"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about the game's creation, music, and design philosophies and we are taking this opportunity to combine both until-now unpublished interviews together.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…
同時也有1部Youtube影片,追蹤數超過7萬的網紅渡辺レベッカ ☆ Rebecca Butler Watanabe,也在其Youtube影片中提到,今日はミスチルの「しるし」を英語で歌ってみました♪ 今回は英語にするのがちょっと難しかったです! 色々考えて作った英語バージョンを気に入っていただけると嬉しいですヾ(≧∇≦*)ノ 作詞作曲した桜井さんによると、歌詞は恋愛真っ只中の二人の物語、又は別れた二人の物語のどちらにも取れるように書いたそうで...
「same mind think alike」的推薦目錄:
- 關於same mind think alike 在 半瓶醋 Facebook 的精選貼文
- 關於same mind think alike 在 โปรแกรมเมอร์ไทย Thai programmer Facebook 的最佳解答
- 關於same mind think alike 在 iiiNNO Taiwan Facebook 的最讚貼文
- 關於same mind think alike 在 渡辺レベッカ ☆ Rebecca Butler Watanabe Youtube 的最佳解答
- 關於same mind think alike 在 Great minds think alike, fools seldom differ. - YouTube 的評價
- 關於same mind think alike 在 Great Minds Think Alike, All Brains Taste The Same - YouTube 的評價
- 關於same mind think alike 在 What is the origin of the phrase "great minds think alike"? 的評價
- 關於same mind think alike 在 Great minds think alike Definition - Loxdale English Centre 的評價
- 關於same mind think alike 在 Great Minds Think Alike - Quotes - Pinterest 的評價
same mind think alike 在 โปรแกรมเมอร์ไทย Thai programmer Facebook 的最佳解答
+++ access token คืออะไรใน facebook ++++
😋 ปกติ facebook เปิดให้เว็บ (รวมทั้งแอพ) ที่เราเขียนขึ้น
สามารถใช้ระบบ login ของ facebook ได้
ทำให้เว็บนั้นได้สิทธิเข้าถึงข้อมูลส่วนตัวของ user นั้นๆ บน facebook
....
Continue Reading+++ What is access token on Facebook ++++
😋 Facebook is usually open for web (including apps) that we write up.
Facebook login system can be used
Make that web access to user's personal information on Facebook.
.
And in many sites, we must have seen.
Just have an account on Facebook, you can log in.
No need to waste time. Fill out a new subscription.
:
In this post will quote
Using Facebook Login
Behind that success, Facebook will give away access token
So that any web can manage user login
:
Before talking about access token, let me go back to the age of 2534
When "Timberners-Lee" delivered the world's first website.
It's a common thing that human beings use to be.
:
❣ but my weaknesses.... is in the heart
Hey, it's not the weaknesses of the website.
Well it uses HTTP potocol
Which is stateless. Don't remember any status.
The meaning is that Server is very short of memory. Alzheimer's disease.
When it gets request from browser
I don't remember where it came from???
Who sent it, I can't remember anymore!!!!!
:
🤔 to solve this cuddle nha technically
He will give you a server to send session id (or session token)
Which session id is something we can't read and long
It will be sent to browser. Keep this in the cookie.
.
.. Wrong is not that cookie.. but cookies are text
Server will send session id to browser
Keep the value in cookies (keep text on browser side)
:
Programming time on server side
Like PHP when using session _ start ();
Will tell browser to collect session id in text photos such as
PHPSESSID=tqb4s5q7k25234eabbvs11dp02
(session id is a random code)
:
But if it's another language, it may be seen in other words.
E.g. JSSIONID (JAVA EE), PHPSESSID (PHP), and ASPSESSIONID (Microsoft ASP).
.
😉 Even here session id... may think it's a ID code.
:
From now on when users click on what on the web page
Browser will be kind.
Secretly sending this session id to server automatically
Make the server recover from Alzheimer's.
... I remember where the request sent this... yay yay
.
So if the request sent in
It has the same session id
It's considered the same friends.
(Computer vocabulary says these request is in the same SESSION)
.
