關於 he's never coming back and that's that i said it two times ，我們在網路上蒐集到這些相關的討論、資訊與評價

JANGAN IZINKAN IBU LAHIRKAN TUANNYA

Masa awal aku kahwin dengan isteri aku, aku dapat pakej 4 orang anak. Alhamdulillah. Yang mana 2 daripada 4 ni istimewa sikit. Dua-dua aspergers. Sorang ADD sorang lagi ADHD. Paling mencabar sekali tau tak apa? Anak-anak ni sebelum kehadiran aku, diorang ni di manjakan betul. Cukup manja! Semua nak, dapat. Tak boleh kena tegur, mesti menaangis dan membentak. 3 lelaki, sorang perempuan. Masa tu umur yang sulung 14 tahun. Yang second 12 tahun...
Continue ReadingDON ' T ALLOW MOTHER TO BORN HER MASTER

When I married my wife, I got a package of 4 children. Thank God. Which 2 of the 4 is a little special. Both aspergers. Another ADD another ADHD. It's most challenging to know it's okay? These kids before my presence, they are being pampered right. Pretty spoiled! All want, got it. Can't be told, must cry and snap. 3 men, a woman. At that time the eldest was 14 years old. The second 12 years old. Third 9 years old. Fourth of 6 years old girl.

First time entering the family, I've had a meeting done. With gangster style, long hair braids. I'm doing a LIVE FB meeting with children. In the meeting, I just entered the family, so follow my rules. I don't follow their rules.

At the beginning, many people who are nearest have started tripping and spreading stories, not saying that I will hit the kids. The swing bowl is right who reads people from this person's use.

Remember the early marriage, my wife always reminds me of me. If these kids promise anything they need to be fulfilled, they will cry badly and scream. Hard to persuade. Sometimes I want to break my breath and cry. The other one is ADHD if he cries, he can't be angry, he has to say it carefully. Because later he will be raging and coming hyper. The one who added is his own attitude. It's just his problem that he doesn't take the port. The eldest is the most pamper. Ask for whatever the confirmation gets. After that it's urgent to work.

I really don't feel like I'm suitable at all. What should I do? Wash his mother first. My wife cried when she washed her first. I said it's simple. I don't want my son to grow up to die and get everything he wants to wear. Nothing, tomorrow won't be given, he rebel like going crazy.

Everything that my wife says can't do, I prove it to my wife, everything that she thinks is wrong. I made it. I didn't see anyone doing what my wife said. I just tried to bring MCD, then I parked at the Tomyam shop. Look at all the faces that are slammed. But no one is crying.

That's where it all started. Until one part I saw my wife still wrongly. I said it's simple.

′′ Want something big, need a big sacrifice. If you maintain like this, it's too wrong that you have to follow all your child's wishes, you're afraid to say NO and then you're crying and tired of your brother Trust me. Just like this, you'll lose your brother. Choose. ′′ ′′

Hah my wife was shaking at that time.

Yes, it's not easy to fight the mother's instinct. I really understand. But have to remember, you want to be sad until when you just want to entertain the extreme motherhood instincts? How do you want your child to grow up? What's he doing today, he's already big tomorrow. You're poor, he asks for something you can't fulfill. You think he got it? That's the wrong time he just said this sentence.

′′ Why is my mom not like someone else's mom. It's okay. I am not important ′′

Heart was shaking at that time. He didn't tell me 100 times, once didn't let him release such a painful sentence?

I'm nothing, kids like this even more men, have to grow up to be men. Not a bapok, not a Kpop. Man. The world will come far more evil. Responsibility is far bigger. It is compulsory to grow up to be a man. I repeat.

MEN.

That's when my wife slowly became a mad mother. Kah kah kah. The kids were shocked at that time. Suddenly mom is good at screaming? Suddenly mom is good at tunjal head? Suddenly mom is good at slapping? Suddenly mom dares to throw her phone against the wall?

Most power if a child I say near her mother,

′′ Mom doesn't love me, I hate mom.."

If my wife used to hear this verse, she will feel sinful and crying. Now you know what my wife answer?

′′ Once you hate me, 100 times I hate you.."

Stunned again child. Feels like the tactical of playing sentiment is not going to be. Continue to continue doing homework.

After that the scene of running away from the middle of the night, haa my wife is already cuak. Look for me to tell my child to run home. Cleaning up the bag. If you're as a mother, are you rocking? 10-year-olds when they were running home. Other siblings are busy trying not to run away, they insist on running.

I told my wife I'm happy je.

′′ Do not persuade. Just ask him to run the house faster. Go help her pack the bag. Do not worry. I used to threaten my mother like this when I was small. When my mother is stupid, I stay outside for a while and then I will go home because it's scary outside the dark.. if you persuade, don't run away, believe Tomorrow he's busy threatening to run again."

My wife went down and asked her to leave her house faster. This kid won't go out after opening the door. Look at the dark outside. He immediately opened the saji headscarf, making him hungry. It's so hard to look at it.

Want to turn into a Lion, it looks evil. Many will talk about this. You say you don't love your children. If this part is not strong, it will be stupid to be eaten by these words. But you have to believe one thing. This mother and father knows her child better than all of you. He knows so much. Know which limit he can make or not. We who watch from outside don't pretend to teach other people's children, teach our own children first to let go. Look at our children today he appreciate us how.

