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【初音ミク】オリジナル「とびだせッ！ふりーだむ」【MEIKO KAITO】 http //www.nicovideo.jp/watch/sm1786867 http //www.nicovideo.jp/watch/sm1786867 2007年12月16日 06 05 24 投稿 Vocaloid及びVocaloid2のオリジナル曲 使用Vocaloidは初音ミク、MEIKO、KAITO 製作者はdress氏 一つ前のページにもどる
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「#nicovideo2(http //www.nicovideo.jp/watch/sm5629825)」
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skinのページ 公開ページです 資源量が見にくい！ 他の同盟のように凝ったことはできないので文字サイズを変えてみただけ 左メニュー→オプション→スキンパスに以下を設定（下のスキンの表示もチェック） http //www40.atwiki.jp/ookamigame/pub/skin/ 別のスキン http //www40.atwiki.jp/ookamigame/pub/myskin2/ 不具合 ポップアップの文字がでかすぎる 抜けている絵があったら教えてくれ 参考URL http //board.ogame.jp/thread.php?postid=5048#post5048 futabaさんのところのwiki 某板のwiki
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Extras/Bonus Videos字幕和訳 Bonus Videos - Visual Concepts MOHA_Bonus_VisDev AIRBORNE VISUAL DEVELOPMENT OPERATION HUSKY GELA, SICILY OPERATION AVALANCHE PAESTUM, SICILY OPERATION NEPTUNE NORMANDY, FRANCE OPERATION MARKET GARDEN NIJMEGEN, HOLLAND OPERATION VARSITY WESEL, GERMANY DER FLAKTURM WESEL, GERMANY 空挺隊のビジュアル開発 ハスキー作戦 シチリア・ゲラ アバランチ作戦 シチリア・パエストゥム ネプチューン作戦 フランス・ノルマンディー マーケット・ガーデン作戦 オランダ・ナイメーヘン バーシティー作戦 ドイツ・ウェーゼル 高射砲塔 ドイツ・ウェーゼル Bonus Videos - Building a Cinematic MOHA_Bonus_IGC BUILDING A CINEMATIC This is the movie set for Medal of Honor Airborne. In Airborne, cinematics are all about keeping the player immersed in the game universe. This is PFC Rossum and CPL Towne and their story begins here; the mission script, which is the jump point for the storyboarding process where the cinematics start to come to life. The story unfolds in the actual game-play space which is co-inhabited by the player, the AI and the cinematic characters. The space is designed with cover placement, navigation paths, and player and camera positioning. For believable character performances, PFC Rossum and CPL Towne were motion captured at EA’s Reality Capture Studio. The body and facial motion data is processed and visualized in Maya while environments, lighting, and visual and audio fx are all integrated in the Unreal Editor. In Medal of Honor Airborne you don’t fade to black before playing a cinematic. You, the player, stay in the game from air drop to victory. ムービーの開発 これはMedal of Honor Airborneで使われているムービーの舞台セットです。Airborneのムービーはどれも魅力的であり、プレイヤーをゲームの世界の中に引き込みます。この2人はロッサム上等兵とタウン伍長で、彼らのストーリーはここから幕を開けます。このミッションスクリプトは、ムービーを動かす台本を制作する過程で非常に重要となります。ストーリーはプレイヤー、AI、そしてムービー内のキャラクターが共存する、実際にゲームをプレイする空間から展開します。その空間は遮蔽物や進行ルート、さらにプレイヤーとカメラの位置によって設計されています。また、キャラクターの動作を現実的にするために、ロッサム上等兵とタウン伍長はEAのリアリティ・キャプチャー・スタジオで動作をキャプチャーしました。体と顔のモーションデータはMayaで処理して視覚化し、ライティング、視覚、オーディオFXはアンリアル・エディターにまとめます。また、Medal of Honor Airborneではムービーを再生する前に黒く暗転することがありません。あなた、プレイヤーは空からの降下から勝利までゲームに浸ることができます。 Bonus Videos - Designing the Air Drop MOHA_Bonus_Drop0 DESIGNING THE AIRDROP When I first heard about making a game about Airborne, I honestly thought there’s no way this is ever going to work. And then we started to really look into the idea of what it meant to jump out of an airplane. And kind of through a lot of prototyping, a lot of working in the editor, various editors, we kind of came upon the solution that, hey you know what, starting anywhere in an FPS is something that has never been done before. 未翻訳 MOHA_Bonus_Drop1 So I think that this is something that everybody who’s been designing MOH games and playing MOH games for the last couple of years, is I think in a natural progression, it’s gotten to the point where the game’s gotten so refined and so almost like a theme park ride, where everyone had the same experience, it no longer became a game. The most important thing for me as a player is reading the encounter from above. 未翻訳 MOHA_Bonus_Drop2 You know, it’s very overwhelming when you get pushed out of the plane or when you jump out of the plane and you look down and you see this entire level beneath you and you say, where do I go? As we started prototyping different forms of drop zones, we started with little pocket encounters that were scattered around the map. You can’t have a completely open space and expect the player to have fun. 未翻訳 MOHA_Bonus_Drop3 When you landed in a dead spot, you found yourself hiking a ways to get somewhere. So that evolved into a more hub and sector form of level design that it’s very apparent to the player when he’s in the parachute coming down. You can look around the map and you can see distinct zones and areas and battle lines. And from there you can make educated choices about how you want to land and how you want to engage. 未翻訳 MOHA_Bonus_Drop4 As a gamer, you know, we want the game to tell us where we’re supposed to go but we also want the freedom to go wherever we want. So we realized from early on that we had to read the map from above, we had to be able to see where the safe areas were. You can see the battles you can see the explosions you can see the tracers on the way down. 未翻訳 MOHA_Bonus_Drop5 So if you look from your parachute, you can see strong sectored engagements throughout the map. And you’re like, okay, I’m not going to land in the middle of this because I’m just not in the mood to deal with that right now. And I’m going to land up on this high pedestal and pick off enemies from that point because I can see that high pedestal is there I can see it’s near a good fight and I can take advantage of that. And that’s what we do so the map should read. 