food sounds words的八卦，Yahoo名人娛樂都在討論

ใครๆ ก็คงกลัวอายุไม่ยืน ต่างหาวิธีทำให้ตัวเองอยู่บนโลกใบนี้ได้อย่างยาวนานที่สุด แต่สิ่งที่น่าคิดก็คือ ไม่มีใครสามารถยืดอายุตัวเองให้ยาวนานขึ้นได้มากมายนัก แม้ได้ยาดี ออกกำลังกายสม่ำเสมอ อาหารการกินดีเพียงใด เราก็จากโลกนี้ไปตามอายุขัยของมนุษย์

คำถามที่น่าสนใจคือ คนอายุ 60 ปีเท่ากัน มีชีวิตยืนยาวเท่ากันหรือไม่

ฟังดูเป็นคำถามยียวน ขอชวนครุ่นคิดไปด้วยกันอีกสักหน่อย, หาก A เป็นคนอายุ 60 ปี ที่ตลอดทั้งชีวิตที่ผ่านมาเต็มไปด้วยความเร่งรีบ แต่ละวันของเขาต้องมีกิจกรรมที่ทำพร้อมกันในเวล...
Continue ReadingEveryone will be afraid of longevity. Find a way to make themselves on earth for the longest time. But what I think about is that no one can extend their life longer. Even if they get good medicine, exercise regularly. Food, no matter how good we leave. The world goes by the age of man.

The interesting question is, does a 60 year old have the same life as long life?

Sounds like a little more question, if a 60 year old man who has been full of his daily hustle, there must be dozens of activities he takes. Most of them go with looking at photos and short messages in the screen. When you do something, I will try to finish it because there is still a lot to do.

With b being a 60 year old who has lived a slow life, doing activities one by one. Focus on each thing. Denies things that don't need to be done. Activities that don't need to attend may not interfere with many people, but deep with people close to the sea. He will spend a long time with the beach and sky. Enjoy waiting for the trees to flowering and appreciate it on a free day without haste to do anything else.

How do you think 'life' of a and b have moments that feel different quality of living?

...

Seneca-Roman saraj wrote two thousand years ago on the topic of 'about life'...

" the point is not where we live short. The point is that we waste time without value. Life is long enough and there is much to give us if we spend time worth it, but when life is spent, time is spent on activities. Worthless. One day we feel that life has passed quickly when we are about to die from this world. Therefore, we don't live too short. It's us who makes it short. We don't have little but we spend it extravagant... life That's long if we know how to use it "

...

People are always happy with flow or focus on something. It may be working, reading, listening to music, staring at nature, or spending time with someone in front of you. Even forget about other things completely from this slippery condition. Time will pass very fast, but we will be happy. And so intense with such moments

I think Seneca's words are thoughtful. We don't live too short, but we cut them into small pieces until our lives are not into pieces.

We don't have to look at our whole life. Just each day. What day we feel that we have lived a full life today. There are intense, smooth and deeply happy moments.

In the modern world, it's difficult because there are so many distractions and attention. If we don't define our lives, we will be defined by the world. In fact, we can define ourselves some environments, such as allocate time without mobile phone, allocate time to read Cooking hours without hustling, even riding on the bus to work or going home. We may spend time reading, watching or listening without being disturbed by something else or time with someone in front of us. Tell ourselves not to pick up mobile phone. Up to see

Create a more conducive environment for flow in life and longer.

Add more quality and deep moments in life like this, then you feel like there are long moments in life.

A life that is cut into small pieces. Do many things together. Hurry up to do this in the present to do another thing in the future. It will waste your life on something that is not in pieces.

It's me who always complain that I don't have time or bored and tired of life.

...

When life passes by quickly, one day we may feel like life is too short. Is there many things that we haven't done -- I still don't feel like I have a good time. I'm old.

If it's about money, we think very carefully. Time to spend on things. Negotiate the seller is selling until the eyebrows are bitter. But when it's time, we often, we often like we have unlimited time as if we are billionaire of time. In fact, no one is rich. It's time.

'how to stretch life' is not a spell to make us live longer from 70 years to 120 years. No, if it is to live 70 years to have quality, valuable moments. Care about what is in front of you. Not crazy. The boss chases the future all the time and deep relationship with the people in front of the world. in that time life will stretch out for eternity.

If we feel that life is so short, that means our lives are scattered. If we feel that life has enough time, it means we spend the same amount of quality time.

One thousand baht. Some people spend with nothing. Some people spend on sentimental things and preserve forever.

One hour is the same, the value of each person's hour varies according to how to spend time.

