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https://w.atwiki.jp/elvis/pages/1496.html
Emily the Strange Chairman of the Bored (Emily the Strange) Rob RegerBrian BrooksJessica Gruner?Buzz ParkerCosmic Debris Emily The Strange (Emily the Strange) Cosmic DebrisBuzz ParkerBrian Brooks Welcome to My Nightmare Welcome to My Nightmare (Emily the Strange) CosmicCosmic Debris The Incredibly Strange 2007 Calendar (Emily the Strange) Cosmic Debris Emily the Strange Mixed-up Stationery (Emily the Strange) Cosmic Debris Emily the Strange 30 Postcards (Collectible Postcards) Rob RegerCosmic Debris Emily the Strange Stick-It! Notes (Emily the Strange) Cosmic Debris Emily the Strange Dis-Organizer Cosmic DebrisChronicle Books Emily's Wheel of Misfortune Door Sign Cosmic Debris Etc. Inc. I Know I'm Strange But What Are You? (Emily the Strange) (Notepad) Cosmic DebrisCosmic Emily the Strange I Wanna Be Your Cat (Emily the Strange) Cosmic Debris Emily's Nightmare Journal (Emily the Strange) Cosmic DebrisChronicle Books Emily's Little Black Book (Emily the Strange) Cosmic DebrisBrian BrooksEliza F. Mayo Emily the Strange Journal (Emily the Strange) Cosmic DebrisChronicle Books Emily the Strange 4 The Rock Issue Rob RegerJessica Gruner?Cosmic DebrisBuzz Parker Bad Girl Gone Worse (Emily the Strange) CosmicCosmic Debris Get Lost! (Emily the Strange) Cosmic Debris Oopsy Daisy Postcard 30 Postcards (Oopsy Daisy) Brian BrooksCosmic Debris Emily the Strange Some Girls Are Stranger Than Others (Emily the Strange) Cosmic Debris Oops, My Cookies Killed Santa (Oopsy Daisy) Cosmic Debris Emily the Strange. Fuer HUMES die menschengleiche Katze Cosmic Debris Oopsy-Daisy Holiday Cards Frosty Bitten (Oopsy Daisy) Cosmic Debris Cosmic Debris Meteorites in History John G. Burke? Cosmic Debris The Asteroids (Isaac Asimov's New Library of the Universe) Isaac Asimov?Greg Walz-Chojnacki? Der Schein truegt Cosmic Debris Cosmic Debris Meteorites in History John G. Burke? Bon Bon Address Book (Bon Bon) Noel Tolentino?Cosmic Debris Emily the Strange 2008 Calendar Cosmic Debris Emilys Good Nightmares Cosmic Debris Bon Bon 2004 Calendar Noel Tolentino?Cosmic Debris Oopsy Daisy 2004 Calendar Cosmic Debris
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【登録タグ FELT L LIttle Planet Rebirth StoryⅡ 妖々夢 ～ Snow or Cherry Petal 曲 舞花】 【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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} /** 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/mypcmemo/pages/271.html
■ デスクトップパソコン Dimension8250 http //www1.jp.dell.com/content/topics/segtopic.aspx/pressoffice/2002/021017?c=jp l=jp s=corp http //abc.s65.xrea.com/dell/wiki/Dimension/8250/ http //ascii.jp/elem/000/000/335/335122/ http //unkar.org/r/pc/1195045147 http //logsoku.com/thread/hibari.2ch.net/pc/1251980242/ http //www.ari-web.com/shop/pc/dell/dimension-8250.htm http //pc.watch.impress.co.jp/docs/2002/1017/dell.htm http //www.nodevice.jp/driver/Dimension_8250/get56274.html http //tephteph2010.blog121.fc2.com/blog-category-11.html http //ascii.jp/elem/000/000/334/334589/ http //petagon.blog.eonet.jp/puti/2009/05/dimension-820-1.html http //www.geocities.jp/g2wpn55/dim825.html http //members.jcom.home.ne.jp/357/8250.html http //supportapj.dell.com/support/edocs/systems/dim8250/index.htm nicovideoエラー ( 正しい動画URLを入力してください. ) nicovideoエラー ( 正しい動画URLを入力してください. ) nicovideoエラー ( 正しい動画URLを入力してください. ) nicovideoエラー ( 正しい動画URLを入力してください. ) nicovideoエラー ( 正しい動画URLを入力してください. ) nicovideoエラー ( 正しい動画URLを入力してください. ) nicovideoエラー ( 正しい動画URLを入力してください. ) nicovideoエラー ( 正しい動画URLを入力してください. ) link[[ tag[[ mylist[[ community[[ back
https://w.atwiki.jp/vs900com/pages/16.html
Tokyo Highlights Asakusa Senso-ji Temple Commonly called Kannon-sama among the locals, is the oldest and one of the most popular temples in Tokyo. The temple was built in 628 to be dedicated to the statue of Kannon that was found in the Sumida River. Kaminari-mon (Thunder gate) with a huge red paper lantern is the symbol of the complex. There are many shops selling traditional Japanese confectionary and souvenirs along “Nakamise”, the alley leading to the main hall. The temple complex and surrounding areas give you the air of old time Tokyo. Tokyo Metropolitan Government The iconic 243 meter high skyscraper with two towers is the headquarters of city assembly and council operation of entire Tokyo. The observatory on the 45th floor is open to the public and visitors will be able to see how extensive the city really is. Imperial Palace (Nijubashi Bridge) The Edo Castle, formerly the Tokugawa family’s residence, was opened in the Meiji Restoration and later renamed as the Imperial Palace. The