關於 this is america, so call me maybe ，我們在網路上蒐集到這些相關的討論、資訊與評價

【對華政策的範式轉移】絕對是歷史性講話.
#成萬字 #萬言書 #頹譯都譯死人

----小弟頹譯------
蓬佩奧：謝謝。謝謝你們。州長，您的慷慨介紹。的確是這樣：當您在那個體育館裡散步時，說出“蓬佩奧”的名字，人們就會耳語。因為，我有一個兄弟，Mark，他是一個非常好，一位非常出色的籃球運動員。

請為藍鷹榮譽衛隊（Blue Eagles Honor Guard）及飛行員Kayla Highsmith下士對國歌的精彩演繹給多一次掌聲如何？ （掌聲）

也要感謝Laurie牧師那動人的祈禱，我還要感謝Hugh Hewitt和尼克遜基金會的邀請讓我在這個重要的美國機構發言。很高興能受空軍人員演唱，由海軍陸戰隊介紹，讓個一個陸軍傢伙站在海軍傢伙的房子前面。 （笑聲）（按蓬佩奧曾在美國陸軍服役 ）一切都很好。

很榮幸來到Yorba Linda，尼克遜的父親在那裡建立了他出生和成長的房屋。

在這困難時刻，使今天成為可能的尼克遜中心董事會和工作人員，感謝，感謝我和我的團隊使這一天成為可能。

我們很幸運能在觀眾中見到一些特別的嘉賓，包括我認識的Chris Nixon (尼克遜的孫，Christopher Nixon Cox)。我還要感謝Tricia Nixon和Julie Nixon Eisenhower　（尼克遜兩位女兒）對這次訪問的支持。

我還想提一提幾位勇敢的中國持不同政見者，他們長途跋涉並出席。其他尊貴的客人-（掌聲）-尊貴的客人，謝謝您的光臨。那些在帳篷下的人，您們必須支付額外的費用（笑）。

以及那些正在觀看直播的人，感謝您的收看。

最後，正如州長所說，我在Santa Ana出生，離這裡不遠。今天有我的姐姐和她的丈夫在聽眾中。謝謝大家的光臨。我敢打賭，您從沒想過我會站在這裡。

我今天的講話是我在一系列中國演講中的第四組講話，我請國家安全顧問Robert O’Brien，聯邦調查局局長Chris Wray和司法部長Barr陪同我發言。

我們有一個非常明確的目標，一個實在的任務。這是在解釋美國與中國關係的不同方面，數十年來這種關係中出現的巨大失衡以及中國共產黨所計劃的霸權。

我們的目標是明確指出，特朗普總統的中國政策正在解決的對美國人的威脅是明顯的，並且我們正確立保障自由的戰略。Robert O’Brien談到了意識形態。聯邦調查局局長Wray談到了間諜活動。司法部長Barr談到了經濟學。現在，我今天的目標是將這一切匯總給美國人民，並詳細說明中國的威脅對我們的經濟，我們的自由，乃至全球自由民主國家的未來的衝擊。

自基辛格（Kissinger）博士秘密訪問中國以來，到明年已經過去了半個世紀，而尼克松總統訪華50週年也就在2022年。

那時世界大不一樣了。

我們以為與中國交往（engagement）將創造一個帶有友好合作前景的美好未來。

但是今天—今天我們仍然戴著口罩，看著疫性的死亡人數仍在增加，因為中共對世界的承諾沒有兌現。我們每天早上都在讀到鎮壓香港和新疆的新聞消息。

我們看到的中國貿易濫用行為的驚人數字使美國失去了工作，並給整個美國經濟帶來了沉重打擊，包括南加州。而且我們正在看著一支越來越強大，甚至更具威脅性的中國軍隊。

從加利福尼亞州到我的家鄉堪薩斯州以及其他地區，我都有著與美國人心中的疑問：從與中國交往至今，美國人民這50年見到了什麼？

領袖們曾說過的中國邁向自由與民主發展的理論是否正確？

這是中國對 "雙贏" 局面的定義嗎？

實際上，從國務卿的角度來看，美國更安全嗎？我們是否有更大的可能為我們自己實現和平，並為我們之後的子孫後代享有和平？

看，我們必須承認一個硬道理。我們必須承認一個硬道理，它將指導我們在未來幾十年中發展，如果我們要擁有一個自由的21世紀，而不是習近平夢想的中國世紀，那麼與中國盲目交往的舊範式坦白說是沒有贏的機會。我們決不能在此繼續，也絕不能重返。

正如特朗普總統已明確指出的那樣，我們需要一項保護美國經濟乃至我們生活方式的戰略。自由世界必須戰勝這一新的暴政。 The free world must triumph over this new tyranny.

