when you believe choir的八卦，Yahoo名人娛樂都在討論

[時事英文] 各國如何面對新冠疫情?

讓我最有感觸的一句:

"The rise of populism has exacerbated the problem by reducing the incentives of countries to cooperate. "

「民粹主義的興起減少了各國合作的意願，使問題更加嚴重。」

—NY Times

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In Frankfurt, the president of the European Central Bank warned that the coronavirus could trigger an economic crash as dire as that of 2008. In Berlin, the German chancellor warned the virus could infect two-thirds of her country’s population. In London, the British prime minister rolled out a nearly $40 billion rescue package to cushion his economy from the shock.

1. trigger an economic crash 引發經濟崩潰
2. dire 嚴重的；危急的
3. roll out 推出
4. rescue package 救助計劃
5. to cushion sth from… 對（某事物的影響或力量）起緩衝作用

在法蘭克福，歐洲央行行長警告說，冠狀病毒可能引發與2008年一樣嚴重的經濟崩潰。在柏林，德國總理警告說，病毒可能導致該國三分之二的人口感染。在倫敦，英國首相推出了將近400億美元的一系列救助計劃，以緩解經濟受到的衝擊。

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As the toll of those afflicted by the virus continued to soar and financial markets from Tokyo to New York continued to swoon, world leaders are finally starting to find their voices about the gravity of what is now officially a pandemic.

6. the toll of… 的傷亡；損失；破壞
7. the death toll 死亡人數
8. afflict 使痛苦；使苦惱；折磨
9. swoon 低迷*
10. find their voices about 願意開口談及
11. the gravity of …的嚴重性

隨著感染者的死亡人數持續飆升，從東京到紐約的金融市場持續低迷，世界各國領導人終於開始談及這場已正式定性為大流行病的疫情的嚴重性。

*http://bit.ly/3b7PZK8

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Yet it remains less a choir than a cacophony — a dissonant babble of politicians all struggling, in their own way, to cope with the manifold challenges posed by the virus, from its crushing burden on hospitals and health care workers to its economic devastation and rising death toll.

12. cacophony 刺耳嘈雜的聲音；雜音
13. a dissonant babble of... 七嘴八舌的...
14. manifold challenges 多種多樣的挑戰
15. economic devastation 經濟崩解

然而，與其說是合唱，這更像一種刺耳的喧囂——一群七嘴八舌的政客用各自的方式努力應對這種病毒所帶來的各種挑戰，從超負荷的醫院和醫護人員到崩潰的經濟和與日俱增的死亡人數。

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The choir also lacks a conductor, a role played through most of the post-World War II era by the United States.

這個合唱團還欠缺指揮，在二戰戰後的大部分時間裡，這個角色是由美國扮演的。

President Trump has failed to work with other leaders to fashion a common response, preferring to promote travel bans and his border wall over the scientific advice of his own medical experts. Mr. Trump’s secretary of state, Mike Pompeo, has taken to calling it the “Wuhan virus,” vilifying the country where it originated and complicating efforts to coordinate a global response.

16. lack (v.) 缺少，缺乏*
17. to fashion a common response 形成一致的回應
18. travel ban 旅行禁令
19. take to sth 開始從事；形成…的習慣
20. vilify 詆毀，誣衊；醜化；貶低
21. complicate 使複雜化；使更難懂；使更麻煩

川普總統未能與其他領導人合作形成一致的回應，他寧願推動旅行禁令和他的邊境牆，而不是他自己的醫學專家的科學建議。川普的國務卿邁克·龐皮歐(Mike Pompeo)把它叫做「武漢病毒」，醜化其發源國，使協調全球響應的工作更加艱難。

*lack, lack of, lacking: http://bit.ly/33LrOhw

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週三，川普總統在白宮會見了銀行家，討論如何應對冠狀病毒。

The same denigration of science and urge to block outsiders has characterized leaders from China to Iran, as well as right-wing populists in Europe, which is sowing cynicism and leaving people uncertain of who to believe. Far from trying to stamp out the virus, strongmen like President Vladimir V. Putin of Russia and Crown Prince Mohammed bin Salman of Saudi Arabia have seized on the upheaval it is causing as cover for steps to consolidate their power.

22. the denigration of science 對科學的詆毀
23. characterize (v.) 是…的特徵；為…所特有
24. right-wing populists 右翼民粹主義者
25. sow a seed of 播下了…的種子
26. cynicism 犬儒主義；憤世嫉俗
27. stamp sth out 消除，消滅
28. upheaval 動盪
29. consolidate their power 鞏固自己的力量

從中國到伊朗的領導人，乃至歐洲的右翼民粹主義者，都有同樣的對科學的詆毀和對外人的排斥，這播下了疑神疑鬼的種子，讓人們不知道該相信誰。俄羅斯總統弗拉基米爾·V·普丁(Vladimir V. Putin)和沙烏地阿拉伯王儲穆罕默德·本·薩勒曼(Mohammed bin Salman)等強人領袖並沒有去試圖消滅病毒，而是趁機以其引發的動盪為掩護，鞏固自己的力量。

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Yet it is too simple to lay all this at Mr. Trump’s door, or on world leaders collectively. Part of the problem is simply the fiendish nature of the pathogen.

30. lay sth at sb's door 將…歸咎於（某人）
31. fiendish 惡魔般的；殘忍的
32. pathogen 病原體

然而，將一切推到川普身上，或一股腦推到各國領導人身上，都過於簡單了。部分問題實際上源於病原體的殘忍特性。

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Coronavirus has resisted the tools that countries have brought to bear against previous global scourges. Mysterious in its transmission and relentless in its spread, it has led countries to try wildly divergent responses. The lack of common standards on testing, on the cancellation of public gatherings and on quarantines have deepened the anxiety of people and eroded confidence in their leaders.

33. to bear against 抵禦
34. global scourges 全球災禍
35. wildly divergent responses 截然不同的應對方式
36. quarantine 隔離
37. eroded confidence 削弱對…的信心

各國為抵禦先前的全球災禍而使用的工具，被冠狀病毒一一擊敗。詭異的感染方式，持續不懈的傳播，已經導致各國不得不嘗試各種截然不同的應對方式。在病毒測試、取消公共聚會和隔離方法上缺乏一致的標準，這加劇了人們的焦慮，並削弱了他們對領導者的信心。

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The simultaneous shocks to supply and demand — shuttered iPhone factories in China; empty gondolas in Venice; and passengers abandoning cruises, hotels and airlines everywhere else — is a new phenomenon that may not respond to the weapons government wielded against the dislocation that followed the September 2001 terrorist attacks and the financial crisis of 2008.

