關於 love story article in english ，我們在網路上蒐集到這些相關的討論、資訊與評價

A Christmas Story 一個聖誕節的故事

There is much good in the world. Merry Christmas and Happy Holidays!

世上仍有許多美好的事物。聖誕快樂！

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About a week ago, I saw a family receiving help from a charity. The volunteer gave them secondhand clothes and a pair of shoes to a little girl. Her father thanked the volunteer while the little girl looked so happy and jumped around in her new shoes. It deeply touched me. How fortunate I am to live in the comfort of my home without needing to worry about food or clothes on these cold winter days. It also reminded me of my childhood.

大概一個星期前，我看到某戶人家獲得慈善機構的協助。志工提供他們二手衣物，並將一雙鞋子送給了一位小女孩。小女孩的父親看見自己的女兒洋溢著幸福的笑容，連忙向志工道謝，一旁的小女孩則穿起鞋子手舞足蹈。這樣的畫面，深深觸動了我。現在的我無疑是幸運的，無須挨餓受凍，卻不禁使我想起自己的童年。

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When I was younger, my family was also disadvantaged, and I relied on government aid just to be able to eat at times. I still remember wearing secondhand clothes that don't fit and gluing my shoes together because the sole would detach whenever I ran too fast. Now, I have my own educational platform, live a comfortable life, and have a tiny bit of influence. I can and must do much more to help.

年幼時，我生長在相對弱勢的家庭，須仰賴政府補助，才能享用學校的營養午餐。我記得自己穿著完全不合身的二手衣褲，必須用強力膠把鞋子黏好，以防我跑動時鞋底又脫落。如今，我有了自己的教育平臺，生活無虞而有餘裕，也累積了些許影響力。我想，自己必須做的更多。

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I began researching possible ways to contribute to needy children, who honestly do not need English learning more than they need food in their bellies and a coat on their shoulders.

由於聖誕節將近，我開始找尋可能的途徑，來幫助那些有需要的孩子。他們需要的不是學習英語的資源，而是能夠裹腹的食物與得以禦寒的衣物。

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Taiwan has a comparatively low poverty rate, partly due to government efforts and its definition of poverty as being low-income. However, what of those not listed in the government tax records? What about those without a roof over their heads? Even when a family is making what is considered the poverty line—anywhere from 170 to 350 USD per month depending on the area—they still suffer from the lack of resources. Think of how much you are currently earning. Would a family of four or five be able to survive on that if they did not have housing?

臺灣的貧困比例相對較低，部分原因在於政府的努力，另一方面則因「貧困」的定義－－低收入。但是，那些政府未登記在案亦未申報所得稅者，以及無住房供給的人，又該如何是好？即便一個家庭的所得在貧窮線以上（視地區而定，每月所得約介於１7０至３５０美元之間），仍缺乏足夠的資源。想想我們現有的所得，如果一家四口無住房供給，他們是否能夠以此為生？

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I came across a charity program and was inspired by the following (now defunct) charity fundraiser.

我偶然發現了一個慈善計劃，並受到這個慈善募款活動（現已結束）的啟發：http://bit.ly/2WByk8q

We are five international exchange students at NTU who feel welcomed to Taiwan with open arms. In the spirit of the generosity and warmth of the Taiwanese people, we would like to give back by partnering with Andrew Charity Association to provide children in the Taipei area with Christmas gifts in addition to their monthly food boxes delivered by Andrew Charity Association.

我們五位是到臺大交換的國際生。來臺交換期間，承蒙臺灣人熱情的招待，讓離鄉甚遠的我們備感溫暖。因此，我們想與臺灣本土的慈善團體「安得烈食物銀行」合作，於歲末時以「寒冬送暖」的方式，為臺北地區的弱勢兒童送上聖誕小禮、食物箱與新年祝福，讓這份溫暖傳遞給社會中更多的人。

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因此，我立刻搜尋了安得烈慈善協會:

The food boxes from Andrew Food Bank are what these children look forward to the most every month. With the Christmas holidays coming up very soon, we hope to give them another reason to smile in addition to their boxes of food…something small but enough to surprise them and let them know that someone out there cares about them.

