Question 1

last light結局鴨頭 嘉人 在Facebook 的評價

Accepted Answer

【キンコン西野の今】

昨日の夜は大阪・道頓堀でサロンメンバーさんとの呑み会がありました。

映画公開前の呑み会が「ただの呑み会」なわけがなく、まぁ、お察しの通り、映画『えんとつ町のプペル』の決起集会ですね。
「映画公開に合わせて、大阪・道頓堀も盛り上げちゃおう」といった趣旨です。

今日は映画のエンディング主題歌の収録があって、それが終われば、また、一人でも多くの方に映画館に足を運んでもらう為の準備です。
ナンジャカンジャで明日の朝まで仕事。

作っては、空き時間を見つけて広報活動。
作っては、空き時間を見つけて広報活動。
賽の河原のように、最近は、この繰り返しです。

　
たとえば、学校のテストとかなら、テスト勉強をしていたら、今度のテストのおおよその点数が分かるじゃないですか？
　
実は、M-１グランプリとかも、今年の自分達が、どのあたりに食い込むかは、もう夏頃には、大体わかるんです。
各劇場でネタをかけて、そのウケと、ライバル達のウケを見ているので。

書籍も、メガヒットするかどうかは分からないですが、５万部売れたらヒット、絵本だったら５０００部売れたらヒットという世界なので、発売前の段階で、自分の新刊が合格ラインを越すかどうかは、おおよそ想像がつく。
クラウドファンディングで予約をとったり、事前に仕掛けていれば、尚のこと。

ただ、映画ばっかりは、蓋を開けてみないと分からない。
　
『えんとつ町のプペル』は作品の規模感としては、５０万人動員では大失敗のレベルなんです。
週末も名古屋が入っていますが、今、全国を飛び回って、本当に毎日のように、映画館に足を運んでもらう為の活動をしていますが、個人でいくらやっても、５０万人とかは届かないじゃないですか？
力技で届く領域じゃないくて、力技は上手くいっても起爆剤でしかなくて、今回の挑戦は明らかにムーブメントを起こさないといけない。

そのくせ、僕は何百人というスタッフの生活と、オンラインサロンだけでも、少なくとも７万人以上の期待を背負ってしまっている。

何もしなかったら恐怖で潰れそうだから、「あとは何ができる？」と自問自答して、やれる努力を片っ端からやるのですが、結局、どれだけやっても不安を拭い去ることはできない。

そりゃあ、まあ、気持ちが落ち着くことはないし、
少しでも油断するとハゲそうだし、
「また、厄介なところに首を突っ込んじゃったなぁ」と思うのですが、

こうして死にそうな目に遭わないと、生きていることが確認できない身体になってしまっているのは事実で、もう、昔みたいな暮らしに戻る方法はすっかり忘れてしまいました。　

僕にもあったんです。朝起きて、テレビを見ていた時代が。
今はもう「他人の思い出」みたいになっていますが。

でも、最近……これは完全に棚ボタなんですけど、やたら「ありがとうございます」と言われるんです。
こうして次から次へと無理難題にぶつかっていく姿が、励みになっているみたいで、いや、そりゃ、多少はエールのつもりでやっている部分もありますが、おそらく、誰のエールにもなっていなくても僕は今の道を選んでいるので、「誰かの為にやっています」とは言い切れない。だから、「ありがとうございます」と言われると、少し、モゾモゾしてしまいます（笑）

今、映画公開に向けて「ゴミ人間」というそこそこ人気の連載コラムをやっておりまして、是非、ご一読いただきたいのですが、

一昨日、『えんとつ町のプペル』の誕生に深く関わったスタッフの話を書いたんです。

(こちら↓)
https://thetv.jp/news/detail/1009417/

その子は、もうこの世界にはいないのですが、僕が日本中から叩かれている時でも、構わず僕を信じてくれていた子で、先日、ET-KINGのイトキンさんの話をさせていただきましたが、それと同じ理由で、『えんとつ町のプペル』という作品を作り、届けることが、彼女やイトキンさんのことを忘れさせないことに繋がってます。

何が言いたいかと言うと、

多くのスタッフや、
７万人を超えるサロンメンバーや、
「ありがとう」と言ってくれる人達や、
天国に逝っちゃったスタッフやイトキンさんや、
そのご家族の皆様や、その仲間の皆様…