38. simultaneous shocks 同時衝擊
39. supply and demand 供需
40. the weapons wielded against... 為抵禦...所鍛造的武器

供給和需求在同一時刻受到衝擊——被關閉的中國iPhone工廠；威尼斯空無一人的貢多拉；以及其他地方旅客放棄前往的郵輪、旅館和航班——政府在2001年9月的恐怖襲擊以及2008年金融危機後為抵禦混亂所鍛造的武器，恐怕難以用來對付這種新的現象。

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“The nature of this crisis is qualitatively different than the one in 2008 because the traditional tools are not as effective,” said Richard N. Haass, president of the Council on Foreign Relations. “Even if the U.S. took a leadership role, the traditional playbook would not be all that relevant here.”

41. the nature of …的性質
42. be qualitatively different 有本質區別
43. playbook 方案

「這次危機的性質，與2008年危機有本質區別，因為傳統手段的效果不佳，」外交關係委員會(Council on Foreign Relations)主席理查德·N·哈斯(Richard N. Haass)說。「即使美國發揮領導作用，傳統方案用在現在的情況沒有多大意義。」

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Britain, for example, won praise for its robust economic response, which, in addition to billions of pounds for hospitals and workers sidelined by illness, included a sharp interest rate cut by the Bank of England.

44. won praise for 贏得讚譽
45. robust economic response 強勁的經濟反應
46. in addition to 此外
47. be sidelined by illness 因疾病而停工
48. a sharp interest rate cut大幅降息

例如，英國因其強勁的經濟應對而贏得讚譽，他們不僅為醫院和因疾病而停工的工人提供了數十億英鎊撥款，還包括英格蘭銀行的大幅降息。

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Yet stocks in London still tumbled, if not as steeply as on Wall Street, where investors brushed off Treasury Secretary Steven Mnuchin’s proposal to allow Americans to delay paying their income taxes, which he claimed would pump $200 billion into the economy.

49. tumbled （價值）暴跌，驟降
50. steeply 徒峭地；險峻地
51. brush off 漠視，不理睬

然而，倫敦股市仍然下跌，儘管跌幅不及華爾街。面對財政部長史蒂芬·馬努欽(Steven Mnuchin)提出的允許美國人緩交所得稅的提議，華爾街投資人不為所動，馬努欽聲稱此舉將為經濟注入2000億美元。

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Mr. Trump’s other big idea, a cut in the payroll tax, was pronounced a “non-starter” by House Democrats, who scrambled instead to introduce legislation to provide financial help to patients, workers and families affected by the fast-moving epidemic and speed it to a House vote on Thursday.

52. payroll tax 薪金稅
53. non-starter 無成功希望的人（或想法、計劃）
54. House Democrats 眾議院民主黨議員
55. scramble to 爭搶(去做)

川普先生的另一個大想法是削減薪金稅，眾議院民主黨議員宣布這「不可能」，他們慌忙提出立法，在財務上幫助受迅速傳播的流行病影響的患者、工人和家庭，並且快速提交至週四的眾議院投票。

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To Mr. Haass, the intense focus on limiting the economic blow was understandable, given the carnage in the markets, but premature. He said countries needed to put their energy into slowing and mitigating the spread of the virus before they embarked on fiscal programs to repair the economic damage.

56. carnage （尤指戰爭中的）大屠殺，殘殺
57. carnage in the markets 市場的慘狀
58. premature 過早的；不成熟的；倉促的
59. mitigate 減緩
60. embarked on sth 開始，著手做（新的或重要的事情）
61. fiscal programs 財政計劃

哈斯認為，考慮到市場的慘狀，集中精力抑制經濟衝擊是可以理解的，但為時過早。他說，各國在開始實施財政計劃以修復經濟損失之前，需要投入精力以減慢並緩和病毒的傳播。

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The trouble is that, with few exceptions, their efforts have been hapless. In the United States, the delay in developing coronavirus test kits and the scarcity of tests has made it impossible for officials, even weeks after the first cases appeared in the country, to get a true picture of the scale of the outbreak.

62. hapless幸運的；不愉快的
63. the scarcity of …的缺乏
64. the scale of the outbreak 疫情的真實規模

問題是，除了少數例外，他們的努力都沒有什麼好結果。在美國，由於開發冠狀病毒檢測工具的進度遲緩，以及檢測手段的缺乏，官員們甚至在出現本國第一例病例數週後仍無法了解疫情的真實規模。

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In hard-hit Italy, quarrels broke out between politicians and medical experts over whether the authorities were testing too many people in Lombardy, inflating the infection figures and fueling panic in the public. Italy’s response could be weakened further by the anti-vaccination movement that was once embraced by the populist Five Star Movement, which took power in the last government.

65. hard-hit 受災嚴重的
66. inflate 抬高；誇大
67. fueling panic加劇恐慌
68. anti-vaccination movement 反疫苗運動
69. populist 民粹主義政黨
70. took power 執政

在受災嚴重的義大利，政界人士和醫學專家爭論當局是否在倫巴第對太多人進行測試，誇大感染人數，加劇公眾恐慌。義大利的反應可能會遭到反疫苗運動的進一步削弱。該運動曾受上屆執政的民粹主義政黨五星運動(Five Star Movement)的支持。

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義大利倫巴第地區是世界上受災最嚴重的地區之一，人們戴著口罩。

Even comparing one country’s case count to another’s is almost impossible, given the different testing procedures and diagnostic criteria around the world, said Dr. Chris Smith, a specialist in virology at the University of Cambridge.

71. testing procedures 檢測程序
72. diagnostic criteria 診斷標準

劍橋大學(University of Cambridge)病毒學專家克里斯·史密斯(Chris Smith)博士表示，考慮到世界各地不同的檢測程序和診斷標準，連對兩個國家的病例數進行比較幾乎都是不可能的。

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In the most extreme example, China’s case count skyrocketed when it began recording positives based on people’s symptoms, rather than a lab test, the method most countries are still using. But even lab tests might yield different results in different places, depending on the targets labs are using and the ways health workers collect and process specimens.

