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 What Did I Do to Deserve This, My Lord!? 2  По сравнению с оригинальной игрой, What Did I Do to Deserve This, My Lord! ? 2 имеет в 2,5 раза больше героев, в 3 раза больше монстров, и в четыре
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What Did I Do to Deserve This, My Lord!? 2 (PSP)

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Аннотация:По сравнению с оригинальной игрой, What Did I Do to Deserve This, My Lord! ? 2 имеет в 2,5 раза больше героев, в 3 раза больше монстров, и в четыре раза больше уровней. Периодически люди будут вторгаться в подземелье, чтобы принести мир и гармонию в мир. Но они ваши враги. Вы должны уничтожить героев до того, как они захватят Оверлорда и вытянут его обратно на поверхность. Подземелье должно быть самостоятельной экосистемой, поэтому игроки должны копать и создавать сбалансированную цепь. Цель What Did I Do to Deserve This, My Lord! ? 2 проста и понятна: играя в роли Бога Разрушения, необходимо создать подземелье, достаточно мощное и сложное, чтобы не допустить вторжение людей. Игровая система может быть и проста, но этот сиквел напичкан множеством новых монстров, окружающей среды, и героев.
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Поиск: What Did I Do to Deserve This, My Lord!? 2 (PSP)
НОВЫЙ ГОД СИМВОЛ 2013 ГОДАУКРАШЕНИЯ
КАРНАВАЛ НА НОВЫЙ ГОД РАСПРОДАЖА
Ортомолекулярная медицина Orthomol Устрание причин заболеваний. Ортомоль это новый метод для лечения и профилактики болезней. Orthomol - ортомолекулярная медицина.
Курсовая по лингвистике текста на основе романа Д. Фаулза...

Интересно, что почти все подобные повторы принадлежат Миранде, что позволяет нам дополнить лингвистический портрет Миранды такими характеристиками, как необыкновенная чувствительность, эмоциональность. Приведем несколько примеров таких повторов: «I ha e you, I ha e you»; «I pi y you. I pi y you for wha you are a d I pi y you for o seei g wha I am»; «do ' resis , do ' resis »; «do ' kill me, do ' kill me»; «I ca ' , I ca ' »; «I will o give i . I will o give i »; «I wo ' die. I wo ' die» и др. Пропуск логическинеобходимых элементов высказывания в романе принимает разные формы и имеет разные стилистические функции. В первую очередь сюда относится использование односоставных и неполных предложений (эллипс). Весомую долю неполных предложений в романе составляют предложения диалогической речи, где пропускаются все те формы, которые легко угадываются благодаря ситуации и контексту: «I was a eacher I had. Wha I was a kid. He showed me how. He collec ed. Did ' k ow much. S ill se he old way. A d my u cle. He was i eres ed i a ure. Always helped.» Огромное количество односоставных и неполных предложений придают повествованию Миранды интонацию живой речи, динамичность, эмоциональность: « he ime i priso », « E dless ime»; « he mock-humble»; « o ewspapers. o radio. o V»; «So dayligh ly, sparrows»; A for a d wo easpoo s»; « o hi glike him»; « his errible sile ce» и т.п. Номинантные однословные предложения имеют большой экспрессивный потенциал, поскольку существительные, являющиеся их главным и единственным членом, совмещают в себе образ предмета и идею его существования: «A bi ch»; «Exci i g»; « o ho g»; «Mad»; « Ligh »; « Afflue ce»; « I cide »; « Fever» и т.п. В сказе коллекционера находим пример апозионезиса-эмоциональный обрыв высказывания: «If I'd spoked i a la-di-da voice a d said I was Lord Muck or some hi g, I be .s ill I've go o ime for ha ».
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