What if it's not the same session id
It's considered that request is not the same people.
:
👉 Benefits of session id
Will be used in conjunction with login / logout mechanism
1) When user name XXX comes in, there will be a session id.
2) When another user name YY does login, there will be a session id as a different ID.
3) When both users do logout, it will expire session id.
:
Question if we went to wash all the cookies in browser what would happen?
- answer for session id will be gone.
- So who secretly login is holding this web? What is that... huhu
- I have to logout automatically for new login... So sad. Haha.
(server doesn't remember us anymore
Because browser doesn't send session id)
:
Session id sounds like good
😨 but using user / password to login will have disadvantage such as
1) Easy to hacker to sneak in session
To wear sesion id (Cross-Site Request Forgery: CSRF)
... Technically, let's not talk about it. Read it on the
2) It is a burden for server to remember the session id. What rights you have and remember other information of user etc.
3) If you want to give the same user, login different devices such as
Web is fine. Mobile phone is good... It will be more difficult. (I have to copy session)
4) and other disadvantage not mentioned
:
😘 but he has a technique to solve the way.
.
Well, use what's called "acces token"
To get access token
I have to login with user / password to exchange it.
... We have to stand in the cat before we get access token.
Then we can use it instead of login
.
Keep us from feeding user / password often
And each user will get access token. Different look alike.
When it's time for user to do logout, access token will expire immediately.
:
😙 Here access token may compare like a key
Or maybe you can see it as a ticket or a pass... It's up to the imagination.
Difference from session id is
1) access token will not be kept in cookies
2) access token will collect information that can be revealed.
e.g. user _ id, rights, expiration date
(Not a burden for server to remember these information)
:
If you use access token with login mechanism, you will see the advantages like
1) Prevent hacker from using session by Cross-Site Request Forgery (CSRF)
2) Can login from mobile phone and just use the same user.
Just giving away access token... It's like Facebook.
(Not stored in browser cookies)
3) The server can leave a hassle login / logout duty... Throw it to authenticate service outside.
4) Server doesn't need to take care of user information.
:
😀 Cut back to see login mechanism with facebook user / password
The concept is as shown in the photo that I posted. (as an example of php)
Simple summary
- user time login
- It will sneak a switch to Facebook to do login instead.
- Then Facebook will throw back access token to our web
- Then user will use it as a pass. No need to login again.
:
There are many types of access token of Facebook such as
-User Access Token
- App Access Token
- Page Access Token
-Client Token
Each type has different rights. I can't ask for deep.
:
👉 session id and access token all this story
It's a sweet, fragrant hacker. I like it very much.
If they can steal, they can wear a login user.
Then hacker will get all rights like user... done here
.
Except we logout
To make session id or access token expire
Then the hacker will be out of bogs.
:
In the user corner. Just login.
Don't mind access token behind the scenes
But if it's a #programmer, you need to be extra mindful.
Because even four feet know that the philosopher knows.
The biggest giant. Big brother like Facebook.
Still missed it. Let access token out so that it's a big news.
.
👌 So, programming
Let's be mindful about access token. Don't fall off.
Be safe from hakcker to the best
Good luck to all of you.
:
:
Written by Thai programmer thai programmer
:
+++++++++++++
Reference
1) https://developers.facebook.com/docs/php/howto/example_facebook_login?locale=th_TH
2) https://developers.facebook.com/docs/facebook-login/access-tokens?locale=th_THTranslated
same mind think alike 在 iiiNNO Taiwan Facebook 的最讚貼文
再次回顧一下我們年初團隊參訪日本東京及福岡的心得分享。 這周來到了 #Okinawa 和不同國家城市的加速器或投資者交流到國際團隊如何進入日本及中國市場,很多的觀點其實都可以在這篇文章呼應到。
再次感謝 #PicALife Ariel Chiang 超棒的分享。
人生總會有幾件事的發生,可以讓你跳脫既有的眼光,更看清楚自己的狀態,打開天花板看到更高的可能。這趟由iiiNNO Taiwan領隊,和海內外新創團隊一起前往日本東京福岡的參訪行程,就是其中之一。
The trip led by @iiiNNO Taiwan to visit Japan startup ecosystem with Taiwan and Hong Kong startups is an intensive one that packed with all kinds of inspirations, challenges, and opportunities that challenged my status quo, allowing me to see myself with more clarity and inspiring me to build the characters my team and I need.