73. based on people’s symptom 根據某人癥狀
74. case count skyrocketed 病例數大幅飆升
75. yield different results 產生不同的結果

最極端的例子是，當中國開始根據癥狀而不是大多數國家仍在使用的實驗室檢測來計算確診病例時，病例數出現了大幅飆升。但即使是實驗室測試，不同的地方也可能產生不同的結果，這取決於實驗室使用的對象以及醫務人員收集和處理標本的方式。

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“Different countries are doing different things,” Dr. Smith said of the testing programs. “You’re not comparing apples to apples.”

「不同的國家正在做不同的事情，」史密斯談到測試項目時說。「這不是蘋果和蘋果之間的對比。」

The rise of populism has exacerbated the problem by reducing the incentives of countries to cooperate. European leaders, in a three-hour teleconference on Tuesday night, agreed to set up a 25 billion euro investment fund, or $28.1 billion, and to relax rules governing airlines to curb the economic fallout.

76. exacerbated the problem 使問題更加嚴重
77. the incentives of 誘因
78. teleconference 電話會議
79. curb the economic fallout 遏制經濟危機的影響

民粹主義的興起減少了各國合作的意願，使問題更加嚴重。歐洲領導人週二晚間舉行了三小時的電話會議，同意設立一個250億歐元（合1930億元人民幣）的投資基金，並放鬆對航空公司的監管，以遏制經濟危機的影響。

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But they failed to overcome national objections to sharing medical equipment like face masks and respirators, given that health issues are the responsibility of national governments. Germany, the Czech Republic and other countries have tightened export restrictions on this gear to keep it for their own citizens.

80. failed to overcome 未能克服
81. respirator 呼吸器
82. tightened export restrictions on… 加強了…的出口限制
83. gear （從事某活動的）裝備，用具，衣服

但他們未能克服各國對分享口罩和呼吸器等醫療器械的反對，因為健康問題是國家政府的責任。德國、捷克共和國等國家已經加強了對這些設備的出口限制，以便將其留給本國公民。

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Chancellor Angela Merkel’s warning that the virus would infect 60 percent to 70 percent of people in Germany — a figure she attributed to the “consensus among experts” — was the most forthright admission of the scale of the problem by any world leader. It was fully in character for a physicist-turned-politician, reinforcing her status as the liberal West’s foil to Mr. Trump.

84. attributed to 歸於
85. consensus among experts 專家共識
86. forthright （過於）坦誠的，直率的；直截了當的
87. reinforce 強化，加深，進一步證實（觀點、看法等）
88. the liberal West’s foil 自由主義西方世界中的對比
89. foil 陪襯物*

德國總理安哥拉·梅克爾(Angela Merkel)警告說，這種病毒將感染德國60%到70%的人——她稱這一數字來自「專家共識」——這是世界各國領導人對該問題嚴重性最坦率的承認態度。這完全符合從物理學家轉型為政治家的梅克爾的性格，令她進一步成為自由主義西方世界中川普的一個鮮明對比。

*http://bit.ly/3deYyVe

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“We will do whatever is needed,” she said. “We won’t ask every day, ‘What does this mean for our deficit?’”

90. deficit 赤字

「我們會竭盡所能，」她說。「我們不會每天都問，『這對我們的赤字有什麼影響?』」

Yet even Ms. Merkel’s position has been weakened by the resurgence of the far right in Germany. Germany rebuffed a request for medical equipment from Italy, only to see China offer the Italians an aid package that includes two million face masks and 100,000 respirators.

91. a resurgence of 復甦；復興；再次興起
92. far right 極右翼勢力
93. rebuff 斷然拒絕
94. only to do sth 不料卻，沒想到卻

然而，就連梅克爾的地位也被德國極右翼勢力的復甦削弱了。德國拒絕了義大利提供醫療器械的請求，中國卻向義大利提供了包括200萬隻口罩和10萬隻呼吸器在內的援助。

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In Britain, which left the European Union in January, there are already fears that the country will not have access to a vaccine, or will have to pay more for it than other European countries. Mr. Johnson’s government, which won its recent election on a populist-inflected platform of “Get Brexit Done,” is now struggling with how to communicate the risks of the outbreak to its public.

95. a vaccine 疫苗
96. platform 綱領，政綱，宣言

在今年1月脫離歐盟的英國，已經有人擔心該國將無法獲得疫苗，或者將不得不支付比其他歐洲國家更多的費用。強生的政府在最近的選舉中獲勝，憑藉的是受民粹主義影響的「完成脫歐」(Get Brexit Done)宣言。如今這個政府正在吃力地向民眾宣講疫情暴發的風險。

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The Johnson government has put a lot of stock in a so-called nudge unit in Downing Street that specializes in behavioral psychology. But in trying to calibrate its response to what it deemed people capable of processing, the government risked condescending to Britons, said John Ashton, a former regional director of public health for the northwest of England.

97. put a lot of stock in 投入了大量資金
98. so-called 所謂
99. nudge unit 哄勸部門
100. behavioral psychology 行為心理學
101. calibrate 判斷；劃分刻度，標定
102. deem 認為，視為；覺得
103. condescending 表現出高…一等的姿態的，帶有優越感地對待…的

強生政府在唐寧街設立了一個擅長行為心理學的所謂「哄勸」部門，為此投入了大量資金。但前英格蘭西北部地區公共衛生主任約翰·阿什頓(John Ashton)說，政府在判斷人們的接受限度，並以這個限度為依據來制定自己的應對措施，這可能是在用一種假惺惺的屈就方式對待英國人民。

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Britain has only recently started publishing broad breakdowns of where people are contracting the virus. Mr. Ashton said they should be giving much more detailed information, as in Hong Kong, which has published building-level maps of patients who have gotten sick, when they were there and how they contracted the virus.

英國直到最近才開始公布感染髮生的具體地點。阿什頓說，他們應該提供更詳細的信息，就像香港一樣。香港公布了具體到建築的患者地圖，並提供他們在那裡的時間和感染病毒的方式。

“I think it’s patronizing — they need to keep the public fully in the picture,” Mr. Ashton said. “You have to treat the public as adults, instead of keeping them in the dark. That’s where you get rumor and hysteria. They actually create panic by not being open with people.”