といった本当にたくさんの方の想いが今回の挑戦には乗っかっていて、ちょっとやそっとでは白旗をあげるわけにはいかなくなっていて、
「ああ、こういうものを背負った時に人は強くなるんだなぁ」と実感しています。

　
ありがとうございます。

まぁ、なかなか眠れない人が続きますが、「今、頑張らなくて、いつ頑張るんだ」という話なので、映画公開まで後５０日間ほど、走り抜けたいと思います。

見届けていただけると幸いです。

▼西野亮廣の最新のエンタメビジネスに関する記事(1記事=2000~3000文字)が毎朝読めるのはオンラインサロン(ほぼメルマガ)はコチラ↓
https://salon.jp/nishino

▼Instagram版はコチラ↓
https://nishino73.thebase.in/items/25497065

━━━
２０２０年１２月２５日公開！
映画『えんとつ町のプペル』

▼オンラインムビチケ（特典付き）の購入はこちら↓
https://mvtk.jp/Film/070395

https://youtu.be/qDXuyUVRAuU
[now in xin nishino]

Last night we had a drinking party with salon members in dotonbori, Osaka.

The drinking party before the release of the movie is not ′′ just a drinking party ′′ but as you can see, it is a rally of the movie ′′ a in town ′′ (in Japanese)
It is the purpose of ′′ Let's make it up in dotonbori, Osaka in conjunction with the release of the movie

Today there is a recording of the ending theme song of the movie, and when it is done, it is also ready to carry a lot of people to the cinema.
Work until tomorrow morning at nan ja.

Make it, find free time and PR activities.
Make it, find free time and PR activities.
Like Kawara, these days, this repeat.

　
For example, if it's a school test or something, if you're studying test, you'll know the approximate score of the next test?
　
In fact, it might be the m-1 Grand Prix, and I know about which area we are going to be in the middle of the summer.
With a story in each theater, watching the uke and the uke of the rivals.

I don't know if the book is going to be a mega hit, but if i sell 5 million parts, it's a hit, and if it's a picture book, it's a world called hit, so I'm going to have a good time with my new book in the stage before the release. Whether or not, I can roughly imagine.
If you make a reservation with crowdfunding or set it in advance, it's a good thing.

I just don't know if I can open the lid all the movies.
　
in a town ′′ is the level of failure in 50 million mobilization.
Nagoya is in the weekend, but now I'm flying around the country, and I'm really doing my activities to carry my feet to the cinema like every day, but no matter how much I do it personally, 50 Can't you reach a million people?
It's not the area that can reach the power skill, but the power skill is going well, but it's a detonator, and the challenge of this time has to be clearly a movement.

That's right, I've been carrying over 7 million expectations for hundreds of staff lives and even just online salon.

If you don't do anything, you'll be crushed by fear, so I'm going to ask myself what I can do later, and I'm going to do all the effort I can do, but after all, I can't wipe my anxiety.

Ohhh, well, I don't feel relaxed,
A little bit of careless looks bald,
′′ I think I stuck my neck in a messy place again

This is the fact that if you don't get to die, you're becoming a body that can't be confirmed that you're alive, and you've already forgotten how to go back to life like a long time ago.

I had one too. When I woke up in the morning and watched TV.
Now it's already like ′′ memories of others ′′

But recently...... this is totally a shelf, but it's said to be ′′ thank you......
This is how the next one is going to be a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of Even if I don't, I'm choosing the path now, so I can't say ′′ I'm doing it for someone," So when you say ′′ thank you," it's a little bit of a bit of a bit of a bit of a bit of a bit of a bit

I'm doing a very popular serialized column called ′′ garbage human ′′ for the release of the movie, and I'd like to read it.

The day before yesterday, I wrote a story about the staff who were deeply involved in the birth of ′′ a in town,"

(here ↓)
https://thetv.jp/news/detail/1009417/

The child is not in this world anymore, but even when I was slapped from Japan, I was a child who believed in me, and the other day, I was able to talk about ET-King's light. But for the same reason, it is connected to making and delivering a piece called ′′ a in town," and not to forget about her or light.

