データの分析}\hspace{8mm} {\large\gt 『度数分布とヒストグラム』}\hfill \underline{\hspace{8mm}}年\underline{\hspace{8mm}}組\underline{\hspace{8mm}}番 \hspace{2mm}氏名 \underline{\hspace{70mm}}%\vspace{-1mm} \hrule\vspace{-2mm}%] %---------------------------------------------------------------------------------------------------- \begin{multicols}{3}\normalsize %\FPseed=123 %---------------------------------------------------------------------------------------------------- \begin{enumerate}[leftmargin=*] \item % 次のデータを整理したい。以下の問いに答えてデータを整理しなさい。 %\qbDrndSet[50,135,1](20)\hoge \qbDrndSet[50,135,1](40)\hoge \par\vspace{4mm}\hfill\qbDview[0.24]\hoge(5)\hfill \begin{enumerate}[leftmargin=\parskip] \item % データの最大値と最小値を探して答えなさい。\par% 最大値は\kbs{16mm},最小値は\kbs{16mm} \hfill{\scriptsize \qbDMax\hoge /\qbDMin\hoge} \item % データの数を数えなさい。\par データは全部で\kbs{16mm}個% \hfill{\scriptsize データ数 \qbDCnt\hoge /データ幅 \qbDRng\hoge} \item % {\gt 度数分布}を作りたい。{\gt 階級}の幅をどうするか決めなさい。\par 階級の幅は\kbs{16mm}とします。 \item % {\gt 度数分布表}を作りなさい。\par \qbDCntD\hoge[5](135)(9) \hspace{-6mm}\scriptsize {\it note }\normalsize\par %\hspace{-6mm}\begin{qbPMP}[7mm](16,10)(0,0)\qbPenSize(1) %\sendMP{% %for i=0 step 1/3 until 10 draw (*15) scaled w dashed withdots scaled 1.2pt withcolor 0.5white;endfor; %for i=0 upto 10 draw (*16) scaled w withcolor 0.7white;endfor; %}% %\end{qbPMP} \item % {\gt 度数分布表}を元にして{\gt ヒストグラム}を作りなさい。\par \hspace{-6mm}\scriptsize {\it note }\normalsize\par %\hspace{-6mm}\begin{qbPMP}[7mm](16,10)(0,0)\qbPenSize(1) %\sendMP{% %for i=0 step 1/3 until 10 draw (*17) scaled w dashed withdots scaled 1.2pt withcolor 0.5white;endfor; %for i=0 upto 10 draw (*18) scaled w withcolor 0.7white;endfor; %}% %\end{qbPMP} \end{enumerate} % \columnbreak % \end{enumerate} %------------------------------------------------------------------------ \end{multicols} \end{document} %------------------------------------------------------------------------
https://w.atwiki.jp/touhoukashi/pages/6207.html
【登録タグ FELT Icicle fall M Rebirth StoryⅡ 妖々跋扈 曲 東方SF(スクールファンタジア) ~音と弾幕と学園モノ~ 美歌】 【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/leviathan/pages/16.html
Link List ファイナルファンタジー XI公式サイト 公式サイト LEVIATHAN【10】デュナミス予定表 デュナミスの予定表 ▲上へ戻る 名前 コメント
https://w.atwiki.jp/vocaloidenglishlyric/pages/224.html
【Tags M Raibu-P tD Rin】 Original Music Title マイリスダメー! Don t Mylist Me! (Mairisu Damee!) Music Lyrics written, Voice edited by ライブP (Raibu-P) Music arranged by ライブP (Raibu-P) Singer 鏡音リン (Kagamine Rin) Click here for the Japanese Lyrics English Lyrics (translated by lygerzero0zero): The words are dyed deeply Revealing the truth of things This song is for that person What are you punks so happy about? Words of "WTF?" crudely line up[1] All I hear is the panting of animals When I imagine the sound Of the innumerable mouse clicks It sends down my spine I m begging you, please Don t Mylist me! [2] Temporary takes just one click [3] What that mean? Stop it! I m not such as a loose woman as that What s with this wktk shit? [4] Don