"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about the game's creation, music, and design philosophies and we are taking this opportunity to combine both until-now unpublished interviews together.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3部Youtube影片,追蹤數超過2,580的網紅masa - masa,也在其Youtube影片中提到,ご視聴ありがとうございます! English comment is after Japanese. back numberの「水平線」をカバーさせていただきました。 予告なく8/18に突然発表された新曲です♪ 詳細はリンクのオリジナルMVの説明欄をご覧いただければと思いますが、 back numb...
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ตั้งแต่ดูหนังมา. หนังเรื่องนี้เป็นหนังที่ผมกล้าแนะนำทุกคนแบบสุดเสียง
“2,215 เชื่อ บ้า กล้า ก้าว”
ไม่ใช่แค่”น่าดู”
“แต่..ต้องดู”
หนังเรื่องนี้สร้างจากโครงการ”ก้าวคนละก้าว”ของ”ตูน บอดี้สแลม”เมื่อปลายปีที่ผ่านมา
ซึ่งกลายเป็น”ปรากฏการณ์”ที่ยิ่งใหญ่ที่สุดครั้งหนึ่งของประเทศไทย
เมื่อคนๆหนึ่งวิ่งจากใต้สุดไปเหนือสุดของเมืองไทย
ก่อนที่”ตูน”จะเริ่มโครงการนี้. เขาเข้าไปคุยกับ”พี่เก้ง”จิระ มะลิกุล.
ตอนแรก เขาอยากให้ GDH ช่วยตัดฟุตเทจจากการ LIVE ของการวิ่งไปบางสะพานเป็นหนังหรือบันทึกความทรงจำ
แต่”พี่เก้ง”และ”วรรณ”วรรณฤดี. พงษ์สิทธิศักดิ์ โปรดิวเซอร์มือทองของ GDH บอกว่าการทำหนังกับการบันทึก LIVE นั้นแตกต่างกัน
ขอเป็นโครงการใหม่ที่”ตูน”กำลังจะทำดีกว่า
“พี่เก้ง”ชอบวิ่งอยู่แล้ว.
เขาเคยไปวิ่งกับ”ตูน”มาแล้วในโครงการบางสะพาน
ได้เห็นความงดงามและพลังดีๆตลอดข้างทางที่”ตูน”วิ่ง
GDH ดึง”ไก่”ณฐพล บุญประกอบ คนเขียนบทภาพยนตร์มือดี และผู้กำกับหนังสารคดีหลายเรื่องมาเป็นผู้กำกับหนังเรื่องนี้
“ไก่”กำลังเรียนต่อที่นิวยอร์ค เรื่องสารคดี
เขาบินกลับมาทันทีเมื่อรู้ว่าได้ทำโครงการนี้
”ไก่”และน้องๆอีก 5 คน ติดตามบันทึกภาพการวิ่ง 2,215 กิโลเมตรของ”ตูน”
สารคดีแบบนี้ไม่มี”บทภาพยนตร์”ล่วงหน้า
เพราะไม่มีใครรู้ว่าจะเกิดอะไรขึ้นตลอดเวลา 55 วันนี้
จากวันนั้นจนถึงวันนี้
7 เดือนกว่า
ฟุตเทจทั้่งหมดก็กลายมาเป็นหนังสารคดีที่ยิ่งใหญ่
“2,215 เชื่อ บ้า กล้า ก้าว”
..............