安得烈的食物箱是孩子們每個月最期待收到的禮物，聖誕節即將到來，在這個溫馨的節日，我們希望能夠幫助這群孩子的食物箱需用費用之外，同時另外預備適合孩子的聖誕禮物，如文具、保溫瓶等，一份額外的小驚喜，讓他們感受到愛和關懷，也是為他們打氣加油，鼓勵他們在困境中不灰心，帶著希望和勇氣迎接２０２０年。

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I contacted Andrew Food Bank asked them the procedure for donation. I then researched the organization before thinking about what I could do to help.

我聯絡了安得烈食物銀行，詢問了捐贈的相關程序。我研究了並且認同機構的服務宗旨，並思考著如何提供協助。

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Of course, I could start crowdfunding like the original fundraiser, but with Christmas so close, that would take far too long. I needed funding immediately, and then a Christmas miracle happened.

當然，我可以仿效原先的慈善活動開始募資，但聖誕節將至，這會花太多時間。我需募得資金，以實現聖誕奇蹟。

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That night, out of nowhere, I saw a picture of a sponge scrubber exceeding my new book in sales, so I thought it would be humorous to post the picture with a link to the book. That very night, we sold about 600 books! Now I have the funding needed to purchase about 150 gifts! I only make a percentage of the total revenue, so I decided to donate double of all my proceeds from the sale to purchase gifts in addition to the food boxes for these disadvantaged children. It's my small way of saying Merry Christmas to you and giving a little warmth to the needy.

當天晚上，我猛然看見一塊菜瓜布的銷量，在博客來網上超過我出版的新書，當下感到莫名的搞笑，就將之截圖下來，在粉絲專頁中發布貼文，並附上新書的連結。不知為何，當晚我們竟奇蹟般地售出近６００本書！現在，我已募得足夠的資金，得以購買１５０份禮物。由於我只能獲得銷售總額的一小部分，因此我將盡綿薄之力，以我個人銷售所得的兩倍為捐款金額，用於購買這些弱勢孩童的禮物，為有需要的人傳遞些許溫暖，並以此向支持我的朋友們獻上聖誕節的祝福。

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The most basic principle of education is caring for those around you and letting them know you care, whether they are your family, friends, or total strangers.

教育最基本的準則是關懷身邊的人，並讓他們知道你在乎他們，無論他們是你的家人、朋友，抑或是素未謀面的人。

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I am not asking you to donate. Instead, let us just remember this principle of caring. Bring a little warmth into other people's lives. There are many who need your help, and we're all capable of giving so much love and care.

我並非在請求各位捐贈，而是我們都該記得這個有愛的冬天，以及這樣的生活原則。當我們行有餘力之時，不要忘了為身邊的人伸出援手，把愛傳出去。

There is much good in the world. Merry Christmas and Happy Holidays!

世上仍有許多美好的事物。聖誕快樂！

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安得烈慈善協會: http://www.chaca.org.tw/

Eric’s English Lounge 宗旨與目標: https://bit.ly/2BaENzJ

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資料來源:
https://www.gvm.com.tw/article/72938
https://borgenproject.org/poverty-in-taiwan/
https://www.brain.com.tw/news/articlecontent?ID=45670
https://www.chaca.org.tw/happinessangel/foodbank.aspx
https://www.dodoker.com/index.php?r=project%2Fview&id=367

"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…

ที่สุด ❤

จำสี่ชื่อนี้ให้ดีครับ

Vern Unsworth
John Volanthen
Rick Stanton
Dr. Richard Harris

เพราะสี่ท่านนี้คือผู้ที่โชคชะตาพาให้เข้ามาเกี่ยวข้องกับภารกิจนี้อย่างไม่น่าเชื่อ ที่ TAF จะมาเล่าให้ฟังกันครับ

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Vern Unsworth

นักสำรวจถ้ำชาวอังกฤษ ผู้มีภรรยาเป็นคนไทย และอาศัยอยู่ในจังหวัดเชียงรายมา 7 ปี หลังจากทราบข่าวว่าเด็ก ๆ หายเข้าไปในถ้ำหลวง เขาก็รีบมาเสนอความช่วยเหลือทันที เพราะตัวเขาเองเข้าออกถ้ำหลวงมาแล้วหลายครั้ง เขารู้จักซอกมุมในนั้นเป็นอย่างดี

แต่สิ่งที่สำคัญที่สุดคือ โน้ตกระดาษแผ่นเล็ก ๆ ที่เขียนส่งให้เจ้าหน้าที่ไทย

Time is running out! (เวลาใกล้หมดแล้ว!)

