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Hockey Heroes Rourke Pub Group? Jonathan Bliss? RourkePubGroup? JonathanBliss? ユーズドブック(洋書)-Teens? Substores-UnknownASINs-35 Subjects-Teens? The Stanley Cup (Hockey Heroes) Rourke Pub Group? Jonathan Bliss? RourkePubGroup? JonathanBliss? Substores-UnknownASINs-35 Subjects-Children sBooks-Sports&Activities-Sports-General? Wingmen Warriors (Hockey Heroes) Rourke Pub Group? Jonathan Bliss? RourkePubGroup? JonathanBliss? Substores-UnknownASINs-35 Subjects-Children sBooks-Sports&Activities-Sports-General? Alaska's National Lands (North to Alaska) Rourke Pub Group? Lynn M. Stone? RourkePubGroup? LynnM.Stone? ユーズドブック(洋書)-Travel? Substores-UnknownASINs-35 Subjects-Children sBooks-History&HistoricalFiction-UnitedStates-General? Subjects-Travel-UnitedStates-States-Alaska-General? Alaska The Great Land (North to Alaska) Rourke Pub Group? Lynn M. Stone? RourkePubGroup? LynnM.Stone? Substores-UnknownASINs-35 Subjects-Children sBooks-History&HistoricalFiction-UnitedStates-General? 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Cal 97 Arizona Graphic Arts Center Pub Co? Fred Hirschmann? GraphicArtsCenterPubCo? FredHirschmann? Substores-UnknownASINs-35 Subjects-Travel-UnitedStates-Regions-West-General? Useable Portable Guide ; Microsoft Windows 3, Wordperfect for Windows and Excel Business One Irwin Computer? Jon Haber? BusinessOneIrwinComputer? JonHaber? Substores-UnknownASINs-35 Subjects-Computers&Internet-Software-Spreadsheets-MicrosoftExcel-General? Subjects-Computers&Internet-Software-WordProcessors&Editors-WordPerfect? Subjects-Computers&Internet-General? Albrecht at Americas Serv (4 Bks) Longman Higher Education? LongmanHigherEducation? undefined undefined Guide to Preparing Board Reports Irwin Professional Pub? Jerry Miller? IrwinProfessionalPub? JerryMiller? Substores-UnknownASINs-35 Subjects-Business&Investing-BusinessLife-Communication-Meetings&Presentations? Subjects-Nonfiction-Crime&Criminals-Criminology? Bank Secrecy Act Compliance Probus Professional Pub? Robert E. Powis? ProbusProfessionalPub? 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Constraining Camera Position and Motion Sometimes you may already know some or all of the path of the camera, for example, · it may be available from a motion controlled camera, · the camera motion may be mechanically constrained by a camera dolly, · you may have measured some on-set camera data to determine overall scene sizing, or · you may have already solved the camera path, then hand-edited it for cleanup. SynthEyes lets you take advantage of this information to improve a solution or help set up the coordinate system, using the trajectory lock controls at the bottom of theSolver Control Panel, theHard and Soft Lock Controldialog, and the camera s seed path information. Warning using camera position, orientation, and field of view locks is avery advanced topic. You need to thoroughly understand SynthEyes and the coordinate system setup process, and have excellent mental visualization skills, before you are ready to consider camera locks. Under no circumstances should they be considered a way to compensate for inadequate basic tracking skills. Concept and Terminology SynthEyes allows you to create locks on path (X, Y, and/or Z translation), rotation (pan, tilt, and roll), and field of view. You can lock one or more channels, and locks are animated, so they might apply to an entire shot, a range of frames, or one frame. Each lock forces the camera to, or towards, the camera s seed path. The seed path is what you see before solving, or after clearing the solution. You can see the seed path at any time using theView/Show seed pathmenu control, or the button on the Hard and Soft Lock Control dialog. Locks may be hard or soft. Hard locks force the camera to the specified values exactly (except if Constrain is off), similar to pegged trackers. Soft locks force the camera towards the specified value, but with a strength determined by a weight value. Locks are affected by theConstraincheckbox on the solver panel, similar to what happens with trackers. With Constrain off, locks are appliedaftersolving, anddo notwarp the solution. All soft locks are treated as hard locks. With Constrain on, locks are applied before and during solving, soft locks are treated as such, and locksdowarp the solution. Field of view locks are not affected by Constrain, and are always applied. Camera position locks are more useful than orientation locks; we’ll consider position locks separately to start with. You can also constrain objects, but this is even more complex. Basic Operation Set up generally proceeds as follows 1. If you have not already attempted to solve the scene, go to step 5. 2. Go to the Solver Control Panel. Click themorebutton to bring up theHard and Soft Lock Controlpanel. 3. Position and animate the camera as desired, creating a key on each frame where you want the position to be constrained. The Get buttons can help with this. 4. Turn on the L/R, F/B, and/or U/D buttons as appropriate depending on the axes to be constrained — these stand for left/right, front/back, and up/down respectively. 