104. patronizing 屈尊俯就的；自以為高人一等的
105. keep sb in the picture 使（某人）了解情況
106. keeping sb in the dark 蒙在鼓裡
107. rumor and hysteria 謠言和歇斯底里

「我認為這是一種哄人的姿態——他們需要讓公眾充分了解情況，」阿什頓說。「你必須像對待成年人一樣對待公眾，而不是把他們蒙在鼓裡。謠言和歇斯底里就是這麼來的。他們不向人民開誠布公，實際上是在製造恐慌。」

★★★★★★★★★★★★

完整報導: https://nyti.ms/2J070dm

圖片來源: http://bit.ly/2U1tgJS

★★★★★★★★★★★★

這篇文章你最喜歡哪一句? 辛苦的小編把所有的關鍵片語都列出來了! 同學會持續的看到這些關鍵詞彙和句型出現在我們所有的時事英文喔！

★★★★★★★★★★★★

台灣的應對: http://bit.ly/3a6NSGu

保健心智圖: https://goo.gl/seqt5k

保健相關單字: https://wp.me/p44l9b-Tt (+mp3)

時事英文大全: http://bit.ly/2WtAqop

★★★★★★★★★★★★

這一週的「時事英文」講義和使用方式: https://bit.ly/3a9rr38

"橫尾先生你傾向於在你的遊戲中有個悲傷的結局（除了《尼爾 自動人形》），這是為什麼呢？

橫尾：我想啊，玩家在遊戲中的旅程中殺了那麼多的敵人，但自己卻迎來了一個Happy Ending，這很奇怪，所以我之前遊戲的主角都有著不幸的結局，我覺得對他們來說有個Happy Ending是不對的。

不過對《尼爾 自動人形》來說，對2B和9S來說，從被給予生命，他們殺了很多人，但也被自己殺了很多，很多次，有著無數次的輪迴。我認為這已經把他們殺死敵人的罪給贖了，幸福結局對他們兩個來說更合適一些。"

【尼爾：自動人形】是好遊戲，2B很可愛～

Talking To Yoko Taro, PlatinumGames' Takahisa Taura, And Composer Keiichi Okabe About Life, Death, And Opportunity

This interview with《Nier: Automata》director Yoko Taro and PlatinumGames' designer Takahisa Taura was first conducted in March of this year. Square Enix then offered gameinformer another chance to talk with Taro again, this time with Keiichi Okabe to speak more about the game's creation, music, and design philosophies and we are taking this opportunity to combine both until-now unpublished interviews together.

At the start of the first interview, Taro Yoko, whose pen name is appropriately Yoko Taro, was surprisingly quiet. He took a gulp from a bottle of Diet Pepsi and looked me straight in the eye to say something. I myself looked to the translator, who laughed at whatever Yoko said. She began "Yoko-san wants you to write about how expensive the food and drinks are here, if you can. He says it's way too much."

[The following interview contains some spoilers for Nier: Automata, including the game's final ending.]

With Nier: Automata, you guys won a Game Developer Conference award. How do you feel about that?

Yoko: We heard it was a user's choice award where the players themselves select the winners, so I'm just really happy that the players have selected our game for winning the award.

How did PlatinumGames and Yoko-san first meet on Nier? Why did you decide on that project versus something like another Drakengard or a new IP as a whole?

Taura: I loved the previous Nier title, I was actually went to Square Enix saying "Please let us create a Nier sequel, because you haven't done anything with it for a long time." At the same time, there was coincidentally Saito-san, the producer for Nier: Automata, talking with Yoko-san that they wanted to do something together. It just so happened that it was the right time, right place and we met for the first time when we started this project.

When you started working on the Automata, did you know what it was going to be? Did you have an idea in your head of what a Nier sequel would look like after the first game?

Yoko: Not at all, I had no ideas for a sequel in mind. When I first heard that we might do a collaboration with PlatinumGames, the image I had of them is that they only create Sci-Fi action games. When I thought of that, I thought of what part of the Nier storyline might fit in with that Sci-Fi action gaming sequence, I selected the themes for Automata because I felt it just fits in with the PlatinumGames style.

PlatinumGames has a reputation for fast, often-challenging action games, but Nier: Automata is a lot easier. Was that intentional to keep it closer to the first Nier or perhaps a consequence of trying to make PlatinumGames action more mainstream?

Taura: That's actually exactly the reason why. Saito-san from Square Enix told us when the project started that, since the original Nier has a lot of female fans and a lot of non-action gamer fans, to make the game as fun and accessible as possible to people who aren't accustomed to playing difficult action games. We always thought of making the game into something that's fun to play for newcomers to the action game field, but also to the more experienced players as well.

One of the usual tropes of PlatinumGames is that, as the game goes on, it tends to escalate more and more to an explosive finale. Nier: Automata kind of messes with that formula a little bit by Ending A being a little bit more subdued and low-key and then goes up again and again until it finishes with endings D and E. Is that something you had to work with Yoko-san about, where the escalation and pacing would best fit the gameplay?

Taura: In terms of like a climax or increasing the difficulty level toward the end, it's not that different from our other titles, or at least we didn't feel like it was that different. The one major difference was that this was the first game that I've at least worked that had the leveling up element in it. So as long as you level up your character, the boss would be easier to defeat, but if you don't, then some of the enemies toward the end of the game would be very difficult. For me, the balancing between the difficulty level of stages and bosses versus the levels the player might be was the difficult part in creating this game.

One thing that we really had it easy with in this game is that Yoko-san's scenario and Okabe-san's music, once it's mixed into the battle, makes a really menial and indifferent battle sequence suddenly becomes this dramatic and grandiose battle with everything at stake, so I felt like that really helped elevate our battle sequences as well. We did have an easy time thanks to that!

With Automata, you started appearing at press conferences and as part of the marketing of the game, whereas previously you never did that. When you appear in public, you have been wearing a mask of Emil from the first Nier title. Why Emil specifically?

Yoko: Hmm. One of the answers I can give is that, and I do have a little more that I want to elaborate on, is that for one Emil in the previous title is just a strong character on its own, so it's more like an iconic image or character for Nier as a series. Another part of the answer is that Emil actually holds a great secret of the part of the Nier world and it's not all revealed with the games I've created so far. I'm not sure if I'll have an opportunity to disclose that secret, but if I do, I might one day create a game that delves more into why it's Emil and why I continue to wear Emil's mask.