1. Rob Harper
2. Rick Stanton MBE (MBE คือเครื่องราชอิสริยาภรณ์ชั้น The Order of the British Empire)
3. John Volanthen

They are the world's best cave diver (พวกเขาคือนักดำน้ำในถ้ำที่เก่งที่สุดในโลก)
Please contact them through (กรุณาติดต่อพวกเขาผ่าน)
UK EMBASSY ASAP (สถานทูตสหราชอาณาจักร อย่างเร็วที่สุดเท่าที่จะเป็นไปได้)

ต้องขอบคุณที่เจ้าหน้าที่ไทยฟังเขา และติดต่อไปยังกระทรวงการต่างประเทศ ซึ่งติดต่อไปยังสถานทูตสหราชอาณาจักร ที่ก็รีบติดต่อไปยัง British Cave Rescue Council ซึ่งทั้งสามท่านตกลงที่จะเดินทางมาประเทศไทย กระทรวงการต่างประเทศไทยจึงออกตั๋วเครื่องบินของการบินไทยให้อย่างเร่งด่วน

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John Volanthen และ Rick Stanton

คู่บัดดี้ดำน้ำในถ้ำสองท่านนี้คือนักดำน้ำในถ้ำที่เก่งที่สุดในโลก เจ้าของสถิติโลกการดำน้ำในถ้ำที่ยาวที่สุดกว่า 9 กิโลเมตรในสเปนเมื่อปี 2011

Rick Stanton เป็นนักดับเพลิงในโคเวนทรี ผู้ซึ่งได้ได้แรงบันดาลใจในการดำน้ำในถ้ำจากการดูสารคดี Underground Eiger เกี่ยวกับนักดำน้ำสองคนที่พยายามทำสถิติโลกการดำน้ำในถ้ำในตอนนั้น และทำให้เขาตัดสินใจได้ว่า การดำน้ำในถ้ำคือสิ่งที่เขาอยากจะทำ

John Volanthen วิศวกรคอมพิวเตอร์ที่ก็ได้แรงบันดาลใจจากการดำน้ำในถ้ำมาตั้งแต่ยังเป็นวัยรุ่น ด้วยบุคลิคที่มุ่งมั่นและเอาจริงเอาจัง เขารักการดำน้ำในถ้ำมาก มากถึงขนาดที่ในวันแต่งงาน เขาตัดสินใจไปดำน้ำในถ้ำเพื่อแก้เครียด

แม้ว่าพวกเขาจะไม่ชอบการเป็นจุดสนใจ และยืนยันว่าการดำน้ำในถ้ำเป็นแค่กิจกรรมยามว่างและงานอาสาสมัครเท่านั้น แต่พวกเขาทั้งสองคนสร้างวีรกรรมที่กล้าหาญที่ช่วยชีวิตคนมาแล้วหลายคน

หนึ่งในภารกิจที่มีชื่อเสียงที่สุดของ Rick Stanton ก็คือการดำน้ำเข้าไปช่วยเหลือทหารอังกฤษที่ติดอยู่ในถ้ำนานถึง 8 วันในเม็กซิโกเมื่อปี 2004 ซึ่งเขาดำไปพบและได้ช่วยให้กำลังใจและสร้างแรงผลักดันให้ทหารรายหนึ่งที่กลัวน้ำให้กล้าที่จะดำน้ำความยาวกว่า 180 เมตรออกมาจากถ้ำได้สำเร็จ

และเมื่อเขามาพบกับ John Volanthen ทั้งสองคนก็กลายมาเป็นคู่บัดดี้ที่เก่งที่สุดในโลก ที่รัฐบาลฝรั่งเศสเชิญพวกเขาไปค้นหานักดำน้ำในถ้ำที่หายไปในถ้ำลึกกว่า 1 กิโลเมตร โดยสมาคมกู้ภัยและช่วยชีวิตของอังกฤษ Royal Humane Society บอกว่าพวกเขาเป็น "นักดำน้ำในถ้ำเพียงไม่กี่คนในโลกที่มีทักษะและอุปกรณ์ และอยู่ใกล้ที่สุด" ซึ่งพวกเขาใช้เวลา 8 วันในการค้นหาร่างผู้เสียชีวิตจนพบ รวมถึงในปี 2014 ที่รัฐบาลนอร์เวย์ขอให้เขาทั้งสองช่วยค้นหาศพของนักดำน้ำในถ้ำสองรายที่เสียชีวิตในถ้ำอีกด้วย

