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2 Of Amerikaz Most Wanted (ft.Snoop Dogg) [Snoop Dogg] Up out of there Ain t Nothin but A Gangsta Party [2PAC] Ahh shit You ve done fucked up now You done put 2 of Amerikaz most wanted in the same muthafuckin place at the same muthafuckin time ya ll niggas about to feel this break out the champange glasses and muthafuckin condoms have one on us aight [2PAC] Picture Perfect I paint a perfect picture bombin hooties with percision Mind intensions to get with ya with the S-N double-O-P dogg to help my fuckin homie you s a cold ass nigga on them all [Snoop Dogg] Sure enough I keep my hand on my gun cause they got me on the run Now I am back in the court room waitin on the outcome Free Tupac is all that s on a niggas mind but at the same time it seem they tryin to take mine so I am get smart and get the best of this shit and put together a million march plus some gangsta shit [2PAC] So now they got us laced Two multi millionaire muthafuckas catchin cases Bitches get ready for the throw down the shits about to go down Uhh, me and Snoop about to clown I am losin my religion I am vicious on these stool pigeons you might be deep in this game but you got some rules missin niggas be actin like we savage See i m a get the cabbage I got nutin but love for my niggas livin lavish [Snoop Dogg] I got a pet named P she niggarino I got a house out in the Hills right next to Chino and I think I got a Black Beama but my dream is to own a fly casino like Bugsy Segal, and do it all illegal and get scooped up, by the little homie in a Regal Uhh it feel good to ya Baby bubba you see this is for the G s and the Ki s muthafucka [2PAC] Now follow as we Ride muthafuck the rest two of the best from the westside and I can make you famous Niggas been dying for years so how could they blame us I live in fear of a felony I never stop ballin these mutha fuckin G s If ya got it better flaunt it another warrant 2 of Amerikaz Most Wanted Ain t Nothin but a Gangsta Party Ain t Nothin but a Gangsta Party [2PAC] Nothin but a gangsta party Ain t Nothin but a Gangsta Party [2PAC] Ain t Nothin but a Gangsta Party It ain t nothin but a muthafuckin gangsta party Ain t Nothin but a Gangsta Party [2PAC] Ain t Nothin but a Gangsta Party It ain t nothin but a muthafuckin gangsta party Ain t nothin but a gangsta party [2PAC] Now give me 50 feet The feet is not my destiny release me to the streets and keep what evers left of me Jealousy is misery, suffery is grief Better be prepared when you cowards fuck with me I I busta free, these niggas must be crazy (What) there ain t no mercy mutha fuckas who can fade the thugs? you thought it was but it wasn t now disappear bow down in the presence of a Boss playa [Snoop Dogg] It s like cuz, blood, gang banging everybody in the party doing dope slangin you got to have papers in this world you might get your first snatch before your eyes swirl ya doing ya job every day and then you work so hard till ya hair turn gray let me tell you about life and bout the way it is see we live by the gun so we die by the blood of kids [2PAC] They tell me not to roll with my glock So now I got to throw away floating in the black Benz trying to do a show a day they wonder how I live with 5 shots niggas is hard to kill on my block Scheme for currency and dough related affilliated with the hustlas so we made it Your answer to the question tryin to get up on it my nigga dogg homie and 2 of the most wanted Aint Nutin But A Gangsta Party 2PAC
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CHAPTER XIII UP CHAPTER XV CHAPTER XIV Anne s Confession ON the Monday evening before the picnic Marilla came down from her room with a troubled face. "Anne," she said to that small personage, who was shelling peas by the spotless table and singing, "Nelly of the Hazel Dell" with a vigor and expression that did credit to Diana s teaching, "did you see anything of my amethyst brooch? I thought I stuck it in my pincushion when I came home from church yesterday evening, but I can t find it anywhere." "I--I saw it this afternoon when you were away at the Aid Society," said Anne, a little slowly. "I was passing your door when I saw it on the cushion, so I went in to look at it." "Did you touch it?" said Marilla sternly. "Y-e-e-s," admitted Anne, "I took it up and I pinned it on my breast just to see how it would look." "You had no business to do anything of the sort. It s very wrong in a little girl to meddle. You shouldn t have gone into my room in the first place and you shouldn t have touched a brooch that didn t belong to you in the second. Where did you put it?" "Oh, I put it back on the bureau. I hadn t it on a minute. Truly, I didn t mean to meddle, Marilla. I didn t think about its being wrong to go in and try on the brooch; but I see now that it was and I ll never do it again. That s one good thing about me. I never do the same naughty thing twice." "You didn t put it back," said Marilla. "That brooch isn t anywhere on the bureau. You ve taken it out or something, Anne." "I did put it back," said Anne quickly--pertly, Marilla thought. "I don t just remember whether I stuck it on the pincushion or laid it in the china tray. But I m perfectly certain I put it back." "I ll go and have another look," said Marilla, determining to be just. "If you put that brooch back it s there still. If it isn t I ll know you didn t, that s all!" Marilla went to her room and made a thorough search, not only over the bureau but in every other place she thought the brooch might possibly be. It was not to be found and she returned to the kitchen. "Anne, the brooch is gone. By your own admission you were the last person to handle it. Now, what have you done with it? Tell me the truth at once. Did you take it out and lose it?" "No, I didn t," said Anne solemnly, meeting Marilla s angry gaze squarely. "I never took the brooch out of your room and that is the truth, if I was to be led to the block for it--although I m not very certain what a block is. So there, Marilla." Anne s "so there" was only intended to emphasize her assertion, but Marilla took it as a display of defiance. "I believe you are telling me a falsehood, Anne," she said sharply. "I know