I don't know if either of you can speak to this, but the trailers for Nier: Automata were a little misleading. They showed A2, who you play as late in the game, but with short hair, so she looked like 2B. Was that something you decided, to show those scenes but not make it clear who it was?

Yoko: There were trailers like that?

There was one specifically showing A2 fighting Hegel like that.

Yoko: Ahh, yeah. There's no reason! We weren't trying to hide A2 or mislead anyone, it just happened to work out that way.

Taura: We made so many trailers at some point we kind of didn't care what we showed.

Oh, wow, that's going to shock a lot of fans in the Nier community. People really believed in the theory that you were hiding A2 in plain sight the marketing.

Yoko: Haha, but it might not be the correct answer. Like Taura-san said, we made so many trailers that we can't remember them all, so I'm definitely happy to take the credit without remembering why.

Taura: Yeah, let's say we intentionally did that. For the fans. It might be true.

Yoko: But I can say, in one of the trailers is A2 fighting one of the Engels, one of the big robots. She actually has long hair in the trailer, but in the actual game, it's after she cut her, so she would have had shorter hair. That one was actually intentional, because we did not reveal before the game that A2 would cut her hair, so we actually made a scene specifically with long-haired A2 to take that trailer. So that's that shot was kind of a lie.

In the Automata DLC, the CEO of Square Enix Yosuke Matsuda, as well as PlatinumGames boss Kenichi Sato, are boss fights. Where did that idea come from and how did you get them to approve it? How did they react when you asked them?

Yoko: Haha, oh yeah.

Taura: The development team went to Square Enix and said "Please let us use him in our game!" Their reaction was initially saying "Uhm, are you sure you want to?"

We were thinking for a while of what we could do with the DLC, because we didn't have a lot of time to develop it, so we wanted to do something fun with it. When we were thinking about it, we saw that Final Fantasy XV used a character model of president Matsuda in one of their marketing assets. When Yoko-san saw that, he reached out and asked if maybe we could use that in the game at Platinum. We said that, if we get the character models, we could definitely use them for something in the game. We reached out to Square Enix and they gave us the model and we were able to use that character model for a boss fight.

If it was just that you were able to fight the CEO of Square Enix, then it would have just been the same as what Final Fantasy XV did, so we had to think of ways to spice that up even more. So we had PlatinumGames' CEO Sato-san appear in the fight as well. We also included background music that arranged their voices, we included their voices in the music, just to add a little bit more and beat out Final Fantasy XV. That BGM track is Matsuda-san and Sato-san's debut single. We didn't even get permission from them, so it's an unofficial debut single, and those are much rarer.

Speaking of crossovers, did you know that Nier fans have been trying get Katsuhiro Harada of Bandai Namco to put 2B in Tekken? Is that something you guys would want to do? [Note: This interview was conducted before 2B was announced as a Soulcalibur guest character.]

Yoko: For us, if we were asked, we would gladly say yes to anything for money. We're open to any kind of opportunities for anything, ever. Even if it's Candy Crush, if they want to use 2B, we will say yes, please go ahead and use her.

Actually, speaking of doing anything for money, you've never created a direct story sequel before, they've all been loosely tied together and many years apart. Saito-san has already said there will be another Nier game, if the characters are popular enough, would you create a direct sequel to Automata or would you change the characters and location again?

Yoko: I haven't thought about it once! Taura-san, where would you want to create a new game?

Taura: Actually, when I brought my concept document to Square Enix about a Nier sequel, I wanted to write a story about that prologue portion in the first Nier game. You know the beginning of the game, where you're kind of in Tokyo, in an area that's more modern? I kind of want to delve into that storyline a little bit more. So if I'm allowed to create a new Nier title, that's what I want to create. But that's just me speaking as a fan of the series, so I don't think that will actually happen officially.

Yoko: When I actually heard about that idea from Taura-san when we first started this project, I felt that it would be very difficult to make a modern recreation of Tokyo because it's the city that we constantly see every day. You just notice differences in the lies that we put in there, so I felt it would be very difficult to do to recreate a city that we know and see so much. But now that I know that PlatinumGames is such a good studio that they most likely will have that power and talent to be able to create that kind of video game world, I think that might be an option. Whether or not we'll do that is a different question, but it is a viable option.

One of the things you said before the release of Drakengard 3 was that you wanted to call it Drakengard 4 and just let people figure out what the theoretical Drakengard 3 was supposed to be. That's similar to what you did with Automata where the game takes place 10,000 years after Nier and people who played the first game were more confused than new players. Was that an intentional idea or something you've wanted to do for a while?

Yoko: It's not that I brought over that idea to Nier: Automata, the greatest reasoning why I did this is because I wanted players who haven't played the original title to enjoy Nier: Automata so you can enjoy the game without knowing anything about the previous game. That's the biggest reason why we took a storyline that's so far in the future that it really didn't have anything to do with the previous title.

A common through-line for Yoko-san's games is flowers: the lunar tear in the Nier series, the flower in Zero's eye in Drakengard 3, is that symbolizing anything in your games or is it just visual imagery you like?

Yoko: Well, I do like flowers in general, but yes, there is a greater meaning to it that I have with these flowers. It's the same as Emil like I talked about earlier, I just haven't revealed it anywhere. There is a meaning, which is why they keep on coming back in my games, but I haven't revealed it anywhere yet.

With the last Nier game, you had said that you built the game on the concept of people being okay with murdering people who are different. With Nier: Automata, the games actually became more fun to play and control and touch, do you think there's a danger in giving people that sense of ease in killing enemies in the narrative?

Yoko: In the previous title, I actually feel like I overdid that a bit. I did want to portray that enemies have a reason to live and a reason to fight on their own as well, but I feel like I forced that idea that I had in my mind a little bit too much on the players. So for Nier: Automata, I did not want to focus on it, I didn't want to impose my feelings and thoughts. I actually feel that it's fine if some people feel it's fun to kill in our games. If that's all that they feel from the game, then it's fine, because its their freedom to feel what they want from the game. To answer your question, I think that it's fine to have that happen.