未翻訳 MOHA_Bonus_Drop6 The first time we actually started landing on rooftops and taking out guys from above. And really using the verticality of the space, that’s when I was like okay we kind of hit upon something here. This is going to be something special, something fun to work on. And as soon as we got to that point, it was like OK, let’s make this great. You know, I think we talked originally like, well, we’ll put little wind zone volumes or whatever all over all the roofs; we can’t let the player land on everything. 未翻訳 MOHA_Bonus_Drop7 Then we realized, you know what? It’s open. The player’s going to land on everything. We just need to constrain him in the entire battle zone. But inside there, everything’s game, all right. On your way down, you know, as you get faster as you’re going down, it gets more and more difficult to find that pinpoint spot to hit. The important thing, and the real task for the designer here, is to provide a lot of meaningful places for the player to land all around the environment. 未翻訳 MOHA_Bonus_Drop8 And then hopefully there’s enough authoring in the environment, enough interest to the environment that the player will come up with his own interesting landing positions and his own interesting sort of assaults on certain attacks. The drop allows the player to do a lot of things that in replay, is just going to be a lot of fun. 未翻訳 Bonus Videos - The Affordance Engine MOHA_Bonus_Affordance0 THE AFFORDANCE ENGINE Well I don’t think we fully appreciated what impact the drop was going to have. So once we sorted that out, once we realized that we needed to have these open environments the player could move around in, we could start standing up technology to solve that problem. アフォーダンスエンジン さて私は、我々がこの降下システムの採用でどのような評価を与えられるのか、完全には理解できていない、と考えています。一度我々はそれらを整理し、プレイヤーが自由に歩き回れるような環境を作った上での再考が必要であると考え、そこから技術的観点においての問題解決を思い立ちました。 MOHA_Bonus_Affordance1 We sort of had this legacy AI system from older games in place which seemed like it could handle lots of different situations. But as it turns out, we started trying to do these dynamic open world encounters and it became apparent really early on that we needed some sort of system to handle all these different entry points into|our encounters. So that’s really when it started. 我々は一応、古物なのですが、様々な状況に対しての使用に耐えうるAIを持っていました。ですが、結局のところ、この開けた、ダイナミックな世界に対しては役不足であると考え、新たに作ることとしました。早い段階から決定したことなのですがね。我々は、千差万別のエントリーポイントに対して正確な動作をしうるものが必要だったのです。邂逅でしたよ。そう、すべてはそこから始まりました。 MOHA_Bonus_Affordance2 And Affordance basically is an attractive place to be when you’re getting shot at or if you have to shoot at someone else. In a combat space it’s cover, it could be a tree, it could be a bunker. It’s basically just where you want to put yourself in order to give yourself an advantage over your enemy. So we had to throw out all of our bags of tricks. そしてアフォーダンスは基本的に魅力的なもので、いつ何時誰から撃たれるのか、いつ何時誰かを撃つのか。戦闘スペースに関しては、ここはカバーだとか、ここは木になるだとか、ここはバンカーなのだとか。あなたが何をどうしたいかによって、基本的には敵よりも利点を持つようなスタイルにしなければなりませんでした。つまり、我々はトリックが一切使えなくなった、ということです。 MOHA_Bonus_Affordance3 We couldn’t use triggers, couldn’t use monster closets. Because we didn’t know where the player was going to come from. So instead we just encode this information in the environment. So that the AI knows what cover is good, where to position themselves if the player attacks from a particular direction. Then the designers got used to just throwing AI in and seeing what they could do. 我々はある種のトリガーも、広域条件といったことも使えなくなった。何故かというと、プレイヤーがどこからやって来るのか分からないからです。ですから我々は代わりに、特定環境に対する情報をコード化しただけに留まりました。どこからのカバーがベストなのかAIは知っている必要がありますし、プレイヤーが特定方向に攻撃をした際にはどう動けばいいのか、ということをです。そしてデザイナーは、ただAIを放り込んで、彼らが一体何をするのか見ているだけ、ということに慣れてしまいました。 MOHA_Bonus_Affordance4 Not only now are they knowing where to defend, they also know how to attack. They also know how to flank, all these things that are built into the volumes, built into the environment now that they have access to. On a moment to moment basis, they’re always trying to find somewhere that they can be safe and somewhere that they could potentially pop out and shoot at their enemies. 今は防御だけではなく、どう攻撃すれば良いのかも彼らは知っています。また側面から回り込んだり、ボリュームを組み込んだすべてのもの、環境情報を組み込まれたものに対して、動的にアクセスができるようになりました。始めも始めの瞬間、大抵はそんな塩梅なのです。どこならば安全なのかを試行錯誤、どうすればポテンシャルを引き出せるのかを試行錯誤。後は放って、敵を撃たせてみるんです。 MOHA_Bonus_Affordance5 The enemy NPCs, the enemy soldiers, coordinate by leveraging the affordances in the environment to try to flank or put pressure on top of the player. By the same token though, if the player starts to succeed, he can push the Axis back, cause the Axis to retreat again through affordance and falling back to better territory. This does two really cool things, one, makes the player feel like a complete bad ass, because he’s just mowing down NPCs and claiming territory for his Allies. 敵のノンプレイヤーキャラ、敵兵はアフォーダンスによって周囲の状況に応じてプレイヤーに側面攻撃を仕掛けようとしたり、プレッシャーを与えたようとしたりるすように調節されています。同様にプレイヤーが有利になると、枢軸軍を押し戻すことができますが、枢軸軍はアフォーダンスで後退を繰り返し、また有利な領域に撤退します。