I was worst being criticized at that time.

He said since my wife married me, my wife's attitude has changed. Getting harder. Fierce with the kids. And many more lah. I'm lazy to take a port. The one who speaks is a woman who has never tasted anything. Work is great. So bored listening to it. But I'm cooking so much, it's normal that the sound of this person's confirmation since childhood has never lived hard, the child and the one that is like diva is usually the same. Just deaf the ear. Focus on the mission for the good of the child to come.

After 3 years, I recently had a meeting with all my children. I ask, did you notice that mom used to be different from now?

All bobbing. Getting more ferocious and crazy people say.

I'm so happy to hear. Let go of that I said.

′′ Try all of you to look back at this day. What's the difference? Neno 8 years old can be brushed by school clothes. Already able to wipe Ayra out. Luth 10 years can wash everyone's dishes. Hoze is the most improvement. From my own world today, you are the most helping to work in your house. 13 years old, washing clothes, hanging clothes, sleeping ayraa, bathing ayraa. And many more. Anish, you are the eldest brother. Thank God. No more pushy. See you already understand the reality of being a brother. Every morning sitting in the kitchen helping mom cook.. that's okay. Proud for a while Dedi. Dedi is nothing, you ask Dedi's siblings if they are rude to his mother, what happens to them. Must eat Dedi's feet. You become a son, you have to be a protector to your mother. Don't make it a slave mother."

All sighs. I'm connecting again.

′′ Do you know why this Seremban house Dedi doesn't install air conditioner near Indeed Dedi doesn't let mom install air conditioner. Let me sleep hot. Learning how to use a fan. Dedi used to grow up but never sleeps in air conditioner, thank God I grew up healthy. Dedi wants anything can't just get like that. So men have to learn how to feel hard. So that tomorrow, you will learn to be grateful. I will remember your parents when they are happy. You'll be close to siblings, tomorrow this is what you'll laugh back when you tell the story. Trust me. All of these are the sweetest memories. Mother and father don't know when will die. Maybe tomorrow we die, at least Anish can take care of the younger siblings."

Everyone was laughing at that time. My eldest child will interrupt in a while.

′′ Dedi, but honestly Anish likes the current mother from mother before. Even though it's fierce, but it's true when I remember it again. All of us are good at all. I just noticed that someone else is 8 years old but doesn't even know how to take care of the baby who is a year old and shower and defecate. Luth has changed a lot. No more crying. Hardworking. Hoze has changed a lot of crazy. Playing with the phone. There's only one problem, when you have a relative, you can come, don't sit in the Just sit down once. Anyway, I swear, Anish loves the mother who was now from the old times. Even though the current mother is crazy saiko! Haha. Mom, you are Queen Of My Heart! Mother is crazy, before Anish didn't understand a lot. When Anish sees mom struggle, Anish becomes a pity. Just saw all the sacrifices of the mother for all of us."

Others bobbing heads agree and laugh with what brother anish he said.

All impressed when I remember back. Until neno's turn, she keeps crying. She really apologizes near her mom.

The most powerful, they are siblings when their aunt wants to ask them to come out. Each one has completed the job of who managed his / her sister's clothes this year, who will beat his / her younger sibling's pampers, who will manage his / her sister's pampers. All of them think for themselves. Talk to each other and manage the equipment of his little brother who is a year old. No need to have a mother with her dedi.

Power, isn't it? Two Aspergers, an ordinary person. The eldest has entered MRSM. It means that the number two child of ADD is taking over.

Even when I'm going back to hometown, my wife just gave me an order. They all clean up their own bags. My wife doesn't even mix a single dust. My wife looks like a big boss today. All homeworks are managed by the child. My wife's duty is to cook. Wash clothes, dry clothes, wash dishes, wash toilets, throw away garbage, shower ayra for a year, all the kids who manage it.

If I don't move, I won't let my wife shout out to other children. But mad at the eldest child. Let the eldest child be stressed. Whatever happened to the younger siblings, I told her mother to kill her eldest child. So when the younger siblings aren't working, fighting, the eldest brother already knows that he needs to be tiaw with his mother later. Didn't say much, he just settled his younger siblings. That's it brother!

Thank God. The story is only one. Our children, we know each other. There's a part of being fierce, there's a part that needs to be There's a part that can laugh. This mother has one veto power, but many are afraid to use it because she is not in other s' language and is so afraid that her child will hate It doesn't mean anything! It's boring to entertain the sentiment of pity that is extreme. You used to be your mother who hit your face, do you hate your mother to big? Nothing. We're fierce because we just want to educate. Not fierce all the time. More than firm. When you see your child hardworking, listen to it, there's a day that will give you a surprise Chocolate or what? Taking a walk to the park. Time with family has to be there.

If you're too spoiled, you can make your child become responsible and the person who will defend your family, I think that the Malay soldiers won't even be training hard as hard as possible. It's better for them to just pray for all the new soldiers. What do you want, everything is given. Wake up late, swipe your hair and then kiss your forehead. Even eating time is delicious. Sleeping at night comfortably, installing air conditioner. Put on the wifi.

What was it?

Before you want to say this person, ask ourselves first. Our 7-year-old child eats, is he good at washing his own dishes? Do you know how to follow your time schedule? Can you brush your own school clothes?