t make fun of me! A cruel congratulation flies off THe numbers have increased another digit Contrary to my irritation, My body s all heated up I m encircles in a golden frame Somebody s spreading lies again Tainting my pure maiden heart Those disgusting grinning faces are getting closer I m begging you, please Don t stare hungrily like that! Temporarily pause a moment Stop doing that! I m not such a cheap a woman as that Just because you re using points doesn t mean I ll give you anything I m begging you, please Don t Mylist me! Temporary just one click What s that mean? Stop it! I m not such as a loose woman as that What s with this wktk shit? Don t make fun of me! I won t give you anything ...well, just for a moment, okay? (Ah, no) (Don t do it) [1] "imifu" stands for "imi fumei" literally "meaning unclear," I thought "WTF" was the closest English equivalent [2] MyList is Nico Nico Douga s video favoriting system [3] - "Temporary just one click" refers to the button on the side of Nico Videos that allows you to add a video to your temporary MyList with one click. "Ippatsu" (which I rendered as "one click") probably also has certain -other- ways of interpreting it. "One go," "one fling" perhaps. [4] - "wktk" I couldn t come up with an English equivalent so I left it as it was. "wktk" is a common Nico comment and stands for "wakuteka" which in turn stands for "waku-waku teka-teka" which is roughly "sparkling with excitement." Imagine an anime character with sparkles around them and you get the gist. Romaji lyrics (transliterated by Minato777): koto no ha fukaku some te ari no mama wo sarakedashi ta ano hito no tame no uta nande anta-tachi ga yorokobu no? imifu na moji retsu zatsu ni narabu kedamono no toiki bakari tsuzuku musuu ni mausu wo ijikuru oto wo souzou suru tabi samuke ga suru wa onegai dakara mairisu shi nai de toriaezu ippatsu to ka nanna no yame te atashi sonna ni karui onna ja nai nani wakuteka shiteru no baka ni shi nai de yo zankoku na shukuji ga tobu suuji wa mata keta wo fuyashi ta iradachi to urahara ni karada ga atsuku nari dashi ta kogane iro no waku ni kakomare te mata dareka ga uso wo hirome te ku junjou na otomegokoro wo kegashi te niyake ta kao chikazuke te iru onegai dakara ganmi shi nai de toriaezu ichi-ji teishi suru no yame te atashi sonna ni yasui onna ja nai pointo tsukau kurai ja age nai n dakara ne onegai dakara mairisu shi nai de toriaezu ippatsu to ka nanna no yame te atashi sonna ni karui onna ja nai nani wakuteka shiteru no baka ni shi nai de yo agenai n dakara ... isshun dake dakara ne [Live-P, LiveP, RaibuP, Raibu-P]
https://w.atwiki.jp/c9black/pages/2.html
メニュー トップページ 6/14更新!管理人からのお知らせ C9 Black list 要注意人物 罪状の詳細 掲載依頼 その他 削除依頼 連絡事項 メニュー メニュー2 合計のアクセス数 - 本日のアクセス数 - 昨日のアクセス数 -
https://w.atwiki.jp/ulilith/pages/16.html