これは本当にクールなもので、ひとつに、プレイヤーが完全に悪い方向に陥る状況を形成してしまった場合、（以下未翻訳） MOHA_Bonus_Affordance6 And by the same token,|having the Allies advance, leads the player through what otherwise|would be a fairly open and confusing environment. More of the time is sort of front loaded in planning your encounter and planning the configuration of your affordance network so that the fight can play out the way that you want it even if the player comes from all these different directions. 未翻訳 MOHA_Bonus_Affordance7 So there’s more planning|and there’s more initial set up involved, but after that, you kind of don’t want to do the fine tuning because you want it to play differently every time. We pulled off a lot of really cool environments|for a first person shooter in this game with this technology. We had narrow interiors and corridors, exteriors, vertical spaces. I don’t think we’ve even scratched the surface of what this thing’s capable of. And I can’t wait to see what we pull off in the future. 未翻訳 Bonus Videos - Bulding a Killer Mission MOHA_Bonus_Flak0 BUILDING A KILLER MISSION Anthony Schmill found a picture of this monumental, gothic looking shape and we didn’t know what it was and so when we did more research on it we realized oh my God this is a lasting, real Nazi building that we could use in the game. It represented the pinnacle of our vertical game play that we were trying to get. 未翻訳 MOHA_Bonus_Flak1 The one we have in the game’s got these giant twin 128 cannons on the top, four of them. It’s got a crane on the top to move the barrels and change the barrels out. And underneath that there’s this whole ring another defensive layer of these flak guns. This was an amazingly – you wanted to avoid this if you were flying over top of this because it would wipe you out. 未翻訳 MOHA_Bonus_Flak2 One of the key things on this building, you’ll see on the inside, is this thing was really like this giant auto cannon where it’s got these giant conveyors that move these bullets these huge bullets up and towards the top to re-feed these guns that were automatically firing. We tried to take this kind of holistic approach. It’s almost like this cement Nazi giant up there on the top. 未翻訳 MOHA_Bonus_Flak3 So it’s this living breathing thing. So the top of it we looked very much a functional defense mechanism where it was firing; anything that gets in the center, it will take out. But inside of that is kind of the heart beat of the thing where you would have again the munitions feeding up into the defensive mechanism. You would have the water and power, you would have the generators in there, you would have— it’s almost like a little city built inside a concrete, giant concrete structure. 未翻訳 MOHA_Bonus_Flak4 The top basically houses the main weapons, the twin 128s. And the shells for those weapons and that was the main defensive area. You know two layers on the top of that. When you get down a little bit deeper, we were thinking of more of the brains of the thing. Where you see a little more of an orchestration of how they basically got all the guns fed the munitions that had going in there. 未翻訳 MOHA_Bonus_Flak5 When you go down a little deeper, you’ll find that there’s this giant conveyor going on. The central core of that is this wonderful hub that you see of motion that the thing’s all designed around supporting, making sure that that gun doesn’t jam. And that’s what a lot of the central area of this large; large multi-tiered section is about is making sure that that gets there. 未翻訳 MOHA_Bonus_Flak6 The bottom, or the lower area near the ground floor is more about bringing in munitions that they’re going to move up to the top and storing them. When we get below that you start getting into the waterworks area and you get more into the generation and air filtration, which is all important components to keeping this thing viable, living and breathing. 未翻訳 Bonus Videos - Final Fkight C47 Audio MOHA_C47_Unlockable0 Good morning! This is a C-47 that actually flew in D-Day. And we are here in Hondo, Texas to capture the audio. It’s about seven am, got the mics laid out, batteries recording here; just waiting for the pilot and the mechanic to get this thing going. FINAL FLIGHT C47 AUDIO This is a Douglas C-47A that was built in Oklahoma City. It flew to Normandy, it flew Operation Market Garden, it flew the re-supply mission in the Battle of the Bulge, おはようございます！ これはD-デイで実際に飛行したC-47です。私達はこれの音源を取るためにここ、テキサス州ホンドまでやってきました。今は朝の7時ぐらいですが、マイクの準備も完了し、記録用バッテリーもここにあります。あとはパイロットと整備士が来るのを待つだけです。 最後の飛行 C-47のオーディオ これはオクラホマシティで製造されたダグラス C-47Aです。この機体はノルマンディー、他にもマーケット・ガーデン作戦、物資補給任務でバルジの戦い、 MOHA_C47_Unlockable1 and it flew the largest Airborne operation in the Second World War, the Operation Varsity jump across the Rhine River in March 1945. The purpose of today’s operation is to collect audio reference on the C-47. This is probably the most combat experienced C-47 artifact from the Second World War and it’s going to be a featured star in Medal of Honor Airborne. そして、第二次世界大戦で最大規模の空挺作戦である、1945年3月のバーシティー作戦ではライン川をまたいで飛行しています。おそらくこの機体は第二次世界大戦で最も戦闘経験が豊富な機体であり、そしてこれはMedal of Honor Airborneの花形となるでしょう。 MOHA_C47_Unlockable2 Alright now. Medal of Honor Airborne, and the team that’s supporting the game, has done something that nobody else can do; and that is they just took a hop in o-nine-six, one of the last few remaining air-worthy C-47s in the world today. In fact, the most significant C-47 artifact of them all. The Medal of Honor team got tons of video reference and then, importantly, great audio reference, digital audio reference that’s really going to enhance Medal of Honor Airborne and make it the best looking and best sounding game of them all. そうです。