If you're not good at anything, don't make me feel bad about the way other father's mother educate someone's child.

The hardest episode in educating children at this age. Believe me, this will all be a longing for the kids when they leave the house later. And this also makes them siblings get closer.

Patience, victory day is coming! Early sacrifice is the most important. Fight all the wrong feelings that always play in the soul. Only one thing you have to remember, as long as you don't fight with religion. Mom is never wrong! Angry, fierce lah. Do not worry. Continue to educate our ways. Don't forget the power of Veto!

Eh forgot, waimah is a special child. What the doctor said put number two. Accompanying kids like normal kids before but there's a limit. Don't teach him to be a special child since you were young. We know our children again, right? Because I always believe, crazy people when we clap their hands twice when they want to take our food, the third time they will understand and won't take it anymore. That's the crazy person. So, Don't let the child know he's special. Don't disturb her brain. Just entertaining the same thing.

Everyone is like that. If he feels like there are advantages, there is someone who defends more, he will start to get a chance. Can't believe it? You try to pamper your child crazy. Let go of the try in front of you, someone tease him less, you see how he has torn to tears later he will get your attention.

Anyway..

Only one thing I'm still failing. Failed to change their name call among siblings. No call Along, Angah, Bangde. I feel strongly, calling this name also has a certain advantage to put the difference between the younger brother and brother. There is a family aura.

Don't forget, Father's role in psychology is important to be crazy. Because with this mother, no matter how fierce it is, the child is brave to fight. Dad must be good at playing roles. No need to touch, you need to know when you want to have a high voice. When you want to call your child, sit down and talk about others.

Become a child idol.

Trust me, step child and biological child two things that are impossible. Because the power of VETO only exists in biological children. This step child has a risk that you need to face. What happened to them, people will say that you don't love them because it's not your biological child. Painful and sad that sentence is for me. Allah knows how I love them.

I wrote it,
Mr Amir Lake

P / s: In the past my wife was criticized by the Aspie group when my wife said she educated her aspie's child in the way she was a little firm. All sorts of people are teasing, he said that this aspie child will take revenge and kill him. Have to be teased every day. Poor. My wife doesn't agree with my actions early because she holds the doctor's order. Today, I'm asking my child aspie. Tomorrow if mom gets disturbed by someone else in front of you what will you do? What did he answer? I'll hit him enough! And I asked my wife, how about the person who teased her child? He said his child is under control but sometimes he's raging badly until he's about to breath. At the same time today my child aspie is good at cooking, can do all homework and love his siblings so much.

Mr. Amir Lake creditTranslated

"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…

【時事新聞】

LeBron James at Cavs' parade: 'Let's get ready for next year'
詹姆斯實現承諾，為克里夫蘭贏回冠軍獎盃

(Cleveland, Ohio) —Jim Brown held the Larry O'Brien Trophy and walked toward LeBron James.
吉姆‧布朗(前美國職業足球員)捧著歐布萊恩冠軍獎盃並朝著勒布朗‧詹姆斯走去。

The last superstar to win Cleveland a championship 52 years ago passed the gold hardware Wednesday to James, concluding the Cavaliers' championship parade and rally. James accepted the proverbial passing of the torch from Brown, who led Cleveland's NFL title run in 1964.
上一位為克里夫蘭贏得冠軍獎盃的吉姆‧布朗，在星期三時將這座金製品交到了詹姆斯的手上，做為騎士隊冠軍遊行與集會的結尾。詹姆斯從吉姆‧布朗這位於1964年替克里夫蘭奪回NFL冠軍獎盃的球員，接下了這支眾所皆知的傳承火炬。

James, the NBA Finals MVP, addressed his teammates one by one and did not hold back. Here is James' speech from a podium off St. Clair Avenue.
詹姆斯同時也是NBA季後賽最有價值球員，毫無保留地個別向他的隊友們一一致意。以下就是詹姆斯在St. Clair大道架設的講台上所做的演講全文。

Oh, man. They asked me do I have a speech or something prepared, and I really don't. I'm just going to speak from the heart like I always do.
噢，老天。他們要我做個演講或做些有準備的發言，然而我並沒有，跟以前一樣，我喜歡直接說出自己的心裡話。

What's going on right now is still so surreal to me. It still hasn't hit me what actually happened, and for some crazy a-- reason I believe like I'm going to wake up, and it's going to be like Game 4 all over again. I'll be like, s---, we're down 2-1 still.
現在發生的一切對我而言還是如此的不真實，我還是不敢相信眼前發生的一切， 讓我相信這一切是真的原因是，睡醒不會再像是G4前的那種「喵的！我們還是1-2落後」。

Like I swear. I keep feeling that, because it's so surreal. I was talking to my wife, and I'm like, babe, we did it. You guys always see the finished product, and when we step out on the floor -- either 18 minutes before the game or Kyrie's taking a long time to put two pairs of socks on or his shoes on and we come out at like 12. You guys see it from that point to the end of the game. But what you guys do not see is the hard work behind the scenes when all these cameras and all these lights and everything are not around.
真的就是這樣，我發誓我真的是這麼想的，因為實在是太不真實了。我跟我老婆說「寶貝，我們做到逆轉奪冠了」。你們總是看到比賽的結果，看到我們走上場，或是離開賽還有18分鐘時，還是Irving要花很多時間穿上兩雙襪子或鞋子，然後你們再從我們上場時開始觀看我們，直到比賽結束。可是你們沒看到的是，在沒有錄影機和鎂光燈時，我們所付出的努力。