พวกเขาไม่ต้องการมีชื่อเสียง ชอบอยู่เงียบ ๆ และทำกิจกรรมที่เขารัก แต่เมื่อมีเหตุการณ์เกิดขึ้น พวกเขาก็พร้อม พวกเขามาถึงประเทศไทยและเริ่มปฏิบัติงานทันที ทักษะและประสบการณ์ของเจ้าของสถิติโลกการดำน้ำในถ้ำนั้นช่วยให้ #หน่วยซีล ของไทยปฏิบัติงานได้ง่ายและปลอดภัยขึ้น

แม้ต้องล่าถอยออกจากถ้ำทั้งหมดจากฝนที่ตกกระหน่ำเมื่อราววันที่ 28 มิถุนายน จนมีภาพที่ผู้สื่อข่าว #BBC พยายามถามพวกเขาทั้งสองที่เดินออกมาจากถ้ำเพราะน้ำท่วมกระหน่ำว่า มีอะไรอัพเดตกับ BBC ไหม แต่ได้คำตอบเป็นหน้าบูด ๆ และสายตาที่ไม่แม้แต่จะมองนักข่าว BBC คนนั้น

เมื่อสภาพอากาศเป็นใจ พวกเขาวางแผนกลับเข้าไปอีกครั้ง และครั้งนี้เป็นการวาง "ค่ายกล" ที่ประกอบด้วยเชือกนำทางและถังอากาศทุก ๆ 25 เมตรตลอดทางที่พวกเขาไป

ซึ่งก็เป็นทั้งสองคนนั่นเองที่พบเด็ก ๆ ทั้ง 13 คน ที่พวกเขาเล่าว่า เชือกที่นำทางนั้นหมดลง ทำให้เขาต้องขึ้นสู่ผิวน้ำ และพบกับสายตาทั้ง 13 คู่ที่มองลงมา

"How many of you?" ในวิดีโอของหน่วยซีลของไทยก็คือเสียงของ John Volanthen นั่นเอง

แม้ว่าพวกเขาจะพบเด็ก ๆ แล้ว แต่นั้นก็นำมาสู่ปัญหาต่อไปว่าจะพาเด็ก ๆ ออกมาอย่างไร เมื่อทางเลือกอย่างการเจาะถ้ำนั้นยังไกลจากความเป็นจริง และระดับของออกซิเจนในถ้ำที่ลดลงจนเป็นส่วนหนึ่งที่นำมาสู่การเสียชีวิตของจ่าเอกสมาน กุนัน อดีตนักทำลายใต้น้ำ/จู่โจมของกองทัพเรือไทย ประกอบกับ #พยากรณ์อากาศ ที่เชื่อว่าจะมีฝนตกลงมามากกว่านี้ในอีกไม่กี่วัน ทำให้พวกเขาต้องเลือกทางที่เสี่ยงที่สุด เป็นทางเลือกที่ทุกคนไม่เชื่อว่าจะเป็นไปได้ และไม่เคยมีใครทำมาก่อนในโลกนี้

คือการให้เด็ก ๆ ดำน้ำออกมาทางเดิม!

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Dr. Richard Harris

นั่นทำให้ทั้งสองได้ร้องขอไปยังเจ้าหน้าที่ของไทย ให้เชิญ Dr. Richard Harris วิสัญญีแพทย์ชาวออสเตรเลีย นักดำน้ำในถ้ำที่มีประสบการณ์ 30 ปี ผู้ถือสถิติการดำน้ำในถ้ำน้ำเย็นจัดลึก 194 และ 221 เมตร ที่เชื่อกันว่าคือสถิติที่ลึกที่สุดในการดำน้ำในถ้ำในน้ำเย็นจัด เพื่อตามหาต้นกำเนิดของแม่น้ำ Pearse ในนิวซีแลนด์ ที่พวกเขาต้องวางแผนที่สลับซับซ้อนในการจัดตั้งแคปซูลกู้ภัยในถ้ำเพื่อปรับความดันและหยุดพักในน้ำที่อุณหภูมิใกล้ศูนย์องศา ซึ่งการดำน้ำของเขาในครั้งนี้เมื่อปี 2011 และ 2012 ได้นำไปทำเป็นสารคดีโดย National Geographic ด้วย