Medal of Honor Airborneとゲームの開発チームは他の誰にもできないことをしました。現在も飛行可能なC-47としては数少ない生き残りであり、そのC-47の中でも最も貢献したこの096号機に飛び乗ったのです。事実上、製造された中で最も重要なC-47航空機。Medal of Honorチームはこの豊富な映像資料、さらに素晴らしい音源資料、電子音源はMedal of Honor Airborneの完成度を高め、最も美しく、そしてすべてゲームで最も素晴らしい音を響かせることでしょう。 Bonus Videos - Weapons Audio MOHA_Unlockable_Weapons_Recording0 WEAPONS AUDIO One of the most surprising things about conducting a weapon shoot is how much planning is involved to actually carry it off. That probably spent as many days of deciding what the mic layouts were going to be, how much cable we were going to need and how to set it up… the recording equipment. Actually as much time prepping for the event as we spent actually recording it. 未翻訳 MOHA_Unlockable_Weapons_Recording1 And it’s an environment that’s really difficult to kind of hear what it is you’re capturing, because weapons have such dynamic range that when you record it, you put on the headphones. “Yeah I got something,” but you don’t really know you got the goods until you get back to the studio and that’s where having thirty different microphones spread out all around the weapon site is really your kinda insurance policy to make sure that you nailed it. 未翻訳 MOHA_Unlockable_Weapons_Recording2 In previous games, generally a weapon would consist of just a gun shot that would then get a little bit quieter based on the distance you were from the shooter. For this game, it was really important that we create if you can think of onion layers, that you’re peeling them away, and so when you hear an NPC firing in our game, if he’s very far away you’re hearing the distance elements that we captured at the weapon shoot. 未翻訳 MOHA_Unlockable_Weapons_Recording3 As he’s getting closer, we’re starting to blend in the midfield elements. As he’s getting really close now you got a third layer of the near field with gun mech in it. And so it’s the same gunshot, but we’re not trying to artificially create the distance. We actually captured it in that way, but to do that we needed a huge collection of microphones spread out over a great distance so that we can go back to so then we can go back to the studio, resynchronize all the elements, blend them together so that you would get this real seamless sense of distance from near to far. 未翻訳 MOHA_Unlockable_Weapons_Recording4 So to capture the near field elements for our weapons, we had mics actually on the shooter, lavaliere mics that he would wear. We had mics in very close proximity to the gun, that were directly underneath it or directly to the side of the weapon; within three feet. We had other mics again pointed very near field maybe right over the weapon shooter, about ten feet over his shoulder and then continue to expand on that about forty feet down range. 未翻訳 MOHA_Unlockable_Weapons_Recording5 We had a stereo pair of mics one hundred fifty feet, another set of mics 400 feet as well as a whole collection of microphones way out off and to the sides to kind of pick up ambient gun shots that we could then mix in with our backgrounds. 未翻訳 コメント 名前 コメント
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Hydro Thunder ARC 1999 Midway DC 1999 Midway / Eurocom Ent. N64 2000 Midway / Eurocom Ent. PS 2000 Midway / Blue Shift http //www.eurocom.co.uk/index.php/video-games/hydro-thunder http //www.klov.com/game_detail.php?game_id=8161 http //www.arcade-history.com/?n=hydro-thunder page=detail id=4154 http //www.system16.com/hardware.php?id=620#1162 http //www.arcadeflyers.com/?page=thumbs db=videodb id=518 http //en.wikipedia.org/wiki/Hydro_Thunder 【ARC】 YouTube - Hydro Thunder- Mig s Victory +←動画はここ 【DC】 YouTube - Hydro Thunder +←動画はここ YouTube - Hydro Thunder, Arctic Circle, Dreamcast +←動画はここ YouTube - Hydro Thunder, Greek Isles, Dreamcast +←動画はここ YouTube - Hydro Thunder, Lake Powell, Dreamcast +←動画はここ YouTube - Hydro Thunder, Lost Island, Dreamcast +←動画はここ YouTube - Hydro Thunder, Ship Graveyard, Dreamcast +←動画はここ YouTube - Hydro Thunder, The Far East, Dreamcast +←動画はここ YouTube - Hydro Thunder, Thunder Park, Dreamcast +←動画はここ 【N64】 YouTube - Hydro Thunder - Semi-unknown games +←動画はここ YouTube - Hydro Thunder, Nile Adventure, N64 +←動画はここ YouTube - Hydro Thunder, Arctic Circle, Nintendo 64 +←動画はここ YouTube - Hydro Thunder, Greek Isles, Nintendo 64 +←動画はここ YouTube - Hydro Thunder, Thunder Park, Nintendo 64 +←動画はここ YouTube - Hydro Thunder, Lost Island, Nintendo 64 +←動画はここ 【PS】 YouTube - Hydro Thunder Video +←動画はここ YouTube - Hydro Thunder, Circuit Mode, PlayStation +←動画はここ YouTube - Hydro Thunder, Greek Isles, PlayStation +←動画はここ YouTube - Hydro Thunder, Lost Island, PlayStation +←動画はここ YouTube - Hydro Thunder, Arctic Circle, PlayStation +←動画はここ YouTube - Hydro Thunder, Lake Powell, PlayStation +←動画はここ YouTube - Hydro Thunder, New York Disaster, PlayStation +←動画はここ YouTube - Hydro Thunder, The Far East, PlayStation +←動画はここ YouTube - Hydro Thunder, Thunder Park, PlayStation +←動画はここ YouTube - Hydro Thunder, Venice Canals, PlayStation +←動画はここ YouTube - Hydro Thunder, Catacomb, PlayStation +←動画はここ YouTube - Hydro Thunder, Castle Von Dandy, PlayStation +←動画はここ YouTube - Hydro Thunder, Ship Graveyard, PlayStation +←動画はここ YouTube - Hydro Thunder, Nile Adventure, PlayStation +←動画はここ YouTube - Hydro Thunder, Hydro Speedway, PlayStation +←動画はここ Tags 1999 ARC Blue Shift DC Eurocom Ent. Hydro Thunder Midway N64 PS Thunder
