關於 madonna i'll remember ，我們在網路上蒐集到這些相關的討論、資訊與評價

恐龍吊飾黏不上去乾脆畫上去，女兒說的。
4月節目歌單【好事自在Latte】

04/30星期五
14:04:04笑一個/浩角翔起
14:07:47Cha Cha Cha/Humo feat Josef
14:11:12失戀陣線聯盟/草蜢
14:15:40傷得起/蔡黃汝
14:19:46有故事的人/周華健
14:24:16Next To You/Chris Brown
14:33:15狠狠愛/徐若瑄
14:36:59Pop Star/平井堅
14:41:51我愛你/李榮浩
14:50:09Sabotage/Bebe Rexha
14:53:23千年之戀/信樂團/戴愛玲

15:04:04愛情甜甜/孫淑媚
15:08:01中意他/梁詠琪
15:10:47夢話/NU'EST
15:16:24Gone/Nsync 超級男孩
15:20:59囉哩叭唆/Ella 陳嘉樺
15:24:23嗨嗨人生/MC HotDog/張震嶽
15:32:11換日線/張智成
15:36:45White Dress/Lana Del Rey
15:42:21匆忙人生/楊丞琳
15:49:29一千個晚安/方炯鑌
15:54:43地球藍調/踢館高手

16:04:04領悟/辛曉琪
16:08:51Love Love Love/James Blunt
16:12:18愛情萬歲/五月天
16:20:28哎呀! AIYA!/Karencici
16:22:44This Is What You Came For Me/Calvin Harris
16:26:22辦不到/張靚穎/大嘴巴
16:34:18柴米油鹽醬醋茶/王力宏
16:38:04幸福這件小事情/孔藝弦
16:42:53WHY DON'T WE/Rain/請夏
16:48:32謝謝 夏之戀/KARA
16:52:12Honey/郭書瑤
16:55:2999次我愛他/元若藍

04/29星期四
14:05:00Lotto/EXO
14:08:06Money On My mind/Sam Smith
14:11:15奇妙的幸運/麻吉弟弟/劉軒蓁
14:16:44無人知曉的浪漫/潘裕文
14:20:44果然還是妳/嵐-二宮和也
14:25:36快樂是自找的/趙之璧
14:35:30寶貝壞壞/Matzka
14:40:17Skinny Love/BIRDY
14:43:28或是一首歌/田馥甄
14:52:00Oh My God/Alec Benjamin
14:55:53揚眉/楊千樺

15:04:06我愛過/江蕙
15:08:49遺失的靈魂/陳勢安
15:12:37Microphone/98 Degrees
15:18:43通勤打理/呂士軒
15:21:55老子說/吳克群
15:25:05French Kiss/泫雅
15:33:06Overnight/SIRUP
15:38:05回憶的閣樓/郭靜
15:42:47行星/理想混蛋
15:50:33I Won't Let You Down/Ok Go
15:55:19快要喜歡你/溫嵐

16:04:04愛似狂潮/蘇永康
16:08:08黑暗的盡頭/Crispy脆樂團
16:12:49Hold Up/Bii畢書盡
16:18:07Down/Fifth Harmony
16:20:48愛無赦/蔡依林
16:24:35Tonight Tonight/柯有倫
16:32:41散場的擁抱/倪安東
16:37:35電影/詹森淮
16:43:02Carlito Marron/Carlinhos Brown
16:50:14只要我開心/劉思涵/戴佩妮
16:54:22U + Ur Hand /P!nk

04/28星期三
14:04:54Fast car/安室奈美惠
14:08:10夏天的浪花/張惠妹
14:12:12看上她/黎明
14:17:51你愛我嗎/范逸臣
14:22:09下雨了/李洪基
14:27:16你要不要先回家/吳映潔
14:34:51Thunder/Imagine Dragons
14:37:44舞曲大帝國/影子計劃
14:42:02一個人生活/林凡
14:49:19有一點動心/張信哲/任素汐
14:54:14Sorry/Madonna

15:04:09好笑神/董事長/Lulu黃路梓茵
15:07:48Eyes Like Yours/Shakira夏奇拉
15:11:38音樂超氣派/庾澄慶/蕭敬騰
15:17:15你說/Faye 飛
15:21:41夜太黑/林憶蓮
15:26:16彼得潘/EXO
15:35:41Starstruck/Years & Years
15:39:03來個蹦蹦/玖壹壹/Ella 陳嘉樺
15:43:20而我知道/五月天
15:51:25二人遊/方大同
15:55:26Papa & Mama/家入里歐