現在，在我似乎不太希望拆除尼克遜總統的遺產之前，我想明確地說，他做了當時他認為最適合美國人民的事情，而且他很可能是對的。

他是中國的傑出學生，冷酷的勇士和中國人民的偉大仰慕者，正如我們一樣。

他意識到中國太重要而不能忽視，即使國力由於自身的共產主義野蠻行為而被削弱。這值得尼克遜給予極大的讚譽。

1967年，尼克遜在一篇非常著名的外交事務文章中解釋了他的未來戰略。

他的話是這樣的：他說：“從長遠來看，我們根本無法永遠把中國留在國際大家庭之外……在中國改變之前，世界不會安全。因此，我們的目標是 —在可能的範圍內，我們必須作出影響，而我們的目標應該是促使改變。”

我認為這是整篇文章中的關鍵詞：“促使改變”。

因此，在歷史性的北京之行中，尼克遜總統開始了我們的交住戰略。他崇高地尋求一個更自由，更安全的世界，並希望中國共產黨能兌現這一承諾。

隨著時間的流逝，美國決策者越來越多地認為，隨著中國變得更加繁榮，它將會對外開放，它會在國內變得更加自由，而實際上在國外所面臨的威脅卻越來越小，它將變得更加友好。這一切似乎都是不可避免的。

但是那個必然的時代已經過去了。我們一直在進行的這種交往並沒有帶來尼克遜總統希望所引起的中國內部的變化。事實是，我們的政策以及其他自由國家的政策使中國經濟從衰落得以恢復，但北京反咬了養活它的國際力量。

我們曾向中國公民張開雙臂，只是看到中國共產黨利用我們的自由開放社會。中國派宣傳員參加了我們的新聞發布會，研究中心，高中，大學，甚至參加了家長教師會議。

我們將台灣的朋友邊緣化，後來台灣蓬勃發展為積極的民主國家。

我們給中國共產黨和政權本身以特殊的經濟待遇，只是看到中共堅持以對其人權侵犯保持沉默作為讓西方公司進入中國市場的代價。

前一天，Robert O’Brien大使舉了幾個例子：萬豪，美國航空，達美航空，聯合航空都從其公司網站上刪除了對台灣的提及，以免激怒北京。在荷里活，這裏的不遠處，距離美國創作自由的中心和自命為社會正義的仲裁者，他們的自我審查可說是對中國發展最不利的參考。

公司對CCP的默許也發生在世界各地。

這種企業忠誠度如何運作？奉承會得到獎勵嗎？讓我引述Barr總檢察長在講話。他在上週的一次演講中說：“中國統治者的最終野心不是與美國進行貿易。是要略奪美國。”

中國剝奪了我們寶貴的知識產權和商業機密，損失了在美國各地了數百萬個就業機會。它從美國吸走了供應鏈，然後添加了一個由奴隸制度製成的小工具。

它使世界上主要的水路對國際貿易而言變得不那麼安全。

尼克遜總統曾經說過，他擔心自己通過向中共開放世界而創造了一個“科學怪人”，這正是如此。

現在，有誠信的人可以辯論為什麼自由國家允許這些年來，這些不好的事情發生。也許我們對中國的惡毒的共產主義幼稚，或者在我們在冷戰勝利後變得自大，或者軟弱的資本主義者被北京所說的“和平崛起”所愚昧。

無論出於何種原因—無論出於何種原因，今天的中國在國內都越來越專制，並開始對其他地方的自由作出干預。

特朗普總統說：夠了。

我不認為兩派的人對我今天所說的事實提出異議。但是即使到現在，也有人堅持認為，為了對話而對話。

現在，要明確地說，我們將繼續討論。但是這些對話的意義是不同的。幾週前，我去了檀香山，與楊潔篪見面。

這是同樣的古老故事—說了很多話，但實際上沒有任何改變任何行為的提議。

楊的承諾，就像中共在他面前做出的許多承諾一樣，都是空洞的。我想，他的期望是我會屈服於他們的要求，因為坦率地說，這是許多前任政府所做的。我沒有，特朗普總統也不會。正如O’Brien很好地解釋的那樣，我們必須記住，中共政權是馬克思列寧主義政權。習近平堅信這已破產的極權主義思想。

正是這種意識形態，正是這種意識形態反映了他數十年來對全球共產主義中國霸權的渴望。美國再也不能忽視我們兩國之間的根本政治和意識形態差異，就像中共從來沒有忽視它們一樣。

以我在眾議院情報委員會，然後擔任中央情報局局長，以及擔任美國國務卿兩年多的經驗，使我對這種中央理解成為可能：

唯一的方式　—　真正改變共產主義中國的唯一方法，不是對中國領導人聽其言，而是觀其行。您會看到美國政策對此結論做出了回應。列根總統說，他是在“信任但要核實”的基礎上與蘇聯打交道的。關於中共，我說我們必須＂不信任和核查＂。 （掌聲）

我們，世界上熱愛自由的國家，必須像尼克遜總統所希望的那樣，促使中國發生變化。我們必須促使中國以更具創造性和果斷性的方式進行變革，因為北京的行動威脅著我們的人民和我們的繁榮。