I heard a lot of it "thank you LeBrons" today, and "thanks for coming home and keeping your promise." But really you guys should be thanking all the guys up here to be honest. I'm just one man. I'm one man with a plan, with a drive, with determination, with will, with a belief, a strong support system at home. But I'm just one guy. I look over here at Jordan McCray, a young guy that came to our team from the D-League, and he just automatically just bought into what we wanted to do. So he was ready to do anything that we asked from him. You know, being a young guy.
今天，我聽到很多人跟我說「Lebron謝謝你」，「謝謝你回來」、「謝謝你兌現自己的諾言」， 但是說真的，你們真正該感謝的是台上每一個人… (群眾鼓掌…) 我只是一個普通人，一個有夢想、動力、決心、意志、信念，而且在家鄉有個強烈應援體系的人。但我只是一個人。轉過身，我能看到Jordan McCray， 一個從發展聯盟上來我們球隊的年輕人加入我們，幫我們成就大業。我們需要他做什麼，他都做好充分準備。

To my brother, judge. J.J., I've seen a lot of things. Like LeBron James made six straight Finals appearances. Well, s---, James Jones made six straight as well. You guys never see champ complain about playing time, complaining about shots, complaining about anything, and he's probably the most professional guy on our team J.J., thank you.
接下來我要感謝我的兄弟James Jones。我已見識過很多事情。像是大家會說「Lebron James連續六年打進總冠軍賽」， 但是他喵的James Jones也是連續六年跟我一起在總冠軍賽中奮戰！(歡呼聲)你們永遠不會看到他這個贏家抱怨上場時間太短，出手次數太少之類的，而且他可能是我們隊裡最有職業精神的球員。JJ謝謝你。

Dahntay Jones, we just picked him up. He's the luckiest man in the world. I'll tell you that. We picked his a-- up like two months ago. No, but seriously, a true professional. Competing against this guy, you always knew that you've got to be locked in. Every time he stepped on the floor, and then when he got on the team, we saw how great of a teammate he was. Also another guy that will give anything. And you guys saw that in our game, our Game 6 at home. J.R. Smith picks up three fouls. (Iman) Shumpert picks up three fouls. R.J. (Richard Jefferson) had three fouls at halftime. And Coach (Tyronn) Lue and myself, and Kyrie, we had a lot of faith in Dahntay, and Dahntay had faith in himself and gave us a huge boost to close out that quarter in Game 6. Thank you, Dahntay.
Dahntay Jones，我們之前才剛選了他。我要說，他是全世界最幸運的人， 我們兩個月前簽下他(就撿到戒指)。但不開玩笑，說真的，他非常有職業精神。你知道當你和這種人競爭時， 隨時都要卯足全力。每當他踏上球場，你就知道有他在你隊伍中是多麼棒的一件事情。接下來我要告訴你們他有多棒，他會在場上付出一切。 你們都知道G6主場，JR Smith三犯，Shumpert三犯，Richard Jefferson半場三犯，總教練Tyronn Lue、我、Irving，我們都信任Dahntay，且Dahntay也相信自己，他幫助我們贏下G6。 謝謝Dahntay Jones。

Mo Williams. Having Mo back. Me and Mo have some unfinished business last time we were together in '09 and '10. Making it to the Eastern Conference finals and losing to Orlando. Making it to the second round, losing to Boston. And we went our separate ways. But when we had an opportunity to pick him up in the offseason, I think it was great for our team, and I'm happy to be able to share this moment with Mo. Share a championship with Mo, because we had unfinished business. So thank you, Mo.
Mo Williams，我們重新簽回了Mo，在09跟10年，我跟Mo還有未完成的夢想， 前一年打進東區冠軍賽時輸給魔術，後一輪在第二輪時輸給塞爾提克，然後我們暫時分開。不過我們終於有機會於休賽期間找他過來再一次聯手，我覺得這對球隊是一件好事， 我很高興能跟Mo分享這個榮耀時刻，共享冠軍，這是我們當初未完成的夢想，感謝Mo。

And to young guy, aka, Kyrie Irving, whatever you want to call him. This guy, he thought I was blowing smoke up his a-- early in the season when I said he could be the best point guard in our league and also be an MVP in our league. And I know every single one of you watched that Finals. You all saw what this guy's capable of doing. And he's only 24. Oh, my goodness. He's only 24. He don't reach his prime for another three years. Thank you, Kyrie.
還有那個小夥子，Kyrie Irving，或者Bye-rie、Uncle Drew， 你們想叫什麼都行。這個小夥子啊…(指著Irving) 球季剛開始我告訴他，他能成為聯盟第一PG，甚至MVP的時候，他以為我在唬爛，P他LP咧！(歡呼聲) 看過冠軍賽的人，都知道他能做到我所說的！(歡呼聲) 他才24歲，我的天，才24歲，還要再過三年才會到達巔峰期，謝謝你，Irving。