Dr. Richard Harris คือผู้ที่ประเมินสุขภาพของเด็ก ๆ ทั้ง 13 คน และตัดสินใจเปลี่ยนแผนในถ้ำเป็นการนำเด็กที่อ่อนแอและมีปัญหาสุขภาพที่สุดออกมาก่อนเด็กที่แข็งแรงที่สุด Dr. Richard Harris คู่บัดดี้ และตำรวจออสเตรเลียอีก 6 นาย ถือเป็นหนึ่งในหลายสิบชีวิตของทีมดำน้ำในถ้ำที่ดีที่สุดทั่วโลกที่ถูกเรียกตัวมายังจังหวัดเชียงรายเพื่อปฏิบัติภารกิจที่ยากที่สุด เสี่ยงอันตรายที่สุด และไม่เคยมีใครทำมาก่อนในประวัติศาสตร์ของมนุษยชาติ!

จากการประชุมและวิเคราะห์ข้อมูลกับเจ้าหน้าที่ของไทย ประกอบกับการประเมินปัจจัยเสี่ยงต่าง ๆ ทำให้ทุกคนตกลงใจที่จะเลือกวันที่ 8 กรกฎาคม เป็นวันปฏิบัติการครั้งประวัติศาสตร์ที่นักดำน้ำในถ้ำที่ดีที่สุดในโลก 50 คน จะร่วมมือกับนักทำลายใต้น้ำ/จู่โจมของกองทัพเรือไทยอีก 40 คน ปฏิบัติภารกิจนำทีม #หมูป่า ดำน้ำในถ้ำที่เต็มไปด้วยหินที่แหลมคม กระแสน้ำที่รุนแรง ทัศนวิสัยที่เป็นศูนย์ ความมืดที่มีแสงไฟที่พวกเขาถืออยู่เป็นเพียงแสงสว่างเดียว นำเด็กที่อายุไม่ถึงเกณฑ์ที่จะดำน้ำในถ้ำ ไม่มีแม้แต่ประสบการณ์ในการดำน้ำ ออกจากถ้ำหลวงที่ผู้สื่อข่าวของ CNN กล่าวว่าเกือบจะเป็นโลงศพของพวกเขา มาสู่แสงสว่างและโลกภายนอก กลับสู่ครอบครัว สู่บ้าน และสร้างประวัติศาสตร์การกู้ภัยที่ยิ่งใหญ่ที่สุดครั้งหนึ่งที่คนเป็นร้อยเป็นพันล้านคนทั่วโลกต่างต้องกลั้นหายใจเพื่อลุ้นว่าปฏิบัติการจะสำเร็จหรือไม่

และผลลัพธ์ของปฏิบัติการ ก็คือวินาทีนี้ ของวันนี้ วันนี้ Mission Impossible ถูกเปลี่ยนเป็น Mission Possible ด้วยความสามารถ การวางแผน ความพยายาม และการร่วมมือร่วมใจกันของทุกคน/TAF

#พาทีมหมูป่ากลับบ้าน #ถ้ำหลวง #ThaiCaveRescue

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Rick Stanton เคยกล่าวกับ divernet.com ว่า กีฬาดำน้ำในถ้ำนั้นเป็นกีฬาที่ไม่ค่อยมีคนรู้จัก และนักดำน้ำในถ้ำก็มักเป็นคนที่ไม่ค่อยอยากเป็นจุดสนใจ ซึ่งรวมถึงตัวเขาด้วย

สำหรับนักดำน้ำท่านอื่นๆส่วนใหญ่ BBC กล่าวว่าพวกเขาไม่ค่อยอยากออกตัวนักเช่นกัน เลยหาข้อมูลค่อนข้างยาก แต่มีจำนวนหนึ่งที่ BBC รวบรวมมาได้ตามนี้ครับ

https://www.bbc.com/news/world-asia-44761821

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ภาพจากข่าวสด English, AP, และ The Australian ตามลำดับ

TAF เรียบร้องข้อมูลบางส่วนจาก

https://www.mamamia.com.au/thailand-cave-rescue-dr-richard…/

https://www.thetimes.co.uk/…/british-divers-richard-stanton…

https://www.theaustralian.com.au/…/ae49c3cfe024fc8f00188a5b…

https://today.line.me/…/%E0%B8%99%E0%B9%89%E0%B8%B3%E0%B9%8…
Remember these four names.

Vern Unsworth
John Volanthen
Rick Stanton
Dr. Richard Harris

Because these four are the people whose fate brings into this mission that taf will tell you about.

