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https://w.atwiki.jp/warband/pages/536.html
ip_mod_tips|Tips ip_mod_tips_text|1. You can select a character in your party as the commander for battles and control him/her to fight in battles personally. ^^2. In auto-loot menu, you can let characters select equipments automaticly, also you can talk to them to tell them how to upgrade their equipments. ^^3. Companions can also read books, and you can use auto-loot to let them to select and read readable books automaticly. ^^4. You can adjust raining and snowing possibilities in Camp options. Snowing for snowlands and raining for the other lands. ^^5. During auto-sell, items in the inventory of companions which selected as the type for sell and their prices below the auto-sell price limit will be sold to all merchants in towns or the elders in villages automaticly. Specifically foods, trade goods and books will never be sold. ^^6. To quickly move members or upgrade members in party window, hold down the control key while you left click. ^^7. All parties can reinforce their ally like Lord parties and they can join in the battle directly. ^^8. If you enounter stronger enemies and leave some soldiers behind to cover your retreat or after escaping, the movement speed will be twice the normal speed for half an hour (game time), then it will return to normal. ^^9. You can turn on formations in the mod options menu. ^^10. You can order your soldiers to move to a spot by pressing and holding down the F1 key. ^^11. Horses and men move less quickly in rainy weather. ^^12. You can wait on the world map by holding down the space bar. ^^13. You can recruit new men to your party in taverns, villages, castles and towns. ^^14. You can give orders to your party while in battle. ^^15. A party with high morale moves more quickly while travelling on the map. ^^16. Wounded party members will heal faster while resting in taverns. ^^17. To quickly buy and sell items in the inventory window, hold down the control key while you left click. ^^18. You can press the Backspace key during battle to bring up the command interface. ^^19. You will pay half wages to your troops while you are staying in a town or castle. Similarly, you will pay half wages to troops you garrison in a castle. ^^20. You can leave any location instantly by pressing the tab key. ^^21. You can hold down the shift key to zoom-in while aiming at distant enemies. ^^22. You can talk to various lore characters around the world. Some might give you quests, some might just have a bit of story for you. ip_morale|Morale ip_morale_text|Morale represents the ability and willingness of the troops in a party to summon up the endurance, bravery, and discipline they need to face the stresses of battle and the march. It is not the same thing as the troops' happiness. Elite troops may grumble and whine about the hardships of campaigning -- but then stand together as one when the arrows start to fly. On the other hand, a commander who gives his men everything they want may find that they grow soft, and waiver before the enemy's charge.^^ Morale's greatest impact is on a party's behavior in battle, determining how aggressively troops engage the enemy, and how likely they are to break and run if they perceive the tide of battle turning against them. Morale also affects a party's march speed, as a less motivated party will move more slowly, as the men are not pushing themselves to their physical limit, and pause more frequently, as it waits for stragglers to catch up. Finally, a party with very low morale will start to suffer desertions.^^ Some factors that affect morale are intuitive. For example, a charismatic commander with a reputation for winning battles can infuse his or her men with a sense of confidence. Leaders who give their men well ample and varied supplies of food, and pay them on time, demonstrate that they care about their troops' welfare, and are less likely to lead them into disaster.^^ Other factors are less intuitive -- particularly those related to a party's sense of group cohesion. In a small tight-knit party, for example, men will often fight hard against daunting odds to avoid showing cowardice before their comrades-in-arms. A large party on the other hand may see its cohesion strained, as the commander has less time to supervise the men, listen to their grievances, and resolve their disputes. Frequent battles will strengthen the bonds between men, while long periods without combat will see the troops become bored and quarrelsome.