uLilithでできること(旧 LilithとuLilithの共通点) 音楽ファイルの再生(mp3, ogg, flac, OggFlac, wav, wma, ape, RIFF-WAVE) 音楽ファイルのエンコード (ogg, flac, OggFlac, wma, ape) 外部コマンドラインプログラムを使用した、CLI エンコードに対応 8bit, 16bit, 24bit, 32bit, 32bit, 64bitの中から出力ビット深度を選べる。 18 バンドイコライザ / 音程変更 / 周波数変更 / 速度変更などができる。 skinの変更、プラグインの追加ができる。 uLilithの特徴(旧 Lilith にはない新しい特徴は以下の★です。(ReadMeより転載) ★MP3, Ogg Vorbis, Flac, OggFlac, Windows Media, Monkey s Audio, Tak, RIFF-WAVE の再生/デコードに対応 ・DirectShow フィルタにより、上記のほかにもさまざまな形式を再生/デコード可能 ・OggVorbis, Flac, OggFlac, Windows Media Audio, Monkey s Audio へのエンコードに対応 ・MP3 から Ogg Vorbis、Flac から WMA など、タグ引継ぎありでのフォーマット変換に対応 ・外部コマンドラインプログラムを使用した、CLI エンコードに対応 ・内部 64bit Float 処理パイプラインによる精度の高い DSP 処理が可能 ・18 バンドイコライザ / 音程変更 / 周波数変更 / 速度変更などの DSP を搭載 ★VST エフェクトプラグインを追加することにより、その他多数のエフェクトを使用可能 ・ASIO へのネイティブ対応により、カーネルミキサなどによるバイナリ改変を回避可能 ★Uniocde ベースアプリケーションにすることで、Unicode 特有文字を完全に扱うことが可能 ★実行時言語判断により、多言語対応可能 ★国産音楽プレイヤー初のレイヤードウィンドウ対応により、より高度な表現の UI を実現 ★全体の半透明度を設定するだけでなく、一部分だけ完全透明あるいは半透明にするなどが可能 ★ウィンドウ自体がレイヤなので、不定形ウィンドウなどで滑らかなアンチエイリアスが可能 ★フェイス定義にあった多くの制約が解放され、より自由度の高く、イメージどおりのフェイスを製作可能 ★x64 ネイティブバイナリを提供 uLilithのフェイス(スキン)の特徴 ・BMP / PNG / JPEG / GIF / TIFF / EMF 形式の画像が使用可能・透過情報つきのPNGも使用可能 これにより半透明の画像や、画像のふちをなめらかにした画像も表示できます。・アイテム(ボタン・スイッチ・バーの画像や文字表示部分)個別に背景色や透明度を設定可能・文字部分自体の色や透明度も設定可能・表示フォントや文字色・見出し行のタイトル内容などをカスタマイズしたプレイリストを表示可能・サブウィンドウの作成・表示が可能 あらかじめ複数のフェイス(スキン)を作成しておいて、 フェイス定義の設定により別のフェイスをサブウィンドウとして呼び出すことができます。・フェイス描画プラグインの使用により、アルバムジャケット画像やアニメーション表示画像の表示が可能
https://w.atwiki.jp/blrjpwiki/pages/206.html
Blacklight Retributionのバックストーリーを知ることができる数少ない資料。 ゲーム中のシステムに触れる部分やなんだかんだフルボイスだったりでよく作られている。 Part1 +有志による翻訳(元翻訳者Blacklight未プレイにつき、誤訳等ありましたら自由に修正お願いします) (翻訳してくれた方に感謝!) 「第三次世界大戦でどのような武器が使われるかは分からない。 しかし、第四次世界大戦はこん棒と石で戦われるだろう」 ――アルバート・アインシュタイン BLACKLIGHT RETRIBUTION 製作:MARK LONG JARED GERRITZEN 音響/音楽:ALEX GUILBERT MORGAN GREEN 執筆:JARED GERRITZEN IAN STEPHENS コミックのデジタル化:BRIAN SPRAGUE 執筆協力:CULLEN GALLAGHER カバーアート:ZID アート:ZID PUPPETEER MAHENDRA レタリング:DEWI MARIE VINCOY BLACKLIGHTロゴデザイン:ZOMBIE STUDIOS レイアウト・デザイン:STORM LION チャプター1 当初の計画はシンプルだった。 しかし、バリクで全部台無しになった。 ――ドイツ、ラントシュトゥール地域医療センター 「急患が入った!大至急彼をICUまで連れて行け!」 24時間は経っただろうか、俺は幸運にも目覚めることができた・・・ICUで。 「モルヒネを20ml投与する」 「先生、患者の生命信号が低下しています」 「体内に金属が。ひどい内出血を起こしてます」 「切開する必要があるな。経緯を聞かせてもらえるか?」 「患者は救急ヘリによって10分前に運ばれてきました。 名前は不明、ドックタグもありません。どこの軍服なのかも分からなくて・・・」 (クレイン・・・) 「体力を温存しなさい。落ち着くんだ。」 「よし、皆外科手術の準備を。それとありったけのガーゼを持ってきてくれ!」 「急ぎなさい!彼を死なせてはいけない!」 彼らは俺の到着を待っていたに違いない。 というのも、私の容態が安定してすらいない内にお偉いさんが病室のドアの脇に立っていたのだ。 「すみませんが、ここは医療関係者以外立ち入り禁止となっています。ご退室願えますか?」 「合衆国政府の者だ。排除されたくなければ立ち去ってもらおう」 「それはできません。患者の生命信号は極めて不安定な状態です。 これ以上何らかのストレスに晒せば彼は死んでしまいます」 「我々はすぐに彼と話す必要があるのだ。さもなくば皆死ぬだろう」 全ては必然だった。悪夢の最初のフレーズは重苦しく、そしてゆっくりと出てきた。 「俺たちは奴を・・・クレイン大佐を見つけた・・・」 Part2 +原文 three days ago, before I d ever heard of balik, a guy named van saint showed up in the middle of the jungle. I had no idea how he found me. I was deep in the weeds taking 2nd ranger battalion on a four month anti-terror safari in Jakarta. At first it was hard to believe. I always thought blacklight was just a spook story. But here it was, as real as it had been secret and van saint hadn t come to the jungle to ask. When blacklight called, you laced up your boots. The hidu