「你的特殊優勢是什麼?」在整趟旅行中,不管是在東京Slush展場上,或是在福岡的會議中,這是最常被問以及拿來問別人的一題。我覺得其實每個人、團隊、公司、甚至國家,都很值得思考「你的特殊優勢是什麼?」
特殊優勢(unfair advantage)的定義是:一種短時間難以輕易被複製或獲取的優勢。所以可以被學習的技能、被替換的資源,不一定是能讓恆久的優勢。反之,一個不斷創新的團隊文化、真正在乎並專注在你要解決的問題上的使命感、以及你可以吸引更多人加入你的行列成為支持網絡,這些可能才會是你的核心優勢。
但為什麼是這三個?因為這是這趟旅行感受最鮮明的三個~
Q: What's your unfair advantage?
This is the most frequently asked question throughout the trip, whether it be in the Slush exhibition or in Fukuoka. I was thinking about some hard skills at first like industrial expertise, patent, etc, but by definition: it is something that can't easily be copied and bought, so the hard skills that can be learned may not really fit the definition.
Instead, it may be the innovative mind, authenticity in caring what you're doing, and the supporting network you’re be able to build, among others. These three were the top three I observed during trip.
1.不斷創新的心智
首先在Slush Tokyo國際創業展裡,就充滿著渴慕新知與創新的心智。不僅止於創業者,一般大型企業也不小覷創業新星的創新能量,在跨領域的交流中尋找持續內部創新的啟發。整個策展也由學生義工籌劃執行,他們讓自己可以接觸新創核心,不偏食地吸收各種新知。而我們也透過不斷的交流,探索海外市場的各種可能性。
“不斷創新自己的腦袋,才有空間裝下未來”
The innovative mind.
At Slush Tokyo, you really could feel the huger for knowledge and innovation from the crowd. It’s not just limited to the entrepreneurs but also from the establish, big companies like Panasonic, we met its employees looking for inspiration to innovate the exiting in-car service, and students coming purely for the knowledge & innovative minds outside of their classroom, and myself also got to learn more about Japanese consumer markets through conversations. Keep renovating yourself so you will have room for innovation and the uncertain future.
2.專注在想解決的問題上的使命感與決心
日本對未來創新的決心可以從他們為了新創設立的福岡市新創生態圈窺知一二。
不止於一句旗幟上的標語,日本動用了一整個市府的資源去全力的支持與建構新創生態圈,從政府官員到民間單位,每一個參與在其中的人似乎都為自己能扮演推動全國新創未來的角色而競競業業。
市府人員在我們出發前已做足功課,不僅回答我們自己提出的問題,還站在每個團隊的角度去思考可能需要的資訊來做預備,在回台後也不落拍地回應新提出的問題。
福岡市長更特別排出時間與我們碰面,坐下來認真傾聽每個團隊的介紹。整個市府從事前的預備、當下的用心傾聽、到會後的照顧,完全可以感受到他們對海外創業者的用心,以及一個國家對於扶植新創產業的決心。
2. The determination to do the right things right
As of Japan, its eagerness for an innovative future for the country also revealed in their determination to build a startup ecosystem in Fukuoka.
Fukuoka startup city becomes the fastest growing startup hub since it was designated as the national strategic zone to make it an entrepreneur-friendly city. Everyone involved in this mission, whether they are officials or private parties, all devoted themselves wholeheartedly to push the city forward.
In our visit to Fukuoka city hall, the officers were so well prepared to welcome us and even thought ahead what each team might need and took our questions like theirs.
Moreover, the city mayor even took time to meet with us and listened carefully to each teams’ introductions. It was their respectful attitude for the foreign startups and the determination to do the right things right that really moved and inspired me.