You guys heard all the stories, you can't win with J.R. on your team. J.R. takes bad shots. You all heard them weak a-- stories. But when our GM (David Griffin) came to me and said we have an opportunity to get J.R. Smith from the New York Knicks, the Knicks said J.R. was a throw-in by the way. Yeah, we'll leave that to the side. But I was like I would love to have J.R. Smith. I know J.R. Smith and I know what he's capable of doing. And he showed not only is he a hell of a 3-point shooter, he's a hell of a defensive player, two-way player. Thank you, if J.R. Smith.
再來，你們都聽過各種關於Smith的傳聞，「有JR在就無法贏球」、「JR就是愛亂投球」之類的屁話， 但是當GM跟我說，我們有機會從紐約尼克隊拿到JR的時候，順便說一下，JR還是紐約硬塞一包過來的…不說這些了…。但是我當時說，我很贊成JR來，我了解JR，知道他的能力，他向我們展現了，他不只是一個要你命的三分射手，他還是個讓你喪膽的防守悍將，他攻守俱佳，謝謝你，JR。

Shump, want to thank Iman Shumpert. Another guy that we got in that deal from New York; young, hungry, guy that would do anything. Last year, you guys don't even know this because we don't ever put out our medical reports about being injured, Shump played all last year in The Finals with a partially torn groin and partially torn shoulder last year. You guys don't know that. It's not about that. We don't want sympathy; just hard work and dedication. This guy right here will run through that. Whatever the hell that is, that brick building right there, Shump will run through it.
Shumpert，另一個從紐約交易來的小子，年輕、有幹勁，願意做任何事。上個球季你們不知道他的情況，因為我們不會公布受傷的消息，去年總冠軍賽時，Shumpert鼠蹊部跟肩膀一直帶傷，去年他就是這樣過來的，只是你們不知道。這跟受傷無關，我們不喜歡被同情，只想努力且專注的打球。這個堅強的小子克服了他的傷病，不管擋在他前方的是什麼，就算是一棟磚頭砌成的樓房，Shumpert還是會往它衝鋒過去。

Now I don't know if he'll go head-first because he loves his haircut, but he'll go face-first. Shump, thank you.
現在我則不知道他是不是會先用頭去撞那堵擋住我們的牆，因為他很重視他的髮型，不過他可能會先用臉去撞牆吧…謝謝Shumpert。

Delly ... (applause) yeah, and he deserves that. He deserves that.
Dellavedova (歡呼聲)，沒錯，他值得大家為他歡呼。

If it was a bear right here, and it was Delly right here, and I shot the ball and I was wondering who was going to get to the ball first, Delly would tear that damn bear up. You all saw for the last two years, Delly giving everything. He damn near gave his life last year in The Finals. Had to go to the hospital after one of our Finals games. That's a guy who is dedicated. Who never cared about guys saying Delly's not fast enough. Delly's not strong enough. Delly can't shoot it well enough. Delly's not an NBA player. Well, guess what, Delly's a champion. Thank you, Delly.
如果現在這裡有一隻熊，跟Dellavedova，當我把球投出時，誰能先搶到這顆球？ Dellavedova會把那頭熊給撕成四分五裂的！在過去這兩個球季中，你們都看到他用盡全力的表現，像是去年總冠軍賽，他把命都賭上去了，在其中一場比賽結束後，還得直接送醫急救，這就是Dellavedova，總是傾盡全力。他從不在乎別人批評， 「Della不夠快」、「他不夠壯」、「投籃沒準星」、「他不夠格打NBA」，那現在呢？他是NBA冠軍了，謝謝Dellavedova！

Timo, another ex-Knick. But we'll leave that to the side again. When we got Timo, I remember when Griffin said we were going to get Timofey Mozgov, you want to know what's crazy? The first time I saw Timo we were in Golden State about to play Golden State. Last year you guys knew if you could cover us, which you guys did, that we needed a little more size in our interior, a little more athleticism. So I come down the elevator and Timo is in the lobby and I swear it looked like I was seeing like the biggest human being I've ever seen in my life. I looked at Griff. He said he's a big mother, ain't he? I said he is absolutely. And when I seen him the very next night, he sprint from baseline to baseline, blocked shots, tipped dunks, alley-oops. I said we've got a great one, and also, Timo, thank you so much. You're a champion as well.
Mozgov，又是一個尼克來的球員…但還是不講這個，當我們得到Mozgov的時候，我記得Griffin(騎士GM)告訴我，我們將招募他入隊，你們絕對想不到吧？我第一次看到Mozgov，我們當時就在金州準備跟勇士隊打客場，如果你們有關注上季騎士的比賽，當然你們肯定有這麼做，所以你們一定知道騎士需要一個有運動能力的高大內線。我從電梯裡下來到大廳，Mozgov就在那，我發誓我當時看到的是這輩子遇到最大隻的人類…。我呆在那裏，Griffin說，「他喵的夠大隻吧！」我回答他，當然了。我隔天晚上看到他在場上飛奔、蓋火鍋、抓籃板、空中接力， 我告訴別人我們終於迎來了一個了不起的大傢伙，Mozgov謝謝你，你現在也是冠軍了。