^^ The morale report, accessibly by hitting the 'reports' button will give the player a sense of the factors affecting his or her men's morale. ip_economy|Economy ip_economy_text|Towns and villages in the world of A Clash of Kings need a wide variety of goods for their populations to remain healthy and productive. First in importance is food. Grain is the staple crop of the known world, but people also need fat and protein in the form of meat, fish, or cheese. It takes almost as much work to preserve meat as to produce it in the first place, so salt is also in high demand. After food comes clothing heavy wool, lighter linens, or luxurious velvet. Finally, people need the tools of their trade ironware, pottery, leatherware, and, of course, arms, armor, and horses for war.^^Most agricultural products are produced in the villages, while artisans in the towns specialize in manufactured or artisanal goods like fabrics or ironware. Also, different resources can be found in different parts of the country. Consequently, the key to prosperity in Calradia is trade -- both between the villages and the towns, and between the major towns themselves.^^When trade flows, goods will be available and affordable, the population of a center will be healthy and energetic, and migrants will flock from the nearby regions. The center will produce more, consume more, and be able to contribute more in taxes to their lords. When trade dries up, towns and villages will see their workers flee to seek work elsewhere, and economic activity will drift to a stand-still. Thus, it is in the interests of rulers to protect trade routes from the hazards of war and banditry. A smart merchant, however, may want to seek out towns which have become isolated from the rest of the land, as he or she may be able to turn a tidy profit from the resulting price imbalances.^^Because villagers usually plan to take their goods to market in towns, village markets will be rather quiet places, and villagers will buy cheap and sell dear. Serious merchants will stick to the towns to make a profit, although some parties may decide to make a quick stop in a village to acquire supplies.^^A player who wants to know about the factors affecting a region's prosperity can speak to the guildmaster of the local town. Other information can be gleaned from passers-by, although they might not know very much outside of their own particular trade. ip_courtship|Courtship ip_courtship_text|Players may wish to marry into one of the noble families. Marriage is not necessary for a player to rise in power and stature, but it does provide players with an opportunity to improve their relation with lords and establish a claim to the throne.^^Marriage requirements will be different for males and females. A male character will usually need to pursue a traditional path of courtship. He should establish a reputation in the aristocratic society, get on good terms with his bride's parents or guardians, and then woo the lady according to local custom. If a player grows impatient, he may attempt to take a shortcut -- but there will be consequences in his relations with other lords.^^A male character should keep in mind that other lords will be competing with him for the affections of the kingdom's ladies. Also, a lady's tastes are unpredictable, and a player may also find that the object of his love does not love him in return. Romance, in Westeros and Easos as elsewhere, does not always prosper. Of course, a player may resort to other, less gentlemanly means of winning a lady's heart, but again, that will have a serious impact on his reputation.^^To get started on the path of courtship, a male player should try to get involved in the social life of the aristocracy, attending feasts and tournaments. Also, wandering troubadours and poets can serve as a useful repository of information on courtship, and keep the player up to date about the latest gossip.^^Female characters can also marry -- but they should keep in mind that the society of A Clash of King is very traditional, and, as adventurers, they have chosen a very unconventional path for a woman. A female character may have to look for a while to find a lord who is open-minded enough to marry her.^^On the bright side, a female character does not have to go through the elaborate rituals of courtship, and she also may gain more from a marriage than her male counterpart. For a woman adventurer, marriage can be a quick path to power -- and an unscrupulous character may be able to use her husband as a tool of her political ambitions. ip_politics|Politics ip_politics_text|The realms of Westeros and Essos, although they represent different cultures, all adhere to the same basic political system feudalism. Feudalism is based on the relationships between individuals the oaths of loyalty given by a vassal to his or her liege. In exchange for this oath, the vassal will usually receive a fief, a parcel of land whose income will be used by the vassal to raise troops to support the liege in time of war. A liege also has an obligation to protect his vassals, and to treat them justly.