16:03:58大雨/金智娟
16:08:56太陽/邱振哲
16:13:08孩童之歌/CNBLUE
16:19:11Money Money/鐵竹堂
16:21:58絕/莫文蔚
16:25:38Poster Girl/Zara Larsson
16:33:36哭過的天空/蘇慧倫
16:38:36即使離別/平井堅
16:46:07水哥/李英宏/蛋堡
16:52:21vip/Ke$ha
16:55:44麥克瘋了/好好先生/魏如萱

04/27星期二
14:04:03億萬克拉的幸福/黃文星
14:07:29More Than A Woman /911
14:12:31雨水一盒/陳綺貞
14:17:14爛天氣/光良
14:21:03Blurred Lines/Robin Thicke
14:29:55聽我的/韋禮安
14:33:44What You Want/Evanescence
14:38:27你為什麼說謊/丁噹
14:46:56Sabotage/Bebe Rexha
14:49:49我知道/By2
14:54:44回到過去/周杰倫

15:04:05查某囡仔/李千那
15:08:53不要說話/陳奕迅
15:13:30They Don't Know/Ariana Grande
15:18:43日期/戴佩妮
15:21:42腿之歌/ Lulu黃路梓茵
15:24:51Locolotion/Orange Range
15:33:17water color/輝人
15:36:26消極掰/蔡依林
15:40:32浪費/徐佳瑩
15:47:59遺失的靈魂/陳勢安
15:52:55I Gotta Feeling/The Black Eyed Peas

16:04:04為愛落淚/張清芳
16:09:05無人知曉的浪漫/潘裕文
16:13:04Remember The Name/Ed Sheeran
16:18:39Hands on Me/少女時代-太妍
16:22:14BAD/Karencici
16:25:53雙人枕頭/花兒樂隊
16:33:50白白的/張韶涵
16:38:03你能不哭了嗎/持修
16:41:58光/嵐
16:50:47I Will Never Let You Down/Rita Ora
16:54:09妳是我的花朵/伍佰

04/26星期一
14:04:10我們來拍張照/棉花糖
14:08:07你願不願意/曹格
14:11:35I Do /Colbie Caillat
14:16:48美麗的插曲/蕭亞軒
14:20:52DA RA DA/MAMAMOO/Jeff
14:24:44小醋瓶/田亞霍
14:33:24她沒在看我/瘦子E.SO
14:36:19ATTENTION/Charlie Puth
14:40:51旋轉門/謝沛恩
14:47:51又愛又笑又開心又流淚/Dreams Come True
14:53:14天真有邪/林宥嘉

15:04:11暝那會這呢長/許富凱
15:08:27有一點動心/張信哲/任素汐
15:12:17Bubble Pop!/泫雅
15:19:22My Girls/Christina Aguilera
15:22:25Super Model/S.H.E
15:25:59萬分之一/陳立農
15:33:43我們的主場/鼓鼓/蕭秉治
15:37:57Endless Love/Mariah Carey
15:42:13寂寞沙洲冷/周傳雄
15:49:03白雪/KOKIA
15:54:25新世界/告五人/阿爆

16:03:58每一次想你/李玟
16:08:10為愛而戰/阿杜
16:11:57Cooler than me/Mike Posner
16:17:28懶/阿達/陳大天
16:21:16Talk/Two Door Cinema
16:25:34愛的初體驗/張震嶽
16:33:36我是幸福的/梁靜茹
16:39:00More Days with You/SUPER JUNIOR
16:44:12人間煙火/田馥甄
16:50:39反正我好看/五堅情
16:53:36Blow Me/P!nk

0423星期五
14:04:40淋雨一直走/張韶涵
14:07:58Happily 開心在一起/One Direction
14:10:51Chillaxing/安心亞
14:16:25時間等過誰/吳克群
14:20:02好想你/徐若瑄
14:24:05If You Do/GOT7
14:31:59三秒笑/江靜
14:35:49Stuck/Stacie Orrico
14:40:38我好想你/蘇打綠
14:48:36未來預想圖II /德永英明
14:55:20開水與白麵包/莫文蔚

15:04:30好不好/五月天
15:08:40ok on your own/mxmtoon/Carly
15:12:06烏克麗麗/周杰倫
15:17:27黑框眼鏡/曾沛慈
15:21:18怦然心動/AOA
15:24:28Everybody/張國榮
15:33:02我很好騙/動力火車
15:38:03一念之間/戴佩妮
15:43:10How Far I'll Go/Alessia Cara
15:48:17平日快樂/孫燕姿
15:53:00Summer rain/可苦可樂