5. Adjust the Constrain checkbox as needed. The camera position constraints behave similarly to constraints on the trackers if the Constrain checkbox on, they are enforced exactly during the solve, but if the Constrain checkbox is off, they are enforced only loosely after the completion of the solve. Loosely means that they are satisfied as best as can be, without modifying the trajectory or overall RMS error of the solution. The result of this process is to make the camera match the X, Y, and/or Z coordinates of the seed path at each key. This basic setup can be used to accomplish a variety of effects, as described above and covered in more detail below. At the end of the section, we’ll show some even more exotic possibilities. Using a Camera Height Measurement Suppose the camera is sitting on a moving dolly in a studio, and you measured the camera (lens s) height above the floor, and you have some trackers that are (exactly) on that floor. You can use the height measurement to set up the scene size as follows 1. Show the seed path View/Show Seed Path menu item 2. At frame 0, position the camera at the desired height above the ground plane 2 meters, 48 inches, whatever. 3. Turn on the U/D button on frame 0,turn it back off at frame 1. 4. Set up a main coordinate system using 3 or more trackers on the floor. Make sure tonotcreate a size constraint in the process if using the *3 button on the Coordinate system panel or the Coord button on the Summary panel, select the 2nd(on-axis) tracker, and in the Coordinate panel, change it from Lock Point (at 20,0,0) to On X Axis or On Y Axis. 5. Solve with Go! on the Solver panel Note that you can use whatever more complex setup you like in step 4, as long as it completely constrains both the translation and rotation, but not the size. WARNING You might be tempted to think “Hmmm, the camera is on a dolly, so the entire path must be exactly 43 inches off the floor, let me set that up!” (by not turning U/D back off). But this is almost alwaysa bad idea! The obvious problem is that the dolly track is never really completely flat and free of bumps. If the vertical field of view is 2 meters, and you are shooting 1080i/p HDTV, then roughly your track must beperfectly flat to 1 millimeteror so to have a sub-pixel impact. If your track is that flat, congratulations. The conceptually more subtle, but bigger impact problem is this a normal tripod head puts the camera lens very far from the center of rotation of the head—roughly 1 foot or 0.25 meter. As you tilt the head, the position of the camera increases and decreases up to that much in height! Unless your camera does not tilt during the shot, or you have an extra-special nodal-pan head, the camera height will change dramatically during the shot. A Straight Dolly Track Setup If your camera rides a straight dolly track, you can use the length of that track to set the scale, and almost the entire coordinates system if desired. While the camera height measurement setup discussed above is simpler, it is appropriate mainly for a studio environment with a flat floor. The dolly track setup here is useful when a dolly track is set up outdoors in an environment with no clearly-defined ground plane—in front of a hillside, say. For this setup, you should measure the distance traveled by the camera head down the track, by a consistent point on the camera or tripod. For example, if you have a 20’ track, the camera might travel only 16’ or so because there will be a 2’ dead zone at each end due to the width of the tripod and dolly. Measure the starting/ending position of the right front wheel, say. Next, clear any solved path (or click View/Show seed path), and animate the camera motion, for example moving from 0,0,0 at the beginning of the shot to 16,0,0 at the end (or wherever it reaches the maximum, if it comes back). You now have two main options A) mostly tracker-based coordinate setup, or B) mostly dolly-based coordinate setup, for side-of-hillside shots. For setup A, turn on only the L/R camera axis constraint checkbox on the first and last frames (only). The X values you have set up for the camera have set up an X positioning for the scene, so when you set up constraints on the trackers, they should constrain rotation fully, plus the front/back and up/down directions—but not the L/R direction since that would duplicate and conflict with the camera constraint (unless you are careful and lucky). For setup B, turn on L/R, F/B, and U/D on the first and last frames (only). You should take some more care in deciding exactly what coordinate values you want to use for each axis of the animated camera path, because those will be defining the coordinate system. [By setting keys only at the beginning and end of the shot, you largely avoid problems with the camera tilting up and down—at most it tilts the overall coordinate system from end to end, without causing conflicting constraints.] If the track is not level from end to end, you can adjust the beginning or ending height coordinate of the tracker as appropriate. But usually we expect the track to have been leveled from end to end. With X, Y, and Z coordinates keyed at the beginning and end of the shot, you have already completely