The value of one life is to assemble how to spend those times.Translated

Week 2 Vlog is here :)

Some words of wisdom. I shared this a while back and just wanted to share on how to stay motivated.

For anyone starting on their fitness journey. Motivation is something very personal and it can only come from a strong source, which is yourself. When you embark on your fitness journey, ask yourself WHY.

Why do want to get fit? Whats your purpose to do so?

It is something that requires commitment and hardwork but the rewards are great. I propose this question. Because everytime you think of quitting, remember your Why. Your why needs to be strong. And when it is, you will find the strength to do what is necessary to continue forward with your journey.

Sounds deep, but this is why I call it fitness with a purpose. :)

With that, i'll leave you for this weeks Vlog. Thank you again for joining my journey. Here's to me getting better focus for this week and may you have great focus too.

"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…

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簡介｜intro

今天是久違的旅遊影片，然後是以吃為主，覺得四天吃30餐我的肚子沒有爆掉也蠻厲害的
當然雙下巴的成長也是有目共睹啦（微笑）

» #1 泰昌餅家 ★★★★☆ （香港中環擺花街35號）
蛋塔很新鮮，外皮很酥也有奶香，不過有點油，感覺吃一個就夠了
這家在九記牛諵、鏞記燒鵝附近的樣子，所以可以路過買一個試吃嚐鮮～

» #2, 30 翠華餐廳 ★★★☆☆ （香港中環威靈頓街15D-19號地下至三樓）
這家分店是24小時營業，是突然想吃茶餐廳的時候很不錯的選擇，
這家在中環的位置不錯，在鏞記的對面。整體來說其實蠻普通的，
可能因為我自己對通粉類的沒什麼感應啦～服務態度
令人不敢恭維，點菜的時候要努力講清楚一點哦～我們吃了兩次！

» #3 蘭芳園 ★★★★☆（香港中環結志街2號）
這個是觀光客必來朝聖的地方，香港朋友其實覺得普普。我是二次造訪，
覺得他們家的絲襪奶茶的確是有比較好喝，很順口～
西多士的部分就非常奶，畢竟是炸過的吐司再放奶油，
怕膩的人要小心服用嘿。

» #4 新好景燒臘飯店 ★★★☆☆（西環西營盤皇后大道西263號和益大廈3號舖）
普普通通的燒臘店，會去是因為那天坤記煲仔飯沒有開嗚嗚～
不過燒臘本身是蠻好吃的，只是醬汁單拌飯是很無聊的味道，
不會特別想要再去一次就是，有到附近可以選坤記煲仔飯～～

» #5 查理布朗咖啡館 ★★☆☆☆ （尖沙咀金馬倫道58-60號國鈀大廈地下至1樓）
純粹用來歇腳聊天吹冷氣的地方，食物不敢恭維，冰淇淋還行...
不過以他們的價錢應該輕易可以吃到更好吃的甜點，
另外店內有很多史努比跟查理布朗的大雕塑可以拍照溜～

» #6 洪利粥店茶餐廳 ★★★★☆ （尖沙咀厚福街2號A）
在附近查到的小有名氣的粥店，點了一個生滾牛肉粥和一個雞肉粥，
兩個表現都蠻不錯的，很入味、而且他們家有賣油條！
用油條蘸著粥吃其實滿幸福的～
當天其實我們的肚子已經脹到不行，但吃完有種味覺被打開了的感覺XD

» #7 豪大大雞排 ★★☆☆☆ （在洪利粥店的隔壁）
沒錯我們在香港吃台灣的豪大大雞排！因為從美國來的朋友沒有吃過，
（但豪大的名字很響亮）所以他們看到之後就堅持買了一份～
味道跟在台灣吃的差不多，不過當然大家可以直接略過這一個XD

» #8 利強記北角雞蛋仔 ★★★★☆（北角英皇道492號）
路過被人潮和香氣吸引後腦跟的結果。這家的雞蛋仔有濃濃的椰子香氣，
每一份都是現烤所以很新鮮，口感算是有嚼勁，外酥內軟型的，
蠻好吃～另外他們有賣魚蛋，不過沒有吃到就是～

» #9 OZONE ★★★★☆ (香港九龍柯士甸道西1號 麗思卡爾頓酒店118樓)
香港最～高的酒吧，在ritz酒店樓上。如果想要俯瞰香港的夜景，
或是有跟另一半來個浪漫之夜的可以考慮排進行程裡面，
不過要注意的是他們的調酒幾乎是一般酒吧的兩倍，
算是一部分喝氣氛的啦嘿嘿。