kush mountains have an ancient reputation as killers... ...But they sure looked beautiful from 15,000 feet as we approached Blacklight s covert base of operation. After years in spec ops, I had finally gotten my call up to the major leagues. Now it was time to get a look behind the curtain. Blacklight forward ops base was a Hi-Tech candy store, the pinnacle of military hardware placed in the expert hands of the best soldiers on the planet I couldn t wait to get my hands on this gear. Van Saint didn t waste any time... Mission is smash and grab. target is Colonel Klein who is MIA. Intel says he s being held by a guerrilla group called the Order who we don t know too much about. Rumor is they plan to sell him to the highest warlord bidder and there are plenty who would pay big money to get hands on an american colonel. Men, Balik is falling apart. Blacklight team zuluu has one shot at recovering Klein. Lethal force is Authorized. Boots on the ground in 2+00. SLIT UP, TEAM. The gear was completely intuitive, built to enhance a soldier s capabilities beyond anything I had ever seen. Helmets fuse IR, thermal and night vision modes into a tactical image that is shared between squad members. digital links to supercomputers at HQ fuse CCTV, Motion sensors and RFID tags into total ambient awareness. Reactive body armor counters high velocity impact and relays vital signals to the HRV. Every component of each weapon is custom fitted to the specifications of its owner. EMP grenades disable enemy hardware and visors. digital grenades distort enemy optics and cause temporary blindness . Standard high explosive don t discriminate. Heraclitus said that "War is the mother of everything." We are her sons. Bishop was our C.O., former Devgru, stoic and bulletproof. He took a nap on the way to balik. Combat was a realtime chess game to him and he was always three moves ahead. Pink was a confirmed kill machine. He could make a headshot in a Hurricane from a mile away. On impact from that far away all you see in the sniper scope is pink mist. Soup carried the heavy arms. he was a very uncomplicated guy...see target, liquidate target, crack wise. I was the new kid in school, call sign spade. Balik was hell on earth. but in this business, the best get thrown in the fire. Because anywhere else is too damn cold. (翻訳予定) Part3 Part4 Part5 Part6 コメント欄 名前
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Money Talks Barbara KrugerLisa Phillips Charles Ray Charles RayPaul Schimmel?Lisa PhillipsCalif.) Museum of Contemporary Art (Los Angeles? Public Radio Behind the Voices Lisa A. Phillips? Treating Schizophrenia in the Prodromal Phase Alison Yung?Lisa PhillipsPatrick D. McGorry? Pierre Et Gilles Lisa PhillipsDan Cameron? Beat Culture and the New America, 1950-1965 Lisa PhillipsMaurice Berger?Maria Damon?Allen Ginsberg?John G. Hanhardt?Glenn O Brien?Mona Lisa Saloy?Edward Sanders?Rebecca Solnit?Steven Watson? Image World Art and Media Culture Marvin