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映像系大会 ここでは現在企画されている映像系の大会の紹介をします。 自分の作品を応募してみてはいかがでしょうか？ 学生CGコンテスト http //www.cgarts.or.jp/scg/2007/index.html デジタルショートアワード http //www.digitalshortaward.com/modules/nmblog/response.php?aid=8 北海道映像コンテスト2008 http //www.eolas.co.jp/hokkaido/hokueiren/ 国際ニコニコ映画祭 http //www.nicovideo.jp/static/festival/
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概要 オーディオインターフェイスを搭載した2chDJコントローラー。Traktor LEとMixMeister Fusion Liveが同梱。 スペック表 Inputs Mic 1/4" TS Outputs Master RCA stereo pair Cue RCA stereo pair 2dBU Headphones 1/4" TRS Signal-to-Noise Ratio 97dB (max output; JIS-A Weighted) Frequency Response ±1dB (20Hz – 20kHz) Physical Weight 7 lbs. Dimensions 12.5" (W) x 10 5/8" (D) x 2.5" (H) MINIMUM SYSTEM REQUIREMENTS Windows Windows 7 (32-bit or 64-bit) Windows Vista (SP1, 32-bit or 64-bit) XP (SP3, 32-bit or 64-bit) Pentium IV or Athlon 1.4 GHz or higher or higher 1 GB RAM or higher Available USB 2.0 port for both Master and Cue output support or an available USB 1.1 port for Master output support only Macintosh OSX 10.5/10.6 Intel Core Duo processor or higher 1 GB RAM or higher Available USB 2.0 port for both Master and Cue output support Available USB 1.1 port for Master output support only INCLUDES OMNI CONTROL Control Surface Traktor LE Software CD MixMeister Fusion Live Software CD USB Cable Quickstart Guide OmniControl https //www.numark.com/product/omnicontrol
https://w.atwiki.jp/mhxtawiki/pages/281.html
開催日時 MHXXリレー大会～全力杯～2017年6月4日(日)16時00分 本部放送【http //live.nicovideo.jp/gate/lv299562514】 前回大会【http //ch.nicovideo.jp/setsuka/blomaga/ar793761】ルール 4人1チームでタイムの合計を競い合います。 1人2クエストをクリアし次の人へバトンタッチ(メインオトモ一匹のみ同行可能) これを第4走者まで行い最後にチーム全員でクエストに挑戦して頂きます。 最終的にクリアタイム＋ペナルティの合計タイムになります。 ※ペナルティは1失敗につき＋3分を加算装備・スキル・アイテム チーム内で15武器種から被らないように使用(ニャンターを含める) 爆弾系の禁止(ハンターの硬直キャンセルに用いる小タル爆弾は使用可能) その他罠等の拘束アイテムや不屈や火事場などのスキルも使用可能です。クリアタイムについて クリア後にタイム詳細をキャプチャーし運営に報告 失敗した場合その事も一緒にお伝え下さい。 集計対象はクリアタイムのみになります。 捕獲で早く帰ったり急いで準備する必要はありません。 ※クエストリタイアは禁止参加方法 募集締め切りが4月23日中までになります。 Skype(snowsnow2525)かTwitter(@znrk2525)に御連絡下さい。※参加条件：HRを開放してある事と当日放送が出来る方参加者一覧 チーム 名前 コミュニティ A さときち http //com.nicovideo.jp/community/co2624802 A じ～ふ～ http //com.nicovideo.jp/community/co1426058 A ぶりーく http //com.nicovideo.jp/community/co2856080 A にしやん http //com.nicovideo.jp/community/co1772067 B アスナ http //com.nicovideo.jp/community/co1485509 B えるてる http //com.nicovideo.jp/community/co2051342 B Sodium http //com.nicovideo.jp/community/co3094736 B BOB http //com.nicovideo.jp/community/co1787660 C いそろく http //com.nicovideo.jp/community/co2418163 C かめ子 http //com.nicovideo.jp/community/co3219490 C すぷかれ～ http //com.nicovideo.jp/community/co2363825 C makachi http //com.nicovideo.jp/community/co2274684 D ずっちゃん http //com.nicovideo.jp/community/co3522277 D ぬっし http //com.nicovideo.jp/community/co3613613 D もーみんぐ http //com.nicovideo.jp/community/co2648914 D ユキ http //com.nicovideo.jp/community/co1869436 E きと http //com.nicovideo.jp/community/co2299222 E こはだ http //com.nicovideo.jp/community/co3500998 E ぬ～ http //com.nicovideo.jp/community/co3483363 E ゆまぺろ http //com.nicovideo.jp/community/co2062674 F KuroNeko http //com.nicovideo.jp/community/co2703474 F そふばん http //com.nicovideo.jp/community/co2046082 F はげまる http //com.nicovideo.jp/community/co429509 F マルポン http //com.nicovideo.jp/community/co2729412 G きっど http //com.nicovideo.jp/community/co3117302 G ゅかにゃん http //com.nicovideo.jp/community/co2517473 G luke http //com.nicovideo.jp/community/co2519061 G 和菓子 http //com.nicovideo.jp/community/co2038412 H あぉね http //com.nicovideo.jp/community/co1273950 H いのマテ http //com.nicovideo.jp/community/co1407736 H たっかー http //com.nicovideo.jp/community/co2136822 H ラカン http //com.nicovideo.jp/community/co2567509 I アスガン http //com.nicovideo.jp/community/co1305957 I キラっち http //com.nicovideo.jp/community/co2321983 I たいちょー http //com.nicovideo.jp/community/co2538755 I ときや＠グレートサイヤマン3号 http //com.nicovideo.jp/community/co237144 J かじわら http //com.nicovideo.jp/community/co2171633 J どーみー http //com.nicovideo.jp/community/co2931631 J ぽぎ http //com.nicovideo.jp/community/co2928777 J マロ http //com.nicovideo.jp/community/co2923365 K けい http //com.nicovideo.jp/community/co3069064 K のんきち http //com.nicovideo.jp/community/co395187 K フレイ http //com.nicovideo.jp/community/co3044724 K Luna http //com.nicovideo.jp/community/co2677133 L 烏龍茶2nd http //com.nicovideo.jp/community/co1969518 L くしーず http //com.nicovideo.jp/community/co1308656 L しらたま http //com.nicovideo.jp/community/co3382834 L Ruin http //com.nicovideo.jp/community/co1602254 クエスト 第一走者第二走者第三走者第四走者 PT
https://w.atwiki.jp/nicoapi/pages/23.html