two-arched Nijubashi Bridge in front of the main entrance is picturesque setting with its bridge reflects on the water. Ameyoko Avenue Ameya-yokocho, locals call it “Ameyoko”, is the market place under the railway tracks between Ueno and Okachimachi stations. It originated as a flea market soon after the World War 2 ended, people helping each other by selling basic items and foods in affordable prices. Today the market has grown more with nearly 500 shops selling wide range of foods, clothes and imported items. Tsukiji Market It is the largest central wholesale market in Japan, situated by the busy Tokyo bay. It has long supported the kitchens of the city. Not to miss the Tuna Auction at 5am that has a great atmosphere. Although visitors are not allowed to purchase anything inside the main market, many stalls and shops in Jogai-shijo (Outside market) would happy to deal with us. You may also taste the freshest seafood in one of many Sushi, Seafood bars and restaurants spreading around market. Ginza 4-chome Intersection This is the world’s most expensive land hereby the crossing between Cho-dori avenue and Harumi-dori avenue. Every weekend hundreds of shoppers enjoy car free days that entire Chuo-dori closes for traffic. A famous “Wako” department store with its clock tower is the most enduring landmarks. Sony Building Located at the Sukiyabashi crossing, is one of several Ginza landmarks and popular meeting points. It is also a must go for techno-freaks, with six-floors of the latest Sony gadgets on display. Tokyo Tower Erected to relay broadcastings in 1958, Tokyo Tower is the tallest construction in Japan as well as the symbol of Tokyo. It has a height of 333-meters with two levels of observatories. At the foot of the tower consists of museums (including “Wax Museum” and “Guinness World Record Museum”), Aquarium, gift-shops and food hall. Fuji TV Headquarters One of the popular TV station, Fuji TV is based here in Odaiba, lit by lasers at night, is the landmark of this waterfront area. Japanese Architect, Kenzo Tange, designed the building. The ball on top of the building weighs almost 1200 tons, with a diameter of 32 meters. Shibuya Hachiko-mae crossing A massive intersection with X-shape zebra crossing is all filled by cars and pedestrians in certain sequence of traffic lights in front of JR Shibuya Station. Either the pedestrian-deck near Keio terminal or Starbucks would be the best points to see the stream of people crossing the intersection. The Statue of Hachiko was constructed in honour of Hachiko’s faithfulness and loyalty to his master, professor Ueno. After Ueno’s death, Hachiko had been waiting for his master’s return in front of Shibuya station for over a decade. Today, the statue is a famous meeting spot. Meiji Jingu Shrine The shrine built for the Emperor and Empress of the Meiji Era. The original buildings were lost in a fire. The present shrine was built with wood donated by the public. This shrine is the most heavily visited place by worshippers in Japan during New Year holiday, almost 3 million people flock in. Sunshine City With the height of 240 meters, Sunshine city building is the symbol of Ikebukuro District in Northern Tokyo. There is an observation deck on the 60th floor. It is also the centre of all amenities including an aquarium and a planetarium, shopping malls and restaurants cafes. Toyota AMLUX / Megaweb The world’s most famous car manufacturer came up with the new type of showroom where people can learn about cars. Amlux is the realistic version of showroom in the future, where more than 70 cars are on display. You can sit on it, take pictures and even rent the car you like for few hours, too. While Megaweb in Odaiba district plays much larger exhibition where people can physically drive with the car you like around the tailor made circuit with straight and bendy lines, slopes and uneven surface. Akihabara Electric City Akihabara is well known as “Denki-gai (Electric Town)”. Everyone would agree the trend of electronic gadgets starts from here to the world. The area was originally developed as a place for stores and distributors specialised in selling electronic goods during the postwar period. From more than 1,000 stores lined up on the street called "Chuo Dori Avenue," you may be able to find anything from new to old, never be able to find in local electronic stores. As the new development has been taking place around Akihabara Station, it has changed its theme not only for electronics, but also for game, manga (comic books) and animation related goods. Roppongi Hills The new multipurpose complex built in Roppongi was opened to the public in 2003. The large area consists of gardens, open spaces, residential buildings, office buildings and shopping malls, restaurants, shops, and cafes, amusement facilities such as cinemas, a museum, and outdoor theatre. The 54-story Mori Tower with its height of 238 meters has an observation deck. “Mori Garden” is probably the most popular traditional Japanese style with the essence of contemporary features. The surrounding area also enhances its luxury and richness by housing high-class designers brand stores. Back to Tokyo, Japan