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Vern Unsworth

British cave explorer who has a wife and lived in Chiang Rai for 7 years. After hearing that the children were missing into tham luang, he came to offer help immediately because he went in and out of tham luang. He knows the corner very well in there

But the most important thing is a little paper note that I wrote to Thai officials.

Time is running out! (time is almost over! (sighs))

1. Rob Harper
2. Rick Stanton Mbe (MBE IS THE ROYAL MACHINE. The order of the British Empire)
3. John Volanthen

They are the world's best cave diver (they are the best cave divers in the world)
Please contact them through (please contact them via)
UK Embassy ASAP (UK Embassy as soon as possible)

Thanks to Thai officials listening to him and contacted the ministry of foreign affairs who contacted the UK Embassy who contacted British Cave Rescue Council, which three of them agreed to travel to Thailand. The Ministry of Thailand, so they issued a plane ticket of Thai Airways urgently.

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John Volanthen และ Rick Stanton

These two cave divers are the best cave divers in the world. The owner of the world record, the longest cave diving over 9 km in Spain in 2011

Rick Stanton is a fireman in the coventree, who inspired cave diving from watching underground eiger documentary about two divers who tried to make a cave diving world record at that time and made him decide that cave diving is what. That He wants to do.

John Volanthen, a computer engineer inspired by cave diving since he was a teenager with a determined and serious acrylic. He loved cave diving so much. Even on wedding day, he decided to dive in the cave for stress relief.

Although they don't like being interested and insisting that cave diving is just free time activity and volunteer work, they both created a brave thing that has saved many lives.

One of Rick Stanton's most famous missions is to dive into helping British soldiers who were stuck in a cave for 8 days in Mexico in 2004, where he went to meet and helped encourage and encourage and momentum for soldiers. One who is afraid of water to dive over 180 metres out of the cave successfully.

And when he met John Volanthen, both became the best buddy couple in the French government invited them to search for a cave diver in a cave 1 kilometres deep by the rescue association of England Royal. Humane Society says they are " a few cave divers in the world with skills and equipment and nearest where they spent 8 days to find the dead bodies, including in 2014 that Norwegian government asked them both help. Find the bodies of two cave divers who died in the cave.

They don't want to be famous, like to stay quiet and do activities they love. But when there is an incident, they are ready. They arrive in Thailand and start working immediately. The skills and experience of the owner of the cave diving in cave makes #thai seals easy to work. And safer

Despite all the caves from the rain on June 28th until the #BBC reporters tried to ask them both walked out of the cave because of the flood. Cuddle update with BBC But got the answer is grumpy and eyes that don't even look at that BBC journalist

When the weather is heart, they plan back in again and this time it's a "Mechanical Camp" that consists of navigation ropes and air buckets every 25 meters all the way

Both of them found the 13 children they said that the lead rope was gone, causing them to rise to the water and meet the 13 pairs of eyes looking down.

" how many of you?" in the video of Thai Navy Seal is John Volanthen's voice.

Even though they found the children, it leads to the next problem of how to bring children out. When the cave drilling choices are far from reality and the level of oxygen in the cave is reduced to part of sergeant ek's death. Saman kun cuddle, former Thai Navy Underwater Destroyer / attack assembled with #weather forecast that believes there will be more rain in the next few days, making them choose the risky way. It's a choice that everyone doesn't believe is possible and never. Who did this before in this world

Is to let the kids dive out the same way!

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Dr. Richard Harris

That's why both requested to Thai officials to invite dr. Richard Harris cuddle Australian Anesthesiologist, cave diver with 30 years experience, a record holder of cold water cave diving, held 194 and 221 meters deep, believed to be the deepest record in diving. In cold water caves to find the origins of the pearse river in New Zealand, where they need to plan to set up a rescue capsule in caves to adjust pressure and stop in the water at near zero degrees, which his diving this time when Year 2011 and 2012 have also been made by national geographic documentaries.

Dr. Dr. Richard Harris is who assess the health of the 13 children and decided to change the cave plan to bring out the most vulnerable and health problems before the fittest children Dr. Richard Harris, buddy and 6 Australian police are one of the dozens of the best cave diving teams around the world called to Chiang Rai for the hardest, most dangerous task and no one has ever done. Before in the history of humanity!