you are. There now, don t say anything more unless you are prepared to tell the whole truth. Go to your room and stay there until you are ready to confess." "Will I take the peas with me?" said Anne meekly. "No, I ll finish shelling them myself. Do as I bid you." When Anne had gone Marilla went about her evening tasks in a very disturbed state of mind. She was worried about her valuable brooch. What if Anne had lost it? And how wicked of the child to deny having taken it, when anybody could see she must have! With such an innocent face, too! "I don t know what I wouldn t sooner have had happen," thought Marilla, as she nervously shelled the peas. "Of course, I don t suppose she meant to steal it or anything like that. She s just taken it to play with or help along that imagination of hers. She must have taken it, that s clear, for there hasn t been a soul in that room since she was in it, by her own story, until I went up tonight. And the brooch is gone, there s nothing surer. I suppose she has lost it and is afraid to own up for fear she ll be punished. It s a dreadful thing to think she tells falsehoods. It s a far worse thing than her fit of temper. It s a fearful responsibility to have a child in your house you can t trust. Slyness and untruthfulness--that s what she has displayed. I declare I feel worse about that than about the brooch. If she d only have told the truth about it I wouldn t mind so much." Marilla went to her room at intervals all through the evening and searched for the brooch, without finding it. A bedtime visit to the east gable produced no result. Anne persisted in denying that she knew anything about the brooch but Marilla was only the more firmly convinced that she did. She told Matthew the story the next morning. Matthew was confounded and puzzled; he could not so quickly lose faith in Anne but he had to admit that circumstances were against her. "You re sure it hasn t fell down behind the bureau?" was the only suggestion he could offer. "I ve moved the bureau and I ve taken out the drawers and I ve looked in every crack and cranny" was Marilla s positive answer. "The brooch is gone and that child has taken it and lied about it. That s the plain, ugly truth, Matthew Cuthbert, and we might as well look it in the face." "Well now, what are you going to do about it?" Matthew asked forlornly, feeling secretly thankful that Marilla and not he had to deal with the situation. He felt no desire to put his oar in this time. "She ll stay in her room until she confesses," said Marilla grimly, remembering the success of this method in the former case. "Then we ll see. Perhaps we ll be able to find the brooch if she ll only tell where she took it; but in any case she ll have to be severely punished, Matthew." "Well now, you ll have to punish her," said Matthew, reaching for his hat. "I ve nothing to do with it, remember. You warned me off yourself." Marilla felt deserted by everyone. She could not even go to Mrs. Lynde for advice. She went up to the east gable with a very serious face and left it with a face more serious still. Anne steadfastly refused to confess. She persisted in asserting that she had not taken the brooch. The child had evidently been crying and Marilla felt a pang of pity which she sternly repressed. By night she was, as she expressed it, "beat out." "You ll stay in this room until you confess, Anne. You can make up your mind to that," she said firmly. "But the picnic is tomorrow, Marilla," cried Anne. "You won t keep me from going to that, will you? You ll just let me out for the afternoon, won t you? Then I ll stay here as long as you like AFTERWARDS cheerfully. But I MUST go to the picnic." "You ll not go to picnics nor anywhere else until you ve confessed, Anne." "Oh, Marilla," gasped Anne. But Marilla had gone out and shut the door. Wednesday morning dawned as bright and fair as if expressly made to order for the picnic. Birds sang around Green Gables; the Madonna lilies in the garden sent out whiffs of perfume that entered in on viewless winds at every door and window, and wandered through halls and rooms like spirits of benediction. The birches in the hollow waved joyful hands as if watching for Anne s usual morning greeting from the east gable. But Anne was not at her window. When Marilla took her breakfast up to her she found the child sitting primly on her bed, pale and resolute, with tight-shut lips and gleaming eyes. "Marilla, I m ready to confess." "Ah!" Marilla laid down her tray. Once again her method had succeeded; but her success was very bitter to her. "Let me hear what you have to say then, Anne." "I took the amethyst brooch," said Anne, as if repeating a lesson she had learned. "I took it just as you said. I didn t mean to take it when I went in. But it did look so beautiful, Marilla, when I pinned it on my breast that I was overcome by an irresistible temptation. I imagined how perfectly thrilling it would be to take it to Idlewild and play I was the Lady Cordelia Fitzgerald. It would be so much easier to imagine I was the Lady Cordelia if I had a real amethyst brooch on. Diana and I make necklaces of roseberries but what are roseberries compared to amethysts? So I took the brooch. I thought I could put it back before you came home. I went all the way around by the road to lengthen out the time. When I was going over the bridge across the Lake of Shining Waters I took the brooch off to have another look at it. Oh, how it did shine in the sunlight! And then, when I was leaning over the bridge, it just slipped through my fingers--so--and went down--down--down, all purply-sparkling, and sank forevermore beneath the Lake of Shining Waters. And that s the best I can do at confessing, Marilla." Marilla felt hot anger surge up into her heart again. This child had taken and lost her treasured amethyst brooch and now sat there calmly reciting the details thereof without the least apparent compunction or repentance. "Anne, this is terrible," she said, trying to speak calmly. "You are the very wickedest girl I ever heard of." "Yes, I suppose I am," agreed Anne tranquilly. "And I know I ll have to be punished. It ll be your duty to punish me, Marilla. Won t you please get it over right off because