Having nurtured an ever-deepening affinity for the thrill of cycling, I, amidst a myriad of choices and after much contemplation, opted to acquire a new bicycle just yesterday. This acquisition represents the third of its kind in my personal collection.
This acquisitionが何を指しているのかを考えずに、次の文章に進んでいってしまう人がいるのです。
＊今回は一文目のacquireのまとめを表しています。
(a) The rise of ‘online gaming’ and ‘multiplayer platforms’ during this period inevitably intersected with the discourse on ‘handheld games.’
(b) Such platforms proffer experiences transcending mere ocular delights.
(c) Arcades epitomized places for the passionate gamer, but, to some, they represented public arenas over private sanctuaries.
(d) Regardless of its application, the term serves to delineate stark divides, where nuanced distinctions might be more apt.
(e) Yet simultaneously, they couldn’t ignore the massive audience of handheld games, leading to the creation and optimization of titles for these devices.
(f) The evolving discourse surrounding them offers invaluable insights into the tapestry of global entertainment culture.
(g) They might also be contrasted with ‘mainstream’ gaming, terms like ‘AAA releases’, ‘independent gems’, ‘jump-and-runs’, or ‘epic sagas’.
(h) In the early 20th century, many considered arcade gaming as the pinnacle of interactive entertainment, overshadowing other platforms.
Since the dawn of time, when humans first engaged in playful endeavors, debates arose about the optimal and subpar ways to relish the experience. From the inception of the gaming era, a myriad of labels emerged to categorize the ‘incorrect’ methods of indulging in play. Analog games were the pastimes of yesteryears, something predating the digital age. (1) Handheld games represented engaging the modern gamer on-the-move. All these classifications: none were anchored in objectivity, but rather swayed by the inclinations and biases of the users. However, their utilization unveils much about the intricacies of preference and rivalry in gaming’s history. (2)
The phrase ‘handheld games’ surfaced in the dawn of the 21st century, often harboring divisive undertones—it intimated ‘casual’ versus ‘committed’ involvement in the gaming realm. Though its roots were evident, it invariably suggested an antithesis, or a spectrum of contrasts. In the era of PCs, some championed computer gaming as elite; meanwhile, console aficionados deemed PC games overly intricate. Typically, ‘handheld games’ could be juxtaposed with other more ‘traditional’ gaming mediums, like board games, arcades, or virtual reality. (3) Ultimately, it’s employed as a descriptor for any platform that diverges from one’s gaming ideal. With tech revolutions, ‘handheld games’ morphed into a term symbolizing any swift, portable gaming escapade. The renaissance of tactile games and interactive sessions recalibrated perceptions, but spirited discussions linger. (4)
Gaming mediums are manifold, perceived differently across epochs and cultures. Broadly, they encompass a diverse suite of platforms and venues for escapism: endeavors to immerse in digital realms, mastering or savoring them via compact or expansive devices. (5) They prioritize immersion over mere aesthetics. They anchor thrills, progress, and stories uniquely across diverse genres, forms, and narratives. Often they cater to niche entertainment appetites rather than a monolithic definition of fun. On the whole, ‘handheld games’ are seen as universally accessible. A game’s merit is gauged by its entertainment quotient, rather than its visual fidelity or intricacy. Diversity is a hallmark of the so-called mobile gaming platforms, but they also manifest intriguing parallels across global cultures. In broad strokes—set to be delved deeper in Part I—‘handheld games’ have been a point of discussion and critique since the dawn of their inception.