我們必須首先改變我們的人民和我們的伙伴對中國共產黨的看法。我們必須說實話。我們不能像其他任何國家一樣，把這個假象視為正常國家。

我們知道，與中國進行貿易不像與一個正常的，遵守法律的國家進行貿易。北京威脅將國際協議視為—將協議視為建議，以作為主導全球的渠道。

但是，通過堅持公平條款，就像我們的貿易代表在獲得第一階段貿易協議時所做的那樣，我們可以迫使中國考慮其知識產權盜竊和損害美國工人的政策。

我們也知道，與擁有CCP支持的公司開展業務與與一家加拿大公司開展業務不同。他們不回答獨立委員會的問題，而且其中許多是由國家贊助的，因此無需追求利潤。

華為就是一個很好的例子。我們不再假裝華為是一家無辜的電信公司，它的出現是為了確保您可以和朋友聊天。我們稱其為真正的國家安全威脅，並為採取了相應的行動。

我們也知道，如果我們的公司在中國投資，他們可能會有意或無意地支持共產黨嚴重侵犯人權的行為。

因此，我們的美國財政部和商務部已批准並將那些危害和濫用世界人民最基本權利的中國領導人和實體列入黑名單。多個部門已就商業諮詢機構合作，以確保我們的CEO了解其供應鏈在中國境內的工作。

我們也知道，我們也知道並非所有的中國學生和僱員都只是來這裡賺錢和積累一些知識的普通學生和工人。他們太多人來這裡竊取我們的知識產權並將其帶回自己的國家。司法部和其他機構已對這些罪行進行了嚴厲的懲罰。

我們知道，解放軍也不是正規軍。其目的是維護中國共產黨精英的絕對統治，擴大中國帝國，而不是保護中國人民。

因此，美國國防部加大了工作力度，擴大了在東，南海以及台灣海峽以及整個海峽的航行操作自由。我們還建立了一支太空部隊，以幫助阻止中國對這一最後邊界的侵略。

同樣，坦率地說，我們在美國國務院制定了一套與中國打交道的新政策，推動特朗普總統實現公正與互惠的目標，以改寫幾十年來不斷加劇的失衡。

就在本週，我們宣布關閉在休斯敦的中國領事館，因為它是間諜和知識產權盜竊的樞紐。 （掌聲）

兩週前，我們在南中國海扭轉了過去八年忽略的國際法權益。

我們呼籲中國限制其核能力以適應當今時代的戰略現實。

國務院- 在世界各地，各個層面- 都與中國同行進行了交流，只是要求公平和互惠。

但是我們的方法不只是要變得強硬。那不可能達到我們想要的結果。我們還必須與中國人民互動並賦予他們權力，他們是一個充滿活力，熱愛自由的人民，他們與中國共產黨完全不同。首先是面對面的外交。 （掌聲）

無論我走到哪裡，我都遇到了有才華和勤奮的中國人。我遇過逃離新疆集中營的維吾爾族和哈薩克族。我曾與香港的民主領袖進行了交談，有陳日君樞機到黎智英。兩天前，我在倫敦會見了香港自由戰士羅冠聰。

上個月在我的辦公室裡，我聽到了天安門廣場倖存者的故事。其中之一今天在這裡。王丹是一名關鍵學生，他從未停止為中國人民爭取自由。王先生，請您站起來，以便我們見到您嗎？ （掌聲）

今天與我們同在的還有中國民主運動之父魏京生。他在中國的勞改營度過了幾十年的時間。魏先生，你能站起來嗎？ （掌聲）

我成長及服役於冷戰時期。如果我學到一件事，共產黨人幾乎總是撒謊。他們告訴我們的最大謊言是，他們認為自己能代表14億被監視，壓迫和害怕說出來的人。

恰恰相反。中共比任何敵人都更擔心中國人民的誠實觀點，失去對權力的控制。

試想一下，如果我們能夠從武漢的醫生那裡聽到他們的來信，並且允許他們對新疫病的爆發發出警報，那麼世界會變得更好—更不用說中國內部的人了。

幾十年來，我們的領袖一直無視，淡化勇敢的中國異見者的話，他們警告過我們所面對之政權。

我們不能再忽略它了。他們與任何人一樣知道我們永遠無法回到現狀。

但是改變中共的舉動並不單單是中國人民的使命。自由國家必須努力捍衛自由。這不是簡單的事情。

但是我有信心我們可以做到。我有信心，因為我們以前做過。我們知道這是怎麼回事。我有信心，因為中共正在重複蘇聯犯下的一些同樣的錯誤-疏遠潛在的盟友，破壞國內外的信任，拒絕財產權和法治。

我有信心。我之所以有信心，是因為我看到其他國家之間的覺醒，他們知道我們無法回到過去，美國亦如是。我從布魯塞爾，悉尼到河內都聽說過。

最重要的是，我相信我們可以捍衛自由，因為自由本身是漂亮的。

看看香港人因中共加強對這個驕傲城市的控制，要移居海外。他們揮舞著美國國旗。

是的，確實有差異。與蘇聯不同，中國已深入融入全球經濟。但是，北京對我們依賴，甚於我們依賴他們。 （掌聲）

瞧，我拒絕相信我們生活在一個不可避免中國的時代，某些陷阱（按：修昔底德陷阱）是預設的，中共至上是未來。我們的方法不是注定失敗的，因為美國正在衰落。正如我在今年早些時候在慕尼黑說的那樣，自由世界仍在勝利的一方。我們只需要相信它，就明白它並為此感到自豪。來自世界各地的人們仍然希望加入開放社會。他們來到這裡學習，來到這里工作，來到這里為家人謀生。他們並不想留在中國。