I d like to go to the picnic with nothing on my mind." "Picnic, indeed! You ll go to no picnic today, Anne Shirley. That shall be your punishment. And it isn t half severe enough either for what you ve done!" "Not go to the picnic!" Anne sprang to her feet and clutched Marilla s hand. "But you PROMISED me I might! Oh, Marilla, I must go to the picnic. That was why I confessed. Punish me any way you like but that. Oh, Marilla, please, please, let me go to the picnic. Think of the ice cream! For anything you know I may never have a chance to taste ice cream again." Marilla disengaged Anne s clinging hands stonily. "You needn t plead, Anne. You are not going to the picnic and that s final. No, not a word." Anne realized that Marilla was not to be moved. She clasped her hands together, gave a piercing shriek, and then flung herself face downward on the bed, crying and writhing in an utter abandonment of disappointment and despair. "For the land s sake!" gasped Marilla, hastening from the room. "I believe the child is crazy. No child in her senses would behave as she does. If she isn t she s utterly bad. Oh dear, I m afraid Rachel was right from the first. But I ve put my hand to the plow and I won t look back." That was a dismal morning. Marilla worked fiercely and scrubbed the porch floor and the dairy shelves when she could find nothing else to do. Neither the shelves nor the porch needed it--but Marilla did. Then she went out and raked the yard. When dinner was ready she went to the stairs and called Anne. A tear-stained face appeared, looking tragically over the banisters. "Come down to your dinner, Anne." "I don t want any dinner, Marilla," said Anne, sobbingly. "I couldn t eat anything. My heart is broken. You ll feel remorse of conscience someday, I expect, for breaking it, Marilla, but I forgive you. Remember when the time comes that I forgive you. But please don t ask me to eat anything, especially boiled pork and greens. Boiled pork and greens are so unromantic when one is in affliction." Exasperated, Marilla returned to the kitchen and poured out her tale of woe to Matthew, who, between his sense of justice and his unlawful sympathy with Anne, was a miserable man. "Well now, she shouldn t have taken the brooch, Marilla, or told stories about it," he admitted, mournfully surveying his plateful of unromantic pork and greens as if he, like Anne, thought it a food unsuited to crises of feeling, "but she s such a little thing--such an interesting little thing. Don t you think it s pretty rough not to let her go to the picnic when she s so set on it?" "Matthew Cuthbert, I m amazed at you. I think I ve let her off entirely too easy. And she doesn t appear to realize how wicked she s been at all--that s what worries me most. If she d really felt sorry it wouldn t be so bad. And you don t seem to realize it, neither; you re making excuses for her all the time to yourself--I can see that." "Well now, she s such a little thing," feebly reiterated Matthew. "And there should be allowances made, Marilla. You know she s never had any bringing up." "Well, she s having it now" retorted Marilla. The retort silenced Matthew if it did not convince him. That dinner was a very dismal meal. The only cheerful thing about it was Jerry Buote, the hired boy, and Marilla resented his cheerfulness as a personal insult. When her dishes were washed and her bread sponge set and her hens fed Marilla remembered that she had noticed a small rent in her best black lace shawl when she had taken it off on Monday afternoon on returning from the Ladies Aid. She would go and mend it. The shawl was in a box in her trunk. As Marilla lifted it out, the sunlight, falling through the vines that clustered thickly about the window, struck upon something caught in the shawl--something that glittered and sparkled in facets of violet light. Marilla snatched at it with a gasp. It was the amethyst brooch, hanging to a thread of the lace by its catch! "Dear life and heart," said Marilla blankly, "what does this mean? Here s my brooch safe and sound that I thought was at the bottom of Barry s pond. Whatever did that girl mean by saying she took it and lost it? I declare I believe Green Gables is bewitched. I remember now that when I took off my shawl Monday afternoon I laid it on the bureau for a minute. I suppose the brooch got caught in it somehow. Well!" Marilla betook herself to the east gable, brooch in hand. Anne had cried herself out and was sitting dejectedly by the window. "Anne Shirley," said Marilla solemnly, "I ve just found my brooch hanging to my black lace shawl. Now I want to know what that rigmarole you told me this morning meant." "Why, you said you d keep me here until I confessed," returned Anne wearily, "and so I decided to confess because I was bound to get to the picnic. I thought out a confession last night after I went to bed and made it as interesting as I could. And I said it over and over so that I wouldn t forget it. But you wouldn t let me go to the picnic after all, so all my trouble was wasted." Marilla had to laugh in spite of herself. But her conscience pricked her. "Anne, you do beat all! But I was wrong--I see that now. I shouldn t have doubted your word when I d never known you to tell a story. Of course, it wasn t right for you to confess to a thing you hadn t done--it was very wrong to do so. But I drove you to it. So if you ll forgive me, Anne, I ll forgive you and we ll start square again. And now get yourself ready for the picnic." Anne flew up like a rocket. "Oh, Marilla, isn t it too late?" "No, it s only two o clock. They won t be more than well gathered yet and it ll be an hour before they have tea. Wash your face and comb your hair and put on your gingham. I ll fill a basket for you. There s plenty of stuff baked in the house. And I ll get Jerry to hitch up the sorrel and drive you down to the picnic ground." "Oh, Marilla," exclaimed Anne, flying to the washstand. "Five minutes ago I was so miserable I was wishing I d never been born and now I wouldn t change places with an angel!" That night a thoroughly happy, completely tired-out Anne returned to Green Gables in a state of beatification impossible to describe. "Oh, Marilla, I ve had