When you say what you want to say,

A lot of staff and
Salon members over 7 million people,
People who say ′′ thank you ′′
The staff and light who have gone to heaven,
To all the family and their friends...

So many people's thoughts are on the challenge of this time, and it's not going to be a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of
′′ Oh, I realize that people will be strong when they carry something like this

　
Thank you very much.

Well, there are people who can't sleep, but," I don't have to try hard now, when I'm going to do my best," so I'm going to have to run through about 50 days until the movie is released.

I would appreciate it if you could watch it.

▼ an article about the latest entertainment business of ryo nishino (1 articles = 2000 to 3000 characters) can be read every morning online salon (almost mail magazine) is here ↓
https://salon.jp/nishino

▼ Instagram version is here ↓
https://nishino73.thebase.in/items/25497065

━━━
Released on December 25, 2020!
The movie in a town ′′

▼ Buy Online Bangabandhu (with perks) here ↓
https://mvtk.jp/Film/070395

https://youtu.be/qDXuyUVRAuUTranslated

Question 2

last light結局謙預 Qianyu.sg 在Facebook 的評價

Accepted Answer

【師父的祝福】SHIFUS WISHES(English writing below)那天看完2019年最後一場的風水後，客人給了我這個紅包。她見過我三次，說我每一次都戴著這孔雀的胸針，所以特地給我這有孔雀圖案的紅包封。很可愛的心思。我這孔雀胸針不是一般的孔雀，祂是南無大孔雀明王的座駕，是師父2014年在台北的中觀堂送我的。他說，我們做這一行，會遇到行行色色的人，看風水的家有時「煞氣騰騰」，我得保護好我自己，才能利己利他。而這胸針有受過我根本上師，蓮生活佛，在孔雀明王大法會上開光加持。師尊曾說：「孔雀明王」象徵三如來 -「孔雀明王」是釋迦牟尼佛的受用身，因為釋迦牟尼佛在祂的過去世當中，有一世曾經當過孔雀王，所以是釋迦牟尼佛本身的受用身。「孔雀明王」是阿彌陀佛的變化身，《阿彌陀經》裡面提到西方極樂世界有「共命之鳥」，有孔雀、鸚鵡、迦陵頻迦，其中的孔雀，就是阿彌陀佛的變化身。毗盧遮那佛大日如來相貌很莊嚴，祂整個一切相貌就是孔雀明王的相貌。孔雀明王戴大日如來冠，就是大日如來毗盧遮那佛的等流身，相等的身，因為有這三佛本身的法力集合在一起，所以「孔雀明王」能夠改變定業，定數難逃的也能夠轉化，所以「大孔雀明王」威力無窮。（資訊來源：www.tbsn.org)孔雀的天性能吃毒，蜈蚣毒蛇毒蠍都不懼，而且越吃孔雀羽越美麗，身子還會發亮。就算是化學的毒，孔雀也能把我們身上的毒都吃光，有解毒的功效。因為是師父的囑咐，所以我出道至今，每當工作時，一直都戴著，也能加強我賜福給眾生的能力。看到最近武漢肺炎病毒的新聞，讓我想起2003年SARS蔓延的時候。那時我還在新航任職空姐。每天翻開報紙，看電視新聞，都是今天又死了多少人，多少人被感染。每次去飛行時，難免會想今天會不會輪到自己受感染，萬一像那位把SARS病菌帶回新加坡的前空姐，使自己的家人都患病，如何是好？我工作運一向很好，公司取消了很多航班，可我還是世界各地到處飛，連 on standby 都被叫去飛往巴黎，那期間薪水絲毫沒受影響。*哭笑不得～眾生殺業過多，所以過去十多年來，有許多新病種都是從動物傳染給人類，是人類的自作自受。在這裡，奉勸各位我們吃一般的家禽和魚類，其實已經很夠吃了，不要因為貪新鮮或圖個好奇，就去吃野味。貪心的人，從來不會有好結局。在玄學裡，蝙蝠猶如鼠。若這武漢肺炎病毒，真是從蝙蝠或鼠類動物蔓延開來，因為與庚子年有沖克之故，這病毒的殺傷力將會很大。讓我告訴你，就算武漢肺炎病毒被控制下來，這幾年也依然會有另外一個超級細菌出現。風水方面， 藥物不要貪方便，而放在客廳見得著的地方，如桌上或櫃子上。把藥物（中藥、西藥、保健品）收起來，能避免家中的人常生病。基本的保護措施，大家應該都有讀到，大家要照做，才能護己護他，是一善也。真佛宗的師兄師姐們，我們比一般平民百姓還幸運，因為我們有「阿彌陀佛」罩著。請記得要披甲護身和結界。師尊慈悲傳下許多法門供我們受灌頂修持，從瑤池金母心咒、高王觀世音真經、大救難咒、上師心咒到孔雀明王心咒等等。配上好的生活習慣，我們就能做好有形和無形的保護措施，好好地迎春接福。新春不說掃興話，但人要避得了凶才能趨吉，所以看風水時，永遠是先化煞，才催旺，看八字也是先解決客人的問題，才開運。我在這裡祝福大家：竹報平安，新春如意。.......................That day after my last 2019 Feng Shui audit, the client gave me this red packet. She had seen me thrice, and observed that I wore this peacock brooch every time. So she specially gave me this red packet with a peacock motif. How adorable of her. This brooch of mine is no ordinary peacock. It is the throne of Mahamayuri, bought by Shifu at Taipei’s Zhong Guan Hall. He said, we are bound to meet people from all walks of life in our work, and in the homes we do Feng Shui audits for, the energies can be very clashing to our bodies. So I must protect myself well, to benefit both myself and my clients.This brooch is also personally consecrated and blessed by my Grandmaster, Living Buddha Lian-Sheng, at the Mahamayuri Homa Ceremony. My Grandmaster expounded: Mahamayuri represents three Buddhas -Mahamayuri is the sambhogakaya of Shakyamuni Buddha because in one of his previous lives, Shakyamuni reincarnated as the Peacock King. Mahamayuri is the nirmanakaya of Amitabha Buddha. According to the Amitabha Sutra, there are jivajivakas, peacocks, parrots, and kalavinkas in the Western Pure Land. The peacocks are the nirmanakaya of Amitabha Buddha.Mahamayuris appearance is one and the same as Mahavairocanas, very