^^This is how it works in theory, anyway. In practice, vassals will not always work in their factions' interests, particular as they are often quarreling with one another. Nobles have different personalities, and sometimes those personalities clash. Or, perhaps two nobles were once friends, but fell out over in the aftermath of a setback or a defeat -- or because they both were wooing the same lady. Jealousies will also surface as they vie for the favor of the king -- perhaps over newly conquered lands, or over who will be given the coveted office of marshal, the lord in charge of organizing large-scale campaigns.^^When one realm makes war on another, the political unity of the each kingdom is as important as the quality or number of its soldiers in determining the outcome. In a cohesive kingdom, nobles will join together in a large force to sweep their opponents before them. In a kingdom divided by petty quarrels, lords will fail to respond to the marshal's summons, or drift away to attend to their own business if a campaign is not going well. A faction's political cohesion will also impact warfare when campaigns are not in progress. In a divided faction, lords will be less likely to join together on raids and patrols, and come to each other's defense.^^If it seems self-defeating for nobles to bicker and quarrel when the enemy is just over the horizon, keep this in mind -- ultimately, a noble's loyalty goes not to a particular faction or culture, but to himself and to his family. If a noble fears that his faction is collapsing, or if he is being neglected by his liege, he can usually find a reason to withdraw his oath of allegiance, and change sides. Players should keep this in mind, as they may find that there are opportunities to turn discontented former enemies into allies. ip_character_backgrounds|Character Backgrounds ip_character_backgrounds_text|A player character may choose to come from a variety of social backgrounds. This choice will affect not just his or her starting skills and equipment, but also the course of his or her career as an adventurer.^^War and politics are traditionally dominated by male aristocrats. A nobleman player character may find that he is invited into this 'old boys' club' fairly quickly, but women and commoners may face a few extra hurdles on the way. If you choose to start the game as a male nobleman, you can think of it as the 'easy' setting. Starting as a noblewoman or a male commoner is somewhat more difficult, and starting as a female commoner is probably the most challenging way to begin a game.^^However, women have some starting advantages. Simply by taking up arms, a female warrior will draw attention to herself, and she may find that she can build up her reputation faster than a male. Also, it is traditionally easier for a woman to marry up the social ladder than it is for a man, and a woman may find she can gain more from a strategic marital alliance than her male counterpart.^^Finally, keep in mind that the game does not place any limits on the upward mobility of characters based on their background. Noble or common, male or female, married or unmarried -- anyone can rise to become ruler of all the world, if they are sufficiently brave, lucky, or resourceful. ip_military_campaigns|Military Campaigns ip_military_campaigns_text|When kingdoms go to war, their armies have two basic offensive options. They can try to attack villages and lay waste to the countryside, damaging their enemy's prestige and economy. Or, they can try to seize and hold castles or towns, taking territory This second option can involve long, bloody sieges, but will yield more decisive results.^^It is important to note that the realms do not field standing armies, which remain in the field as long as the ruler desires. Rather, realms are protected by feudal levies comprised of the major nobles and their individual retinues. Sometimes, these nobles launch their own private attacks into enemy territory, but the most decisive events will usually take place when the great hosts are assembled. The kingdom's marshal, a noble appointed by the king, will summon the host before the campaign and lead them out to battle. However, he should be careful not to keep them in the field too long. Otherwise, the host will begin to disintegrate, as the vassals drift off to pursue their own business, and the army will be vulnerable to a counter-attack.