a perfectly scrumptious time. Scrumptious is a new word I learned today. I heard Mary Alice Bell use it. Isn t it very expressive? Everything was lovely. We had a splendid tea and then Mr. Harmon Andrews took us all for a row on the Lake of Shining Waters--six of us at a time. And Jane Andrews nearly fell overboard. She was leaning out to pick water lilies and if Mr. Andrews hadn t caught her by her sash just in the nick of time she d fallen in and prob ly been drowned. I wish it had been me. It would have been such a romantic experience to have been nearly drowned. It would be such a thrilling tale to tell. And we had the ice cream. Words fail me to describe that ice cream. Marilla, I assure you it was sublime." That evening Marilla told the whole story to Matthew over her stocking basket. "I m willing to own up that I made a mistake," she concluded candidly, "but I ve learned a lesson. I have to laugh when I think of Anne s `confession, although I suppose I shouldn t for it really was a falsehood. But it doesn t seem as bad as the other would have been, somehow, and anyhow I m responsible for it. That child is hard to understand in some respects. But I believe she ll turn out all right yet. And there s one thing certain, no house will ever be dull that she s in." CHAPTER XIII UP CHAPTER XV 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 25 11 (Tue)
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Edge of life サークル：38BEETS Number Track Name Arranger Lyrics Vocal Original Works Original Tune Length 01 Autumn 38BEETS - - 東方風神録 人恋し神様 ～ Romantic Fall [-- --] 稲田姫様に叱られるから 02 graveyard 紫飴、藤谷尚希 紫飴 紫飴 東方神霊廟 死霊の夜桜 [-- --] 03 ∞Pentagon ～ I know 紫飴、藤谷尚希 紫飴 紫飴 東方神霊廟 小さな欲望の星空 [-- --] 04 輪舞 藤谷尚希 藤谷尚希 琴音 東方紅魔郷 魔法少女達の百年祭 [-- --] 05 夜空の月まで 藤谷尚希 藤谷尚希 琴音 東方永夜抄 懐かしき東方の血 ～ Old World [-- --] 月まで届け、不死の煙 06 紅 藤谷尚希 藤谷尚希 mineko 東方紅魔郷 ほおずきみたいに紅い魂 [-- --] 07 Miss you 38BEETS - - 東方地霊殿 少女さとり ～ 3rd eye [-- --] 08 Wishes secretly 藤谷尚希 藤谷尚希 mineko 東方紅魔郷 上海紅茶館 ～ Chinese Tea [-- --] 09 桜扇舞 紫飴 紫飴 紫飴 東方妖々夢 幽雅に咲かせ、墨染の桜 ～ Border of Life [-- --] 10 Innocent 38BEETS - - 東方星蓮船 感情の摩天楼 ～ Cosmic Mind [-- --] 11 Dear rest 藤谷尚希 藤谷尚希 美里 東方紅魔郷 U.N.オーエンは彼女なのか？ [-- --] 詳細 博麗神社例大祭9(2012/5/27)にて初頒布 イベント価格：1,000円 ショップ価格：1,260円(税込) レビュー 5曲目の「夜空の月まで」と えれめんたるれこ～ずのEperienceていうアルバムの「願い」の 原曲と作詞、作曲、Vocalが全く同じで最初聞いたときパクりかと思った。 -- 行雲流水 (2014-09-23 11 30 25) 名前 コメント
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12/11/14 ワード置きマップ追加 12/11/13 加筆・修正 League of Legends - たまにはガチプレイもいいよね！シリーズ - Wardを置くポイント 総て通してのおはなし 試合の流れに合わせた行動指針 LoL Replayどうにゅう！ 今週のRP半額チャンプ：Fiora、Ahri、ひげでぶ 以下、試合の行動指標が流動的すぎて不確定なため、とりあえず暫定で見つけたTIPS的なものを貼っていくよ。基本的なことをおさえたら後はセンスだ！ チャンプの性能やアイテムの詳細なんかは、LoL Wikiをみようね。 ● LOL newbie用メモ 初歩的だが他ではあまり書かれていない事について ● Feeding Time LoL 内記事、レート上昇のススメ２ Midレーン・Junglerについて ● って、おい！のLoLブログ（・ｘ・） LoLコラムより、記事抜粋。 タワーの重要性 レーン戦 jungle invade ラストヒット（MinionのHPなど） マップコントロール べんりなところ。 ● MOBA FIRE プレイヤーが考案したキャラ毎のビルド例。支持率表記アリ。 ● SoloMid ビルド例その2。Guide - Featured Guidesを押す - 一番下でチャンプを選択。 こっちの方がプロが投稿していて信頼性が高い。 AP系ビルドはChaoxさん投稿のものが神らしい。 ● LoLstatistics 戦績統計が見られる。 ● VIP de League of Legends いわずもがなVIPwiki。 ● 中盤からの装備購入に関して 現在は既存のビルド例に沿って購入をしていると思うが、慣れてきたら相手の構成を見て 何が有効か、何が噛み合うかを考えて買ってみよう。 （例：AP勢が脅威の場合、普段買っているAR装備をMRに変えてみる、など） もちろんそのキャラのコアアイテムはしっかり揃える事が重要である。 SoloMidのビルド例に対○○用の購入例が載っている場合があるので、目を通しておこう。 ここまでで得たノウハウ。 ～ 大前提 ～死なない、集まる、画面を見る Ward置きポイント！ 75Gで救える命、殺せる命があります。 ケチって死ぬより小銭を出してお釣りで稼ぎましょう。 赤…必須！最重要ポイント 黄…いのちだいじに！重要ポイント 青…状況に応じて押さえたいポイント ...だいたい役割解説... Top・Btm付近の川Bush Jungler・MidにCC・バースト持ちがいる場合の序中盤Gank対策。 ドラゴン前 ドラゴン管理、BtmとMidGankの確認用。序中盤Btmサポート or Junglerの義務。レーン戦が終わったら全員の義務。 自陣ジャングルBush全般 入られやすい場合や、レーン外からのGank、タワーダイブがすごい場合などに。 敵の青・赤Buff付近Bush 万能ポイント。バフ状況、Gank、移動経路確認用。 Midレーン横ジャングルBush（川含む） 伏兵、経路確認、終盤集団でのGank対策用。 Baron内・Baron外周 Baron管理、GankとSmiteスティール阻止用。 敵拠点付近 Mid二本目タワー破壊後や、Inhibiter折った後などの状況確認用。 共通事項 ： 敵にステルス持ちがいて厄介な場合は、紫WardでもOK。 個人的にここはヤバイぞ、って箇所をマークしただけなので、 さらに図付きで詳しい解説を知りたければ、こちらも参照するとよし。 ● LoL Viki - 買い物上手になろう アイテム購入初中級編(ワードを買おう)の項目。脱初心者用に臨機応変な買い物についても詳しいので読むべし。 ● 世界史Wiki - Wardの置き方 ローカルコミュのWiki？ 全レーン通してのおはなし。 Bushを上手く使う。 強いCC持ちやサポートとDuoの場合、初動で相手側Bushに入れたらKillチャンス。 Minionのタゲ外しにも使える。（Minionの視界内で敵チャンプに攻撃するとMinionが攻撃してくるよ） 怪しい場合は草むらにスキルを放り込むとよし。 集団戦について 倒す優先度は APcarry＞ADcarry＞Tank。 明確な攻撃対象を決めよう。 火力さえ溶ければ敵はジリ貧にならざるを得ない。 やわらかい子はTankの後ろや傍で行動するとよい。 あまりに無理なKillは狙わない。 戦闘後、満身創痍なところにハイエナが来る可能性を考慮。 HP勝ちして相手が引いたとしても、頭数がいる（orジャングルが怖い）状態だと突っ込んでも死とトレードになる可能性が高い。 Disableからのコンボなどで着実に処理しよう。 そもそもKill稼ぐゲームじゃねぇからこれ！ タワーダイブに関して その後状況次第で有利が取れそうなら突っ込む。 Tankちゃんが突っ込むと踏んだらすぐ支援してあげよう。一人ではただのデブに過ぎない。 序盤戦（Lv1～） ひたすらLHを取ろう。 ハラス勝ちできる相手以外ではレーンを押しすぎない。（Minionを攻撃しすぎない） 敵タワー付近での攻防になるためLHが取り辛く、DisableやCCによってはタワーまで拉致られる恐れがある。 JunglerやMidからの使者、つまりGankマンにころころされる可能性がある。 対面がキツイ相手やmia報告があった場合は、自タワー近辺に持ち込むとよい。 とにかく死なない。 復帰まで経験値が得られず、相手にお金が振り込まれてしまい、散々な目に合う。 その後のLaningの雲行きが怪しくなるので本当に気を付けよう。 EXPとGoldを無駄にしない為、Duoレーンでは必ずどちらか一人が残れる状況を作る。 勿論二人ともHPが減っている場合はこの限りではない。 無闇にダメージもらう→リコールではもったいない。最初の買い物での目的の額まではなるべく居座る。 序盤戦その2（Lv3～9程度） Ultを覚える頃なので要注意！ 対面を食えた、レーン状況が優勢、などの場合にはMidに一人Gankにいくとよい。特にリターンが少ないTop側。 その際、Jungleで狼やレイスをつまむとおいしい。Smiteがあれば青ゴレなども。 Wardを持っているなら、重要な移動経路に刺しておく。 拠点からレーンに戻る際などに、JungleやMid支援に寄ってもよい。 セオリーとして、先発タワーを折った後はレーン維持より、ほぼGankやMidプッシュに行った方がメリットが多い。 中盤戦（Lv10～） 装備も増え、レーン移動が活発になる頃合。 ミニマップで敵の動きを見つつ、タワー折りとGankを警戒。特にMidとBtm。 MidやBtmの先発タワーが折れているなら、積極的にWardを刺す。 戦況が見えれば対策も立てやすいよね。 空いているレーンでMinionが溜まっているところがあれば、レベリング＋お金目的で狩りにいってもよい。 一人でレーンに居ると敵チャンプが狩りに来るので、気をつけつつ離脱か、味方を呼んで釣って倒すとよい。 最短に近い移動ルートに中立Creepがいればもちろんおつまみ。 味方が集まってのレーン押し、集団Gank（ケツ掘り）、ドラゴン狩りなどの場合にはちゃんと駆けつけよう。 数こそ力なのだ。 終盤戦（Lv15～18） ほぼ全員仕上がっている状態。完全に臨機応変になる。 味方とはぐれる＝死亡のリスク大。かつ集団戦でみんなが不利になる。 ピンポイントでのGankなど、明確な目的がなければ単独行動は控える。 Wardを忘れない。 とにかくInhibiterをぶっ壊す。 火力がハンパないので、敵拠点タワーが折れる状況なら速攻で折ってInhibiterに噛み付く。 Super Minionが出たらだいぶ有利になる。 以上、試合の流れでのおおまかな行動。 LOL Replayを入れよう！ 自分が参加した試合を観戦できるようになるソフトだよ。 立ち回り勉強にぜひ導入しよう ● LoL Replay（要.NET Framework） ● 導入方法（超簡単） 他にもココ！にオススメアイテムの表示を変えるソフトや、中立Creepの沸きタイマーなどもあるのでチェックしておこう。 名前 コメント
https://w.atwiki.jp/haillenarte/pages/12.html