Heiferman?Lisa PhillipsJohn G. Hanhardt? Pierre Bonnard Early and Late Elizabeth Hutton Turner?Pierre Bonnard?Nancy Wolsk?Ursula Perucchi-Petri?Elsa M. Smithgall?Lisa Lipinski?Phillips Collection?Denver Art Museum?Turner Elizabeth Hutton? Treating Schizophrenia in the Prodromal Phase Alison Yung?Lisa PhillipsPatrick D. McGorry? Richard Prince Lisa PhillipsRichard Prince? The American Century Art Culture, 1950-2000 Lisa PhillipsBarbara Haskell? Text Atlas of Wound Management Vincent Falanga?T. J. Phillips?Keith G. Harding?Ronald Moy?Lisa J. Peerson? Living Inside the Grid Lisa PhillipsDan Cameron? Lisa, Bright and Dark John Neufeld? This Fantastic Struggle The Life and Art of Esther Phillips Lisa A. Miles? Photoplay Obras De the Chase Manhattan Collection = Works from the Chase Manhattan Collection Lisa Phillips Charles Ray Charles RayLisa PhillipsPaul Schimmel? Between Past and Future New Photography and Video From China Wu Hung?Christopher Phillips?Melissa Chiu?Lisa Corrin?Stephanie Smith?International Center of Photography? Photoplay Obras De the Chase Manhattan Collection = Works from the Chase Manhattan Collection Lisa Phillips Cindy Sherman Centerfolds Cindy Sherman?Lisa PhillipsPeter Grundberg?Roberta Smith? The Disciple Whom Jesus Loved James Phillips?Lisa Sweeney? Ignite Your Passion for God A Daily Guide to Experienceing Personal Revival Tom Phillips?Lisa Marzano? New Perspectives on Desktop Operating Systems Lisa Ruffolo?Harry L. Phillips? Formal Issues in Austronesian Linguistics (Studies in Natural Language and Linguistic Theory) Ileana Paul?Vivianne Phillips?Lisa Travis? Dog Stories Richard Olsenius?Angus Phillips?Lisa Lytton? Terry Winters Lisa PhillipsKlaus Kertess? Richard Prince Lisa Phillips John Waters Change of Life John Waters?Marvin Heiferman?Lisa Phillips 1993 Biennial Exhibition (Whitney Biennial) Elisabeth Sussman?Thelma Golden?John Hanhardt?Lisa Phillips Frederick Kiesler Lisa Phillips 1997 Biennial Exhibition (Whitney Biennial) Lisa PhillipsLouise Neri? The American Century Art Culture 1950-2000 Lisa PhillipsBarbara Haskell?Whitney Museum of American Art? American Century Art Culture, 1900-2000 Barbara Haskell?Lisa Phillips Opening Doors (AfricaSouth Learners) Lisa Thorne?Karen Press?S. Beattie? EMQs for GPVTS Lisa Hamzah?Ruth Reed?David Phillips? Lonely Planet Canada (Lonely Planet Canada (Spanish)) Andrea Schulte-Peevers?Becca Blond?Kerryn Burgess?Pete Cruttenden?John Lee?Mark Lightbody?Graham Neale?Matt Phillips?Lisa Roberts?Aaron Spitzer? Housing Race and Community Cohesion Malcolm Harrison?Deborah Phillips?Kusminder Chahal?Lisa Hunt?John Perry? Francesco Clemente Lisa PhillipsEnrique Juncosa?Vincent Katz? Egyptian Oases Bahariya, Dakhla, Farafra and Kharga During Pharaonic Times (Egyptology) Lisa L. Giddy? Children's Hospital Richard Bradley?Tracy Cook?Lisa Perkins?Mark Phillips? New Perspectives on E-Business Technologies A Hands-On Approach Gary Schneider?Lisa Friedrichsen?Suzanne Phillips Von Thaden?