constrained translation and scale, and have constrained 2 of the 3 rotation axes. The only remaining unconstrained rotation axis is a rotation around the dolly. To constrain this remaining rotation requires only a single additional tracker, and only its height measurement! On the set, you should measure the relative height of a trackable feature compared to the track (usually this will be to the base of the track, so you should also measure the height of the camera versus the base). You can measure this height using a level line (a string and a clip-on bubble level) and a ruler. On theCoordinate System Control Panel, select the tracker and set it toAny XY Planeand set the Z coordinate (for Z-up mode), or selectAny XZ Planeand set the Y coordinate (for Y-up mode). Now you’re ready to go! This setup is a valuable one for outdoor shots where a true vertical reference is required, but the features being tracked are not structured (rocks, bushes, etc). Again, we recommendnot trying to constrain the camera to be exactly linear, though you can easily set this up by locking Y and Z to be fixed for the duration of the shot, with single-frame locks on X at the beginning and end of the shot. This setup forces the camera motion to be exactly straight, but moving in an unknown fashion in X. Although the motion will be constrained, the setup willnotallow you to use fewer trackers for the solve. Using a Supplied Camera Path This section addresses the case where you have been supplied with an existing camera translation path, either from a motion-controlled camera rig, or as a result of hand-editing a previous camera solution, which can be useful in marginal tracks where you have a good idea what the desired camera motion is. After editing the path, you want to find the best orientation data for the given path. If you have an existing camera path in an external application (either from a rig, or after editing in maya or max, for example), typically you will import it using a standard or custom camera-path import script. Be sure that the solved camera path is cleared first, so that the seed path is loaded. If you have a solved camera path in SynthEyes, you can edit it directly. First, select the camera, and hit the Blast button on the 3-D panel. This transfers the path data from the solved path store into the seed path store. Clear the solved path and edit the seed path. Rewind and turn on all 3 camera axis locks L/R, F/B, and U/D. Next, configure the solver s seeding method. This requires some care. You can use the Path Seeding methodonly if your existing path includes correct orientation and field of view data. Otherwise, you can use the Automatic method or maybe Seed Points. The Refine mode is not an option since you have already cleared the solution to load the seed path, and don’t have orientation data anyway or you’d use Path Seeding. You can use Seed Points mode if you are editing the path in SynthEyes—but be sure to hit theSet Allbutton on the Coordinate System Setup Control panelbeforeclearing the prior solution, so that the points are set up properly as seeds. You should probablynotmake them locks, unless you are confident of the positions already. With the camera path locked to a complex path (other than a straight line), no further coordinate system setup is required, or it will be redundant. You can solve the scene first with the Constrain checkbox off, then switch to Refine mode, turn on Constrain, and solve again. This will make it apparent during the second solve whether or not you have any problems in your constraint setup, instead of having a solution fail unexpectedly due to conflicting constraints the first time. Camera-based Coordinate System Setup The camera axis constraints can be used in small doses to set up the coordinate system, as we’ve seen in the prior sections. Typically you will want to use only 1 or 2 keys on the seed path; 3 or more keys will usually heavily constrain the path and require exact knowledge of the camera move timing. Roughly, each keyed frame is equivalent in effect to a constrained tracker located at the same spot. You should keep that in mind as you plan your setup, to avoid under- or over-constraining the coordinate system. Soft Locks So far we have described hard locks, which force the camera exactly to the specified values. Soft locks pull more gently on the camera path, for example, to add stability to a section of the track with marginal tracking. In either case, for a lock to be active, the corresponding lock button (U/D, L/R, pan, etc) must be on. The weight values on the Hard and Soft Lock dialog controls whether locks are hard or soft. If the weight is zero (the default), it is a hard lock. A non-zero weight value specifies a soft lock. Weight values range from 1 to 120, with 60 a nominal neutral value. However, we recommend that when creating soft locks, you start with a weight of 10, and work upwards through 20, 30, etc until the desired effect is obtained. Weight values are in decibels, a logarithmic scale where 20 decibels is a factor of 10, and 6 decibels is a factor of two. So 40 is 10 times stronger than 20, and 26 is twice as strong as a weight of 20. (Decibels are commonly