https://w.atwiki.jp/touhoukashi/pages/3611.html
【登録タグ False＆Trues L YUKI/藤宮ゆき techmatrix 恋色マスタースパーク 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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} #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/medalofhonor/pages/345.html
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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まぼろし [ TAG KuwagataP L-M Miku title ま] Music KuwagataP/クワガタP Lyric KuwagataP/クワガタP Arrange KuwagataP/クワガタP Vocal Hatsune Miku Videos PVs ■ Show/Hide Video http //www.nicovideo.jp/watch/sm7614978 http //www.nicovideo.jp/watch/sm7614978 Translations ■ Show/Hide Romaji sukoshi dake koohii (coffee) wo nondara tsukareta nemui mewo kosuru rizumu (rhythm) wo kizamu mada osanai yumega heddofon (headphone) no nakade ikiwo shita mada kurai akegatano sorani umareta morodii (melody) hanateba todoku kiga shita tomedonai yumewo shinji owaranai utawo utaeba suguni kyouga owatte shimaisoude hateshinai usowo daite muryokuna bokuno tamedakeno gensou mada kokode mite itainda 2009-07-23 Checked by damesukekun 2009-07-23 20 49 Generated automatically [部分編集] ■ Show/Hide Translation illusion 2009-07-23 First Entry 2009-08-12 21 47 55 (Wed) Last update Trasnlated by damesukekun Title illusion Lyric I drink coffee a little and rub my tired and drowsy eyes A still immature dream ticking rhythms took a breath in headphones A melody was born in the dawn sky which is yet dark I felt the melody reached the higher if I released it Today seems to pass soon when I believe a boundless dream and sing an endless song I m holding a vast lie let me keep dreaming the illusion for some time in this place the illusion only for feeble me Note This translation is by permission of the composer. 作者様のご了解のもと翻訳しました。 Comment If you have any advise or opinion for this post please write here.この投稿に対して助言、ご意見などありましたらこちらに書き込んで下さい。 Name Comment すべてのコメントを見る Last modified 2009-08-12 21 47 55 (Wed) Original Lyric, Nicosound MP3, etc http //www5.atwiki.jp/hmiku/pages/5981.html http //nicosound.anyap.info/sound/sm7614978 http //www.nicomimi.com/play/sm7614978 Sub video, PV, other fan made video in YouTube http //www.youtube.com/watch?v=isET_O7ZcVU [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=isET_O7ZcVU (Information in this page is based on HatsuneMiku@Wiki) _
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Some Industrial Chemicals (Iarc Monographs on the Evaluation of Carcinogenic Risks to Humans) Intl Agency for Research on Cancer? International Agency for Research on Cancer? IntlAgencyforResearchonCancer? InternationalAgencyforResearchonCancer? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Medicine? ユーズドブック(洋書)-Outdoors&Nature Substores-UnknownASINs-56? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Safety&Health? Subjects-Medicine-InternalMedicine-Oncology? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Safety&Health? Subjects-Professional&Technical-Medical-Administration&MedicineEconomics-PublicHealth-Toxicology? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Technology-Risks? Subjects-Science-Technology-Safety&Health? Subjects-Science-Medicine-InternalMedicine-Oncology? Schistosomes, Liver Flukes and Helicobacter Pylori (Iarc Monographs on the Evaluation of Carcinogenic Risks to Humans) Intl Agency for Research on Cancer? International Agency for Research on Cancer? IntlAgencyforResearchonCancer? InternationalAgencyforResearchonCancer? ユーズドブック(洋書)-Medicine? Substores-UnknownASINs-56? Subjects-Medicine-InternalMedicine-InfectiousDisease-Parasitology? Subjects-Medicine-InternalMedicine-InfectiousDisease-TropicalMedicine? Subjects-Medicine-InternalMedicine-Oncology? Subjects-Professional&Technical-Medical-BasicSciences-Biology? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-InfectiousDisease-TropicalMedicine? Subjects-Science-General Subjects-Science-BiologicalSciences-Biology-General? Subjects-Science-Medicine-InternalMedicine-InfectiousDisease-Parasitology? Subjects-Science-Medicine-InternalMedicine-InfectiousDisease-TropicalMedicine? Subjects-Science-Medicine-InternalMedicine-Oncology? 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