^^For this reason, the rhythm of wars often resemble the rhythm of a duel between two individual combatants. One side will gather its strength and seek to land a blow against the enemy's territory. If the marshal spends too little time gathering the vassals, he may not be able to do any real damage. If he spends too much time, then the campaign may end before it has even begun. A large realm will have an advantage over a smaller one, just as a brawny combatant has an edge over a smaller foe, but a realm's political cohesion can also be a factor, just as a fighter with great stamina can outlast her opponent. Sometimes, the armies of two realms will meet head on, resulting in a major battle in which both numbers and morale will decide the outcome.^^Sovereignties will have imperfect intelligence about their enemies. Attacking lords will need to frequently scout enemy territory to determine which fortresses may be vulnerable. An army defending its homeland will benefit from the alarms raised by castles and towns, which broadcast intelligence about enemy movements in the area. Such intelligence will be imprecise, however, particularly when it comes to numbers. A defending force which sets out to raise a siege or rescue a village may be able to overwhelm an unprepared attacker -- or it may miscalculate, and find that it is the one to be overwhelmed. Attackers, in turn, must be careful how far they advance into enemy territory, with aggressive marshals venturing further than cautious ones.^^Players will be expected to join in their faction's military campaign, either by joining the host, or by scouting ahead into enemy territory. Some players may find that their realm's marshal is too cautious, or too aggressive, for their tastes. In this case, they can intrigue with other lords to try to replace the marshal, or build support to become the marshal themselves.^^Most wars are of limited duration. A king who goes to war will, for the sake of honor, feel obligated to pursue the conflict for a short while. However, unless he is soundly beating his enemy. He may soon start looking for a way out of the conflict, lest he leave himself vulnerable to an attack by a third party. Rulers are keenly aware that today's ally may be tomorrow's enemy, and vice versa. ip_sea_travel|Sea Travel ip_sea_travel_text|Many locations in Westeros and Essos are only accesable by sea. To reach an island destination, or to travel from one continent to another, simply click on your desired location, and your character will find the nearest port and depart from there. ip_formations|Formations ip_formations_text|You can turn on formations in the Mod Options menu. To access the Mod Options, click the Camp menu. ip_entrenchment|Camp Entrenchment ip_entrenchment_text| When your army sets up camp for the night, you are given the option to entrench your camp site. An entrenched camp site is a temporarily fortified position using terrain and pickets as a defensive barrier. Armies composed mostly of cavalry units will get little benefit from entrenching. Armies comprised mostly of foot soldiers will find that entrenchment will give them a significant advantage over cavalry units. Soldiers very much dislike digging holes and planting pickets, so you will suffer a small morale penalty when choosing this option.^^ If you choose not to entrench your camp site, you will be at a disadvantage if attacked while camping. Your camp may be over run and plundered. Items in your inventory may be looted or destroyed in the battle. An entrenchment that has not been over run recieves the benefit of multiple ammunition reloads for the troops. A normal camp site gets no such benefit.^^ In order to entrench your position you will need tools, time, and skill. Tools can be purchased at many of the towns in Calradia, and one set must be in your inventory in order to entrench. The time required to entrench is based upon the number of soldiers in your army and your parties skill in engineering. A small band of warriors with no skill in engineering will take days to entrench a camp site. An army of 30 or more with a few points in engineering can accomplish this in just a few hours.^^ When you complete the entrenchment, a circle of pickets will surround your camp. This entrenchment will remain in place for approximately three days after leaving the entrenchment. You can leave and return to the entrenchment during this time without having to do any more digging or planting of pickets, thus avoiding any morale penalty. This makes an entrenched site an excellant base of operations for sieges or incursions into enemy territory.
https://w.atwiki.jp/v-lyrics/pages/102.html