From meeting and analyzing information with Thai officials, composed to assessments of risk factors, everyone to choose July 8th as a historic operation that 50 best cave divers in the world will cooperate with southern destroyers. The Water / attack of Thai Navy. Another 40 people are on a mission to lead the #wild boar snorkeling cave full of rocks. The cuddle th of the cuddle th of the darkness with the light they hold is the only light. Bring young children to dive in caves, no experience diving out of the royal cave, where CNN reporters say is almost their casket to light and the outside world returns to the family home and make the greatest rescue history once a person is. Hundreds of billions around the world have to hold their breath to see if the operation will be successful.

And the outcome of the operation is this second of today. Mission impossible is changed to mission possible with the ability, planning, effort and collaboration of everyone / taf

#พาทีมหมูป่ากลับบ้าน #ถ้ำหลวง #ThaiCaveRescue

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Rick Stanton once said to divernet.com that cave snorkeling is a sport that doesn't know, and cave divers are often people who don't want to be interested, including him.

For most other divers, BBC says they don't want to start too. It's quite difficult to find information, but there are a number that BBC gathered as follows.

https://www.bbc.com/news/world-asia-44761821

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Photos from live news English, AP, and the Australian respectively.

Taf smooth some info from

https://www.mamamia.com.au/thailand-cave-rescue-dr-richard-harris-rick-stanton-john-volanthen/

https://www.thetimes.co.uk/article/british-divers-richard-stanton-and-john-volanthen-at-the-heart-of-the-thai-cave-rescue-nhtrm9shr

https://www.theaustralian.com.au/news/world/thai-cave-rescue-australian-doctor-richard-harris-joins-rescue-operation/news-story/ae49c3cfe024fc8f00188a5b9b7b24b5?nk=510674cab3915f6cc2f330bc8e0ec200-1531246390

https://today.line.me/th/pc/article/%E0%B8%99%E0%B9%89%E0%B8%B3%E0%B9%83%E0%B8%88%E0%B8%88%E0%B8%B2%E0%B8%81%E0%B8%95%E0%B9%88%E0%B8%B2%E0%B8%87%E0%B8%8A%E0%B8%B2%E0%B8%95%E0%B8%B4+%E0%B8%97%E0%B8%B5%E0%B9%88%E0%B9%80%E0%B8%82%E0%B9%89%E0%B8%B2%E0%B8%8A%E0%B9%88%E0%B8%A7%E0%B8%A2%E0%B9%80%E0%B8%AB%E0%B8%A5%E0%B8%B7%E0%B8%AD%E0%B8%97%E0%B8%B1%E0%B9%89%E0%B8%87+13+%E0%B8%8A%E0%B8%B5%E0%B8%A7%E0%B8%B4%E0%B8%95+%E0%B8%97%E0%B8%B5%E0%B9%88%E0%B8%95%E0%B8%B4%E0%B8%94%E0%B8%AD%E0%B8%A2%E0%B8%B9%E0%B9%88%E0%B9%83%E0%B8%99%E0%B8%96%E0%B9%89%E0%B8%B3%E0%B8%AB%E0%B8%A5%E0%B8%A7%E0%B8%87-Jk3Q1kTranslated

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例のニューヨーク・タイムズの記事→https://www.nytimes.com/2019/07/21/world/europe/netherlands-dropping-children.html?smid=tw-nytimesworld&smtyp=cur

どうも！けいとです。オランダの儀式についてニューヨーク・タイムズで投稿された記事についてこの前英語でツイートしたんですが、日本人のフォロワーの方が内容を知りたいとおっしゃっていたので今回動画を作ってみました！語彙力０でグダグダですが少しでもリラックスしていただけたら嬉しいです☺?動画を見てくださってありがとうございました！！高評価、チャンネル登録、通知、ツイッター＆インスタフォローよろしくおねがいします＾＾励みになります！みんないつもありがとう おやすみ??

Hi! Katie here:) Earlier this week I tweeted about the article from The New York Times in which they talked about the so called 'dropping'. It's a Dutch cultural thing where groups of children, generally pre-teenagers, are deposited in a forest and expected to find their way back to base. It is meant to be challenging, and they often stagger in at 2 or 3 in the morning. In this video I talk about my experience with the dropping but in Japanese. I'm thinking about making subtitles for this video but I'm lazy and tired -_- If anyone could help me make the subtitles you'll get a big hug
Thank u so much for watching! Please follow my twitter, instagram and subscribe&like? love u guys and have a good night??

Please help me put subtitles on my videos! x
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