Lamberteint Hm? Why, yes, I am Professor Lamberteint. Eh? We ve met, you say? Are you certain about that? Er...perhaps telling me why you ve come will refresh my memory. Ah, I have been expecting these. I still can t quite remember you, but you have my thanks all the same. So all three will attend the symposium... Excellent. I expected their replies sooner, but better late than never! ...Ah, pray excuse me. I ve gotten ahead of myself. The symposium I speak of is a biannual event that I organize for my students. We gather under one roof to share our research and critique others ─constructively, of course! Perchance you are familiar with “aspect conversion”? Tis a theory I but recently published─with the aid of an adventurer much like you, come to think of it. Anyway, the focus of this symposium shall be post-aspect conversion. Speaking of which, the hour is nearly upon us─though it seems my pupils have yet to arrive... Oh well, there are papers I can attend to while I wait. Since you have proven yourself an able courier, would you mind taking these flowers to the tavern for me? Tis the venue for the symposium, and I fear it wants for decoration. Lamberteint You are still here? I must have finished more quickly than I realized. Though to do things swiftly and well is only natural for a mind like mine. ...Where are my students? Tis strange for them to be so late. And what of my big surprise? Ahem... I present the original four volumes of my latest work On the Properties of Aspect Conversion! I intend to bequeath them to my students, as thanks for their assistance─once they arrive, anyway... ...They are awfully tardy. Perhaps...perhaps I shall retire to my chambers for the time being. Well, I suppose you are free to go. But if you venture outside Camp Drybone, would you keep your eyes open for my pupils? I m sure they are fine, but I worry all the same. Lamberteint Have you seen any sign of my students outside the camp? Nothing at all? I...I... Ah! My students must be busy with their research! So busy that they forgot...uh...that they forgot to tell me. The symposium is hereby canceled! My pupils will have to wait for their─ Egads! The books! I left them in the tavern! This is all so... Ahem. Could you retrieve them for me? I...I require a moment... sniffle Hahasako Do mine eyes mislead me? Tis the adventurer who came in search of corrupted crystals! Hedyn Of the countless taverns throughout the realm, that we would cross paths here! Tell me, Francel─what brings you to this place? Ceana The symposium s been canceled on account of our absence? Whatever for!? It s to be held tomorrow, not today! Hedyn Evidently the professor mixed up the date─hence why he fears we have forgotten all about it. Hahasako sigh The professor can be ever-so-slightly scatterbrained─though a genius when it comes to aetherial studies. Ceana Hahaha! As if worse hasn t been said of us, Hahasako! People would still think us lunatics had we not come to study under the professor. Hedyn Indeed. Whatever his failings, none of us would be where we are without him. Hahasako I say we surprise him with a gift of our own─something to show our thanks for all he has done, and to commemorate his latest publication! Ceana Hear, hear! And I think we all know what would make the perfect gift... Lamberteint s Pupils Corrupted crystals! Ceana Hah, a fine idea─if I do say so myself. Can we count on your help as well, Francel? Hahasako I must return to Highbridge and prepare a containment vessel for the crystals. You may come and collect it anon. “The Hazy Professor” objective fulfilled! Hedyn Corrupted crystals are central to the professor s research. I daresay he will jump for joy when he gets them. Ceana As Professor Lamberteint s greatest students, we must lift his spirits─I most of all, as the greatest of us three! Hahasako Tis high time you arrived! I completed my preparations a long while ago. Hahasako We seek crystals marred by nary a single mark. Make your way to the center of the Burning Wall, where stands the finest of formations. Hahasako Here is a sledgehammer you can use to fracture a cluster once there. Hahasako And here, a warded pot. Collect within it the shards of crystal, and deliver the lot to Ceana. Simple, is it not? Hahasako I trust you are aware that the nearest path to the Burning Wall begins at Burgundy Falls? Then I bid you merry mining! Ceana Welcome back! Did the mirrorknights give you any trouble? Ceana Aha! An exquisite potful of corrupted crystals, if ever I saw one! Hahasako Well, now that everything seems in order, I shall summon the professor for his surprise! Lamberteint Ahem! What “surprise,” pray tell? If it was for the symposium, I m afraid you re too late. Lamberteint s Pupils Professor Lamberteint! Lamberteint And you, postman─did you ever intend to return with what I asked!? Why, I ought to─ Ceana Hold on a moment, Professor! You forgot that the symposium starts tomorrow! Hedyn We know you can be a bit absentminded. But above all else, we beg you remember Lamberteint s Pupils No student ever skips a symposium! Ceana Voilà! Corrupted crystals to celebrate your latest publication, and to express our gratitude for your constant support. Lamberteint Ahaha! So that s what you three have been doing! I hardly know whether to laugh or to cry. Lamberteint It just so happens I have prepared something for each of you, as well. Lamberteint On the Properties of Aspect Conversion would not exist were it not for you all, and so I thought to divide the volumes between the four of us─that the set would be complete whenever we meet. Lamberteint Your questions, your contributions, your very presence drives me onwards─as quickly as a corrupted crystal can change aspects! Hedyn It matters not where our research takes us, so long as we are of one mind and one purpose. Lamberteint Why...why don t we meet four times a year instead of two? It would be a pleasure to hear your papers more often─and to present mine own, of course! Lamberteint I must say, I am quite eager to begin experimenting with these crystals. You didn t go to too much trouble obtaining them, did you? Ceana Not at all, haha. Francel saw to the dangerous tasks. For the second time, come to think of it─didn t his efforts serve as inspiration for your research before? Lamberteint Francel!? Ah! I knew I had seen you before. Lamberteint Well, no longer shall your contributions go unrecognized! I, Professor Lamberteint, hereby name thee an honorary pupil! Lamberteint Now, my friends, to work! The unsolved mysteries of aether are waiting to be unraveled!