りっぷりりーす [ TAG Alp-R E-Q Luka NV_sm5992615 Romaji RyuuseiP Title] Music RyuuseiP/流星P Lyric RyuuseiP/流星P Arrange RyuuseiP/流星P Vocal Megurine Luka Videos PVs ■ Show/Hide Video http //www.nicovideo.jp/watch/sm5992615 http //www.nicovideo.jp/watch/sm5992615 ■ Show/Hide Video http //www.nicovideo.jp/watch/sm79229225 http //www.nicovideo.jp/watch/sm7922922 Translations ■ Show/Hide Romaji 2009/02/07 First Entry Translation by damesukekun RIP=RELEASE ah- nagarete iku jaguchi no mizu sonohoka niwa koe mo naku ah- sobani ire ba kizutsuku koto wakatteta noni tomaranakute doko ni itano nante kiku nara mou subete wo kowasitara yokatta...! afuredasu namida wa itsumo onaji demo itami niwa kokoro ga narete wa kurenai tatoeba kimi no nodo wo kirisaite simaetara watasi dake no kimi ni... ah- tasikame au kotoba saemo sinjiru koto wa dekinai mama kakeagaru kodou no hayasa wo mou osaeru koto nante dekinai...! kotae wo watasi no nou ni toikaketemo zensin ga sono subete wo kobande iru huan mo iradachi mo hiai ya mijimesa saemo taete yukereba ii...? haritumeta watasi no ito ni furenaide yasasii kotoba de kitai wo sasenaide aisareta akasi wo motomete te wo nobasitemo kimi wa mou inakute afuredasu namida wa itsumo onaji demo itami niwa kokoro ga narete wa kurenai imasugu kimi no nodo so kirisaite nanimokamo watasi dake no mono ni... [部分編集] ■ Show/Hide Translation 1 RIP=RELEASE 2009-02-07 First Entry 2009-06-12 19 18 25 (Fri) Last update Trasnlated by iwashi1024 Title RIP RELEASE Lyric It s flowing. Water of a faucet There is also no voice in others. ah- When I was in your side. I was damaged I knew that but I can t stop my self "Where did you going?" I hear you Everything should have already been broken! The tear I overflow is always by same but My heart isn t accustomed to the pain. for example, If I can tear your throat. You are mine, only for me... ah- I make sure each other. Even your words. I can t believe it. run up, speed of the beating. I can t suppress it any more! Even if I ask my brain a response(answer). My whole body is blocking the all. Anxiety and vexation, even grief and the misery, Can I endure those? Please don t touch my strain thread. Please don t make them expect by gentle words. If I was loved you, and I reached my hand out for you You don t stay here any more The tear I overflow is always by same My Heart isn t accustomed to the pain. I ll tear your throat right now and make everything only mine... 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 2009-06-12 19 18 25 (Fri) ■ Show/Hide Translation 2 RIP=RELEASE 2009-08-27 First Entry 2009-08-27 21 05 00 (Thu) Last update Trasnlated by damesukekun Title RIP=RELEASE Lyric ah, the faucet is running the water no single word we say ah, I knew I hurt myself if I was with you I couldn t leave but be with you I should have broken all rather than asking your affair! Even if I overflow tears many times, pains can never be my friend If I could rip and release your throat, I would keep you to myself... ah, I can t believe your words of love I can t believe your promise of love The heartbeat throbs faster I can t control the throbs at all! I ve already known the answer in the brain, but my whole mind rejects all of it Should I stand all the anxiety, irritation, sorrow and misery? Never touch my strained chord Don t tell me a shallow lie for a comfort I hold out my hands for your love but you are no longer there Even if I overflow tears many times, pains can never be my friend I wanna rip and release your throat right now and I could keep you yourself to myself, only to myself! 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 2009-08-27 21 05 00 (Thu) Original Lyric, Nicosound MP3, etc http //www5.atwiki.jp/hmiku/pages/4075.html http //nicosound.anyap.info/sound/sm5992615 http //www.nicomimi.com/play/sm5992615 Sub video, PV, other fan made video in YouTube http //www.youtube.com/watch?v=Q9wvWfCBedw http //www.youtube.com/watch?v=zuZlyneASnk http //www.youtube.com/watch?v=BaqpQ1UNzeU [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=BaqpQ1UNzeU http //www.youtube.com/watch?v=zuZlyneASnk http //www.youtube.com/watch?v=Q9wvWfCBedw (Information in this page is based on HatsuneMiku@Wiki) _
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【登録タグ A-One I Rute TOHO EUROBEAT VOL.20 秘封ナイトメアダイアリー あき ナイトメアダイアリー 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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const rPagename = /(?=^|.*
https://w.atwiki.jp/nicoapi/pages/45.html
[Web API] ch.info チャンネル情報の取得 リクエスト URL GET http //ch.nicovideo.jp/api/ch.info/{ch_id} ch_id チャンネルID format xml, json, html データ形式 JSON 形式。 データサンプル 正常な場合 { "category_id" 9, "channel_id" 2596681, "company_viewname" "株式会社ドワンゴ", "dfp_setting" "", "name" "水曜どうでしょう", "open_time" "2014-07-23 15 00 00", "screen_name" "suidou", "update_time" "2014-07-18 15 48 49" } 更新履歴 2014/8/1 記述
https://w.atwiki.jp/boplayer/pages/38.html
大会成績 動画 http //www.stage6.com/user/fackyou/video/1979907/ [watch+ tkk ニコマコス倫理学 VIPからき☆すた] ホームページ 撒きによるギリ置きを多用しているが彼本来の動きを隠しているように見える。ただ撒きなので、やはり止まれない部分がたた見られ、攻撃予測が少し足りない部分がある。ギリ置きはさすがといえますね。(legendaryQ) 評価(執筆者) 名前 コメント すべてのコメントを見る
https://w.atwiki.jp/touhoukashi/pages/2356.html