In the wave of digitalization spanning from the late 20th to early 21st centuries, the gaming industry experienced discussions as fervent as ever seen. (6) The decentralization of the gaming medium—akin to the fragmentation in medieval theology—led to varied perspectives on what constituted ‘real’ gaming. E-sports’ emergence, analogous to the European Renaissance’s humanism, brought with it critiques about the ‘casual’ nature of mobile games, suggesting that real competition thrived on dedicated consoles or PCs. The introduction of augmented reality (AR) and virtual reality (VR) further complicated the narrative, suggesting, in ways reminiscent of the Reformation, that traditional gaming was being usurped by a more immersive experience. Major game developers, in defining their identity in this digital age, often focused on creating games best suited for their target platforms, sometimes sidelining mobile platforms. (7) During the era of digital convergence from the late 20th century to the early 21st, the lines that had once starkly separated different gaming platforms began to blur. Strategies that had once solely targeted desktop games were adapted for mobile experiences. Then, with the burgeoning digital age, ‘mobile gaming’ became a central topic in the gaming industry discussions. ‘Casual’ gaming and ‘core’ gaming emerged as defining categories, around which developers, critics, and players debated the true essence of a gaming experience.
■1つ目
Analog games were the pastimes of yesteryears, something predating the digital age. (1) Handheld games represented engaging the modern gamer on-the-move.
■2つ目
In the wave of digitalization spanning from the late 20th to early 21st centuries, the gaming industry experienced discussions as fervent as ever seen. (6) The decentralization of the gaming medium—akin to the fragmentation in medieval theology—led to varied perspectives on what constituted ‘real’ gaming. E-sports’ emergence, analogous to the European Renaissance’s humanism, brought with it critiques about the ‘casual’ nature of mobile games, suggesting that real competition thrived on dedicated consoles or PCs.
■3つ目
Major game developers, in defining their identity in this digital age, often focused on creating games best suited for their target platforms, sometimes sidelining mobile platforms. (7) During the era of digital convergence from the late 20th century to the early 21st, the lines that had once starkly separated different gaming platforms began to blur.
In the wave of digitalization spanning from the late 20th to early 21st centuries, the gaming industry experienced discussions as fervent as ever seen. (6) The decentralization of the gaming medium—akin to the fragmentation in medieval theology—led to varied perspectives on what constituted ‘real’ gaming. E-sports’ emergence, analogous to the European Renaissance’s humanism, brought with it critiques about the ‘casual’ nature of mobile games, suggesting that real competition thrived on dedicated consoles or PCs.
前:In the wave of digitalization spanning from the late 20th to early 21st centuries, the gaming industry
後:The decentralization of the gaming medium —akin to the fragmentation in medieval theology—
選択肢を見てみるとこれは簡単ですね。
(a) The rise of ‘online gaming’ and ‘multiplayer platforms’ during this period inevitably intersected with the discourse on ‘handheld games.’
(e)they
(h)many
■3つ目
Major game developers, in defining their identity in this digital age, often focused on creating games best suited for their target platforms, sometimes sidelining mobile platforms. (7) During the era of digital convergence from the late 20th century to the early 21st, the lines that had once starkly separated different gaming platforms began to blur.
続いてのこの問題も難しくはありません。
選択肢を見てもらえれば、、、
Yet simultaneously, they couldn’t ignore the massive audience of handheld games, leading to the creation and optimization of titles for these devices.
they=Major game developersとなるので、
代名詞の情報からこちらを入れれば良いでしょう。
まず、音声を聞く前に教材のスクリプトを読み、知らない言葉があればその意味を調べておきます。例えば、教材が「The quick brown fox jumps over the lazy dog」という文章だとします。ここで「fox」や「jumps」の意味がわからなければ、それぞれ「キツネ」、「飛び越える」という意味であることを調べておきます。
下がり型（下降型）：平叙文、感嘆文、命令文、5W1Hで始まる疑問文では、文末を下げて発音します。例えば、「She is running.（彼女は走っています。）」や、「What a beautiful day!（なんて美しい日だ！）」、「Sit down.（座って。）」、「What is your name?（あなたの名前は何ですか？）」などがこれに該当します。
上がり型（上昇型）：一般疑問文では、文末を上げて発音します。例えば、「Are you okay?（大丈夫ですか？）」のような文は、最後の「okay?」の部分を高く発音します。