» #10 蓮香居 ★★★★☆ （香港上環德輔道西46-50號）
香港老牌吃港點的地方，只是要有戰鬥的準備～
因為港點一出來就會被食客湧上去搶光，
所以要記得不要等別人來幫你點餐，
只要看到有餐車推出來，衝上去就對了！（咦咦咦？）
沒有記錯的話，他們的餃子跟腸粉都不錯吃哦。

» #11 滿記甜品 ★★★★☆ （銅鑼灣軒尼詩道500號希慎廣場3樓317-319號鋪）
同樣也是觀光客必來的滿記甜品，雖然不是第一次吃，
但好久沒吃到好吃的楊枝甘露跟榴蓮甜品了！
我是個熱愛榴槤冰、榴槤甜品的人，所以對我來說直接就是個yes。
不過他們家的楊枝甘露品質也很不錯，柚子的微苦和芒果的甜恰到好處，
是下次還會再回來吃他一碗的等級。

» #12 富記粥品 ★★★★★ （旺角花園街104）
Oh my lord. 這家是網路、朋友、香港人都推薦我去的粥店。
我本身就是個愛吃粥的人，但這家的粥比前一天吃的還要入味！
在看起來白白的粥裡面能熬進這麼多鮮味真的很厲害，
完全是下次要專程再去吃他一次的餐廳！
（現在想起來吃完三碗後好吃到我們好像又再叫了ㄧ碗哈哈）

» #13 九記牛腩 ★★★☆☆ （香港中環歌賦街21號）
離Airbnb僅3分鐘步程的九記牛腩，第一天要去還碰到國定假日沒有開，
我們是在大概6:30的時候過去的，已經排了滿滿的人，
大概排了一個小時之後才入座～因為已經晚上了有些部位已經沒有了，
所以就都點了上湯牛腩意麵。其實老實說，湯頭不錯，
但其他就普普，我不會再來排隊耶 :O


» #14 夢想豆花 ★★☆☆☆ （因為不推所以不放地址惹）
在等待朋友一起去酒吧的空檔找的甜品店，
芒果撈耶跟chia seed甜品都很普通，沒啥特色。

» #15 Quinary ★★★★☆ （中環荷李活道56-58號地下）
似乎是香港前20大酒吧，連香港朋友都說選對了的bar，
調酒的種類多、有趣、也不錯喝，重要的是氣氛很棒，
很適合三五好友閒聊或是情侶約會喔，算是中環有名的酒吧。

» #16 澳門林記茶餐廳 ★★★★☆（澳門黑沙環第四街9號新美安大）
澳門朋友帶我們來的，因為另一家剛好沒有開～
雖然朋友說這不是最好吃的，
但其實每樣小點和主食都有一定水準，是好吃的茶餐廳無誤！

» #17 鉅記餅家 ★★☆☆☆ （大三巴牌坊旁邊）
大概是澳門最大的餅家，有看到很多分店在賣伴手禮。
如果是搭船到澳門的可以看一下是不是
有伴手禮兌換券～現場也有很多伴手禮試吃，
所以可以斟酌著買（後面有更推的伴手禮！）

» #18 澳門恆友魚蛋 ★★★★☆ （新馬路大堂巷12C號地下）
澳門的朋友特別幫我們排隊買的，他們家最有名的就是咖哩魚蛋。
口味上偏辣但不死鹹，完全就是對了我的胃，是好吃的魚蛋！！！
下次去也會去衝鋒陷陣一下買個一碗來吃～

» #19 最香餅家 ★★★☆☆ （新馬路夜呣街12號B地下A座）
朋友說，要買伴手禮就要來這裡！主打杏仁餅～
這家要儘早來，因為我們剛好買到最後一批的杏仁餅！
會給三顆星純粹是因為個人沒有非常喜歡吃杏仁的糕點，
不過家人說不錯吃哦！
連香港朋友都被指定要多買幾盒回去孝敬父母XD

»#20 Miramar ★★★★★ （澳門黑沙海灘黑沙馬路）
這是下次一定會再訪的葡萄牙菜餐廳～
澳門深受葡萄牙影響，有很多異國風情的建築和菜餚，
這次吃到的奶醬蛤蠣跟燉豬肉都好～好～吃～啊～
真的是會懷念的味道！這裡是要開車上一段山路才吃得到的，
感覺要花力氣吃到的東西都會更好吃哈哈哈～