【登録タグ T カトウリン クラゲノボーン 曲 東方大丈夫 死体旅行 ~ Be of good cheer!】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/touhoukashi/pages/4305.html
【登録タグ Doppel m めらみぽっぷ 廃獄ララバイ 曲 森羅万象】 【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/vocalive/pages/175.html
このページ名(Name of this Page)→【ライブ技術一覧/スクリーンに投影可能なテスト素材動画 Videos for Testing】 Technology for Handmade Live Concert and Event ライブ技術一覧 メニューMENU 1各自で研究開発中の投影ボードとスクリーンの一部 2手作りライブ等の為の技術情報 Technology for the Vocaloid Handmade Live Concert 3将来応用可能なライブ関連技術及び研究 Research and Development for Future Mascot and Vocaloid Development マスコットキャラ及びボーカロイドの作成と育成 ギミック Gimmick of Live Concert コンテスト Contest スクリーンに投影可能なテスト素材動画 Videos for Testing メンバー募集案内 Member Request ライブ録画技術 Video Recording Technique 動画作成のコツとMMD [Tips for Making Video & MMD]+MEMO 参考文献 References 各自で研究開発中のKinectと遠隔操作等の一部 Remote Control & Kinect 各自で研究開発中の同期システム Synchronization System 技術関係のMEMO 技術関係のMEMO2 perm 過去のライブの反省会等の一部 過去のライブの反省会等の一部 MEMO 配信と動画up技術 Streaming and Uploading Tech of Video 手作りライブ等の為の技術情報 スクリーンに投影可能なテスト素材動画 Videos which can be used to test a screen system. Life-Size Miku Performs Koi Suru VOC@LOID in My House! (等身大のミクさんが家にやって来た!) (等身大のミクさんが、家に来て恋するVOC@LOIDを歌ってくれた!) http //www.youtube.com/watch?v=eL36nf26djo Reference VOC@LOID In Love - 2011 MIKUNOPOLIS in Los Angeles End Credits http //www.youtube.com/watch?v=ieym3n6av5g 【MMD】ミクをハコに入れるための動画【らぶ式】 http //www.nicovideo.jp/watch/sm23506136 【MMD】ハコビジョン入り娘【らぶ式】 http //www.nicovideo.jp/watch/sm23506119 【Dreamy Theater 2nd】Ochame Kinou (Mischievous Function)【Project Diva 2nd EDIT PV】 http //www.youtube.com/watch?v=vP2SjaPX2gs Example for putting on the screen. 39diyMMDConcert Collab Ochame Kinou (Mischievous Function) / Fukkireta http //www.youtube.com/watch?v=QOPVqD8N3uU TECH/日本/Hatsune Miku Hako Vision (Box Vision) Production Official Downloads of the contest page. http //www.bandai.co.jp/candy/hakovision/tlive/ 「ハコビジョン 初音ミク」「てのひらいぶフェス」 動画 http //wpp.jp/hmw/ http //wpp.jp/hmt/ http //www.youtube.com/watch?v=Ik_WVdf6AUA http //www.youtube.com/watch?v=aPIhq5rTCNQ ※参考:実際のスマートフォンで投影する際の、機種別動画サイズ一覧表 http //www.bandai.co.jp/candy/hakovision/tlive/resize.html 自室で等身大ハコビジョン Tell Your World http //www.nicovideo.jp/watch/sm24215948 初音ミクを狭い自室に召喚してみた2 http //www.nicovideo.jp/watch/sm16758304 引っ越したのでリビングで初音ミクを召還してみた http //www.nicovideo.jp/watch/sm17615164 追記:環境製作費はアクリルパーティションMY-DB3¥29.9k、透過型スクリーンフィルム ¥45k、プロジェクタLVP-EX200 ¥25kで計¥99,900。あとはPCとミクポリB DがあればOK。 エントリー てのひらいぶフェス http //www.nicovideo.jp/search/%E3%81%A6%E3%81%AE%E3%81%B2%E3%82%89%E3%81%84%E3%81%B6%E3%83%95%E3%82%A7%E3%82%B9 EDIT Page If do not know about editing web page of this Wiki, DO NOT EDIT. Click HERE to Edit Current Page or click following URL to edit this page. http //www18.atwiki.jp/vocalive/editx/27.html Make sure to rewrite correct page number after (/vocalive/editx/) or (/vocalive//editx/PAGE NUMBER.html) to edit current page. [ページ保存] button below the editing window=means SAVE the page after editing to finish editing. [プレビュー] button below the editing window=means PREVIEW the page during editing. input the code number shown to perform these command. To cancel editing, just use Web browser button out side the editing window to go back. or CLOSE the editing page of the Web browser s window. If you make mistake, DO NOT SAVE the page. Do NOT press [ページ保存] button. [» タグ ]box below the editing window=means make TAG of this page after editing. If you have any problem, insert "HELP" in the TAG to identify the page at later for repair. EDIT & MAKE Page http //www18.atwiki.jp/vocalive/editx/27.html
https://w.atwiki.jp/mrfrtech/pages/137.html
Market Analysis The Email Marketing Industry is predicted to grow at a healthy 15.2% CAGR between 2020- 2027, states the recent Market Research Future (MRFR) analysis. Email marketing is more than merely sending mails. It has various features like reporting and analytics, campaign automation, scheduling, email builders, and design tools that allows enterprises in streamlining their marketing efforts. The key benefits of email market solution is in building customer loyalty, increasing the number of leads, and increasing sales. Various factors are fuelling the global email marketing market share. As per the recent MRFR market estimates, such factors include increasing digitalization worldwide, growing number of internet users, increasing trend of digital marketing, surge in the acceptance of smartphones and tablets, growing internet penetration even in remote or distant locations, increasing use during COVID-19 pandemic, launch of 5G network facility, rise in hosted service and email marketing providers, growing acceptance of digital literacy and awareness, and cheapening of tariff rates. On the contrary, budget constraints, lack of awareness among SMEs in developing economies, lack of infrastructure in emerging economies, growing