是時候了。今天很高興來到這裡。這是完美的時機。現在是自由國家採取行動的時候了。並非每個國家都將以同樣的方式對待中國，也不應該。每個國家都必須對如何保護自己的主權，如何保護自己的經濟繁榮以及如何保護自己的理想不受中國共產黨的觸碰而有所了解。

但是我呼籲每個國家的每一個領導人—如美國所先行的—簡單地堅持互惠，堅持中國共產黨的透明度和問責制。

這些簡單而強大的標準將取得很大的成就。太長時間了，我們讓中共制定交往條款，但不再這樣做。自由國家必須定下基調。

我們必須遵循相同的原則。我們必須在沙子上劃出共同的界線，而這不能被中共的討價還價或他們的野蠻沖走。確實，這就是美國最近所做的事情，因為我們一勞永逸地拒絕了中國在南中國海的非法主張，因為我們已敦促各國成為廉潔國家，以免其公民的私人信息落在手裡中國共產黨。我們通過制定標準來做到這一點。

現在，這確實很困難。對於一些小國家來說很難。他們害怕被人欺負。因此，其中一些人根本沒有能力，沒有勇氣暫時與我們站在一起。的確，我們與北約的盟友並未以其對香港的立場站起來，因為他們擔心北京會限制中國市場的准入。這種膽怯會導致歷史性的失敗，我們無法重複。

我們不能重複過去幾年的錯誤。中國面臨的挑戰要求民主國家發揮作用和精力，民主國家包括歐洲，非洲，南美，尤其是印度太平洋地區。

而且，如果我們現在不採取行動，那麼中共最終將侵蝕我們的自由，並顛覆我們的社會努力建立的基於法規的秩序。如果我們現在屈膝，我們孩子的孩子可能會受到中國共產黨的擺佈，中國共產黨的行動是當今自由世界中的主要挑戰。

習近平總書記註定不會永遠在中國內外施暴，除非我們允許

現在，這與圍堵無關。不要相信這策略。這是我們從未遇到過的複雜的新挑戰。蘇聯與自由世界隔絕了。共產主義中國已經在我們的邊界之內。

因此，我們不能獨自面對這一挑戰。聯合國，北約，七國集團國家，二十國集團，我們的經濟，外交和軍事力量合力，如果我們清楚明確地並勇往直前，無疑足以應付這一挑戰。

也許是時候讓志趣相投的國家組成一個新的團體，一個新的民主國家聯盟了。

我們有工具。我知道我們可以做到。現在我們需要意志。引用聖經經文，我問“要警醒禱告，免得陷入試探。你們心靈雖然願意，肉體卻是軟弱的。”