https://w.atwiki.jp/anime_wiki/pages/36091.html
ここを編集 ■爆丸エボリューションズ 作画監督 SP1(中・安・小・山・幸・稲・飯・王・陳・H・T・K・今・齋) ■関連タイトル EDテーマ NEVER END rakuten_design= slide ;rakuten_affiliateId= 053df7e0.7c451bd1.0c852203.190c5695 ;rakuten_items= ctsmatch ;rakuten_genreId=0;rakuten_size= 468x160 ;rakuten_target= _blank ;rakuten_theme= gray ;rakuten_border= on ;rakuten_auto_mode= on ;rakuten_genre_title= off ;rakuten_recommend= on ; 随時更新！ pixivFANBOX アニメ@wiki ご支援お待ちしています！ ムック本＆画集新刊／個人画集新刊／新作Blu-ray単巻／新作Blu-ray DVD-BOX アニメ原画集全リスト スタッフインタビューwebリンク集 最新登録アイテム Switch ゼルダの伝説 Tears of the Kingdom Switch 世界樹の迷宮Ⅰ･Ⅱ･Ⅲ HD REMASTER Switch ピクミン 4 大友克洋 Animation AKIRA Layouts Key Frames 2 小説 機動戦士ガンダム 水星の魔女 1 ONE PIECE FILM REDデラックス・リミテッド・エディション 4K ULTRA HD Blu-ray Blu-ray 劇場版 ソードアート・オンライン -プログレッシブ- 冥き夕闇のスケルツォ 完全生産限定版 Blu-ray 映画『ゆるキャン△』 Blu-ray 【コレクターズ版】 Blu-ray ウマ娘 プリティーダービー 4th EVENT SPECIAL DREAMERS!! Blu-ray 天地無用！GXP パラダイス始動編 Blu-ray第1巻 特装版 天地無用！魎皇鬼 第伍期 Blu-ray SET 「GS美神」全話いっき見ブルーレイ Blu-ray ソードアート・オンライン -フルダイブ- メーカー特典：「イベントビジュアル使用A3クリアポスター」付 ラブライブ！虹ヶ咲学園スクールアイドル同好会 5th Live! 虹が咲く場所 Blu-ray Memorial BOX 宇宙戦艦ヤマト2202 愛の戦士たち Blu-ray BOX 特装限定版 地球へ… Blu-ray Disc BOX 完全生産限定版 神風怪盗ジャンヌ Complete Blu-ray BOX HUNTER×HUNTER ハンター試験編・ゾルディック家編Blu-ray BOX BLEACH Blu-ray Disc BOX 破面篇セレクション1＋過去篇 完全生産限定版 MAZINGER THE MOVIE 1973-1976 4Kリマスター版 アニメ・ゲームのロゴデザイン シン・仮面ライダー 音楽集 テレビマガジン特別編集 仮面ライダー 完全版 EPISODE No.1~No.98 MOVIE リスアニ！Vol.50.5 ぼっち・ざ・ろっく！号デラックスエディション ヤマノススメ Next Summit アニメガイド おもいでビヨリ アニメ「魔入りました！入間くん」オフィシャルファンブック 『超時空要塞マクロス』パッケージアート集 CLAMP PREMIUM COLLECTION X 1 トーマの心臓 プレミアムエディション パズル ドラゴンズ 10th Anniversary Art Works はんざわかおり こみっくがーるず画集 ~あばばーさりー!~ あすぱら画集 すいみゃ Art Works trim polka-トリムポルカ- つぐもも裏 超！限界突破イラスト＆激！すじ供養漫画集 開田裕治ウルトラマンシリーズ画集 井澤詩織1st写真集 mascotte 鬼頭明里写真集 my pace 内田真礼 1st photobook 「まあやドキ」 進藤あまね1st写真集 翠~Midori~ 声優 宮村優子 対談集 アスカライソジ 三石琴乃 ことのは 亀田祥倫アートワークス 100％ 庵野秀明責任編集 仮面ライダー 資料写真集 1971－1973 金子雄司アニメーション背景美術画集 タローマン・クロニクル ラブライブ!サンシャイン!! Find Our 沼津~Aqoursのいる風景~ 機動戦士ガンダム 逆襲のシャア 友の会［復刻版］ 梅津泰臣 KISS AND CRY 資料集 安彦良和 マイ・バック・ページズ 『機動戦士ガンダム ククルス・ドアンの島』編 氷川竜介 日本アニメの革新 歴史の転換点となった変化の構造分析 Blu-ray THE IDOLM@STER CINDERELLA GIRLS 10th Anniversary Celebration Animation ETERNITY MEMORIES Blu-ray おいら宇宙の探鉱夫 ブルーレイ版 Blu-ray 映画 バクテン!! 完全生産限定版 アイカツ！ 10th STORY ～未来へのSTARWAY～ Blu-ray BOX 初回生産限定版 はたらく細胞 Blu-ray Disc BOX 完全生産限定版 Blu-ray 長靴をはいた猫 3作品収録 Blu-ray わんぱく王子の大蛇退治 Blu-ray 魔道祖師 完結編 完全生産限定版 魔道祖師Q Blu-ray Disc BOX 完全生産限定盤 にじよん あにめーしょん Blu-ray BOX 【特装限定版】 Blu-ray 鋼の錬金術師 完結編 プレミアム・エディション Blu-ray付き やはりゲームでも俺の青春ラブコメはまちがっている。完 限定版【同梱物】オリジナルアニメ Blu-ray「だから、思春期は終わらずに、青春は続いていく。」
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HOF ... Hoffmann, Sebastian. 2002. "In (hot) pursuit of data complex prepositions in late modern English." In New Frontiers of Corpus Research. Papers from the Twenty First International Conference on English Language Research on Computerized Corpora Sydney 2000. Eds. PETERS, Pam, Peter COLLINS and Adam SMITH. Rodopi. pp.127-146. Hoffmann, S. 2004. "Using the OED quotations database as a corpus a linguistic appraisal". ICAME Journal 28 17-30. Hoffmann, S. 2004. "Are low-frequency complex prepositions grammaticalized? On the limits of corpus data and the importance of intuition", in Corpus approaches to grammaticalisation in English, ed. H. Lindquist C. Mair. Amsterdam Benjains. Hoffmann, Sebastian, Sabine Arndt-Lappe Peter Uhrig. 2022. "Rhythm in World Englishes – Evidence from a Quantitative Analysis of Co-occurrence Patterns in a Corpus of L1 and L2 Varieties of English", in Social and Regional Variation in World Englishes Local and Global Perspectives, ed. Paula Rautionaho, Hanna Parviainen, Mark Kaunisto, Arja Nurmi, pp. 191-214. London Routledge. Hoffmann, Sebastian Robert Sigley. 2013. "Approaching a Linguistic Variable That-Omission in Mandative Sentences", in Approaching Language Variation through Corpora A Festschrift in Honour of Toshio Saito, ed. Shunji Yamazaki Robert Sigley, pp. 115-54. Peter Lang. Hoffmann, T. 2011. Preposition placement in English A usage-based approach. Cambridge CUP. Hoffmann, Thomas. 2014. "The cognitive evolution of Englishes The role of constructions in the dynamic model", in The Evolution of Englishes The Dynamic Model and Beyond, ed. Sarah Buschfeld, Thomas Hoffman, Magnus Huber Alexander Kautzsch, pp. 160-180. Amsterdam John Benjamins. Hoffman, T. 2022. Construction Grammar The Structure of English. Cambridge Cambridge University Press. Hoffman, T. G. Trousdale. 2013. The Oxford Handbook of Construction Grammar. Oxford Oxford University Press. Hofmann, Klaus. 2020. "Stress in real time The noun–verb stress contrast and the rhythmic context hypothesis in the history of English". Journal of Historical Pragmatics 10(3) 452-486.