16:03:57天涯/任賢齊
16:09:13Calling/B'z
16:14:56我沒錯/吳汶芳
16:21:02以後別做朋友/周興哲
16:25:09Coffee/圭賢
16:28:46i will be fine/魏如萱
16:37:05低電量/呂士軒
16:40:34Nobody's Perfect/Miley Cyrus
16:45:00倔強愛情的勝利/陳綺貞
16:52:13夜晚/吳卓源
16:56:07S.O.S./Jonas Brothers

04/22星期四
14:03:56Come With Me/Ricky Martin
14:07:22電話皇后/蔡依林
14:10:22我很好騙/動力火車
14:17:36一整夜/艾怡良
14:21:42浪費時間/9m88
14:25:49東京小丑/Ohashi Trio
14:35:38Trouble/Coldplay
14:40:51時間梯/萬芳
14:48:50刻在我心底的名字/盧廣仲
14:55:06Like!/APINK

15:04:11寫一首歌，寫你我爾爾/蕭煌奇/茄子蛋
15:08:54給你看/佛跳牆
15:12:37MONSTER/MONKEY MAJIK
15:18:50被擋住的路/臉紅的思春期
15:22:57不說出的溫柔/范逸臣
15:32:26STARLINE/大原櫻子
15:38:13不會愛就別愛/鼓鼓
15:40:58More More More/蕭亞軒
15:48:14Thinking Out Loud/Ed Sheeran
15:53:57拜託你聰明點/關詩敏

16:03:58無情的雨無情的你/齊秦
16:07:57請離開我/艾薇Ivy
16:12:16I Knew You Were Trouble/Taylor Swift
16:18:06藍天/圖騰
16:21:07太驕傲/楊乃文
16:25:03Wake Up And Smell The Coffee/The Cranberries
16:33:07被遺忘的/楊宗緯
16:37:29IF ONLY.../OZI
16:41:32COME BACK HOME/2NE1
16:49:21先這樣/宇宙人
16:53:40Where's the party/Madonna

0421星期三
42:05:00 PM現場直播/潘瑋柏
2:08:23 PMCan't Get You Out Of M Head/Kylie Minogue
2:12:21 PM真情人/李玟
2:18:33 PM好不容易/方大同
2:23:00 PMBleeding Love/Leona Lewis
2:27:18 PMDo Do Do/Karencici
2:34:44 PM乖乖壞女孩/梁文音
2:38:24 PMTalk Love/K.Will
2:42:33 PM你/Bii畢書盡
2:50:04 PM摩托車/兄弟本色
2:54:12 PMHello Me/大塚 愛

3:04:05 PM愛情限時批/伍佰/萬芳
3:07:43 PMOye Como Va/Santana
3:11:56 PM轉吧!七彩霓虹燈/夾子電動大樂隊
3:19:39 PM想要膩在一起/曾昱嘉
3:24:04 PM我的人/朴寶劍
3:27:49 PMLALA/龔芝怡/伍家輝
3:36:16 PMParty Up/DMX
3:41:51 PM風和日麗/劉若英
3:49:46 PM無名花/鄭心慈
3:54:46 PM心情High翻天/mihimaru GT

4:04:04 PM原來你什麼都不要/張惠妹
4:08:45 PM千年以後/陳零九
4:13:23 PMWe Take Care of Our Own/Bruce Springste
4:19:43 PMMr.Mr./少女時代
4:23:31 PMTwinkle Star/PER6IX
4:26:50 PM穿越時空愛上你/自由發揮
4:35:54 PMI Can't Tell You Why/Brownstone
4:39:44 PM妳在我的愛情裡/杜德偉
4:44:39 PM低頭戰/安心亞/未柏緯
4:50:10 PMCloser/Travis
4:53:59 PM80年代/1976

04/20星期二
14:04:17雨劈哩啪啦下/宮閣
14:07:54OMG/Usher/Will.i.am
14:12:20JioJioMe/黃明志
14:17:36寂寞在唱歌/阿桑
14:21:54因為愛所以恨/潘裕文
14:26:09Twenty-three/IU
14:33:57OMG What's Happening/Ava Max
14:38:01執子之手/品冠
14:47:322020再出發/麋先生Mixer/任賢齊
14:52:41I Don't Want To Think About You/小柳由紀/Boyz II Man

15:04:11寫一首歌，寫你我爾爾/蕭煌奇/茄子蛋
15:08:55燕尾蝶/梁靜茹
15:12:53Misery/Maroon 5
15:19:00CHANGE/瘦子E.SO
15:21:38Bloom/Troye Sivan
15:25:11永遠都不夠/鄭秀文
15:34:29When This Rain Stops/WENDY
15:38:23新不了情/蕭敬騰
15:43:47無神論/黃立行
15:49:25Wonderful Day/宇宙人/白安
15:54:54五顏六色/柚子