如果自由世界沒有改變 —沒有改變，共產主義中國一定會改變我們。無法因為舒適或便利而返回到過去的做法。

確保我們脫離中國共產黨的自由是我們這個時代的使命，而美國完全有能力領導它，

因為我們的建國原則為我們提供了這一機會。正如我上週在費城站立時所看到的那樣，注視著獨立廳，我們的國家建立在所有人類都擁有不可剝奪的某些權利的前提下。

確保這些權利是我們政府的工作。這是一個簡單而有力的真理。它使我們成為全世界人民的自由燈塔，包括中國境內的人。

確實，尼克遜在1967年寫道“除非中國改變，否則世界是不安全的”是正確的。現在我們該聽他的話了。

今天的危機已經明確了。

今天，覺醒正在發生。

今天，自由世界必須作出回應。

我們永遠無法回到過去。

願上帝保佑你們每個人。

願上帝保佑中國人民。＇

願上帝保佑美利堅合眾國人民。

謝謝你們。（掌聲）

Thank you. Thank you all. Thank you, Governor, for that very, very generous introduction. It is true: When you walk in that gym and you say the name “Pompeo,” there is a whisper. I had a brother, Mark, who was really good – a really good basketball player.
And how about another round of applause for the Blue Eagles Honor Guard and Senior Airman Kayla Highsmith, and her wonderful rendition of the national anthem? (Applause.)
Thank you, too, to Pastor Laurie for that moving prayer, and I want to thank Hugh Hewitt and the Nixon Foundation for your invitation to speak at this important American institution. It was great to be sung to by an Air Force person, introduced by a Marine, and they let the Army guy in in front of the Navy guy’s house. (Laughter.) It’s all good.
It’s an honor to be here in Yorba Linda, where Nixon’s father built the house in which he was born and raised.
To all the Nixon Center board and staff who made today possible – it’s difficult in these times – thanks for making this day possible for me and for my team.
We are blessed to have some incredibly special people in the audience, including Chris, who I’ve gotten to know – Chris Nixon. I also want to thank Tricia Nixon and Julie Nixon Eisenhower for their support of this visit as well.
I want to recognize several courageous Chinese dissidents who have joined us here today and made a long trip.
And to all the other distinguished guests – (applause) – to all the other distinguished guests, thank you for being here. For those of you who got under the tent, you must have paid extra.
And those of you watching live, thank you for tuning in.
And finally, as the governor mentioned, I was born here in Santa Ana, not very far from here. I’ve got my sister and her husband in the audience today. Thank you all for coming out. I bet you never thought that I’d be standing up here.
My remarks today are the fourth set of remarks in a series of China speeches that I asked National Security Advisor Robert O’Brien, FBI Director Chris Wray, and the Attorney General Barr to deliver alongside me.
We had a very clear purpose, a real mission. It was to explain the different facets of America’s relationship with China, the massive imbalances in that relationship that have built up over decades, and the Chinese Communist Party’s designs for hegemony.
Our goal was to make clear that the threats to Americans that President Trump’s China policy aims to address are clear and our strategy for securing those freedoms established.
Ambassador O’Brien spoke about ideology. FBI Director Wray talked about espionage. Attorney General Barr spoke about economics. And now my goal today is to put it all together for the American people and detail what the China threat means for our economy, for our liberty, and indeed for the future of free democracies around the world.
Next year marks half a century since Dr. Kissinger’s secret mission to China, and the 50th anniversary of President Nixon’s trip isn’t too far away in 2022.
The world was much different then.
We imagined engagement with China would produce a future with bright promise of comity and cooperation.
But today – today we’re all still wearing masks and watching the pandemic’s body count rise because the CCP failed in its promises to the world. We’re reading every morning new headlines of repression in Hong Kong and in Xinjiang.
We’re seeing staggering statistics of Chinese trade abuses that cost American jobs and strike enormous blows to the economies all across America, including here in southern California. And we’re watching a Chinese military that grows stronger and stronger, and indeed more menacing.
I’ll echo the questions ringing in the hearts and minds of Americans from here in California to my home state of Kansas and beyond:
What do the American people have to show now 50 years on from engagement with China?
Did the theories of our leaders that proposed a Chinese evolution towards freedom and democracy prove to be true?
Is this China’s definition of a win-win situation?
And indeed, centrally, from the Secretary of State’s perspective, is America safer? Do we have a greater likelihood of peace for ourselves and peace for the generations which will follow us?
Look, we have to admit a hard truth. We must admit a hard truth that should guide us in the years and decades to come, that if we want to have a free 21st century, and not the Chinese century of which Xi Jinping dreams, the old paradigm of blind engagement with China simply won’t get it done. We must not continue it and we must not return to it.
As President Trump has made very clear, we need a strategy that protects the American economy, and indeed our way of life. The free world must triumph over this new tyranny.
Now, before I seem too eager to tear down President Nixon’s legacy, I want to be clear that he did what he believed was best for the American people at the time, and he may well have been right.
He was a brilliant student of China, a fierce cold warrior, and a tremendous admirer of the Chinese people, just as I think we all are.
He deserves enormous credit for realizing that China was too important to be ignored, even when the nation was weakened because of its own self-inflicted communist brutality.
In 1967, in a very famous Foreign Affairs article, Nixon explained his future strategy. Here’s what he said:
He said, “Taking the long view, we simply cannot afford to leave China forever outside of the family of nations…The world cannot be safe until China changes. Thus, our aim – to the extent we can, we must influence events. Our goal should be to induce change.”
And I think that’s the key phrase from the entire article: “to induce change.”
So, with that historic trip to Beijing, President Nixon kicked off our engagement strategy. He nobly sought a freer and safer world, and he hoped that the Chinese Communist Party would return that commitment.
As time went on, American policymakers increasingly presumed that as China became more prosperous, it would open up, it would become freer at home, and indeed present less of a threat abroad, it’d be friendlier. It all seemed, I am sure, so inevitable.
But that age of inevitability is over. The kind of engagement we have been pursuing has not brought the kind of change inside of China that President Nixon had hoped to induce.
The truth is that our policies – and those of other free nations – resurrected China’s failing economy, only to see Beijing bite the international hands that were feeding it.
We opened our arms to Chinese citizens, only to see the Chinese Communist Party exploit our free and open society. China sent propagandists into our press conferences, our research centers, our high-schools, our colleges, and even into our PTA meetings.
We marginalized our friends in Taiwan, which later blossomed into a vigorous democracy.
We gave the Chinese Communist Party and the regime itself special economic treatment, only to see the CCP insist on silence over its human rights abuses as the price of admission for Western companies entering China.