Taura: I actually have the same answer, too. I feel like if it's fun to fight, that's great as a game designer. But if you feel bad to kill these cute little robots, that's fine with me as well. I feel like different people will have different reactions to the game and they will feel differently when they play the game, so I'm actually happy to create a game that creates those kind of differences within the players as well.

Yoko: That's a really good question for us, because if players felt that it was way too fun to kill these enemies that it started making them feel guilty, that's something we didn't really aim to do. Just as we mentioned earlier, I'm really happy that players were able to take it on their own and experience it on their own, then we didn't just provide something for people to take it as-is on face value. I feel like it's great that the players are now taking the game and experiencing it on their own and trying to figure things out on their own.

There was a time after 2B was revealed that people were asking you about her design on Twitter and you answered that you just like sexy ladies. That quote has become pretty famous and attached to you and a lot of people are reading into it. Is that a thing you still believe, would you ever take the quote back, or would you have ever changed 2B's design?

Yoko: [laughs] Don't straight men like cute girls? Isn't that common knowledge? I didn't realize that was a quote.

A lot of people use you as an example as a developer that just says what is on their mind.

Yoko: Before we released the game, on Twitter, because so many people were sending me 2B fan art, I said that "Send me a zip file of all your erotic fan art!" When I tweeted that out, my number of Twitter followers jump from 20,000 to 60,000 just with that one Tweet. I actually think it's because I did something that's more of a taboo in the western world where I talked about sexuality or gender that openly on Twitter, but that's actually...so, I do know that what I said did not just creative positive buzz and there's some negative buzz around it as well, but I feel like it kind of has to do with the Japanese culture where we're not too strict about gender and sexuality and being more open about talking about those things.

I think it's the same thing as reading manga as an adult, it's a little bit different when you think about it because in Japan that's more common, it's not considered something weird or something outlandish. With that kind of feedback that I get from fans, I just feel like it's the difference in culture between Japan and the rest of the world.

That is something you tend to tackle fairly often. Drakengard 3 was partly about sex and sexuality treated casually within the game's universe, is that something you feel doesn't translate across all regions?

Yoko: I actually don't think [translating across regions] has a lot to do with sexuality. I don't think it would have sold more copies of Drakengard 3 if I took away aspects of sexuality or added more in there. I feel that Nier: Automata sold well because we worked with PlatinumGames, so I don't think that has anything to do with a sexual nature.

For the original Nier, there was a lot of information on the periphery of the game like books with background information and short stories that answer questions raised in the game. Automata even had a stage play predating the game. Do you think it's harder for western fans to grasp the whole stories of these games when there's Japanese-exclusive media about it expanding the lore?

Yoko: Of course we can't localize everything because we have limitations in budget, so it's really difficult to do all of that, but I actually think there really isn't a need to know everything, either. The meaning I have behind Emil's mask or the flowers you asked about, like I said it's not revealed in the game at all or anywhere else yet, but no one really needs to know that to enjoy the game or enjoy the world or enjoy the game. More than gaining knowledge, I want players to cherish the experience they have when playing the game. It's more about that instead of the knowledge they could have for every question. Of course the theatrical stage play was more of like a YoRHa spinoff, but you don't need to know that to enjoy the game. Every piece, like the books and the stage play, is made in a way so that you can enjoy it by yourself, so you don't need that extra knowledge to enjoy it.

It may add a little bit depth to the knowledge that you have, but you don't necessarily need to have it. I do understand the otaku mentality that you want to know everything, you want to have everything answered, you want to collect everything, but I don't see the value in knowing everything. For example, just in real life, you might not know everything about the politics that surrounds the world or even in your own country, and there's really no point in knowing everything that happens in the world. Maybe a lot things, but not everything, right? What's more important is how you interact with people around you, immediately around you, and I think that's the same with video games. You don't really need to know everything that happens in the world to enjoy it.

Of course I do respect the freedom that the players feel as well, so if you do get mad that we can't localize everything in America, or America never gets everything, that's also something to be respected and I do understand the frustrations surrounding that as well.

When Nier: Automata released, it did so in a three-month timeframe that several other big Japanese games came out in the U.S., like The Legend of Zelda: Breath of the Wild and Yakuza 0. A lot of people started heralding those games as a return of Japanese development in the west. What do you think about going from fairly niche games to what some people consider the tip of the spear of modern Japanese development?

Yoko: First and foremost, just to speak about having so many good titles in that timeframe, my thought was "Are you people trying to kill me with this?!" In Japan, Horizon came out first, then it was Nier, then Zelda, and I think in the west, it was Horizon, Zelda, then Nier in North America. So we're literally sandwiched between those two with a two-week window in between each and they were all very similar to us in the futuristic setting. Especially for Zelda, it was one of the titles we copied in the first place, so I really felt like they were trying to kill us at the time.

Personally, not even thinking about Nier: Automata during that time frame, I was running around excited about all the fun-looking games coming as a gamer myself.

Hideki Kamiya [PlatinumGames] has once said that Nier: Automata saved Platinum. Is that something you agree with and how has the relationship been between PlatinumGames and Square Enix?

Yoko: Speaking from my perspective, of course Taura-san will likely know more about it internally at PlatinumGames...Kamiya-san, he's very laid back on Twitter, but when you actually really talk to him, he's a very serious person and very sincere. I guess Nier: Automata did generate sales for them, because I received a direct letter of gratitude from him saying "Thank you very much for creating a great game." I don't even know if we saved them or not in that sense, but just receiving that kind of message from was just very heartwarming and I was just really happy that I was able to provide such a game for them.

Taura: You could make the headline of your article "Yoko Taro Saved PlatinumGames" and that's definitely true.

Yoko: It's a very true headline.

Why do both of you think that Nier: Automata was more successful than Yoko-san's previous games or most other PlatinumGames titles?

Taura: Mainly because PlatinumGames' sensibilities were much better than Yoko Taro's.

Yoko: I actually think it's the Square Enix brand, the name Square Enix gives a more reliable feeling to an otaku type of title. PlatinumGames' strong name being known for making really good action games and I think the combination of the two really helped. This time with Nier: Automata, we sold about 2.5 million copies and the previous title we sold around 500,000. For the last game, we weren't really in the red, but it wasn't exactly a success either. We have these passionate fans that really supported the time from announcement and the series as a whole. Of course for Automata, too, we had a very passionate fan base including the media and including yourself that gave impressions and articles that helped make the game into a success, so I'm just really grateful for the fans and media alike that really supported the title and were passionate about it.