16:03:58短髮/梁詠琪
16:08:29有一種愛叫等待/邱鋒澤
16:12:24遠行/Do As Infinity 大無限樂團
16:19:50New Rules/Dua Lipa
16:23:16CHECKMATE/鄭容和/林俊傑
16:25:43Mr.Q/蔡依林
16:33:44背叛/曹格
16:38:56有一種悲傷/A-Lin
16:43:51Fearless 無懼的愛/Taylor Swift
16:50:34一加一大於二/關韶文/焦凡凡
16:54:01Yes I Do/Waterman

04/19星期一
14:04:53對面的男孩看過來/李心潔/錦鏽
14:08:00鄉間小路，香肩小露/宇宙人
14:11:47想繞遠路回家/乃木板46
14:18:31想見你想見你想見你/八三夭
14:22:29海嘯/庾澄慶
14:27:05Starry Eyed/Ellie Goulding
14:34:39郵票/KIMBERLEY 陳芳語
14:38:29Slide/Calvin Harris
14:42:53走路去紐約/陶晶瑩
14:50:03Shake It Up!/SUPER JUNIOR
14:53:57星期六的晚上/PIA吳蓓雅

15:04:05我愛雨夜花/S.H.E
15:08:06小小的你/陶吉吉
15:11:28Teeth/5 Seconds Of Summer
15:19:17Paco Medley/木村kaela/繃帶樂團
15:21:54肝功能衰竭/旺福
15:25:33Green Window/AKMU 樂童音樂家
15:33:21半生出走/胡彥斌
15:38:16氧氣/范曉萱
15:43:48So What那又怎樣/P!nk
15:49:41雨中的讚美詩/光良
15:54:40Can't Fight The Moonligh/LeAnn Rimes

16:04:04 Lemon Tree/蘇慧倫
16:07:08所以說,我們/N.Flying
16:10:39轉圈圈/Crispy脆樂團
16:17:07It's like that/Mariah Carey
16:20:28FEEL/婁峻碩
16:24:06大特醉/呂士軒
16:31:37祝我幸福/楊乃文
16:35:54喜歡寂寞/蘇打綠
16:41:20Get Over/Dream
16:51:11My Dilemma/Selena Gomez
16:54:13Get Out/MP 魔幻力量

04/16星期五
2:03:57 PMA CA ELLA/Ella 陳嘉樺
2:06:47 PMmy kind of girl/Michael Buble
2:10:49 PM1234567/F.I.R.飛兒樂團
2:16:35 PM如果沒有你/曾昱嘉
2:20:31 PM別去問他好嗎/郭靜
2:24:33 PMGive It To Me/2PM
2:32:36 PMBody/Megan Thee Stallion
2:35:16 PM我的時代/MC HotDog/張震嶽
2:39:33 PM秋日地鐵/張清芳
2:47:45 PM我們都不完美/生命樹
2:53:27 PM單戀熱線/大塚 愛

3:04:35 PM今晚我要唱歌/江蕙/任賢齊
3:08:06 PM海邊種種/Puffy 帕妃
3:14:17 PM別問很可怕/J.Sheon
3:18:05 PM美麗的 我不碰就是了/關詩敏
3:20:56 PMCloser/The Chainsmoker
3:29:35 PM愛情失敗者/劉學甫
3:33:15 PM不管有多苦/那英
3:38:41 PM10 Seconds/AOA
3:45:04 PMSweet Child O' Mine/Guns N' Roses
3:52:05 PMCan I Be Your Baby/山東

4:03:58 PM散了吧/林志炫
4:08:23 PM我們都是有歌的人/ 江美琪
4:12:43 PMIn The Morning/Jennifer Lopez
4:17:53 PM 對愛入座/蔡佩軒/屁孩
4:20:51 PM帥哥/大囍門
4:24:21 PM she knows love/indigo
4:31:35 PM牽手/蘇芮
4:35:58 PMHome, my home/手島葵
4:41:06 PM能不能/李友廷/林孟辰
4:49:15 PM腳趾都發燙/蔡阿嘎
4:52:59 PMYou Better Know/Red Velvet

04/15星期四
14:04:41我要為你做飯/阿妹妹
14:08:42You're So Fly/BTOB
14:12:06飛起來/徐懷鈺
14:17:45當時的月亮/王菲
14:21:26自戀的自虐/柯泯薰
14:26:28Take Me Somewhere Nice/Sky Sailing
14:33:55Fat Boy Gang/大淵
14:36:44Empire State Of Mind/Jay-Z/Alicia
14:41:55兩難/戴佩妮
14:48:47怎麼說我不愛你/蕭敬騰
14:53:56紅蓮華/LiSA