Ambassador O’Brien ticked off a few examples just the other day: Marriott, American Airlines, Delta, United all removed references to Taiwan from their corporate websites, so as not to anger Beijing.
In Hollywood, not too far from here – the epicenter of American creative freedom, and self-appointed arbiters of social justice – self-censors even the most mildly unfavorable reference to China.
This corporate acquiescence to the CCP happens all over the world, too.
And how has this corporate fealty worked? Is its flattery rewarded? I’ll give you a quote from the speech that General Barr gave, Attorney General Barr. In a speech last week, he said that “The ultimate ambition of China’s rulers isn’t to trade with the United States. It is to raid the United States.”
China ripped off our prized intellectual property and trade secrets, causing millions of jobs[1] all across America.
It sucked supply chains away from America, and then added a widget made of slave labor.
It made the world’s key waterways less safe for international commerce.
President Nixon once said he feared he had created a “Frankenstein” by opening the world to the CCP, and here we are.
Now, people of good faith can debate why free nations allowed these bad things to happen for all these years. Perhaps we were naive about China’s virulent strain of communism, or triumphalist after our victory in the Cold War, or cravenly capitalist, or hoodwinked by Beijing’s talk of a “peaceful rise.”
Whatever the reason – whatever the reason, today China is increasingly authoritarian at home, and more aggressive in its hostility to freedom everywhere else.
And President Trump has said: enough.
I don’t think many people on either side of the aisle dispute the facts that I have laid out today. But even now, some are insisting that we preserve the model of dialogue for dialogue’s sake.
Now, to be clear, we’ll keep on talking. But the conversations are different these days. I traveled to Honolulu now just a few weeks back to meet with Yang Jiechi.
It was the same old story – plenty of words, but literally no offer to change any of the behaviors.
Yang’s promises, like so many the CCP made before him, were empty. His expectations, I surmise, were that I’d cave to their demands, because frankly this is what too many prior administrations have done. I didn’t, and President Trump will not either.
As Ambassador O’Brien explained so well, we have to keep in mind that the CCP regime is a Marxist-Leninist regime. General Secretary Xi Jinping is a true believer in a bankrupt totalitarian ideology.
It’s this ideology, it’s this ideology that informs his decades-long desire for global hegemony of Chinese communism. America can no longer ignore the fundamental political and ideological differences between our countries, just as the CCP has never ignored them.
My experience in the House Intelligence Committee, and then as director of the Central Intelligence Agency, and my now two-plus years as America’s Secretary of State have led me to this central understanding:
That the only way – the only way to truly change communist China is to act not on the basis of what Chinese leaders say, but how they behave. And you can see American policy responding to this conclusion. President Reagan said that he dealt with the Soviet Union on the basis of “trust but verify.” When it comes to the CCP, I say we must distrust and verify. (Applause.)
We, the freedom-loving nations of the world, must induce China to change, just as President Nixon wanted. We must induce China to change in more creative and assertive ways, because Beijing’s actions threaten our people and our prosperity.
We must start by changing how our people and our partners perceive the Chinese Communist Party. We have to tell the truth. We can’t treat this incarnation of China as a normal country, just like any other.
We know that trading with China is not like trading with a normal, law-abiding nation. Beijing threatens international agreements as – treats international suggestions as – or agreements as suggestions, as conduits for global dominance.
But by insisting on fair terms, as our trade representative did when he secured our phase one trade deal, we can force China to reckon with its intellectual property theft and policies that harmed American workers.
We know too that doing business with a CCP-backed company is not the same as doing business with, say, a Canadian company. They don’t answer to independent boards, and many of them are state-sponsored and so have no need to pursue profits.
A good example is Huawei. We stopped pretending Huawei is an innocent telecommunications company that’s just showing up to make sure you can talk to your friends. We’ve called it what it is – a true national security threat – and we’ve taken action accordingly.
We know too that if our companies invest in China, they may wittingly or unwittingly support the Communist Party’s gross human rights violations.
Our Departments of Treasury and Commerce have thus sanctioned and blacklisted Chinese leaders and entities that are harming and abusing the most basic rights for people all across the world. Several agencies have worked together on a business advisory to make certain our CEOs are informed of how their supply chains are behaving inside of China.
We know too, we know too that not all Chinese students and employees are just normal students and workers that are coming here to make a little bit of money and to garner themselves some knowledge. Too many of them come here to steal our intellectual property and to take this back to their country.
The Department of Justice and other agencies have vigorously pursued punishment for these crimes.
We know that the People’s Liberation Army is not a normal army, too. Its purpose is to uphold the absolute rule of the Chinese Communist Party elites and expand a Chinese empire, not to protect the Chinese people.
And so our Department of Defense has ramped up its efforts, freedom of navigation operations out and throughout the East and South China Seas, and in the Taiwan Strait as well. And we’ve created a Space Force to help deter China from aggression on that final frontier.
And so too, frankly, we’ve built out a new set of policies at the State Department dealing with China, pushing President Trump’s goals for fairness and reciprocity, to rewrite the imbalances that have grown over decades.
Just this week, we announced the closure of the Chinese consulate in Houston because it was a hub of spying and intellectual property theft. (Applause.)
We reversed, two weeks ago, eight years of cheek-turning with respect to international law in the South China Sea.
We’ve called on China to conform its nuclear capabilities to the strategic realities of our time.
And the State Department – at every level, all across the world – has engaged with our Chinese counterparts simply to demand fairness and reciprocity.
But our approach can’t just be about getting tough. That’s unlikely to achieve the outcome that we desire. We must also engage and empower the Chinese people – a dynamic, freedom-loving people who are completely distinct from the Chinese Communist Party.
That begins with in-person diplomacy. (Applause.) I’ve met Chinese men and women of great talent and diligence wherever I go.