3.可以吸引更多人加入你的行列成為支持網絡
#一個人走的快,一群人走得遠
為了打造新創生態圈,市府也結合民間單位如Startup cafe,提供國內外創業者一站式的服務,來連結他們所需的資源以及進入日本市場的協助,且不限於新創產業。這次@iiiNNO也與市府、福岡市スタートアップカフェ -Startup cafe Fukuoka city-, 明星和樂合辦一場讓台灣新創團隊pitch, 讓我們有一個和當地更深度交流的寶貴機會。
另外我們也拜訪了StartupGoGo-連結新創與企業的關鍵橋樑。新創和企業的合作比起一般異業合作多了更多變數,其中如果有經驗與專業的中間人來引薦催化,更有機會加速帶動整個產業鏈結。這次拜訪他們還抽出假日的時間來與我們會面,都讓我深感日本對海外新創的友好~
3. The supporting network
There’s an old saying that if you wanna go fast, go alone. If you wanna go far, go together. A sustainable startup ecosystem requires the joint forces from the government and the privates. Fukuoka startup city has closed relationship with Startup cafe, an one-stop facility to help startups and new businesses alike with the right resources. This visit they collaborated with iiiNNO Taiwan, Fukuoka startup city, 明星和樂 to arrange an valuable pitching event for us to share ideas and network with the locals. Surprisingly, they didn’t really have cafe at the site, but do have great bar and beer ;)
We also got to visit StartupGoGo, an important connector between the enterprises and the startups, which help smooth their partnerships and accelerate the industrial growth. This visit they even spent the precious weekend time to meet with us and provided helpful insights for us to know more about the Japanese market. Really appreciate their friend ness and kindness to all of us.
在用那之後,我就常想:我自己、我們團隊、我的國家,「你那難以被取代的競爭優勢又是什麼呢?」
其實這趟旅程會讓人像被X光照過一般,把所有平常沒被察覺的優缺點都被顯影出來。對我而言是一趟既痛苦又過癮的經驗,痛苦的是明白自己還有很多生命或性格裡的問題需要對付,過癮的是發現自己還有很多可以被雕塑延展的空間。
幸好這趟旅行有極包容我的創業好夥伴Bo Ray Kong,以及常常指導我們,啟發我看到領袖新高度的ORII團隊Kevin Johan Wong Emile Chan最溫暖的旅店團隊Taipei Sunny Hostel 台北天晴旅店 Lichun Tseng, Vincent Lin, 楊欽堯積極熱心的團隊凝聚者Wendy Liu, 充滿健康自信的Applato Chieh-yen Chen, 創業大前輩INSTO Taiwan Bruce Chen還有促成這一切的強大iiiNNO團隊David Kuo 陳樂樂 (Aileen Chen). 這趟旅行好寶貴的是團隊彼此間的化學效應已經凝聚合一的心,在回國後也延續這樣的情誼彼此支持。
總結這次旅程的學習跟啟發後,我現在覺得我們Pic a Life 繪本 X 生活的競爭優勢應該會是:
1.以使用者的心為心:不會停止創新滿足客戶的團隊文化
2.真心希望協助父母用愛和閱讀,陪伴孩子快樂長大的使命感
3.幸運地可以擁有一群愛我們的客戶與各界的夥伴們:在我們還不完美時就願意支持我們,一起用創新的閱讀體驗來推動親子共讀為要給予孩子最美好的禮物:生存力與愛人的能力。
那你的競爭優勢是什麼呢?
After these visits, this same question has been lingering in my mind, what are the unfair advantages of myself, my team, and my country?
Honestly, sometimes I felt like being x-rayed throughout the trip, all the unseen pros and cons of myself and my team were all revealed. It was a tough but exiting experience to me. The hard part was to realize that there were so many problems yet to be conquered, while the exciting part was to unlock the potential.
Luckily, I have a very tolerant cofounder Bo Ray kung, the coolest mentor Orii cofounders that show me what a good leader could be like, the most heartwarming team Taipei Sunny Hostel, the most proactive, passionate, and humble lady @wendy Liu, the healthy and confident Applato cofounder, the most experienced fintech startup insto, and the amazing iiiNNO team that make this amazing trip happened. One of the best thing in the trip were the friendship and teamwork the teams developed and can extend back to Taiwan.