used for sound level measurements.) A lock can switch from hard to soft on a frame-by-frame basis, ie frames 0-9 can be hard, and 10-14 soft. You may need to key the weight track carefully to avoid slow transitions from 20 down to 0, for example. Soft locks are treated as such only when the Constrain check box is on it is the solver that distinguishes between hard and soft locks. If Constrain is off, the locks will be applied during the final alignment, when they do not affect the path at all, just re-orient it, so soft locks are treated the same as hard locks. Note that the soft lock weight isnota path blending control. You might naively be tempted to set up a nominal locked path, and try to animate the soft lock weights expecting a smooth blend between the solved path and your animated locked path. But that is not what will happen. The weight changes how seriously SynthEyes takes your request that the camera should be located at the specified position—but it will affect the tracker positions and everything else as well. Orientation Locks You can apply Pan, Tilt, and Roll rotation locks as well as translational locks. They can be used for path editing and, to a lesser extent, for coordinate system setup. For example, a roll-angle constraint can be used to keep the camera forced upright. That can be handy on tripod shots with large pans small amounts of lens distortion can bend the path into a banana shape; the roll constraint can flatten that back out. If the camera looks in two different directions with the roll locked, it constrainstwodegrees of freedom only a single pan angle is undetermined! For example, if looks along the X axis then along the Y axis, both with roll=0. You might want to think about that for a minute. The perspective window s local-coordinate-system and path-relative handles can help make specific adjustments to the camera path. Inherently, SynthEyes is not susceptible to “gimbal-lock” problems. However, when you have orientation locks, you are using pan, tilt, and roll axes that do define overall north and south poles, and you may encounter some problems if you are trying to lock the camera almost straight up or down. If this is the case, you may want to change your coordinate system so those views are along the +Y and –Y axes, for example. Object Tracking You can also use locks on moving objects, in addition to cameras. However, there are several restrictions on this, because moving objects are solved relative their hosting camera path, but the locks are world coordinate system values. If a moving object has path locks, then 1. the host camera must have been previously solved, pre-loaded, or pre-keyed, and the camera solving mode set to Disabled, 2. the translation axis locks must either all be on, or all off, and 3. the rotation axis locks must either all be on, or all off. Normally, when SynthEyes handles shots with a moving camera and moving object, it solves camera and object simultaneously, optimizing them both for the best overall solution. However, when object locks are present, SynthEyes must be able to access the camera solution first, in order to be able to apply the object locks. With the camera path, SynthEyes changes the translation and rotation axis lock values into a form usable for the object, but the individual axes are no longer available, and either all must be constrained, or none. SynthEyes will automatically turn all the enables on or off together if a moving object is active. Object locks have very hard-to-think-about impacts on the local coordinate system of the trackers within the object. Most object locks will wind up over-constraining the object coordinate system. We recommend that object locking be used only to work on the object path, not to try to set up the object coordinate system.
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Code Geass 23. At Least with Sorrow I, Euphemia li Britannia, bid all of you within the sound of my voice to heed the following command Seek out any Japanese you can find, and please kill them! Leave not a single one of them alive! STAGE 23 AT LEAST WITH SORROW Euphemia has betrayed us here! All units, descend upon the stadium! Grind the Britannians to dust! Damn you, Euphemia! You deceived us! DAMN ELEVENS! Now I see. You were planning this all along! The Black Knights! Crush the Britannians! Euphy! Euphy, where are you?! Get away from me! I don t have time to waste on you! Oh my! This is turning into a mess. How dare you... trampling over the hopes of our people! Euphemia! Stop it! Are you Japanese? You dare raise a hand against Euphemia li Britannia? Huh? Ah-ha, so there you are... you ridiculous royal puppet. Oh, you were on that island, weren t you? Yeah! Now suffer the hand of vengeance and-- Wait! I ll deal with her. You defiant Japanese! Now what, Zero? Do we take her prisoner? There s no point. Leave her. I have to kill them all! These Japanese people -- they have to die! It jammed up... I have to... hurry! I think it goes in here. Oh, I thought you were one of them. So, I was thinking, we could run the Specially Administrated Zone of Japan together. Oh, wait... Japan? Yes. I would ve like that. You and I