15:04:12 I wanna be your girl/曹雅雯
15:07:29哦 我的鬼神大人/3rd Coast
15:10:51一定是他/黃小琥
15:17:33We R Who We R/Ke$ha
15:20:57來追我男友吧/安心亞
15:24:30Party All Night/N2O
15:33:13他和我的書架/AiNA THE END
15:38:48勇氣/光良
15:42:57不愛自己的人/蔡佩軒
15:49:15狂熱/蘇打綠
15:53:45drivers license/Olivia Rodrigo

16:03:57一場遊戲一場夢/王傑
16:08:06你聽聽就好/李芷婷
16:13:14Beautiful People/Ed Sheeran
16:18:48Get Over You/Sophie Ellis
16:21:57夏天的浪花/張惠妹
16:25:58KISS THE SKY/Jason Derulo
16:34:15微光/曹楊
16:38:23相見太晚/趙詠華
16:44:47Be My Love/酷懶之味
16:52:00球鞋蜈蚣/葛仲珊
16:54:36I'm Ready/Sam Smith

04/14星期三
14:04:03童話傻瓜/伍家輝
14:07:16慢慢來/孫燕姿
14:10:44Get Your Shine On/Jesse McCartney
14:16:07習慣不習慣/理想混蛋 雞丁
14:20:59讓每個人都心碎/張惠妹
14:25:47Fantastic/Henry 劉憲華
14:33:56No Love沒有愛/Eminem
14:40:02你說/Faye 飛
14:47:14特別的人/方大同
14:52:38淚月/柴崎幸

15:04:04保庇/王彩樺
15:07:43House Party/SUPER JUNIOR
15:11:42有愛直說/KIMBERLEY 陳芳語
15:17:36餘地/于文文
15:21:47傘下/張宇
15:26:18Because we can/Bon Jovi
15:35:33deja vu/Olivia Rodrigo
15:40:12抱著你/張震嶽
15:46:42Ring! Ring! Ring!/Dreams Come True
15:52:13受夠/周興哲

16:04:05限時專送ABC/草蜢
16:08:39I should be so lucky/mihimaru
16:13:07我們來拍張照/棉花糖
16:19:10讓我送你花一朵/萬芳
16:22:40Off My Face/Justin Bieber
16:25:11巨人的肩膀/林宥嘉
16:33:44Beautiful Now/Zedd
16:37:18愛無所畏/呂薔
16:41:58當你離開的時候/蔡健雅
16:48:30Let's Go Crazy/CNBLUE
16:52:24想要得不到/Tizzy Bac

04/13星期二
14:03:59一天/YELLOW黃宣
14:08:04Title/Meghan Trainor
14:10:56金斯頓的夢想/B.A.D
14:16:58My Destiny/LYn
14:20:44一光年/5566
14:25:21小世界/Erika 劉艾立
14:33:25Run The World/Beyonce
14:37:19Fat Boy Gang/大淵
14:41:15說你愛我/潘瑋柏
14:47:29Do you remember/moumoon
14:53:25情人/Beyond

15:04:12蘭姨/黃妃
15:08:34廣島之戀/莫文蔚/張洪量
15:13:42A song for you/Whitney HoustonI
15:19:48Messed Up/文慧如/邱鋒澤
15:23:20Wake Up Call/Maroon 5
15:26:31箇中強手/ 羅志祥
15:34:34Antisocial/pH-1
15:38:06輸情歌/J.Sheon
15:42:51浮躁/王菲
15:47:40新幹線/小旺福
15:50:25Special Summer Sale/Orange Range
15:54:30真面目/蘇慧倫

16:03:57不走/杜德偉
16:08:49All I Got/伯賢
16:12:45假扮的天使/徐若瑄
16:19:22CRANK THAT/SOULJA BOY
16:23:03假高潮/Spark/Karencici
16:25:56美人計/蔡依林
16:33:53好好/暉倪
16:38:07路邊攤/古巨基
16:43:325x20/嵐
16:52:07Everybody Bounce/高爾宣
16:54:41With Love/Hilary Duff

04/12星期一
14:04:04魅惑天空/中島美嘉
14:08:19我超越/F.I.R.飛兒樂團
14:11:44海芋戀/蕭敬騰
14:17:35最後一封情書/許哲珮/莫子儀
14:21:53情書/范逸臣
14:25:36Things We Lost/Bastille
14:33:42GIRL GONE WILD/Madonna
14:37:04Run Away/原子邦妮
14:41:46EVERYTHING/王力宏
14:49:04小小的等待/B1A4-振永/俞勝恩
14:53:47愛就愛吧/許茹芸