With all these valuable supports and the lessons learned, now I think the answer for my startup Pic a Life 繪本 X 親子 would be as follows.
The unfair advantages of Pic a Life:
1. An innovative and user-centered team: always think for kids, make for families.
2. Our authentic interest and compelling belief in assisting the parents to raise a happy kid with fun reading and love.
3. Have a group of customers and partners and supporters that love us and are willing to join our moment in creating a new way of reading experience to make parent-kids reading together so easy that kids can build the ability to live and to love one another.
So, what are your unfair advantages?
#iiiNNOStartupTour , #2018SpringiiiNNOStartupTourJapan
#EatingWithApplato
#FoundingConstruction
#TaipeiSunnyHostel
#ReadingPicALife
#MakehistORII
same mind think alike 在 渡辺レベッカ ☆ Rebecca Butler Watanabe Youtube 的最佳解答
今日はミスチルの「しるし」を英語で歌ってみました♪
今回は英語にするのがちょっと難しかったです!
色々考えて作った英語バージョンを気に入っていただけると嬉しいですヾ(≧∇≦*)ノ
作詞作曲した桜井さんによると、歌詞は恋愛真っ只中の二人の物語、又は別れた二人の物語のどちらにも取れるように書いたそうです。
ちなみにこの「しるし」は、私が一番最初に見た日本のドラマ『14才の母』の主題歌でした♪
Cover of "Shirushi" by Japanese band Mr.Children.
The title means "symbol" or "proof." According to the band, the lyrics can reflect either a couple in love or a couple who has broken up.
~♪~♪~♪~♪~♪~
曲情報 / SONG INFO
~♪~♪~♪~♪~♪~
Mr.Children / Shirushi
Theme Song for TV Drama "14-sai no Haha" (14-Year-Old Mother)
Album: HOME (2007); Single released 2006
Music/Lyrics: Kazutoshi Sakurai
English Lyrics: Rebecca Butler Watanabe
~♪~♪~♪~♪~♪~
リンク / LINKS
~♪~♪~♪~♪~♪~
■HP⇒ http://BlueEyedUtaUtai.jimdo.com
■Facebook⇒ http://facebook.com/blueeyedutautai
■Twitter⇒ @BlueEyedUtaUtai
~♪~♪~♪~♪~♪~
歌詞 / LYRICS
~♪~♪~♪~♪~♪~
I think I knew it was meant to turn out this way
Since I first felt you drawing near
The way our hearts beat out of time
A tempo just the two of us could hear
No matter what pretty words I may try to say
They all come out sounding like lies
So I will crumple up the letter
To my left brain that I’ve been trying to write
I let my heart’s voice speak
Seeking out your ears, but will it reach?
As it rides along on a silent song…
Darling, darling
There are so many sides of you I’ve come to see
All of them are beautiful and special
Helping me see what true love really means
And now, darling, you’re trying to show me
With such a subtle nuance:
"Uncertainty is only a defense against a broken heart"
Somebody laughed at a photo of us and said,
“Your faces look exactly the same”
I wonder, were we always alike?
Or did we grow alike along the way?
Now that I see how much earnestness I put in
It almost seems crazy to me
Enough to feel a little bit jealous
Of the old, thoughtless me I used to be
I let my heart’s voice speak
Though not a soul will ever hear a peep
But that is okay, it’s better that way
Darling, darling
The you I know has so many faces to show
No matter what I’m doing, I think of you
And feel an ache I never used to know
More than all of the anniversaries
Marked on my calendar page
It’s that part of you filling my mind
One memory at a time, clear as day
Sometimes we laugh, sometimes we cry
And sometimes we’re just overwhelmed
But all that is proof of us two and our love
Darling, darling
There are so many sides of you I’ve come to see
And even if one day we can’t be together
I think I’d still love you forever
Darling, darling… oh, my darling
You fill up my mind with memories
So clear that they make me go crazy
Darling, darling
![post-title](https://i.ytimg.com/vi/h-pgBq4C2us/hqdefault.jpg)
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