together... Euphy... Lelouch... why? Farewell, Euphy. You may have been the first girl I ever loved. NOOOOOOO! Suzaku! Why now, of all times?! I m no match for that Hadron Cannon! I will never allow you to kill Lelouch! Suzaku! GET OUT OF MY WAY!!! Arrg, damn it! Please! You have to save Euphy! Do something! You mustn t let her die! You still haven t made contact with Darlton?! No, Your Highness. There was a report he d been injured, but nothing beyond that. Viceroy, emergency message from the Avalon. From the Avalon? Yes. The Special Zone at Fuji has fallen to the Black Knights. What was that?! They re moving to intercept our forces. Also... Princess Euphemia... "Equality?!" You can shove that straight up your administrated ass! You lured us into a death trap! You just made the biggest mistake in your lives! You got that?! That s right! Don t screw with the Japanese! Lucked out, didn t we? I can t believe they left all these footage and equipment behind. Yes. Once we re done editing, we can throw it on the Net for the entire world to see. It s pretty clear which side justice is on. How curious. You don t feel any loyalty toward Britannia, do you? Loyalty? Mmm-hmm. Britannia s glory has ripened on the vine; my talents are wasted serving them. You re more of an honest man than I thought you were. And what will you do now? Hard to say. The only reason I came here was to gather data. But I d feel bad abandoning you all, and I find Zero so... amusing. How wonderful to finally meet you! This girl -- she s a relative of Suzaku s. Zero, are you prepared to walk beside us in what s to come? The opposite! From this point on, the Six Houses of Kyoto will be under my control! I won t hear any objections! All other paths of survival for you... have now vanished! We should inform Viceroy Cornelia. Don t worry, I ll be taking care of that. Will she last until we reach the bureau? I m afraid not. I ll contact Prince Schneizel then. Excuse me. Suzaku... Euphy! Euphy... I have to know -- why did you issue that order at the stadium? Order...? What are you talking about? Never mind that... Suzaku... you re Japanese, aren t you? Yeah? Euphy! No! I mustn t-- I--I can t even think such a thing! No, please...! Suzaku? Yes, Euphy? The ceremony... did it go all right? Is Japan okay...? Euphy... don t you remember? People of Japan and all who are oppressed by the empire of Britannia! Long have I waited, all through the struggles against Britannia s injustices, I ve waited for them to come to their senses! But that hope was betrayed, by an act of barbarism that can only be called a genocide! How about everyone that was there? Are the Japanese happy? Never forgive Euphemia! She s a murderer! She s a filthy witch! Liar! Euphemia is the symbol of Britannia s hypocrisy -- a murderer cloaked in the flag of a nation! How was the ceremony...? Do you think I did... okay? I hope that bitch burns in hell! We re finished with your lie! Death to them all! Euphy... the Special Zone is... a great success! The Japanese people were given back their home... and you did it! Oh, thank God... I hereby declare our independence from Britannia! But don t take this to mean the resurrection of your fallen nation! We will not turn back the hands of time! The new Japan we go on to build shall be one broad enough to accept all peoples, histories, and ideologies where the strong shall not reign over the weak! And it shall be called... THE UNITED STATES OF JAPAN! He s done it! This is the birth of a nation! How strange... I can t see... your face anymore... Keep going... to school... I had to stop... before I-- before I had the chance to finish... Euphy, you can still go yourself! I know! Why don t we go to Ashford Academy together? The student council is so much fun! Euphy...! You have to do it... for me... kay? Please, Euphy! No, don t go! Suzaku... I m so happy... that we... Zero! Zero! Zero! Zero! Dear God... Area Fukushima, Byakko Squad, en route to lbaraki. Area Tama, continuing with barricade construction. Area Hamamatsu-- You plan to assault the Tokyo Settlement? Yes. This is the best chance we ll get. Don t worry about it -- your Geass has no effect on me. You know that, don t you? That s true, isn t it? Hmph, with my Geass out of control now, I can never see anyone. Yes, Nunnally? Hi Lelouch. I was wondering, um... do you suppose I could talk to Euphy again? I was thinking that the three of us could go to the school festival together. You see, Milly said they were organizing another one since everything got all messed up the other day. So I was hoping that we could go to the new one together too. Oh, I m sorry... I know you don t want us meeting ever again. But I thought maybe, if there was some way you and I could maybe see her just one last time... Nunnally, haven t you heard the news? Oh, well, the radio cut off mid-broadcast earlier. Why do you ask? Did something happen? Of course not. Everything is just fine. Sorry. I ll be home by tomorrow. We ll discuss it when I m back. Right. All right, so you can t switch off your Geass -- are there any changes you ve noticed? Not really. It s just... Euphy... she tried to resist the Geass... and my orders... I was wondering if my power