dignified. The Mahavairocana crown that Mahamayuri wears signifies Her origin is Mahavairocana and that She is the nisyandakaya of Mahavairocana. Because Mahamayuri embodies the integrated Dharma power of these three Buddhas, She is even able to change predestined karma, which otherwise would be impossible to avoid. Therefore, Her power is enormous and infinite. (information from www.tbsn.org/english2)The peacock is able to eat poison, and has no fear of posionous animals like centipedes, snakes and scorpions. In fact, the more poison it eats, the more beautiful its feathers become, and its body will radiate with light. Because its the wishes of Shifu, I have been wearing this brooch ever since my debut. Every time I see a client, I  wear it to increase my ability to bestow blessings on the client.Reading about the recent Wuhan virus, I was reminded of 2003 when SARS hit Singapore. I was still in SQ as a flight stewardess at that time. Every day when I read the papers or watch the news, it would be about how many had died from SARS, and how many are infected. It was depressing. When I went for my flights, I worried if I would be the next infected one. What if I became like that ex-flight attendant who brought SARS into Singapore, killing some of her family? My work luck had always been good. During the SARS period, SQ cancelled many flights, but I was still flying everywhere and even got called up for a Paris flight while on standby. My salary didnt went down at all. *dont know whether to cry or to laugh...The killing sins of sentient beings are too many and have went overboard, hence in the past decades, there are many new strains of diseases that originated from animals, spreading to humans. This is the retribution of humans. I advise everybody not to be greedy. The usual meat consumption of poultry, fishes and other farm-bred livestock are already sufficient. Do not eat wildlife out of silly curiosity or nonsensical adventures.   Greedy people never come to a good end. In Chinese Metaphysics, bats are like rats. So if this Wuhan virus indeed originated from bats and rat-like animals, due to clashes with the Metal Rat year, the damage from this virus will be devastating. Let me tell you this, even if it gets contained, there will be another super virus very soon.Feng Shui wise, do not place medication (TCM or Western, supplements too) on visible table tops or cabinet tops, out of convenience. Keep the medication inside the cabinets or drawers, for this will prevent frequent sickness in the family. You would have read from the news the basic precautions you should abide by. Please take note and do it. It is kindness when you protect yourself so as to protect others.To my Dharma brothers and sisters of True Buddha school, we are more fortunate than the common man in the street, as we have the protection of Amitabha Buddha.  Please do not neglect the Armour Protection mantra and demarcation.Out of compassion, our Grandmaster had transmitted many Dharma practices for us to seek empowerment and cultivate, from the Root Guru Mantra, Golden Mother Mantra, High King Avalokitesvara Sutra, the Great Relief from Calamities Mantra, to the Mahamayuri Mantra etc.With good lifestyle habits, we will be take good visible and invisible prevention measures against this virus, and herald in good fortune from the Spring season. We Chinese do not say dampening words during Chinese New Year, but we must first evade danger before we can receive auspiciousness. So when I audit Feng Shui, I always negate the clashing energies for my client, and then activate the good ones. For a Bazi, similarly I will first resolve the clients problems, before teaching the client how to open up his/her own door of good fortune.I wish every one of you: peace and good health in this new year.