Sasha (Kaun), a good friend of mine texted me the other day by the name of Mario Chalmers. He said, "You know you can't win a championship without a (Kansas) Jayhawk on my team." And I said, "You're right. I won two in Miami with you, and I get another one here with Sasha being an ex-Jayhawk in Kansas." Sasha, everything you did this year that no one's seen, working out with Timo every single day, committing to the game every single day. You worked out every single day with no vision of a coaching staff or us saying, "Sasha, you're going to play." You're going to get minutes. No entitlement. No entitlement all year, and you've got to be an unbelievable person and unbelievable professional to be able to take that and still come to work every day and give it your all. Thank you, Sasha.
Sasha Kaun，我一個好友，Chalmers傳訊息跟我說，「沒有堪薩斯大學Jayhawk隊的球員，你無法奪冠」，我告訴他，「你說的沒錯，因為我在邁阿密熱火隊時跟你一起拿了兩座冠軍啊！」 現在，我又有了Sasha Kaun，他是前Jayhawk隊冠軍中鋒。Sasha，本季你的表現沒人注意到，每天努力跟Mozgov訓練，每天為了比賽投入一切，在教練跟大家沒看到的時候還是每天在訓練，甚至沒有人跟你說，你只要好好練習，你就能得到上場時間，沒有多餘的承諾，一整年都沒有。但即便如此，你還是持續努力，付出一切。你會成為一個了不起的球員的。謝謝你，Sasha。

Little Kev, aka, R.J., Dick Jefferson, whatever you want to call him. You don't know this story point, either. I've got a lot of stories. But I want to thank DeAndre Jordan, because if DeAndre Jordan did not decide to go back to the Clippers, we wouldn't have R.J. on our team. You can Google the story. I'm not going to tell you the rest of it. But it weren't for that guy, we wouldn't have him. From day one we had R.J., I knew I had a guy that was playing behind me that I could trust, ask, count on. I don't think he realized he was going to play 35 minutes in Finals games. That's why he said he quit the other night. R.J., man, like you said, your first two years going to The Finals, me and you being on the Olympic team in '04, which was a s--- show, finishing third, everything you've been through in your career ... I'm just happy I was able to be a part of you winning your first championship, brother, thank you.
Little Kev，又可稱R.J., Dick Jefferson，看你們喜歡怎麼叫他都行。Richard Jefferson，你們也不知道他故事裡的秘密，我也有很多小道消息可說，但我想在這裡感謝一下DeAndre Jordan，如果不是他反悔回到快艇，我們也不會得到Jefferson，你們可以自己上網搜尋這一段，我就不再多說了。但如果不是DeAndre Jordan，我們還真拿不到Jefferson。從他加盟那天起，我知道他是值得信賴依靠的夥伴， 只是我猜他絕對沒有想到一點…他要在一場總冠軍賽上場高達35分鐘， 我想這就是他昨天晚上說拿到戒指後要退休的原因了。Richard Jefferson，你說過你前兩次總冠軍賽都輸了，還有我們一起在04奧運夢幻隊的時候，那次真是打到爛透了，只拿到銅牌，以及其他一些你職業生涯中遭遇過的種種事件。我很高興，我能成為陪伴你生涯首冠路程上的一份子。謝謝你，老哥。

Big Kev, Kevin Love. Wow. What y'all saying? Turn around? I will in a little bit. Give me a second.
Big Kev，Kevin Love。哇！那邊的朋友們你們在說什麼？(Kevin Love) 喔！要我轉過去啊？稍等我一下下。

Kev, when I knew we had the opportunity to get you two years ago, I didn't second-guess it. I think you knew how I felt. I told you in the 2000 Olympics that in order for us to win a gold medal, you had to be our anchor in the interior, and you looked at me like, man, you don't know me, shut up. And for the last two years, you kind of looked at me like that a few times as well. But this guy is so misunderstood. Everybody says he's not a team player. He's not a winner. He doesn't do what it takes. And you saw his struggles throughout The Finals. Everything that happened from the concussion to sitting out to him having the shooting struggles and things of that nature, and everybody burying him alive throughout The Finals. To be able to respond like he did in Game 7, that's what real men do. They respond in their most adverse times. We talk about the shot. We talk about the block, but the stop, that was on a two-time MVP, by the way. That was on a two-time MVP, but I'm going to let that go. Thank you, Kev.
Kevin，兩年前我知道有機會得到你時，我一點猶豫都沒有。我覺得你知道我的感受，因為在2000年打奧運時我就跟你講過，「為了拿到金牌，你要鞏固內線」， 你當時看了我一眼，表情好像是說「你懂個毛，閉嘴」。在過去的兩年裡，你也有幾次用那種表情看著我。可是說真的，Kevin太容易被人誤解了，大家都說他不是個團隊球員，不是個勝利者，不夠盡力；你們都看到他在總冠軍賽的表現很掙扎，從他腦震盪之後，投籃沒手感，大家都在冠軍戰狂酸Love，像要把他生吞活剝，但他在G7做到了，用強勢的表現做出回應(大家拍手聲)，這就是正港男子漢的表現，真正的男人會在逆境中做出回應。我們都在講Irving的三分球，或者我的追魂鍋，但是那個防守(Curry)呢？那個防守擋下來的可是兩屆MVP喔！再說一次，Love守住的是兩屆MVP！剩下的我就不多說了，謝謝你，Kevin！