15:04:04祝福/許富凱
15:08:11絕美/艾薇Ivy
15:12:15One Step Too Far/Dido
15:19:25Me Gusta/SHAKIRA/Anuel AA
15:22:32讓你媽媽扭一下/庾澄慶
15:26:30公公偏頭痛/周杰倫
15:32:45老人癡愛/黃明志
15:36:56你把我灌醉/黃大煒
15:43:07COME BACK HOME/2NE1
15:48:57而我{眼已垂落}/這位太太

16:04:05孤星淚/劉德華
16:09:34暫別我的愛/Ailee
16:13:46樹洞的聲音/徐佳瑩
16:20:02速食愛情/W0LF四堅情
16:23:28Kiss Me More/Doja Cat/SZA
16:31:03是不是這樣的夜晚你才會這樣想起我/張智成
16:35:10離開後/白安
16:41:12Prelude/Mr.Children
16:50:30空空/楊丞琳
16:54:35Without You/Avicii/Sandro

4/09星期五
2:04:42心跳/弦子
2:08:01 WHY DON'T WE/Rain/請夏
2:10:57有沒有妹/黃鴻升
2:16:56純真/五月天
2:21:04大風吹/曾沛慈
2:25:19 Remember The Name/Ed Sheeran
2:33:32摩登少年/1976
2:41:05 Breathe Again/Toni Braxton
2:48:15念念又不忘/李榮浩
2:54:50 You Can't Hurry Love/Diana Ross

3:04:04情字這條路/鳳飛飛
3:07:26兒歌/魏如萱
3:10:28 By(e) My Melody/平井堅
3:18:25 Friends/Anne-Marie/Marsmello
3:21:44沒在怕的/小春Kenzy
3:24:46舉起來/黃立成/麻吉
3:32:46餘額/孫燕姿
3:36:07抱緊我/BTS 防彈少年團
3:41:40愛極限/許慧欣
3:48:06起飛了/NAT 健豪
3:53:18 The Animal Song/Savage Garden

4:04:04蔓延/許美靜
4:08:50到時再分手就好/ROY KIM
4:12:51 Goodbye My Friend/小男孩樂團
4:19:12我愛台妹/MC HotDog
4:23:07 Fat Boy Gang/大淵/Fat Boy Gang
4:25:56 Jenny From The Block/Jennifer Lopez
4:33:39煙火的季節/F4
4:38:40 I.O.U/Carry 'N' Ron I.O.U 1992
4:42:51波霸奶茶/陳瑾緗/熊仔
4:50:39寫一首歌，寫你我爾爾/蕭煌奇/茄子蛋
4:55:22 I'll Be There for You/Meghan Trainor

04/08星期四
2:05:01一個便當/盧廣仲
2:08:23 腳踏車/庾澄慶
2:12:11 Dancing Queen/Meryl Streep
2:18:25如何忘記你/張若凡
2:23:10想你/金范秀
2:27:05周星星/吳克群
2:35:07 Slow Clap/Gwen Stefani
2:37:35甩個POSE/林育群/陳嘉唯
2:41:43你還要我怎樣/薛之謙
2:49:36 曖/孫盛希/OZI
2:53:50 I For You/Luna Sea

3:04:04沙漠小巴/浩子/蔡家蓁
3:07:22 Smooth/Santana/Rob Thomas
3:12:05當愛情來了/王心凌
3:19:18你給我聽好/陳奕迅
3:23:50其實我一直想對你說/莫文蔚
3:28:14 CROOKED/G-DRAGON
3:37:14人生在世/Hakubi
3:42:24鴉片玫瑰/陳昇
3:51:12 I Found You/Benny Blanco/CaIvin Harris
3:55:27透明/鄧紫棋

4:04:05你給我的愛最多/張學友
4:09:10愛的詩篇/梁文音
4:13:00我心躍動/可苦可樂
4:20:08 OSO/慢慢說樂團/Limi/婁峻碩
4:23:21獨一無二/羅志祥
4:27:05 Bionic/Christina Aguilera
4:34:54一起去巴黎/侯湘婷
4:43:25 Leave The Door Open/Silk Sonic
4:50:41朋友你現在好否/蕭煌奇
4:55:15好朋友/張娜拉

04/07星期三
14:04:09壞女孩/Ella 陳嘉樺
14:07:32飯隨愛人/邱鋒澤
14:10:36Be My Baby/倖田來未
14:19:43在不在/張信哲
14:23:59Slow Down/Selena Gomez
14:31:54倔強/家家
14:33:39Girls Like You/Maroon 5
14:38:40誰說/黃小琥
14:47:29旅．課/A-Lin
14:52:34最初的起點/陳綺貞
14:55:12佔據你的心/燦多