had weakened... but I think... I think such a malignant command was simply against her nature. And so? I guess that s all. It was something... We have our contract. I promised to stay with you... to the very end. We weren t fast enough! We may have managed to keep the news off the Net, but there s insurrections all over the map! That s correct! The Black Knights are the largest of the insurgent groups. They are now absorbing all of the masses and advancing on the Tokyo Settlement! All our units are in play right now. We re completely on our own! Yes, and with so many honorary Britannians turning on us, our enemies number in the tens of thousands! Lord Guilford! Forget it! We cannot move without Her Highness word! But sir! The viceroy s been shut up in Princess Euphemia s room ever since she canceled the attack orders! And we still can t confirm Gen. Darlton s whereabouts. Everyone in Toyama Squad is at your disposal. Roger that. Any weaponry? Some explosives from Gokayama. But we don t have enough vehicles. Can any of us ride with you? The best we can offer are freight trains. That okay? Looks like the groups from Yamanashi joined up with us. Yeah, and the remnants of the Blood of the Samurai faction too. Our numbers are growing by the minute! I hope everyone in the student council can get away. On the contrary, for the first time in a while I m glad. Yes... I forgot the art of kindness ages ago, Marianne. I hope you re all right, Kaname. You re working in Shizuoka now, right? Yeah, I m fine over here. Look, Chigusa, we need to talk about something important when I get back. Hm? What s wrong? Well, that s the first time you ve called me by that name. Oh, you re right. Does it sound weird? Not a bit! Anyway, I ll be here. There she is -- that Brit woman! Watch us from your window, huh?! Admit it -- you re some sort of spy! As the insurgents draw closer, security in the ghettos continues to worsen. The government is asking all citizens to stay in their homes until further notice. Do you think the fighting will come our way as well? O--of course not! Princess Cornelia has her regular forces stationed here. There s no way! I hope so... Geez, back up, will you? You re scaring me. Nunnally, what about Lelouch? Is he back here yet? Lelouch? Is something the matter? No, not really... Man, I wish you d go back to calling him Lulu. It s time you two made up. Lulu? What, you mean I called him that? Oh, there you go again. Lulu... Nina, they want us upstairs in school! The insurgents are headed toward Tokyo! Right. And Zero s coming, isn t he? Please... wait for me, Princess Euphemia. I ll avenge you, I swear! Euphy... I just don t understand. Why did you give that order? Shall I tell you? Huh? A child? How did you get on board? How do you do, Suzaku Kururugi. You may call me V.V. V.V.? They ve broken the Atsugi line as well! Maybe the homeland can help us! They ll never make it in time. Then we should evacuate this area right away! Don t panic! Huh?! P--Princess Cornelia! I ve put the Glaston Knights on standby. Place all our forces on the outskirts of Tokyo! We can end this! We just need to take down Zero! Kill Cornelia, and the day will be ours! You all have your orders! Now be ready! Diethard, have Tohdoh handle the front line. I m leaving you in charge here. Yes, very well, Zero. You re Sumeragi s... Thank goodness I made it in time! That was so mean of you, the way you headed off to the battle without me! I ve been a huge fan of yours ever since your big debut! I was hoping that I d finally get to talk to you. Wow, you re really tall, aren t you? Don t worry though, I ll catch up with you pretty soon! L--Lady Kaguya, I thought the heads of the Six Houses remained in Fuji. I followed after you! So I can watch my future husband fight. Don t joke around. Well, once you win this battle, you ll eventually need a wife, won t you? I mean, I know your identity is a big secret and all, but you re gonna need somebody as your public face, right? Really? You believe we re going to win this battle? Of course! I am the goddess of victory after all. I d be lucky to have you then. Unfortunately, I ve already made a contract with the devil. Huh? I have no room in my life for deities right now. Hurry! We have to get this experimental subject back to the homeland! The pressure! The internal pressure is rising! Now, of all times...! Good morning to you it was. Hear me, Britannia! This is Zero! A rebel against oppressors who abuse their power! We will wait until midnight. You have until then to surrender to me. This is your only warning -- heed it. Twelve midnight, not a single second later. Gen. Darlton, you re in no condition to do this! I don t care! I have to be... at Her Highness side...! Your little bluff is meaningless, Zero. The Tokyo Settlement is an impenetrable fortress. You can still turn back, you know. Your actions here will affect more than just Area 11. You -- and this entire world -- will be steeped in war. I m aware of that, and yet all the same. Euphy? How could that be possible? No... it must be an impostor. Lelouch, it s me. Suzaku... why are you calling me now? Lelouch... are you at the school? No, but I will be soon. I