Channing (Frye), I didn't know you, man, before you got here. But I knew what you were capable of doing on the floor, and we had the opportunity to get you, I asked R.J. what type of guy he is. Said you're going to love him. I said bring him on. From day one since you got here, you've been nothing short of amazing. Both on the floor, but mostly off the floor. You are one of the greatest, funniest guys in the world. But also you're a true professional, and I'm happy to be along the ride to help win a championship with you. Thank you, Channing.
最後兩個人，我最喜歡的兩個傢伙，%F#%(故意叫錯)，啊，是Channing Frye，在你來騎士隊之前我不知道你是誰，但我知道你能做出的貢獻，而在我知道你可能要過來時，我問Richard Jefferson，「Frye是怎樣的人？」Jefferson說「你會愛上他的」，我說「那就趕快把他帶過來啊！」從你來的第一天起，你就很不可思議，場上跟場下都是，尤其在場下。你是我看過最有趣的人之一，而且也是真正的職業球員，很開心跟你一起打球，謝謝你Channing，幫我們拿下冠軍。

Last but not least. My little brother, "Double T," (Tristan Thompson) who I've been taking care of since he was 17. Just to see this guy grow every day. It's been unbelievable to be a part of it. "Double T," you talked about someone being reliable. I mean, 390 straight games? That's reliable. Knowing when you get on the court, there's going to be that guy there every single night that's a treat to have. Man. I love you, little bro. Always and forever. I love all of y'all. Thanks to all of y'all, dog. I really appreciate it. So thank you for all the "LeBron wishes" and "coming home wishes," but I'm nothing without the group behind me, man. I'm nothing without the coaching staff. I'm nothing without the city. You guys are unbelievable. And these guys told me I've got to turn around. So I'm nothing without y'all. I love all y'all. I love all y'all, and, s---, let's get ready for next year.
最後，我的小兄弟，Tristan Thompson，我從你17歲就開始罩你了！當你看著他每天一點一滴成長，你會感到這太令人難以置信了，就是那種可靠的感覺，我是說，他連續390場出賽，這就是可靠！每次當比賽開始的時候你就知道他會上場，有你真的很幸運。我永遠愛你，小兄弟。我也愛你們所有人，謝謝你們大家，真的非常感謝， 謝謝所有對Lebron的祝福，及所有給我的返鄉祝福，但是若沒有身後這群人、沒有教練團，我什麼也不是，沒有這座城市，我什麼也不是，你們太不可思議了，我該轉過身來了， (轉身)沒有你們，我什麼都不是，我愛大家，謝謝！還有，喵的，為明年做好準備吧！

原文影音，請參考下面連結：
https://www.youtube.com/watch?v=PtsH3TlA--8

#高雄人 #學習英文 請找 #多益達人林立英文
#時事新聞

The Golden State Warriors desperately
needed someone besides Earl Boykins to make a basket in the
fourth quarter. Gilbert Arenas obliged.

The ice-cold Arenas made a 3-pointer and running layup in the
final 90 seconds, allowing the Warriors to hold on for a 102-98
victory over the Philadelphia 76ers that kept their playoff
hopes alive.

The Warriors saw their 25-point lead cut to 87-75 entering the
fourth quarter and had no one providing any offense besides the
5-5 Boykins, who scored 10 of his 23 points in the final period.

"I've always said that the fourth quarter is the easiest quarter
in the game," said Boykins, who made 8-of-14 shots. "You don't
have nothing to look forward to. You just have to go all out,
right there. Tonight, I was able to make my shots."

The 76ers pulled within two points three times, including 97-95
with 1:40 remaining on a driving layup by Aaron McKie.

Arenas was practically the only Warrior who did not have a hand
in their blistering first half. Having missed nine of his first
10 shots, Arenas pulled the trigger on a 3-pointer that gave
Golden State a 100-95 lead with 1:26 to go.

"I caught a great look and I didn't have a great look all
night," Arenas said.

We've (Arenas and himself) been doing this all year and tonight
was no different," Boykins said. "It's just a matter of who
wants the ball, and tonight we both wanted it."

Keith Van Horn answered eight seconds later with a 3-pointer,
again making it a two-point game. Philadelphia's Eric Snow fell
out of bounds with one rebound and Boykins ran down another
before Arenas drove the left side and banked in a runner for a
102-98 lead with 17 seconds left.

"He didn't have many points tonight, but he had five really
important points in the last minute and a half of the game,"
Warriors coach Eric Musselman said. "We put the ball in his
hand on the middle pick-and-roll and he took it to the rim."

Van Horn missed two free throws and Snow missed a 3-pointer,
allowing the Warriors to improve to 2-1 on their critical
five-game road trip.

Antawn Jamison scored 26 of his 30 points in the first half for
Golden State (36-37), which remained 2 1/2 games behind Phoenix
(37-34) for the eighth and final playoff berth in the Western
Conference.

"This is a tough stretch and we have to do well in this
stretch," Jamison said. "We know we have a chance but we have
to play near perfect basketball."

Allen Iverson had 28 points and 10 assists for the Sixers, who
are 2-3 since posting a 15-2 mark coming out of the All-Star
break. They fell 1 1/2 games behind New Jersey in the race
for the Atlantic Division title.