[The remainder of this interview took place a few weeks later with Taro Yoko and Nier: Automata composer Keiichi Okabe. Okabe is also known for his work on both Nier titles, Drakengard 3, Tekken, and contributing some tracks to Super Smash Bros. Ultimate. Before we started recording, Yoko said it will be okay if I asked Okabe most of the questions and I remarked that I wouldn’t want to make him jealous. He paused for a moment and then said it doesn’t matter because he would get paid either way.]

You two have been working together for a long time, I was curious how much the music composition is tied in with the writing. One of the city themes in Nier: Automata uses similar composition to a track in Nier. Does that come from the writing or the musical identity of the series?

Okabe: Since Yoko-san is I feel the type of person that doesn't want to do the same thing over and over again, even if he did receive praise for what he did previously, I kept that in mind while I was composing music for Nier: Automata. I also wanted to have some kind of connection that you would feel as a player between the previous title and this one, so I used similar tones from previous titles or from the previous game. It might not be exactly the same, but I used some similar types of music lines from the previous title so that you might feel that kind of connection.

But we do have tracks that are arrangements of previous tracks from older titles, but that was mostly for fan service.

I kind of wanted to drill down a little bit this time and get to the core of your philosophy of why and how you make games. If you had to pick a reason to hold up and say "This is why I make video games," what would that be?

Yoko: I feel that video games, amongst all the different entertainment mediums, have the most freedom in what you can do as a creator. For example, in a film, if you are able to control movement, then that's no longer a film in my eyes. In video games, you could have film-like cutscenes and videos, you could have them going on forever as much as you would like as a creator. That kind of freedom to do that is what I really wanted to do and I feel like video games are what provide me that option, even if I never do it.

Is there any kind of message you use games for that you want to convey to your audience or anything you want them to hear from you? Or do you prefer to let them take whatever interpretation they get from your games?

Yoko: It's the latter. I would want our players to freely interpret what I've created just on their own, to grasp something for their own. I feel that's one of the interesting aspects of video games is that you are able to freely interpret what's being shown to you. I also feel like the players make the game whole by playing it. The action of playing the game I feel has meaning in itself and because of that I want the players to find something from the game, feel something from the game, for themselves.

Nier: Automata won a number of awards, Okabe-san you won best music at The Game Awards, Automata won the audience award at GDC. Is there any pressure to appeal a more mainstream audience with your next game?

Okabe: For a popular title that will be played by many, it doesn't really matter what kind of genre you put out musically. I will still be interested to compose music for those if possible. I would have to take a different approaches to those kind of mainline titles, whereas for Nier, I felt that the music can be more geared toward a core audience where only those who would understand the music would play it. But at the same time, once you understand, I want you to be deeply affected by it. That's what I aim for with Nier. If I am to work on a way more mainstream title next time, I will have to change that mindset I have as a composer, but that would be something I'd like to challenge myself more. To answer your question, yes, I'd like to try that, but I'd also do whatever kind of jobs I'm assigned to.

Yoko: For me, my games I actually think are really niche. How Nier: Automata was so successful was actually just a coincidence. To make a successful game is something that I can't really aim to do, so I think that I'll probably return to my small and dark corner, my niche corner, with my successive titles.

Who would you both consider your inspirations for writing and composing?

Okabe: For me, it's obviously more of a composer than a writer, but I don't really focus on one person. I tend to just try to get music here and there and have a wide net. I am greatly affected by people who I've listened to in my youth, like Japanese composer Ryuchi Sakamoto, Ennio Morricone who creates film music, and also pop music like Michael Jackson and Madonna. I am affected by those as well.

Yoko: I have received inspiration from a lot of things, but I think personally expressions in film or any like visual production is something I'm deeply affected by. For example, Neon Genesis Evangelion by Hideaki Anno, that was really a strong influence on me. Also, the drama series 24, the way that they incorporate speedy and complicated constructions of storylines was something that was very new at the time. Just throughout the timeline of visual production, I think there's a sudden burst of evolution, and I think that "that" moment in a title that does that just greatly affects me and becomes an inspiration for me. But I feel that can be said for the rest of the world.

Lately, anything that Christopher Nolan creates I think is very intriguing where he tries to include deep knowledge and thoughtfulness into what he creates. I'm very interested in this new wave of evolution.

Last year, with the release of Animal Crossing on mobile, you talked on social media about how it was your favorite game of the year because you created a narrative where the characters were all unwillingly imprisoned in the camp. Do you often create your own narratives for games?

Yoko: I do that for some games and I don't for others. Off and on, I guess. It's a lot easier to create my own storyline per se for a more primitive game. For example, in Zelda: Wind Waker, you start off with a grandma and your sister living on an island and it's really happy and joyful and there's really no reason for Link to get out of there and fight Ganondorf because you're already living happily. You don't need to get out of that happiness. As a gamer, I felt the kind of sadness to have to leave that happy island life.

In Dragon Quest [V], you have to choose who you want to wed, and I felt that I couldn't really get into liking either of the characters. I also couldn't find the point of having to decide who I want to marry, so I just at that instant I turned off the game and said "My journey ends here!" My mind narrated "The three of them went on the journey and lived happily ever after, the end." That was my ending for Dragon Quest V.

Around the release of Drakengard 3, you spoke about how it's not possible in this industry to make a six-minute game and sell it for $60, no matter how good those six minutes are. Is this something you still think?

Yoko: That analogy was given to explain that, no matter how much you try to make a game really good, there's a limit to what you can do. If you are to create a six-minute game, because you can't go through a lot of different stages, you would have to create one stage. Which means that you could really refine the quality of that one stage without having to put in a lot of money into it and a lot of manpower into it. Also, because it's only six minutes, you can't really have too many characters in it, so you could focus on one or two characters at max. By doing that, you could refine the quality of those two characters. But because you're time-limited, no matter how much you refine the quality of the world around you or the characters, if you're limited to six minutes there's just so much you could do that the game won't become good at all. That was an example for me to say that there's a limit to what you can do in video games.

Okabe-san, in the music for a lot of Yoko-san's game, you use constructed or uncommon languages, is there a specific reason for that?