15:04:12浪子回頭/茄子蛋
15:08:04Watermelon Sugar/Harry Styles
15:10:55說愛你/蔡依林
15:17:11深呼吸/春艷/李權哲
15:20:10Whistle/Flo Rida
15:23:53ELVA IS BACK/蕭亞軒
15:32:5610 percent/KAYTRANADA
15:37:10親愛的你怎麼不在我身邊/江美琪
15:41:20寂寞邊界/張棟樑
15:49:53Just Right/GOT7/VIXX
15:54:12Baby Cakes/壞特

16:03:57佔領年輕/ASOS
16:07:45十分鐘的戀愛/展榮/展瑞
16:11:06I SHOULD HAVE KISSED YOU/One Direction
16:17:10你就像個小孩/阿杜
16:21:37也可以/閻奕格
16:26:01WANNA BE MYSELF/MAMAMOO
16:34:08Black or White/Michael Jackson
16:40:12微光/梁靜茹
16:49:02倔強的孤單/蕭煌奇
16:53:16亡命之徒/縱貫線

04/06星期二
14:04:43時間快轉/戴佩妮
14:09:09寫給巧克力的歌/南拳媽媽
14:12:33Sweet Holiday/CNBLUE
14:17:49假男友/蔡旻佑
14:22:07我的80年代/雷光夏
14:26:30Set Fire To The Rain/Adele
14:34:54壞蛋特調/J.Sheon
14:38:47SexyBack/Justin Timberlack
14:43:20聊天室/蘇運瑩/岑寧兒/艾怡良
14:51:13超快感/孫燕姿
14:55:33B Who I Want 2 B/安室奈美惠

15:04:55上美麗的情歌/Lulu黃路梓茵
15:09:39Nobody Knows/Boyzone
15:13:45陽光宅男/周杰倫
15:19:49Blinding Lights/The Weeknd
15:23:05很不低調/方大同
15:27:21結果咧/大嘴巴
15:37:09DO or NOT/PENTAGON
15:41:21想你了/光良
15:45:33永遠的福氣/陳慧琳
15:50:15大發現/東京事變
15:55:58Be Alright/高爾宣

16:04:05走在大街的女子/林憶蓮
16:07:46Leave The Door Open/Silk Sonic
16:11:22Never Let You Go/李建軒
16:17:21He wasn't/Avril Lavigne
16:20:09SKYWALKER/怕胖團
16:28:37一直是晴天/許茹芸
16:33:16直到抵達你的星球/Super Junior-圭賢
16:38:51正在塞/呂士軒
16:45:40送予你的歌/蕭煌奇
16:50:56ME & U/鄧福如
16:54:10One Love/BLUE

04/05星期一
2:03:57愛的動名片/安心亞
2:07:29 Luv Me/AOA
2:10:55媽媽說/周渝民
2:16:36聽見下雨的聲音/魏如昀
2:21:06小時候的我們/周興哲
2:24:36 Get Together/Lenka
2:32:04 Get The Party Started/P!nk
2:36:01少在那邊/葉瑋庭/賴聖恩
2:39:44先得方/鼓鼓/萬芳
2:47:53永遠在身邊/大嘴巴
2:52:58 Super Delicate/Hey! Say! JUMP

3:04:12 啞巴情歌/黃乙玲
3:08:21獨處的時候/蘇打綠
3:12:41 A Sky Full Of Stars/Coldplay
3:21:17 BAD LADY/楊丞琳
3:24:47 Gangnam Style/Psy
3:28:26 And No Matches/Scooter
3:37:13我不需要每一個人都愛我/八三夭
3:41:31 Back To December/Taylor Swift
3:48:58 This Is The Last Time/Keane
3:52:18我的左耳/舒米恩
3:55:27皇后區的皇后/葛仲珊

4:03:57捨不得把眼睛睜開/費玉清
4:07:58一個人生活/林凡
4:12:13愛在銀河茶房/10CM
4:17:29問號/黃右年/屁孩
4:21:00 Umbrella/Rihanna/Jay-Z
4:30:35倖存者/林俊傑
4:35:01邂逅/安全地帶
4:38:02娃娃國/Sonic Deadhorse
4:45:45舞台/蕭煌奇/潘麗麗
4:51:10 New Rules/Dua Lipa
4:54:37 猴籠/蕭敬騰