security issues, and stringent regulations related to user data privacy may limit the global email marketing market growth over the forecast period. Get a Free Sample @ https //www.marketresearchfuture.com/sample_request/7426 Market Segmentation The MRFR report throws light on an inclusive segmental analysis of the global email marketing market based on industry vertical, deployment mode, organization size, and component. By component, the global email marketing market is segmented into services and solutions. By deployment mode, the global email marketing market is segmented into on-premises and cloud. By organization size, the global email marketing market is segmented into small enterprises, medium-sized enterprises, and large enterprises. Of these, the small and medium sized enterprises will lead the market over the forecast period. By industry vertical, the global email marketing market is segmented into IT and telecom, BFSI, media and entertainment, transportation and logistics, education, food and beverages, travel and hospitality, retail and consumer goods, and others. Regional Analysis By region, the global email marketing market covers the recent trends and growth opportunity across North America, Europe, the Asia Pacific (APAC), and Rest of the World (RoW). Of these, North America will dominate the market over the forecast period. The presence of large number of enterprises, high degree of digitalization, the increase in the application of convenient marketing, and the growing inclination of start-ups towards email marketing are adding to the global email marketing market growth in the region. In Europe, the global email marketing market is predicted to hold the second-largest share over the forecast period for the rise in the number of startups and the penetration of email marketing in different enterprises in the UK. In the APAC region, the global email marketing market is predicted to grow at a fast pace over the forecast period. Rapidly increasing number of enterprises, growing adoption of digital marketing solutions, presence of largest population of email users, the presence of several reputed companies, rapid globalization, the emergence of new companies, fast growing enterprises, and the increasing adoption of various digital marketing solutions by emerging companies are adding to the global email marketing market growth in the region. In RoW, the global email marketing market is predicted to have sound growth over the forecast period. Key Players The leading players profiled in the email marketing market report include Ontraport (US), Mailjet inc. (France), Constant Contact, Inc. (US), AWeber Communications (US), Pinpointe On-Demand, Inc. (US), Kevy (US), Adobe (US), SendinBlue (France), Salesforce.com, inc. (US), ActiveCampaign, LLC (US), Klaviyo (US), HubSpot, Inc. (US), Campaign Monitor (US), Zoho Campaigns (India), and GetResponse (Poland), among others. The global email marketing market is fragmented and also competitive with the presence of many domestic as well as international industry players. They have incorporated assorted strategies to stay at the forefront and also cater to the surging needs of the customers, including collaborations, partnerships, contracts, geographic expansions, new product launches, joint ventures, and more. Additionally, these players are also making heavy investments in research and development activities for strengthening their portfolios and also creating a hold in the market. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/email-marketing-market-7426 Industry Updates April 2021- Amazon is offering email marketing tool to its sellers. Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Markets Structure 3 Market Research Methodology 3.1 Research Process 3.2 Secondary Research 3.3 Primary Research 3.4 Forecast Model Continued… Similar Report B2B Telecommunication Market Information by Solution (Unified Communication and Collaboration), Deployment (Fixed, Mobile), Organization Size (Large, Enterprise), Application (Industrial, Commercial) and regions Trending #MRFR Report** https //ictmrfr.blogspot.com/2022/04/geofencing-market-companies-growth-with.html https //blogfreely.net/pranali004/telecom-expense-management-market-size-impressive-cagr-changing-business-scope https //postheaven.net/pranali004/financial-app-industry-impressive-cagr-changing-business-needs-scope-of https //market-research-future.tribe.so/post/openstack-service-market-research-impressive-cagr-changing-scope-of-current--6263de46791566c10c79891e https //www.scutify.com/articles/2022-04-24-infrastructure-as-a-service-industry-cagr-changing-business-scope-of-current-and-future-industry- About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. 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