» #21 路環輝記美食 ★★★★☆（澳門路環市區打纜街33-37號.）
早上當然要吃茶餐廳囉，這家是很local的一家茶餐廳，生意也很不錯！
港點類的表現中上，像是排骨和叉燒包都好好吃～
臨走前還等到剛出爐的菠蘿包XD 非常感動。

» #22 安德魯餅店 ★★★★☆（澳門路環市區戴紳禮街1號地下）
來澳門一定要來吃吃葡式蛋塔囉，這家是大家耳熟能詳的不用說，
直接打包一盒帶走！真的是外酥內軟，奶香很足，跟港式蛋塔很不一樣，
不過各有各的好。冷了也好吃，一天內都還是一樣酥脆哦～

» #23 Communal Table ★★★☆☆ （澳門美麗街29號）
朋友常來的咖啡店，咖啡本身普普，
不過氣氛不錯，裝潢也很modern，是質感文青的咖啡店。

» #24 聰嫂甜品 ★★★★☆（香港銅鑼灣耀華街11號地下）
搬到香港的朋友推薦，這家甜品也不錯吃，跟滿記差不多～

» #25 添好運 ★★★★☆（中環香港站12A鋪）
添好運雖然在台灣也有，不過在香港站看到就決定也停下來吃一下
因為來香港還沒有吃到咸水角，心情很不好
添好運的點心就還不錯囉，只是在台灣也能吃到了，
感覺那種新奇感就低了些～

» #26 譚仔米線 ★★★★★ （銅鑼灣分店）
因為看了海恩的影片決定一定要來試一下，在街上偶然遇見了它，
立馬決定進去點他一碗～結果好喜歡啊啊啊！！！
天哪我真的完全愛上譚仔米線，雖然是連鎖店，
但如果我住在香港，我一定會每天努力吃他的。

» #27 Mad for Garlic ★★★☆☆ (Time Square)
跟朋友聚餐～其實是個質感蠻好的fusion cusine，
不過講真的我實在吃太多了，所以到後面有點無感XD

»#28 義順牛奶公司 ★★★★★ （銅鑼灣駱克道506號）
我的天天天，這是香港朋友帶我來的，真的久仰大名
燉奶原來這麼好粗～～又細又綿又富有奶香，
聽說有另一家也不錯，但義順的對我來說已經很～高分了。

» #29 Wooloomooloo ★★★★☆ （灣仔軒尼詩道256號）
這是跟昌沅約的最後一站～Wooloomooloo!
本身是個牛排館，頂樓則是酒吧～
天氣好的話是個適合hangout的地方
只是在戶外、音樂也很大聲，所以講話很辛苦要用吼的XD
眺望夜景也是很不錯囉，蠻喜歡的～



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2013年10月7日/1歳11ヶ月　He played again during a meal.
He sounds a metallic sound while using a fork and the spoon.
When a spoon hit the fork, refuse of the food was scattered.
The mom warned him while saying 'Dirty!'.
Then he reacted to the words.
He said 'Dirty!' many times.
He does not understand the meaning of the 'Dirty!'. Hahaha

発狂マーくん(￣m￣

☆ダーーーーァ（笑）Yuuma
http://youtu.be/YobW6GPu_Ag


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This video will show you a kawaii (cute) idea of presenting Wagashi (Japanese sweets)! I am using Dorayaki - consists of two small pancakes with azuki (sweet red bean paste) filling and Taiyaki - fish-shaped sweet cake with azuki filling.

Wagashi sounds pretty formal but it is often eaten at home in Japan because it's healthy.

Anyways, do you know what Osakana Kuwaeta Doraneko means? Osakana is a polite way of saying fish. Kuwaeta is eating. And Doraneko is a stray cat.

So, it means "stray cat eating fish".

I think this phrase is pretty known to all Japanese since it's the words from Sazae-san's song, if you know ;)

---------------------------------
Osakana Kuwaeta Doraneko

Difficulty: Very Easy
Time: approx. 15min
Number of servings: 1

Ingredients:
1&1/2 dorayaki
1 taiyaki
chocolate pen

Directions:
1. Set the chocolate pen in a cup of hot water for a few minutes.
2. Meanwhile, cut 1/2 portion of the dorayaki and make 2 cat ears.
3. On the serving plate, open one round dorayaki, put taiyaki in between the pancakes, and place the ears.
4. Cut the tip of the chocolate pen and draw a cat face.
5. Put in the freezer for a few sec and harden the chocolate.

↓レシピ (日本語)
http://cooklabo.blogspot.com/2011/06/blog-post_07.html
---------------------------------

Have fun!

Music by
Clémentine
サザエさん・メドレー


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