Question 3

last light結局半瓶醋 在Facebook 的評價

Accepted Answer

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 games 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 its way too much. [The following interview contains some spoilers for Nier: Automata, including the games 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 users choice award where the players themselves select the winners, so Im 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 havent 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: Thats 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 arent accustomed to playing difficult action games. We always thought of making the game into something thats 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, its not that different from our other titles, or at least we didnt feel like it was that different. The one major difference was that this was the first game that Ive 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 dont, 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-sans scenario and Okabe-sans music, once its 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 its 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 its not all revealed with the games Ive created so far. Im not sure if Ill have an opportunity to disclose that secret, but if I do, I might one day create a game that delves more into why its Emil and why I continue to wear Emils mask. I dont 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. Theres no reason! We werent 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 didnt care what we showed. Oh, wow, thats 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 cant remember them all, so Im definitely happy to take the credit without remembering why. Taura: Yeah, lets 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, its 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 thats 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 didnt 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-sans debut single. We didnt even get permission from them, so its 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. Were open to any kind of opportunities for anything, ever. Even if its 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, youve never created a direct story sequel before, theyve 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 havent 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 youre kind of in Tokyo, in an area thats more modern? I kind of want to delve into that storyline a little bit more. So if Im allowed to create a new Nier title, thats what I want to create. But thats just me speaking as a fan of the series, so I dont 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 its 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 well 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. Thats 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 youve wanted to do for a while? Yoko: Its not that I brought over that idea to Nier: Automata, the greatest reasoning why I did this is because I wanted players who havent played the original title to enjoy Nier: Automata so you can enjoy the game without knowing anything about the previous game. Thats the biggest reason why we took a storyline thats so far in the future that it really didnt have anything to do with the previous title. A common through-line for Yoko-sans games is flowers: the lunar tear in the Nier series, the flower in Zeros 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. Its the same as Emil like I talked about earlier, I just havent revealed it anywhere. There is a meaning, which is why they keep on coming back in my games, but I havent 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 theres 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 didnt want to impose my feelings and thoughts. I actually feel that its fine if some people feel its fun to kill in our games. If thats all that they feel from the game, then its fine, because its their freedom to feel what they want from the game. To answer your question, I think that its fine to have that happen. Taura: I actually have the same answer, too. I feel like if its fun to fight, thats great as a game designer. But if you feel bad to kill these cute little robots, thats 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 Im actually happy to create a game that creates those kind of differences within the players as well. Yoko: Thats 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, thats something we didnt really aim to do. Just as we mentioned earlier, Im really happy that players were able to take it on their own and experience it on their own, then we didnt just provide something for people to take it as-is on face value. I feel like its 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 2Bs design? Yoko: [laughs] Dont straight men like cute girls? Isnt that common knowledge? I didnt 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 its because I did something thats more of a taboo in the western world where I talked about sexuality or gender that openly on Twitter, but thats actually...so, I do know that what I said did not just creative positive buzz and theres some negative buzz around it as well, but I feel like it kind of has to do with the Japanese culture where were not too strict about gender and sexuality and being more open about talking about those things. I think its the same thing as reading manga as an adult, its a little bit different when you think about it because in Japan thats more common, its not considered something weird or something outlandish. With that kind of feedback that I get from fans, I just feel like its 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 games universe, is that something you feel doesnt translate across all regions? Yoko: I actually dont think [translating across regions] has a lot to do with sexuality. I dont 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 dont 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 its harder for western fans to grasp the whole stories of these games when theres Japanese-exclusive media about it expanding the lore? Yoko: Of course we cant localize everything because we have limitations in budget, so its really difficult to do all of that, but I actually think there really isnt a need to know everything, either. The meaning I have behind Emils mask or the flowers you asked about, like I said its 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. Its 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 dont 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 