[Web API] getplayerstatus プレイヤー情報を得るのに使う。 2021/02/26以降使用できなくなりました。 リクエスト URL GET http //live.nicovideo.jp/api/getplayerstatus?v={live_id} または GET http //live.nicovideo.jp/api/getplayerstatus/{live_id} live_id ID データ形式 XML 形式。 データサンプル コミュニティー放送の場合 ?xml version= 1.0 encoding= utf-8 ? getplayerstatus status="ok" time="1391555282" stream id lv168235211 /id title ゼルダの伝説トワイライトプリンセス /title description いい加減クリアしますー！５人で色々な放送をやってます！コミュニティをどうぞよろしく！！→co1342124サブコミュ→co1842118 /description provider_type community /provider_type default_community co1342124 /default_community international 13 /international is_owner 0 /is_owner owner_id 7051053 /owner_id owner_name ひろやす＠ピュアホワイト /owner_name is_reserved 0 /is_reserved watch_count 13 /watch_count comment_count 13 /comment_count base_time 1391554707 /base_time open_time 1391554707 /open_time start_time 1391554709 /start_time end_time 1391556509 /end_time is_rerun_stream 0 /is_rerun_stream bourbon_url http //live.nicovideo.jp/gate/lv168235211?sec=nicolive_crowded＆amp;sub=watch_crowded_0_community_lv168235211_onair /bourbon_url full_video http //live.nicovideo.jp/gate/lv168235211?sec=nicolive_crowded＆amp;sub=watch_crowded_0_community_lv168235211_onair /full_video after_video/ before_video/ kickout_video http //live.nicovideo.jp/gate/lv168235211?sec=nicolive_oidashi＆amp; sub=watchplayer_oidashialert_0_community_lv168235211_onair /kickout_video twitter_tag #co1342124 /twitter_tag danjo_comment_mode 0 /danjo_comment_mode infinity_mode 0 /infinity_mode archive 0 /archive press display_lines -1 /display_lines display_time -1 /display_time style_conf/ /press plugin_delay/ plugin_url/ plugin_urls/ allow_netduetto 1 /allow_netduetto nd_token 8165285e634cbdf46745295a2d3659a32c975893 /nd_token ng_scoring 0 /ng_scoring is_nonarchive_timeshift_enabled 1 /is_nonarchive_timeshift_enabled is_timeshift_reserved 0 /is_timeshift_reserved header_comment 0 /header_comment footer_comment 0 /footer_comment split_bottom 0 /split_bottom split_top 0 /split_top background_comment 0 /background_comment font_scale/ comment_lock 0 /comment_lock telop enable 0 /enable /telop contents_list contents id="main" disableaudio="0" disablevideo="0" start_time="1391554708" rtmp rtmp //nlpoca112.live.nicovideo.jp 1935/publicorigin/140205_07_1/,lv168235211?1391555282 30 009412a24371baf8 /contents /contents_list is_priority_prefecture/ /stream user user_id 20929324 /user_id nickname ℳກ੮ວܬ୧ /nickname is_premium 1 /is_premium userAge 21 /userAge userSex 1 /userSex userDomain jp /userDomain userPrefecture 27 /userPrefecture userLanguage ja-jp /userLanguage room_label co1342124 /room_label room_seetno 8 /room_seetno is_join/ twitter_info status enabled /status screen_name mntone /screen_name followers_count 366 /followers_count is_vip 0 /is_vip profile_image_url http //a0.twimg.com/profile_images/2420265266/rrtyjcvhu7z5idxo8y49_normal.png /profile_image_url after_auth 0 /after_auth tweet_token 0e7db53d6e0f54c74f2f8ab210acec5f5f91c9eb /tweet_token /twitter_info /user rtmp is_fms="1" rtmpt_port="80" url rtmp //nleu12.live.nicovideo.jp 1935/liveedge/live_140205_08_1 /url ticket 20929324 lv168235211 0 1391555282 0417f76b5298cce3 /ticket /rtmp ms addr msg102.live.nicovideo.jp /addr port 2806 /port thread 1329132457 /thread /ms tid_list/ twitter live_enabled 0 /live_enabled vip_mode_count 10000 /vip_mode_count live_api_url http //watch.live.nicovideo.jp/api/ /live_api_url /twitter player qos_analytics 0 /qos_analytics dialog_image oidashi http //nl.simg.jp/img/201311/281696.a29344.png /oidashi /dialog_image is_notice_viewer_balloon_enabled 1 /is_notice_viewer_balloon_enabled error_report 1 /error_report /player marquee category ゲーム /category game_key 04678e23 /game_key game_time 1391555282 /game_time force_nicowari_off 0 /force_nicowari_off /marquee /getplayerstatus 公式放送の場合 ?xml version= 1.0 encoding= utf-8 ? getplayerstatus status="ok" time="1392794080" stream id lv169798840 /id title 【衆議院 国会生中継】 予算委員会 /title description ～平成26年2月19日 予算委員会～ br /description provider_type official /provider_type default_community/ international 1 /international is_owner 0 /is_owner owner_id 394 /owner_id owner_name/ is_reserved 0 /is_reserved picture_url http //nl.simg.jp/img/a35/102457.bba76a.jpg /picture_url thumb_url http //nl.simg.jp/img/a2/4539.198de4.jpg /thumb_url watch_count 50187 /watch_count comment_count 23020 /comment_count base_time 1392767700 /base_time open_time 1392767700 /open_time start_time 1392768000 /start_time end_time 1392796800 /end_time is_rerun_stream 0 /is_rerun_stream is_archiveplayserver 1 /is_archiveplayserver bourbon_url http //live.nicovideo.jp/gate/lv169798840?sec=nicolive_crowded＆amp;sub=watch_crowded_0_official_lv169798840_onair /bourbon_url full_video http //live.nicovideo.jp/gate/lv169798840?sec=nicolive_crowded＆amp;sub=watch_crowded_0_official_lv169798840_onair /full_video after_video/ before_video/ kickout_video http //live.nicovideo.jp/gate/lv169798840?sec=nicolive_oidashi＆amp;sub=watchplayer_oidashialert_0_official_lv169798840_onair /kickout_video twitter_tag #kokkai #衆議院 /twitter_tag danjo_comment_mode 0 /danjo_comment_mode infinity_mode 0 /infinity_mode archive 0 /archive press display_lines -1 /display_lines display_time -1 /display_time style_conf/ /press plugin_delay/ plugin_url/ plugin_urls/ allow_netduetto 0 /allow_netduetto nd_token 039b7e91347da7fc04fa708d8cf596922fa9fdcf /nd_token ng_scoring 0 /ng_scoring is_nonarchive_timeshift_enabled 1 /is_nonarchive_timeshift_enabled is_timeshift_reserved 0 /is_timeshift_reserved header_comment 0 /header_comment footer_comment 0 /footer_comment