I’ve met with Uyghurs and ethnic Kazakhs who escaped Xinjiang’s concentration camps. I’ve talked with Hong Kong’s democracy leaders, from Cardinal Zen to Jimmy Lai. Two days ago in London, I met with Hong Kong freedom fighter Nathan Law.
And last month in my office, I heard the stories of Tiananmen Square survivors. One of them is here today.
Wang Dan was a key student who has never stopped fighting for freedom for the Chinese people. Mr. Wang, will you please stand so that we may recognize you? (Applause.)
Also with us today is the father of the Chinese democracy movement, Wei Jingsheng. He spent decades in Chinese labor camps for his advocacy. Mr. Wei, will you please stand? (Applause.)
I grew up and served my time in the Army during the Cold War. And if there is one thing I learned, communists almost always lie. The biggest lie that they tell is to think that they speak for 1.4 billion people who are surveilled, oppressed, and scared to speak out.
Quite the contrary. The CCP fears the Chinese people’s honest opinions more than any foe, and save for losing their own grip on power, they have reason – no reason to.
Just think how much better off the world would be – not to mention the people inside of China – if we had been able to hear from the doctors in Wuhan and they’d been allowed to raise the alarm about the outbreak of a new and novel virus.
For too many decades, our leaders have ignored, downplayed the words of brave Chinese dissidents who warned us about the nature of the regime we’re facing.
And we can’t ignore it any longer. They know as well as anyone that we can never go back to the status quo.
But changing the CCP’s behavior cannot be the mission of the Chinese people alone. Free nations have to work to defend freedom. It’s the furthest thing from easy.
But I have faith we can do it. I have faith because we’ve done it before. We know how this goes.
I have faith because the CCP is repeating some of the same mistakes that the Soviet Union made – alienating potential allies, breaking trust at home and abroad, rejecting property rights and predictable rule of law.
I have faith. I have faith because of the awakening I see among other nations that know we can’t go back to the past in the same way that we do here in America. I’ve heard this from Brussels, to Sydney, to Hanoi.
And most of all, I have faith we can defend freedom because of the sweet appeal of freedom itself.
Look at the Hong Kongers clamoring to emigrate abroad as the CCP tightens its grip on that proud city. They wave American flags.
It’s true, there are differences. Unlike the Soviet Union, China is deeply integrated into the global economy. But Beijing is more dependent on us than we are on them. (Applause.)
Look, I reject the notion that we’re living in an age of inevitability, that some trap is pre-ordained, that CCP supremacy is the future. Our approach isn’t destined to fail because America is in decline. As I said in Munich earlier this year, the free world is still winning. We just need to believe it and know it and be proud of it. People from all over the world still want to come to open societies. They come here to study, they come here to work, they come here to build a life for their families. They’re not desperate to settle in China.
It’s time. It’s great to be here today. The timing is perfect. It’s time for free nations to act. Not every nation will approach China in the same way, nor should they. Every nation will have to come to its own understanding of how to protect its own sovereignty, how to protect its own economic prosperity, and how to protect its ideals from the tentacles of the Chinese Communist Party.
But I call on every leader of every nation to start by doing what America has done – to simply insist on reciprocity, to insist on transparency and accountability from the Chinese Communist Party. It’s a cadre of rulers that are far from homogeneous.
And these simple and powerful standards will achieve a great deal. For too long we let the CCP set the terms of engagement, but no longer. Free nations must set the tone. We must operate on the same principles.
We have to draw common lines in the sand that cannot be washed away by the CCP’s bargains or their blandishments. Indeed, this is what the United States did recently when we rejected China’s unlawful claims in the South China Sea once and for all, as we have urged countries to become Clean Countries so that their citizens’ private information doesn’t end up in the hand of the Chinese Communist Party. We did it by setting standards.
Now, it’s true, it’s difficult. It’s difficult for some small countries. They fear being picked off. Some of them for that reason simply don’t have the ability, the courage to stand with us for the moment.
Indeed, we have a NATO ally of ours that hasn’t stood up in the way that it needs to with respect to Hong Kong because they fear Beijing will restrict access to China’s market. This is the kind of timidity that will lead to historic failure, and we can’t repeat it.
We cannot repeat the mistakes of these past years. The challenge of China demands exertion, energy from democracies – those in Europe, those in Africa, those in South America, and especially those in the Indo-Pacific region.
And if we don’t act now, ultimately the CCP will erode our freedoms and subvert the rules-based order that our societies have worked so hard to build. If we bend the knee now, our children’s children may be at the mercy of the Chinese Communist Party, whose actions are the primary challenge today in the free world.
General Secretary Xi is not destined to tyrannize inside and outside of China forever, unless we allow it.
Now, this isn’t about containment. Don’t buy that. It’s about a complex new challenge that we’ve never faced before. The USSR was closed off from the free world. Communist China is already within our borders.
So we can’t face this challenge alone. The United Nations, NATO, the G7 countries, the G20, our combined economic, diplomatic, and military power is surely enough to meet this challenge if we direct it clearly and with great courage.
Maybe it’s time for a new grouping of like-minded nations, a new alliance of democracies.
We have the tools. I know we can do it. Now we need the will. To quote scripture, I ask is “our spirit willing but our flesh weak?”
If the free world doesn’t change – doesn’t change, communist China will surely change us. There can’t be a return to the past practices because they’re comfortable or because they’re convenient.
Securing our freedoms from the Chinese Communist Party is the mission of our time, and America is perfectly positioned to lead it because our founding principles give us that opportunity.
As I explained in Philadelphia last week, standing, staring at Independence Hall, our nation was founded on the premise that all human beings possess certain rights that are unalienable.
And it’s our government’s job to secure those rights. It is a simple and powerful truth. It’s made us a beacon of freedom for people all around the world, including people inside of China.
Indeed, Richard Nixon was right when he wrote in 1967 that “the world cannot be safe until China changes.” Now it’s up to us to heed his words.
Today the danger is clear.
And today the awakening is happening.
Today the free world must respond.
We can never go back to the past.
May God bless each of you.
May God bless the Chinese people.
And may God bless the people of the United States of America.
Thank you all.
(Applause.)