dont need that extra knowledge to enjoy it. It may add a little bit depth to the knowledge that you have, but you dont 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 dont 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 theres really no point in knowing everything that happens in the world. Maybe a lot things, but not everything, right? Whats more important is how you interact with people around you, immediately around you, and I think thats the same with video games. You dont 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 cant localize everything in America, or America never gets everything, thats 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 were 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, hes very laid back on Twitter, but when you actually really talk to him, hes 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 dont 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 thats definitely true. Yoko: Its a very true headline. Why do both of you think that Nier: Automata was more successful than Yoko-sans previous games or most other PlatinumGames titles? Taura: Mainly because PlatinumGames sensibilities were much better than Yoko Taros. Yoko: I actually think its 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 werent really in the red, but it wasnt 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 Im 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 doesnt 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 thats 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: Its the latter. I would want our players to freely interpret what Ive created just on their own, to grasp something for their own. I feel thats one of the interesting aspects of video games is that you are able to freely interpret whats 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 doesnt 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. Thats 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 Id like to challenge myself more. To answer your question, yes, Id like to try that, but Id also do whatever kind of jobs Im 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 cant really aim to do, so I think that Ill 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, its obviously more of a composer than a writer, but I dont 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 Ive 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 Im 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 theres 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. Im 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 dont for others. Off and on, I guess. Its 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 its really happy and joyful and theres really no reason for Link to get out of there and fight Ganondorf because youre already living happily. You dont 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 couldnt really get into liking either of the characters. I also couldnt 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 its 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, theres a limit to what you can do. If you are to create a six-minute game, because you cant 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 its only six minutes, you cant 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 youre time-limited, no matter how much you refine the quality of the world around you or the characters, if youre limited to six minutes theres just so much you could do that the game wont become good at all. That was an example for me to say that theres a limit to what you can do in video games. Okabe-san, in the music for a lot of Yoko-sans 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 theyre in the timeline of our current world, its so much in the future that it should feel kind of foreign. Thats one of the reasons why I went for language we cant 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 wasnt 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 Automatas 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 Ive always felt that it doesnt feel right when the protagonist has a happy after theyve killed so many enemies during the course of their journey. Thats why in Replicant and Gestalt, or my previous titles, the protagonist pretty much ended up dying because I didnt 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, theyve been killing a lot of enemies, but theyve also been killed by them many, many times, and regenerated many times. Theyve 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 whats 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 thats karma in a sense for humans, the way that video games grasp the true essence of humanity, whether or not thats 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, its not a Japanese title. Id actually love to see how western titles are developed, because I have no insight into how theyre 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 theres 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: Im 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 dont 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 thats telling me I shouldnt do it are about equal. Were either of you surprised by Nier: Automatas 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 didnt 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 didnt feel until this time in Yoko-sans 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 games 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 didnt 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 theres 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 doesnt really fit in with the game plan, I dont really want to do that, which is why I had that expression on my face. After we talked about it, Yoko-san mentioned that wasnt 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, its 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 dont need to have a good voice, its just to give that feeling that youre playing with all these developers. Development teams from Square Enix, PlatinumGames, and also some composers from my company who didnt work on Nier: Automata are singing in it as well. Theres 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 youve 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. Isnt that kind of similar to Drakengard 3s actual ending? Yoko: Similar, but I actually wanted to go for something funny, or shockingly stupid. But no one would let me. Source： https://www.gameinformer.com/…/talking-to-yoko-taro-platinu…

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