split_bottom 0 /split_bottom split_top 0 /split_top background_comment 0 /background_comment font_scale/ comment_lock 0 /comment_lock telop enable 0 /enable /telop contents_list contents id="main" disableaudio="0" disablevideo="0" start_time="1392718797" limelight rtmp //smilevideo.fc.llnwd.net 1935/smilevideo,s_lv169798840 /contents /contents_list is_priority_prefecture/ /stream user user_id 20929324 /user_id nickname ℳກ੮ວܬ୧ /nickname is_premium 1 /is_premium userAge 21 /userAge userSex 1 /userSex userDomain jp /userDomain userPrefecture 27 /userPrefecture userLanguage ja-jp /userLanguage room_label アリーナ 最前列 /room_label room_seetno 147 /room_seetno is_join/ twitter_info status enabled /status screen_name mntone /screen_name followers_count 366 /followers_count is_vip 0 /is_vip profile_image_url http //a0.twimg.com/profile_images/2420265266/rrtyjcvhu7z5idxo8y49_normal.png /profile_image_url after_auth 0 /after_auth tweet_token 16439bec560b987c1c51950c05c7210f359920f7 /tweet_token /twitter_info /user rtmp url/ ticket 20929324 lv169798840 0 1392794080 60edb778c359af03 /ticket /rtmp ms addr omsg101.live.nicovideo.jp /addr port 2805 /port thread 1332290557 /thread /ms tid_list/ tickets stream name="s_lv169798840" uid=20929324＆amp;h=3b9fe2bb8fd6fdb8c8e6eda0358f4380 /stream stream name="s_lv169798840_sub1" uid=20929324＆amp;h=5933268c1c7fb1ef7df58ed8784c1bf3 /stream stream name="s_lv169798840_sub2" uid=20929324＆amp;h=46fb37a19274166b64d224d7b50d1d28 /stream stream name="s_lv169798840_sub3" uid=20929324＆amp;h=504e1df898ccf4ad2bd610e91584373a /stream stream name="s_lv169798840_sub4" uid=20929324＆amp;h=fbad73282574dfb3074e8c152bab22d2 /stream stream name="s_lv169798840_sub5" uid=20929324＆amp;h=6263b485edf9b1a41ffb6f73bc2bbdaf /stream stream name="s_lv169798840_sub6" uid=20929324＆amp;h=b4ac1e6781e625f81c0fb7a4211aa80e /stream stream name="s_lv169798840_sub7" uid=20929324＆amp;h=e6920037631c1e7d45ad415b1e76437b /stream stream name="s_lv169798840_sub8" uid=20929324＆amp;h=e3a812e20981337c2af79be2b3de2044 /stream stream name="s_lv169798840_sub9" uid=20929324＆amp;h=7ebea07abe44d4afcc5b8e2278285519 /stream /tickets twitter live_enabled 1 /live_enabled vip_mode_count 10000 /vip_mode_count live_api_url http //watch.live.nicovideo.jp/api/ /live_api_url /twitter player qos_analytics 0 /qos_analytics dialog_image oidashi http //nl.simg.jp/img/201311/281696.a29344.png /oidashi /dialog_image is_notice_viewer_balloon_enabled 1 /is_notice_viewer_balloon_enabled error_report 1 /error_report /player marquee category/ game_key 7b86bc0b /game_key game_time 1392794080 /game_time force_nicowari_off 1 /force_nicowari_off /marquee /getplayerstatus クルーズ放送の場合 ?xml version= 1.0 encoding= utf-8 ? getplayerstatus status="ok" time="1392802843" stream id lv169772234 /id title ニコ生クルーズ /title description 現在放送中のユーザーさんの番組をご紹介！ br 番組をお探しの皆様のご乗船をお待ちしております。 /description provider_type official /provider_type default_community/ international 13 /international is_owner 0 /is_owner owner_id 394 /owner_id owner_name/ is_reserved 0 /is_reserved picture_url http //nl.simg.jp/img/a35/103322.5e6f4c.jpg /picture_url thumb_url http //live.nicovideo.jp/thumb/9980.60x60.jpg /thumb_url watch_count 413926 /watch_count comment_count 80377 /comment_count base_time 1392735600 /base_time open_time 1392735600 /open_time start_time 1392735797 /start_time end_time 1392821999 /end_time is_cruise_stream basic /is_cruise_stream is_rerun_stream 0 /is_rerun_stream is_archiveplayserver 1 /is_archiveplayserver bourbon_url http //live.nicovideo.jp/gate/lv169772234?sec=nicolive_crowded＆amp;sub=watch_crowded_0_official_lv169772234_onair /bourbon_url full_video http //live.nicovideo.jp/gate/lv169772234?sec=nicolive_crowded＆amp;sub=watch_crowded_0_official_lv169772234_onair /full_video after_video/ before_video/ kickout_video http //live.nicovideo.jp/gate/lv169772234?sec=nicolive_oidashi＆amp;sub=watchplayer_oidashialert_0_official_lv169772234_onair /kickout_video twitter_tag #nicocruise /twitter_tag danjo_comment_mode 0 /danjo_comment_mode infinity_mode 0 /infinity_mode archive 0 /archive press display_lines 1 /display_lines display_time -1 /display_time style_conf/ /press plugin_delay/ plugin_url/ plugin_urls/ allow_netduetto 0 /allow_netduetto nd_token a639d289d563e569bc5951e41e9feef89372af90 /nd_token ng_scoring 0 /ng_scoring is_nonarchive_timeshift_enabled 0 /is_nonarchive_timeshift_enabled is_timeshift_reserved 0 /is_timeshift_reserved header_comment 0 /header_comment footer_comment 0 /footer_comment split_bottom 0 /split_bottom split_top 0 /split_top background_comment 0 /background_comment font_scale/ perm /perm ＆lt;FONT COLOR="#Ff9900"＆gt;放送開始：2014年02月19日 18時19分 タグ：【クルーズ待ち】＆lt;/FONT＆gt;＆lt;BR＆gt;タイトル：＆lt;a href="http //live.nicovideo.jp/watch/lv169900930?cr=1"＆gt;＆lt;FONT COLOR="#A4D0fB"＆gt;＆lt;U＆gt;夕暮れの車載トイレラス枠。＆lt;/u＆gt;＆lt;/FONT＆gt;＆lt;/a＆lt;＆lt;br＆gt;＆lt;FONT COLOR="#c0C0c0"＆gt;大変、申し訳ありません。