04/02星期五
2:04:04戀人殺/陳零九/愷樂
2:07:37 HWAA/(G)I-DLE
2:10:51大風吹/許慧欣
2:17:01慢靈魂/盧廣仲
2:21:42 You Could Be Happy/Snow Patrol
2:24:29噗嚨共之歌/浩角翔起
2:31:45一無所知/陳立農/徐佳瑩
2:35:46好心分手/盧巧音/王力宏
2:39:08 Pump It /The Black Eyed Peas
2:49:03愛洗蝦米/旺福
2:53:33 I'm a Lady/Meghan Trainor
2:56:44 I LOVE YOU,JOHN/陳珊妮

3:04:04放阮一個人/許富凱
3:07:44你會想念我嗎/蘇慧倫
3:11:55 Still The One/One Direction
3:17:49 FUTURE IN YOUR EYES/周湯豪
3:21:29 Perfect Illusion/Lady Gaga
3:24:26甜秘密/蔡依林
3:33:03再見王子/棉花糖
3:37:46我愛上你/張學友
3:41:17只憑接吻/菅田將暉/AimyonL
3:48:21 BOOMBAYAH/BLACKPINK
3:52:20很大的世界/魏妙如/吳健豪
3:55:52 最高品質靜悄悄/9m88/leo王

4:04:05 紅塵來去一場夢/巫啟賢
4:08:29 You Are/于文文
4:13:09 Be With You/Atomic Kitten
4:19:29停不下來/Spark/韓睿
4:22:23 Trumpet Lights/Chris Brown
4:31:17愛人動物/蘇打綠
4:35:06還是要幸福/田馥甄
4:40:07 Killer Tune/東京事變
4:47:32 I have a Dream/Connie Talbot
4:51:59現在就出發/品冠
4:55:44愛的叮咚/徐懷鈺

04/01星期四
2:04:40 Not In Love/Enrique Iglesia
2:07:57狂野之城/郭富城
2:11:01大師講/蕭亞軒
2:16:21夢見/許仁杰
2:20:35 I'LL REMEMBER/Wanna One
2:24:03在這裡請你隨意/蘇運瑩
2:32:33 Kings & Queens/Ava Max/Lauv
2:35:24今天星期幾/莫文蔚
2:39:30麻雀/李榮浩
2:46:45一朵花/Matzka
2:52:06忍者棒棒/卡莉怪妞

3:04:04愛情你比我想的閣較偉大/茄子蛋
3:07:44 Happy Together/Simple Plan
3:10:12會咬人的狗/Tizzy Bac
3:18:00不愛了/徐若瑄
3:22:10曾諾的永遠/B.T.O.D
3:26:13 Forever Medley/Take That
3:36:29你與我的歌/THE CHARM PARK
3:41:08不怕慶祝/徐佳瑩
3:48:37風和日麗/自然捲
3:53:44 Brand New/Pharrell William

4:04:04心太軟/任賢齊
4:09:47 I'm in love/田亞霍
4:12:58 Echo/少女時代
4:19:02沒有很會唱/小宇-宋念宇
4:22:50 This Is What You Came For me/Calvin Harris
4:30:56 I Believe I Can Fly/R. Kelly
4:35:32沒有錯/家家
4:40:26 Beautiful Woman/安溥
4:49:29非愛不可/平井堅
4:53:07雙人體操/陳珊妮
#歌單 #DJ荳子

"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…

Diamond and Rust，瓊拜雅寫給巴布迪倫的歌。
每一回如悠悠流水般的吉他前奏響起，就等著被瓊拜雅那充滿能量的深情歌聲擊倒，然後一顆心迅速淹沒在青春舊夢與如煙往事中。
是的，我們都明白回憶給了我們什麼？它給了我們鑽石與銹灰。



Well , I'll be damned
Here comes your ghost again
But that's not unusual
It's just that the moon is full and you happened to call
And here I sit, hand on the telephone
Hearing a voice I'd known a couple of light years ago
Heading straight for a fall

As I remember your eyes
were bluer than robin's eggs
My poetry was lousy, you said
"Where were you calling from?"
"A booth in the Midwest"
Ten years ago I bought you some cufflinks
You brought me something
We both know what memories can bring
They bring diamond and rust

Well, you burst on the scene were already a legend
The unwatched phenomenon
The original vagabond you strayed into my arms
And there you stayed temporarily lost at sea
The Madonna was yours for free
Yes, the girl on the half shell
Could keep you unharmed

Now I see you standing with brown leaves falling all around
Snow in your hair
Now you're smiling out the window of that crummy hotel over Washington Square
Our breath comes out white cloud mingles and hangs in the air
Speaking strictly for me
We both could've died then and there

Now you're telling me you're not nostalgic
Then give me another word for it
You who're so good with words and at keeping thing vague
Cause I need some of that vagueness now
It's all come back too clearly
Yes , I love you dearly
And if you're offering me diamonds and rust
I've already paid