"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…

Children Are Quick and Always Speak Their Minds
____________________________________
TEACHER: Maria, go to the map and find North America .
MARIA: Here it is.
TEACHER: Correct. Now class, who discovered America ?
CLASS: Maria.
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TEACHER: John, why are you doing your math multiplication on the floor?
JOHN: You told me to do it without using the tables.
__________________________________________
TEACHER: Glenn, how do you spell 'crocodile?'
GLENN: K-R-O-K-O-D-I-A-L'
TEACHER: No, that's wrong
GLENN: Maybe it is wrong, but you asked me how I spell it.
(I Love this child)
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TEACHER: Donald, what is the chemical formula for water?
DONALD: H I J K L M N O.
TEACHER: What are you talking about?
DONALD: Yesterday you said it's H to O.
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TEACHER: Winnie, name one important thing we have today that we didn't have ten years ago.
WINNIE: Me!
__________________________________________
TEACHER: Glen, why do you always get so dirty?
GLEN: Well, I'm a lot closer to the ground than you are.
_______________________________________
TEACHER: Millie, give me a sentence starting with ' I. '
MILLIE: I is...
TEACHER: No, Millie...... always say, 'I am.'
MILLIE: All right... 'I am the ninth letter of the alphabet'
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TEACHER: George Washington not only chopped down his father's cherry tree, but also admitted it. Now, Louie, do you know why his father didn't punish him?
LOUIS: Because George still had the axe in his hand......
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TEACHER: Now, Simon , tell me frankly, do you say prayers before eating?
SIMON: No sir, I don't have to, my Mom is a good cook.
______________________________
TEACHER: Clyde , your composition on 'My Dog' is exactly the same as your brother's.. Did you copy his?
CLYDE : No sir, It's the same dog.
(I want to adopt this kid!!!)
____________________________
TEACHER: Harold, what do you call a person who keeps on talking when people are no longer interested?
HAROLD: A teacher
______________________________

★Cat Merch! https://crowdmade.com/collections/junskitchen

- Japan is an awesome place to visit, and no one should let "rules" get in the way of that! But Japanese culture can be very different to what we're used to at times, and some things we do that may be acceptable for us can be surprising and rude in Japan. My husband, Jun, and I put together a list of the most common things we see that can cause trouble (I speak from the perspective of having done all of these!) Mainly, this is if you plan on establishing yourself in a Japanese community through work/family--if you're visiting as a tourist then you don't really have to worry so much about it. :)

As a foreigner you won't be held to the same standards as Japanese people, but if you want to give a really good impression then these are some guidelines you can follow! None of these are things you HAVE to do. They are ideals and not always the followed practice. I just always think it's better to know the ideal standards and then you can choose how closely you want to follow them!

Rule of thumb: Just think about how your words and actions will affect the people around you before you do something! It's as simple as that. :)

Useful Japanese phrase: shouganai (しょうがない) - It can't be helped.

It's pretty similar to "shit happens." You're essentially letting a bad situation slide off your back instead of internalizing it.

FAQ:

"Can I still listen to music/text on the train/bus?"
Yes--sorry I wasn't clear. I meant only making a call on your phone. You won't be strange or rude at all if other people can't hear what you're doing!

"So you can't be outgoing in Japan?"
Of course you can! Sorry for being unclear on this, too. By "don't be emotional" I meant negative emotions. Everyone loves happy people! And some places it's perfectly fine to be loud--just take your cue from the people around you. :)

"So I shouldn't go to Japan? I'll stand out anywhere."
Again, sorry for being unclear! Yeah, foreigners are going to stand out, period. Mainly I meant through actions and not looks, but even then Japanese people don't expect foreigners to know their customs so it's fine to make mistakes! I've done EVERYTHING in this video (and still do some of them), which is why I wanted to talk about it in the first place!

"What about customizing food if I have allergies?"
A lot of restaurants list common allergens on their menus. If you're not sure you can always ask! And you can always ask to see if they'll customize your order--it's just never worked for me.

"Do I have to talk like a robot like you? :( "
No, I just suck at public speaking.（° ▽ °;）We had like maybe a dozen subscribers when I made this video and never expected it to get so much attention. I had no idea how it would end up being perceived and if I could do it again so I didn't sound so "strict" or "uptight" or scare people off from Japan then I would in a heartbeat! My new videos are less crappy. Sorry! :(

For the opposite perspective: "What not to do in America" for Japanese people - http://www.youtube.com/watch?v=9tYCQ661FII

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