＆lt;/FONT＆gt; /perm comment_lock 0 /comment_lock telop enable 0 /enable /telop contents_list contents id="main" disableaudio="0" disablevideo="0" start_time="1392802808" rtmp rtmp //nlpoca107.live.nicovideo.jp 1935/publicorigin/140219_18_1/,lv169900930?1392802843 30 8e002f49be20143e /contents /contents_list is_priority_prefecture/ /stream user user_id 20929324 /user_id nickname ℳກ੮ວܬ୧ /nickname is_premium 1 /is_premium userAge 21 /userAge userSex 1 /userSex userDomain jp /userDomain userPrefecture 27 /userPrefecture userLanguage ja-jp /userLanguage hkey 4daa2d4715514504 /hkey room_label デッキ /room_label room_seetno 212 /room_seetno twitter_info status enabled /status screen_name mntone /screen_name followers_count 366 /followers_count is_vip 0 /is_vip profile_image_url http //a0.twimg.com/profile_images/2420265266/rrtyjcvhu7z5idxo8y49_normal.png /profile_image_url after_auth 0 /after_auth tweet_token 235b31759ca1831fceb29a2a2b1635f8fb7bc259 /tweet_token /twitter_info /user rtmp is_fms="1" rtmpt_port="80" url rtmp //nleu12.live.nicovideo.jp 1935/liveedge/live_140219_18_0 /url ticket 20929324 lv169772234 0 1392802843 878359c38ce2134b /ticket /rtmp ms addr omsg103.live.nicovideo.jp /addr port 2813 /port thread 1332236233 /thread /ms tid_list/ twitter live_enabled 1 /live_enabled vip_mode_count 10000 /vip_mode_count live_api_url http //watch.live.nicovideo.jp/api/ /live_api_url /twitter player qos_analytics 0 /qos_analytics dialog_image oidashi http //nl.simg.jp/img/201311/281696.a29344.png /oidashi /dialog_image is_notice_viewer_balloon_enabled 1 /is_notice_viewer_balloon_enabled error_report 1 /error_report /player marquee category/ game_key 4c5a678d /game_key game_time 1392802843 /game_time force_nicowari_off 1 /force_nicowari_off /marquee /getplayerstatus エラーの場合 ?xml version="1.0" encoding="UTF-8"? getplayerstatus status="fail" time="1391555177" error code closed /code /error /getplayerstatus 更新履歴 2014/2/21 記述
https://w.atwiki.jp/v-lyrics/pages/477.html
こーぽれーしょん [ TAG Alp-C E-A Louis Teto UnOfficialVocaloid title] Music Louis/Louis Lyric Louis/Louis Arrange Louis/Louis Vocal Kasane Teto Videos PVs ■ Show/Hide Video http //www.nicovideo.jp/watch/sm8085594 http //www.nicovideo.jp/watch/sm8085594 Translations ■ Show/Hide Romaji itsu kara kooshiterun darou tomatta mama no tokei mata kyoo mo onaji koto wo ruuru (rule) doori kurikaesu "kawaranu nomo um-mei sa" da nante son-na mirai wo nozon de ita no? "uchikowasu niwa nani ga hitsuyoo?" sono teno naka ni kotae wa aru no? hitori ikiteru dake no yatsu wo dare ga erai to kimeta no? Question niwa kotae ga hitotsu otona ga baka ni suru yoo na ikikata shite sagashiateta "Cooperation"... nani mo shirazu umare ochita chiisana hinadori datte kara wo yaburi tsubasa hiroge ashita eto tobitateru nobashita te de sotto furete hajimete shiru yasashisa yuuki ni kaeta sekai wo saikoochiku shite yooyaku teni shita jiyuu atarashii chizu ni mitsuketa hito to hito wo tsunagu hashi irozuite ku jidai no naka de kawaranai nanika wo uketsuide iku daiji na mono wa sorezore nanoni dooshite sore wo oshitsukerun da? mirai wo osore soppo wo muite mimi wo fusagu koto mo atta hikari ga areba yami mo mata aru kesu koto wa dekinai kara futatsu tomo ukeire rareru tsuyosa wo kudasai... naniyori mo hoshikatta nowa kokoroto yuu nano "kusabi" uragiri ya sasai na uso ni hoo wo nurashitato shite mo "doose" da nante kotoba de nigemichi wo tsukuranai de shinjite miyou soshite taisetsu na omoidetachi wa shirazu shirazu no uchi ni kitto kokoro no okusoko no bubun de nemuri ni tsuku nukumori tayasanai yooni koko ni nokoshite ikuyo atsui omoi wo 2009-09-22 17 04 Generated automatically [部分編集] ■ Show/Hide Translation Cooperation 2009-09-24 First Entry 2009-09-25 13 24 10 (Fri) Last update Trasnlated by damesukekun Title Cooperation Lyric How long has it kept still, the clock which has stopped ticking? I repeat the same thing by the book today, too "No changing is also the fate," I really hoped such future? "What do I need to break it?" Is the answer in this hand? Who called a guy getting conceited as a maverick worthy? For the "Question" is one answer Through the life grown-ups despised I found out the "Cooperation"... Even a little chick which hatched in ignorance can break the shell, spread its wings and fly toward tomorrow I didn t find a caring heart until I held out my hand and touched it softly I changed it into courage The freedom I managed to seize by reassembling the world And that bridge joining a person to a person I found in a new map I succeed to something steady in the coloring time Each has his own precious thing Why does he disregard mine and force his on me? I sometimes turned my face away and covered my ears in fear of the future Darkness exists as light does I can t remove it so please give me the strength to accept both... "Wedge" on the name of heart was what I wanted the most Even if betrayals and slight lies make tears pour down my cheeks I won t open the way out saying "anyhow, no" and I ll try to believe it And my dearest memories drift off to sleep in the deepest of my heart for sure My passion I leave here so the warmth won t wither away 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 2009-09-25 13 24 10 (Fri) Original Lyric, Nicosound MP3, etc http //www24.atwiki.jp/utauuuta/pages/414.html http //nicosound.anyap.info/sound/sm8085594 http //www.nicomimi.com/play/sm8085594 Sub video, PV, other fan made video in YouTube http //www.youtube.com/watch?v=9zayOPnAS6M [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=9zayOPnAS6M (Information in this page is based on UTAUMusicDB@Wiki) _