https://w.atwiki.jp/satoschi/pages/769.html
ダンガウラ・タルー語 ｜Indo-European languages｜Indo-Iranian languages｜Indic languages｜Central zone languages｜ 言語類型 現用言語 使用文字 デーヴァナーガリー文字【Deva】 type living language writing system Devanagari script ISO 639-3 【thl】 言語名別称 alternate names Chaudary Tharu Chaudary Chaudhari Tharu Chaudhari Chaudhuri Dangali Dangauli Dangha Dangora Dangura Dang 方言名 dialect names Banke Bardiya Dang Deokhuri (Deokhar, Deokri) Kailali (Malhora) Kanchanpur Surkhet 参考文献 references WEB ISO 639-3 Registration Authority - SIL International the LINGUIST List Ethnologue The Rosetta Project
https://w.atwiki.jp/kumicit/pages/275.html
Kumicitのコンテンツ 創造論ネタ? Apearance of Age 創造科学の父Dr. Henry M Morrisは「"Appearance of age"なき創造はない」と言った。 創造科学の父たるDr. Henry M Morrisは遅くとも1963年には「"Appearance of age"なき創造はない」と述べていた： “True creation necessarily involves creation of an ‘appearance of age’…. We insist as emphatically as we know how that the doctrine of creation of apparent age does not in the remotest degree involve a divine deception, but is rather inherent in the very nature of creation.” (Morris, The Twilight of Evolution, 1963, p. 56, 57). 真の創造は"時代の外観"の創造を必然的に伴う。"時代の外観"の創造主義は、神による詐欺などというものではなく、むしろ創造のまさに本質だと、我々は強調して主張している。 そして、創造科学の教科書的な本である"Scientific Creationism"において、「恒星から地球への経路上の光も創造された」と主張した。 (b) Appearance of Age Another point important to recognize is that the creation was "mature" from its birth. It did not have to grow or develop from simple beginnings. God formed it fullgrown in every respect, including even Adam and Eve as mature indivisuals when they were first formed. The whole universe had an "appearance of age" right from the start. It could not have been otherwise for true creation to have taken place. "Thus the heavens and the earth were finished, and all the host of them" (Genesis 2 1). 認識べきもうひとつの重要なポイントは、創造が出生から"成熟"していたということである。単純なものから初めて成長あるいは発展する必要がなかった。神は初めに創造したときアダムとイブを成人として創造したことを含め、あらゆる点で成熟した形で創造した。全宇宙は始まったときから"Appearance of age"を持っていた。でなければ、真の創造は起きない。「天地万物は完成された(創世記2章1節)。 」 This fact means that the light from the sun, moon, and stars was shining upon the earth as soon as they were created, since their very purpose was "... to give light on the earth"(Genesis 1 17). As a matter of fact, it is possible that these light-waves were energized even before the heavenly bodies themselves in order to provide the light for the first three days. It was certainly no more difficult for God to form the light-waves than the light-bearers which would be established to serve as future generators of those waves. この事実は、太陽と月と星からの光は、太陽と月と星の創造と同時に地球を照らしていたことを意味する。というのは、太陽と月と星の目的が地球を照らすことだからである (創世記1章17節)。もっとはっきり言えば、最初の3日間の昼の光のために、天体の存在以前にこれらの光波は創造されたかもしれない。将来の光波のジェネレータとして作られる光の担い手を創るよりも、光波を創ることは神にとって難しいことではない。 [Henry M. Morris "Scientific Creationism, pp.209-210 (1974/1985)] しかし、そうなると、"科学的"に地球も宇宙も6000年と証明することは原理的に不可能になる。宇宙は100億年前から存在しているかのように見える。地球の大気圏は安定する程度の時間の過去から存在しているかのように見える。地球の地下は、地質学的に安定な状態になるくらいの時間の過去から存在しているように見える。 そのことを創造科学の父Henry M. Morrisは認めていた[ via Lane Coffee Darrick Dean ]： The only way we can determine the true age of the earth is for God to tell us what it is. And since He has told us, very plainly, in the Holy Scriptures that it is several thousand years in age, and no more, that ought to settle all basic questions of terrestrial chronology. 我々が地球の真の年齢を測定できる唯一の方法は、神が我々にそれを告げることである。数千年かそれ以上ではないと聖書において、神が我々にまさしく告げているのだから、地球の歴史についてのすべての基本的疑問はその中で決着させなければならない。 [ Henry Morris, The Remarkable Birth of the Planet Earth, p. 94 ] “There is no sure way (except by divine revelation) of knowing the true age of any geologic formation.” ( Morris, Scientific Creationism, 1974, pp. 137-138). いかなる地層の年代も（神託以外に）確実にする方法はない。 “The only way we can determine the true age of the earth is for God to tell us what it is. And since He has told us, very plainly, in the Holy Scriptures that it is several thousand years in age, and no more, that ought to settle all basic questions of terrestrial chronology.” (H. Morris, Scientific Creationism, 1974, p. 94). 我々が地球の真の年齢を測定できる唯一の方法は、神が我々にそれを告げることです。数千年かそれ以上ではないと聖書において、神が我々にまさしく告げているのだから、地球の歴史についてのすべての基本的疑問はその中で決着させなければならない。 “There seems to be no possible way to avoid the conclusion that if the Bible and Christianity are rue at all, the geologic ages must be rejected altogether.” (Morris, Scientific Creationism, 1974 [1985 2nd ed.], p. 255). 聖書とキリスト教が悔悟するのであれば、地質学的年代をすべて拒否するという結論をさける方法はないと思われる。 “The data of geology, in our view, should be interpreted in light of Scripture, rather than distorting Scripture to accommodate current geological philosophy.” (Morris, Science, Scripture, and the Young Earth, p. 6). 我々の見方では、地質学のデータは聖書の記述に従って解釈されるべきであり、現在の地質学の考えにあわせて、聖書をねじまげるべきではない。 “No geological difficulties, real or imagined, can be allowed to take precedence over the clear statements and necessary inferences of Scripture.” (Morris, Biblical Cosmology, page 33). いかなる地質学上の問題も、それが実際のものでも想像上のものでも、聖書の明確な声明と必要な推論よりも優先されてはならない。 それでも、神の偽造物はないとして、恐竜の化石が岩石中に創造されたことはないと主張した： Note that his concept does not in any way suggest that fossils were created in the rocks, nor were any other evidences of death or decay so created. This would be the creation, not of an appearance of age, but of an appearance of evil, and would be contrary to Gods nature. [Henry M. Morris "Scientific Creationism, pp.210 (1974/1985)]
https://w.atwiki.jp/terragen3/pages/70.html