see. I called because there s something I want you to tell everyone for me. Yes, and what would that be? The sky -- make sure no one looks up the sky. What? Lelouch... is there anyone you could ever hate so much that you d actually want to kill them? There is. Yes. I used to feel that sort of thinking was unacceptable -- that unless you followed the rules, killing someone was just murder. But now... it s hatred that s guiding me. I m fighting to kill someone. I m going to become a murderer in the skies of Tokyo, so please... Embrace your hate. Just think of Euphy. I made my own mind up long ago -- I ve no intention of turning back. For Nunnally, you mean. Yes. I have to go now. Thank you, Lelouch. Forget about it. I mean, you and I are friends after all. For the last seven years. Right. See you then. Yeah, later. What the hell?! These hands of mine have been dirty for a long time now, Suzaku. Your coming to face me now doesn t matter at all -- hell, I welcome it even. I mean, of course, you and I are friends... Perhaps this is what I ve longed for ever since that day the destruction and loss of everything. That s right -- destruction always comes before creation, and for that goal, even my own conscience must be cast aside. The only path left to me is straight ahead. Now then... That s right -- only by pushing forward will I find atonement. Even if my enemy is the greatest empire on the planet, there s no turning back for me now! Everything is in place. The time has come to overthrow the old world order!
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Theory for Midwifery Practice (Midwifery Practice) Palgrave Macmillan? Rosamund Bryar? PalgraveMacmillan? RosamundBryar? ジャンル別? Substores-UnknownASINs-8 Subjects-Medicine-Specialties-Obstetrics&Gynecology? Subjects-Medicine-Midwifery? Subjects-Science-Medicine-Specialties-Obstetrics&Gynecology? Subjects-Science-Medicine-Midwifery? Fiscal Reform and Structural Change in Developing Countries Palgrave Macmillan? Guillermo Perry? John Whalley? Gary McMahon? PalgraveMacmillan? GuillermoPerry? JohnWhalley? GaryMcMahon? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-Economics-Development&Growth? Subjects-Business&Investing-Industries&Professions-Accounting-Taxes-TaxLaw? Subjects-Law-Business-Taxation? Subjects-Nonfiction-Economics-Development&Growth? Subjects-Nonfiction-Law-Business-Taxation? Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-Accounting-Taxes-TaxLaw? Subjects-Professional&Technical-Accounting&Finance-Economics-Development&Growth? Daily Close-Ups for Fall Good Apple? Mary Magoldi? Nancee McClure? GoodApple? MaryMagoldi? NanceeMcClure? ジャンル別? Substores-UnknownASINs-8 Africa Misunderstood or Whatever Happened to the Rural-urban Gap? (Macmillan Series of ILO Studies) Palgrave Macmillan? Vali Jamal? John Weeks? PalgraveMacmillan? ValiJamal? JohnWeeks? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-Economics-Development&Growth? Subjects-Business&Investing-Economics-Macroeconomics? Subjects-Business&Investing-Economics-EconomicPolicy&Development? Subjects-Business&Investing-Economics-Labor&IndustrialRelations? Subjects-Nonfiction-Economics-Development&Growth? Subjects-Nonfiction-Economics-Macroeconomics? Subjects-Nonfiction-Economics-EconomicPolicy&Development? Subjects-Nonfiction-Economics-Labor&IndustrialRelations? Subjects-Professional&Technical-Accounting&Finance-Economics-Development&Growth? Subjects-Professional&Technical-Accounting&Finance-Economics-Macroeconomics? Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicPolicy&Development? Subjects-Professional&Technical-Accounting&Finance-Economics-Labor&IndustrialRelations? Defining Power Palgrave Macmillan? John M. Rothgeb? PalgraveMacmillan? JohnM.Rothgeb? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-Politics-International-Relations? Guardians in Their Time Macmillan Education Ltd? Samuel N. Chipungu? MacmillanEducationLtd? SamuelN.Chipungu? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Africa? Subjects-Nonfiction-SocialSciences-PoliticalScience-Imperialism&Independence? Varieties of English (Studies in English Language) Palgrave Macmillan? Dennis Freeborn? Peter French? David Langford? PalgraveMacmillan? DennisFreeborn? PeterFrench? DavidLangford? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-SocialSciences-Linguistics-Applied? Subjects-Nonfiction-Education-Reference-Words&Language-General? Subjects-Nonfiction-Education-Reference-Words&Language-Usage? Subjects-Nonfiction-Education-LanguageInstruction? Subjects-Reference-ForeignLanguages? Subjects-Reference-Words&Language-General? Subjects-Reference-Words&Language-Linguistics? Subjects-Reference-Words&Language-Usage? Racial Disadvantage and Ethnic Diversity in Britain Palgrave Macmillan? Andrew Pilkington? PalgraveMacmillan? AndrewPilkington? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Americas-UnitedStates-AfricanAmericans-Discrimination&Racism? Subjects-Nonfiction-SocialSciences-Anthropology-Cultural? Subjects-Nonfiction-SocialSciences-Discrimination&Racism? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-SocialSciences-Sociology-RaceRelations-General? Psychology of Mental Health Nursing (Psychology Applied to Nursing) Palgrave Macmillan? Derek Milne? PalgraveMacmillan? DerekMilne? ジャンル別? Substores-UnknownASINs-8 Subjects-Health,Mind&Body-Psychology&Counseling-ClinicalPsychology? Subjects-Medicine-Nursing-Psychiatric? 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Substores-UnknownASINs-8 Subjects-Health,Mind&Body-Psychology&Counseling-Psychiatry? Subjects-Health,Mind&Body-MentalHealth-General? Subjects-Medicine-Specialties-Psychiatry-General? Subjects-Science-Medicine-Specialties-Psychiatry-General? Mental Health in Europe (Issues in Mental Health) Palgrave Macmillan? Shulamit Ramon? PalgraveMacmillan? ShulamitRamon? ジャンル別? Substores-UnknownASINs-8 Subjects-Health,Mind&Body-Psychology&Counseling-Psychiatry? Subjects-Health,Mind&Body-MentalHealth-General? Subjects-Medicine-Specialties-Psychiatry-General? Subjects-Science-Medicine-Specialties-Psychiatry-General? Substores-UnknownASINs-8 洋書
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Construct Mandragora 眠りを与える蔓を2本もつMandragoraを5体+α作成します Construct Mandragora ジェム 疲労 内部ID 533 10 使用 水中判定 効果 効果量 儀式 Summon 主属性 主Lv 効果発生数 射程距離 Nature 2 1+2/Lv 副属性 副Lv 効果範囲 命中補正 Death 1 0 領域 Lv 防御判定 抵抗判定 Construction 5 専用国家 ゲーム内説明文 This ritual lets vines and roots animate human corpses. The Wight-like beings thus created are known as Mandragoras. Powerful mages can make more of the beasts with each casting of the spell. Mandragoras are undead and will fall apart if left on the battlefield without undead leadership. 和訳 この儀式は、蔓と根に人間の骨を操らせます。このように作られるWightのような存在は、Mandragoraとして知られています。強力な魔術師は、一度の魔法でより多くの獣を作り出すことができます。死者を率いるもの無しに戦場に取り残されるならば、Mandragoraは死体に戻ります。 注記 地味なくせに非常に危険な怪物、Mandragoraの作製魔法。下位のManikinと違い、術者のスキルに応じて作製数がどんどん増えるのが特徴。極めて高位の術者なら下位より大量に出せてしまうことも。 ManikinからHP、腕力、防御力、攻防の技能、魔法抵抗が強化されており、さらに攻撃が眠りの蔦2本と爪の3連続攻撃になっている。眠りの蔦は元から3連続攻撃だというのにそれが2本、シャレになっていない。 見た目はややゴツくなったもののサイズは変わりなく、増加した攻撃回数も相まってその集中攻撃は脅威そのもの。Fire Shieldなどの自動反撃能力を持つか、そもそも蔓の効果が出ないLifelessでもなければ素晴らしい戦果を見せてくれる。 実際、少々装備が整っているぐらいではTartarianのような化け物ですらこの集中攻撃に耐えきれない。調子に乗って少数で暴れている相手に大量にぶつけてやればハメ殺せるかもしれない。 敵に回した場合、一般兵の力押しに少々の魔法支援という程度では倒すのは難しい。Mindlessの分際で魔法抵抗も14という値で、Banishmentにもそれなりに耐えられてしまう。 サイズが小さめで、また属性耐性が毒のみなので抵抗不能な範囲攻撃が利用できれば比較的始末し易いのが救い。HP25を削り取るのは容易いことではないが、足が遅いのでなんとか接近前に数を減らせるようにしたいところ。 とくに火に弱いわけではないのだが、LifelessとFire Shieldという弱点となる能力2つを併せ持つため、Fire Elementalは非常に効果的な対策。意味の無い蔦攻撃の連打により一瞬で自滅する。 その苦手ぶりはすさまじく、たとえLesser Fire Elementalが相手だとしても数十体が瞬殺されることがある。またGolemあたりがCharcoal ShieldなどでFire Shieldを展開するのも有効だろう。 コメント 名前 コメント
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Aerosmith Walk This Way ★★☆
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RISK Factions 総項目 12 総ポイント 200 難易度： ～130：★★☆☆☆ ～200：★★★☆☆ 製品情報：http //marketplace.xbox.com/ja-JP/Product/RISK-Factions/66acd000-77fe-1000-9115-d80258410a13 配信日：2010年6月23日 DL費用：800MSP / 1029円 ジャンル：戦略 シミュレーション ※2014年6月配信終了 オリジナルのボードゲーム版の解説とルール： http //ja.wikipedia.org/wiki/%E3%83%AA%E3%82%B9%E3%82%AF_%28%E3%83%9C%E3%83%BC%E3%83%89%E3%82%B2%E3%83%BC%E3%83%A0%29 First Strike Be the first to get an objective in game.（ゲーム中、最初にオブジェクティブを達成する) 5 Destroyer Kill 100 human, cat, robot, yeti and zombie units.（人間、猫、ロボ、イエティ、ゾンビを100体倒す） 10 Faction Specialist Complete the human, cat, robot, yeti and zombie campaigns.（キャンペーンモードをクリアする） 10 Capitalize This Control 5 capitals.（5つの首都を支配する） 20 Ironman Defend a minimum of 5 attackers with one defender.（1体のユニットで5回連続防御する） 20 Demon Child Achieve 10 super overkills.（スーパーオーバーキルを10回行う） 30 Star Command Earn 10 stars and trade them for 30 troops.（星マークを10個集めて、30体の兵士と交換する） 30 Man Up! Defeat someone over Xbox LIVE who has earned the Man Up! achievement.（Man up!実績を持ったプレイヤーをオン対戦で倒す） 0 Soldier Play 5 games on Xbox LIVE.（オン対戦を5回行う） 10 Master Commander Win a 5 player ranked Command Room game on Xbox LIVE.（5人対戦のコマンドルーム・ランクマッチで勝利する） 15 Glory Hunter Win 10 ranked games on Xbox LIVE.（ランクマッチで10回勝利する） 20 秘密の実績 5 Star General You have won a game on each map in custom game.（カスタムゲーム全てのマップで勝利する） 30 アワード Generalissimo Meow’s T-Shirt（男女） Beat all five missions in the Risk Factions campaign.（キャンペーンモードをクリアする） Commandant SixFour’s Head Beat all five missions in the Risk Factions campaign.（同上） First Strike オブジェクティブとは、Factionsモードでプレイした時に表示される作戦目標のこと。 ゲーム中ならYボタンで確認できる。達成すると勲章とともに特殊能力が得られる。 いろいろなものがあるが、「CONTROL AN EMEMY CAPITAL（敵の首都を占領する）」が一番手軽。 作戦目標はランダムなので、ゲーム開始時に表示されてなかったり、場所が不利だったりしたらリスタートしよう。 Destroyer 各種の敵をそれぞれ100体ずつ倒す。 進捗状況はメニュー画面のWAR RECORDから確認できる。 たいがいはゲームを進めていく上で解除できるが、偏ってしまったら特定の敵と1対1のCOM戦をして調節するといい。 Capitalize This FACTIONSのWORLD CONQUESTモードでおこなった方がいい。 COMMAND ROOMだと、オブジェクティブを三つ取った時点で終了なので、５つの首都を取るのが間に合わない可能性がある。 ５つの首都なので、当然ながら５人プレイヤーで。 Ironman 普通にやって取るのは相当運が良くないと無理だと思われる。 ただし、オブジェクティブの中に、「DEFENSE DIE（防御時にダイスをひとつ追加）」、「AIRFIELD（空港を置いたエリアでダイスの目に＋１）」などがある。 これらを使うことで成功率はだいぶマシになる。 Demon Child 鬼門。 スーパーオーバーキルとは、攻撃時のダイスを３つとも６で揃えること。 敵兵の数にかかわらず全滅させることができる（ちなみにWAR RECORDで確認できる）。 確率上は1/216、1,000回振って５回出るか出ないかと言ったところだが、実際やってみると数字以上に出ない。 オブジェクティブの「ATTACK DIE（攻撃時にダイスひとつ追加）」を取り、ひたすら繰り返し振るくらいしか方法はない模様。 ちなみにその場合、2コンを使ってローカルの最小マップで２人プレイをし、大軍団同士の戦いにすると多少ながら楽になる。 それでもかなりの手間と根気が必要。 Man Up! いわゆる感染実績。 Master Commander Glory Hunter オンは過疎気味とはいえそれなりに人はいるので対戦自体は何とかなるが、ランクマッチで勝つには当然ながら修行が必要。 野良で10勝するのは苦労するので、できれば談合相手を見つけたい。 Star General 追加マップはキャンペーンをクリアするにつれてアンロックされてゆく。 また、クリアしたマップはマップ選択画面で★マークがつく。