Okabe: [laughs] Yeah, for one, because it is Nier: Automata, Replicant, and Gestalt, they all take place in a unique world, even though they're in the timeline of our current world, it's so much in the future that it should feel kind of foreign. That's one of the reasons why I went for language we can't understand, but another is that, in games in the past, game directors actually got mad at many occasions for including vocals into the soundtrack. They were saying that it would become too distracting from the gameplay and would distract the player. It was considered more of a taboo, so for Nier, I included vocals in there without a language you could understand more for the sound that you get from the words. It wasn't to convey any meaning of what was being said, but more for a sound impact.

Yoko-san, you tend to have very sad endings in your games, with the exception of Nier: Automata which is as happy an ending as you can get with most characters dying. Why do you tend to write toward more sad endings and do you feel like Automata's happy ending fit the game better?

Yoko: The reason why I created endings that end on a death is because, until now I was creating games where you would kill a lot of enemies, but I've always felt that it doesn't feel right when the protagonist has a happy after they've killed so many enemies during the course of their journey. That's why in Replicant and Gestalt, or my previous titles, the protagonist pretty much ended up dying because I didn't feel like it was right for them to have a happy ending. But for Nier: Automata, 2B and 9S, from the time that they were given life, they've been killing a lot of enemies, but they've also been killed by them many, many times, and regenerated many times. They've actually been killing each other, which you find out at the very end, many, many times as well. So I felt that kind of cleansed them of their sins for killing so many enemies, which made me feel that a happy ending was more fitting for those two.

Do you feel like that cycle of violence and death and the consequences of that are human nature?

Yoko: I think the reasons why we kill in video games do kind of shine light on what's kind of broken within humanity or humans in general. We want peace in the world, but we also enjoy killing others in video games, like shooting guns in video games. I think that's karma in a sense for humans, the way that video games grasp the true essence of humanity, whether or not that's what they were aiming to do.

Is there a series that you know, like Persona or Yakuza or anything like that, that either of you would want to work on?

Yoko: A series or anything?

It can be anything.

Yoko: Personally, it's not a Japanese title. I'd actually love to see how western titles are developed, because I have no insight into how they're made. There was a moment in time where I felt that it might be fun join a western development to see how things run. Of course there's the language barrier that would make it difficult for me to do that, but generally speaking I feel that western storytelling follows kind of a similar route for all the stories that western mediums create. I would feel it fascinating to find out why western games use certain flows and storyline arcs.

Okabe: I'm kind of a fanboy myself, so there is a part of me that wants to work on major titles like Dragon Quest. I feel that if I do work on those titles, the pressure of working such a known title would be just too big and because there is a part of me that really loves that series, I feel like I would try to skew my music in a way that would fit into that series instead of trying to create music that I think is good. I don't feel like I would be able to bring out the best quality in my music if I worked on those big titles, because of that pressure and because of the image I have of those titles in my mind. Currently, my want to work on those major titles and the part of me that's telling me I shouldn't do it are about equal.

Were either of you surprised by Nier: Automata's success?

Yoko: [in English] Oh yes.

Okabe: For me, I live in Tokyo and developer PlatinumGames live in Osaka, so we did have quite a distance in-between, like literal physical distance between us. From the moment that I created the music to when I was able to see it next, there was a big gap in time, so when I was able to my music in the game for the first time, the game was pretty close to finished, they were almost done with development. At that moment, I thought "Maybe this one might sell?" But at the same time, I didn't think it would become this big of a success, I always thought it might do better than the previous titles, but it was like a hunch that I didn't feel until this time in Yoko-san's titles. I did have some kind of a gut feeling that it might do well.

The last song of Automata, Weight of the World, had a chorus with the entire game's development staff at PlatinumGames and Square Enix singing along to encourage the player. Why did you decide on that for the final song of the game?

Okabe: I didn't remember this, I actually forgot about it for a while, but Yoko-san actually came to me telling me that he wanted a chorus at the end of the game pretty early on in the development process. I apparently made disgruntled face at him and did not remember why I even made that face or even that I made that face. After a while, I actually remember why I had such a reaction with the disgruntled face, because there's a couple of different types of choirs, but Yoko-san likes the more classical choir, so when he requested that he wanted a choir, I thought he wanted that classical type of choir at the last part of the game. At that moment, I thought "Well, that doesn't really fit in with the game plan, I don't really want to do that," which is why I had that expression on my face. After we talked about it, Yoko-san mentioned that wasn't really what he was going for, he said that because that last scene is all about all these different people helping you, he wanted everyone to sing, he wanted it to feel like everyone is singing there with you as you play.

When I thought about doing that, and I actually agreed that might be a good idea, because in Nier: Automata all the choir vocals that you hear in the game, it's actually recorded by a small group of singers, I just overlapped their voice so it sounds like a big choir. Because that last part of the game is more about you playing amongst a lot of people, I felt that taking that approach again of overlapping voices again would not really work. So I reached out to the dev teams because they were working on that part and I thought it would be a good idea to have them put themselves in the game as well. I also thought that they don't need to have a good voice, it's just to give that feeling that you're playing with all these developers.

Development teams from Square Enix, PlatinumGames, and also some composers from my company who didn't work on Nier: Automata are singing in it as well. There's also children of PlatinumGames developers and their family actually singing in it as well. That was the reasoning behind why we decided to do that at the end.

Has there ever been, in all your games you've made, an idea you had that you had to be talked out of?

Yoko: For the first Drakengard, I had an idea of [Japanese pop-star] Ayumi Hamasaki, like her character model, wearing all-silver spandex, like a giant version of her descending from the sky and you would fight against her by music. Everyone else on the staff shut it down. It does still leave that kind of music game essence kind of in there, but the part Ayumi Hamasaki comes out in silver spandex has been taken out.

Isn't that kind of similar to Drakengard 3's actual ending?

Yoko: Similar, but I actually wanted to go for something funny, or shockingly stupid. But no one would let me.

Source：
https://www.gameinformer.com/…/talking-to-yoko-taro-platinu…

Awwh thank you Uncle Ain for believing in me even from the start . I can still remember you got all goose bumps when I came & previewed my song to you . I will never quit what I'm doing cause this is what I'm passionate about . InsyaAllah . May Allah bless you Uncle Ain 💕

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