現在、水面を作成する方法は2つあります サイズが調整可能なビルドインの"Lake object(円盤状の平らな水)"を作成する。 地形に『Water Shader』を適用し、配置をコントロールするための『blend shader』やマスキングからなる他の形態を使用する事が出来ます。 "Lake object"によって、異なる高さと異なる色や波の特性を持つ複数のユニークな水のエレメントを作成する能力を持っています。また、河川、複雑な湖の形状、およびその他の重要なエレメント作成を可能にし、その分布を微調整するための水の形状をマスクする事が出来ます。実際にこれからどのように"Lake object"を使用するか、目を通しておきましょう。 First go to the Water layout so we can place the Lake object. It s the only option currently available on the Add Water Object menu and you will immediately see your 3D preview window covered with water when you add it. After you have done so, click on it in the node list to bring up its settings. Most of the controls here are fairly self-explanatory. At the top the normal naming and enable/disable control. Handle In Preview determines whether the lake object itself will be shown in the viewport. Cast Shadows will be seldom used for now but its effect is fairly obvious - it makes the water disc cast shadows onto the terrain. Moving on let s look at the settings on tne Transform tab. the Water Level is literally just the height of the object above the base planet surface (this will be important when transparency is introduced in later versions). The Centre settings control the X, Y, Z placement of the object and can be used when precise placement of your water is needed, but it s generally easier just to drag it around in the viewport. And finally Max Radius allows you to control the size of the lake object, measured in meters as usual. The Planet and Surface Shader tabs are extremely simple. Planet allows you to specify the planet this water object is associated with. Because it s a flat disc it needs to be adjusted to fit the curvature of the planet, especially at large radius values, so it s necessary to connect it to a Planet to accomplish these changes. The Surface Shaders tab simply defines the shader for the lake object; naturally it defaults to a Water Shader. Now that we ve looked over the basic settings let s do a quick render to see how the water looks. Keep in mind that the default camera perspective is 1 kilometer above the terrain, so let s move down a bit to see the water better. Take the camera down until it seems fairly close to the water- about 200 meters - and do a render from this new camera position. At this height you should be able to see the wave structure as well as the wave variation which helps to increase realism. You ll no doubt find that water takes a bit longer to render than most other scene elements. Reflections are always quite demanding to render and Terragen 2 is no exception, but this aspect will be getting a lot of optimization in the future to improve things as much as possible. You can control all aspects of the water surface itself in the Water Shader settings. Let s take a look there now and see what kind of things can be done with the current functionality. From the Surface Shaders tab click the box to the right of the Surface Shader name (Water shader 01) and select Go to [shader name] and the water shader settings window will then be opened. Aside from the standard node controls there are only two tabs here that allow you to control all aspects of your water. In the future additional functions such as transparency and shore surf/foam will probably have their own tabs here. For now the Wave tab is visible and contains some of the most important controls to adjust the look of our water. By now you should be familiar with naming conventions of Terragen 2 so hopefully most of these will be self-explanatory. The Roughness setting controls the general roughness of the water surface and in combination with the Wave Scale and Smallest scale it determines the majority of the water shape. Wave Scale is the average wave size and Smallest Scale determines the size of the smallest details - increase this if the water shape looks too simplistic, but reduce it if you re only viewing the water from a distance as the smaller it is the more octaves in the Water Shader noise function and the longer render times will be. The next set of controls should be familiar to users of Terragen 0.9 - the Wind Patch settings. In nature there are variations in wave structure and overall water smoothness across large bodies of water which is due to several factors including wind. These settings allow you to simulate those effects and bring an extra level of realism and needed variety and interest to large water elements. The defaults give a subtle variation to the water surface, modulating the roughness across the surface with a large-scale noise function. The Wind Patch Effect setting controls the strength of this effect - the actual amount of variation there will be between different areas. Wind Patch Size controls the average scale of the areas of variation. And finally Wind Patch Sharpness sets how sharp the line between areas of variation will be, or to put it another way it controls how smooth the transition between areas of different roughness is. Now on to the Reflections tab. Master Reflectivity is fairly self-explanatory - it controls the overall level of reflectivity for the water. Index of Refraction is a technical term that refers to the amount of light refraction caused by a given material. This is implemented as the standard Index of Refraction where water is 1.33. The higher this is the more diffuse your reflections will be. Horizon Shift is a special function used to simulate the "shift" in reflection due to the aggregate effect of greater or lesser surface roughness on distant reflective surfaces. It will essentially shift the angle of distant reflection toward or away from the horizon. The easiest way to understand this is just to play with the slider and watch the effect on the preview. Highlight Intensity controls the strength of specular highlights from light sources and Min[imum] Highlight Spread allows you to control how much "spread" the reflections have - in other words how diffuse the specular highlights are. Note that you can plug a shader into the Input of the Water Shader to override or contribute to many of these built-in settings. For example you can get more control over wave shape by plugging a Power Fractal into it and using the Displacement controls. A Heightfield Shader or Image Map can be used in the same way and can be particularly useful for explicitly controlling water shape. Another important capability enabled by the Water Shader Input is controlling the color of the water. Try plugging a Default Shader into the input and adjusting color - you now have the ability to specify any color you want for the water. This also gives us a springboard to our next experiment masking the water to control its distribution.