"That's what happens when you get down (25) points," Iverson
said. "You fight and fight and get back into the game, and then
at the end of the game everything has to go perfect. It don't
work that way in this game."

The Sixers were swept in the season series by the Warriors for
the first time since the 1996-97 campaign. Philadelphia coach
Larry Brown, who picked up three technical fouls in the two
games, did not meet the media afterward.

"He's just resting up," assistant John Kuester said. "We're
going to take a trip to Atlanta. He's very disappointed. This is
a tough loss."

In the first half, Jamison and the Warriors were red-hot and
Iverson, Brown and the Sixers lost their cool.

Jamison scored 16 points in the opening period and Golden State
made nine of its last 11 shots, building a 33-24 lead. His
fast-break dunk extended the advantage to 47-32 midway through
the second quarter.

In the last five minutes of the first half, Derrick Coleman was
called for flagrant and technical fouls and Brown and Iverson
were whistled for technicals. Golden State scored four straight
easy baskets off turnovers and built its largest lead at 66-41
with 30 seconds to go.

"(At halftime, Brown) said, 'I'm not going to throw any tirade
or anything, or I could be in here for hours telling you all
what you did wrong,'" McKie said.

It was still 70-45 early in the third quarter before the Sixers
began their comeback. They turned up their defensive pressure
and relied on Iverson, who scored 12 points in the period.

Philadelphia opened the fourth quarter with a 10-2 run that
Boykins halted with two free throws. Layups by Kenny Thomas and
McKie made it 91-89 with 5:12 remaining, but Boykins answered
again, this time with a jumper and a runner that rebuilt the
lead to six points with 3:35 left.

"With Iverson having five fouls, we tried to keep it in Boykins'
hands," Musselman said. "He about 12 points in 11 minutes in
the first half and we felt that he really had his confidence
going tonight."

"He played great," Iverson said. "He showed a lot of heart for
a guy that size. That speaks for itself. The guy plays with his
heart and the ability that God gave him. Never under estimate
anyone on this level."

Three-time scoring champ hits career high

Allen Iverson gave the crowd an electrifying performance to remember. Then the fans returned the favor with raucous ovations he won't soon forget.

"That's when you get the goose bumps," Iverson said. "You honestly don't really feel it when the shots are going down. You don't ever get the goose bumps until the fans start to appreciate what you're doing out there."

The Philadelphia star scored 60 points, a career high and the most in the NBA this season, to lead the 76ers to a 112-99 victory over the Orlando Magic on Saturday night.

Iverson, averaging an NBA-leading 29.7 points, was 17-of-36 from the field and made 24 of 27 free throws. His previous high was 58 against Houston on Jan. 15, 2002.

"I score a career high and we won the game," Iverson said. "That's how you draw it up in your dreams."

It was the first 60-point game in the NBA since Tracy McGrady scored 62 for Orlando against Washington on March 10, 2004, Indiana's Jermaine O'Neal had the previous high in the NBA this season, scoring 55 points against Milwaukee on Jan. 4.

Iverson, who had 54- and 51-point performances in consecutive games in December, also had the fourth-highest total in 76ers' history, behind only Wilt Chamberlain.

Iverson scored 29 points in the first half, banging and crashing all over the court while helping the 76ers turn it into a rout.

After Orlando went on a mini-run in the third that cut a 25-point deficit to 11, Iverson hit a 3-pointer from the right side as time expired to reach 40.

Then Iverson earned a standing ovation for points 50 and 51.

He stole the ball and was fouled hard on a layup attempt, slamming against the floor as he seemingly always does. The crowd erupted and stood in appreciation for Iverson, who went to the line and made a couple of free throws.

It was the same for points 59 and 60 -- two more free throws. The fans were on their feet each time Iverson had the ball in the fourth quarter, giving a routine game the feel of a Game 7.

"When they're up, when they're making noise and they're feeling good, that makes you feel good, that makes you feel good about people coming out to see you," Iverson said. "It's something they might remember and cherish for the rest of their lives."

The game certainly left an impression on Sixers coach Jim O'Brien.

"I've never witnessed a performance like this," O'Brien said. "This is the greatest performance I've ever witnessed."

Iverson was consistent from the start, scoring 17 points in the first quarter, 12 in the second, 11 in the third, and 20 in the fourth. Eleven of his fourth-quarter points came from the line.

"It was just attacking, attacking, attacking all night," Iverson said. "I guess that's why I went to the free-throw line as much as I did. I didn't settle for jump shots."

The 76ers pulled within one game of Boston for the Atlantic Division lead and are one game under .500 (25-26). They haven't been at .500 since they were 6-6 on Nov. 26 and haven't had a winning record since they were 4-2 on Nov. 14.

Maybe Philadelphia needs more 40-point games from Iverson -- the 76ers are 5-1 when he reaches that mark this season. Iverson also had his ninth 50-point regular-season game. He's scored 50-plus three times in the playoffs.

Corliss Williamson added 18 points for the 76ers. He started in place of Kenny Thomas, sidelined by a back injury.

Steve Francis scored 32 points for the Magic, and Grant Hill had 16.

"It was one of those nights from a superstar performer," said Magic coach Johnny Davis, who coached Iverson in his rookie season (1996-97). "We had different defenders on him all night. He just had a dominant game."