ผมดูหนังเรื่องนี้เมื่อสัปดาห์ที่แล้ว
ขอ”พี่เก้ง”เหมารอบให้นักเรียน ABC ทุกรุ่นได้ดูกัน
หวังจะเป็นจุดเริ่มต้นที่ดีของการร่วมบริจาคเงินตามเป้าหมายของ”ตูน”
ตอนแรก"ตูน"ตั้งใจที่จะให้ทุกคนได้ดูฟรี
"ตูน"ขอเปลี่ยน"ค่าตั๋ว"เป็นเงินบริจาคเพื่อจัดซื้ออุปกรณ์ทางการแพทย์ ให้แก่อาคารนวมินทรบพิตร ๘๔ พรรษา คณะแพทยศาสตร์ศิริราชพยาบาล
"ราคาตั๋ว"ขึ้นอยู่กับเราจะให้ค่ากับหนังเรื่องนี้แค่ไหน
"คิงเพาเวอร์"ให้การสนับสนุนโครงการนี้เต็มที่
เหมาโรงทั้งในเครือเมเจอร์และเอสเอฟให้คนดูฟรี 700,000 กว่าที่นั่ง
แต่ตอนหลังมีคนบอกว่าถ้าเปิดให้ดูฟรีอย่างเดียว. คนที่อยากดูแต่ขี้เกียจไปลุ้นหน้าโรงว่ามีที่นั่งว่างหรือเปล่าจะไม่ไปดู
เขาก็เลยเปิดขายบัตรตามปกติแต่ราคาถูกเป็นพิเศษ
และเพิ่มช่องทางให้คนที่อยากส่งต่อแรงบันดาลใจบริจาคเงินก้อนหนึ่งเข้ามูลนิธิและเหมาโรงให้นักเรียนหรือคนในบริษัทมาดู
"2,125 เชื่อ บ้า กล้า ก้าว"เป็นหนังที่น่ารักมากๆครับ
หนังเรื่องนี้พาเราให้ย้อนอดีตกลับไปสู่ช่วงเวลาแห่งความสุขอีกครั้งหนึ่ง
เรื่องราวของผู้ชายรูปร่างผอมบางคนหนึ่ง.
บนเวที เขาเป็น"ร็อคสตาร์"อันดับหนึ่งของเมืองไทย
แต่ช่วงเวลานั้น "ตูน"คือ คนที่ทั้ง"บ้า"และ"ดื้อ"กับเกมที่เขากำหนดขึ้นมาเอง
55 วันกับระยะทาง 2,215 กิโลเมตร
ไม่มีการผ่อนปรนอะไรทั้งสิ้น
มีฉากหนึ่งที่ทีมงานบอกให้"ตูน"เลิกแวะถ่ายรูปหรือทักทายกับคนที่ยืนรอตามทาง
แต่"ตูน"บอกว่าเขาทำไม่ได้
ทุกคนอยากเจอเขา
ถ้าเขาวิ่งผ่านไป. ภาพนั้นก็จะยังติดตาเขาอยู่
แล้วจะ"คาใจ"ว่าทำไมไม่ทักทายคนที่รอเจอเขา
นั่นคือ "ตูน"
......
สิ่งที่ผมชอบมากในหนังเรื่องนี้ คือ บทภาพยนตร์
"ไก่"เก่งมาก
เขาเขียนบทจาก"ความจริง"ที่เกิดขึ้น
แต่เสริมแต่งอย่างเหมาะสม
ไม่ว่าจะเป็นการสัมภาษณ์พ่อ-แม่ของ"ตูน"ถึงวัยเด็ก
หรือการใช้เส้นเรื่องจากการสัมภาษณ์"กบ"บิ๊กแอส
คนที่แต่งเพลงให้"ตูน"
และเข้าใจ"ตูน"มากที่สุดคนหนึ่ง
เพราะ"ตูน"เป็นคนขี้อายที่จะพูดถึงตัวเองในมุมดีๆ
คำพูดของ"กบ"จึงช่วยทำให้เรารู้จัก"ตูน"มากขึ้น
ในมุมที่เราไม่เคยรู้มาก่อน
บอกได้เลยว่าหนังเรื่องนี้คมคายขึ้นเพราะคำพูดของ”กบ”
แต่ละประโยคของ"กบ"คมมากครับ
ในหนังเราจะเห็นว่าแท้จริง”ตูน”ก็เป็นคนธรรมดาคนหนึ่ง
ไม่ใช่”ซูเปอร์ฮีโร่”
มีทั้งอารมณ์เกรี้ยวกราด ขว้างของ บนรถบ้าน
ดื้อกับแม่
หรือมุขแป๊กในบางเวลา
แต่”ความยิ่งใหญ่”ของ”ตูน”คือ ขนาดของ”หัวใจ”
คุณเคยดูหนังที่ไม่อยากให้จบไหมครับ
ตอนที่หนังเดินเรื่องมาถึงเชียงราย
เรารู้แล้วว่าหนังกำลังจะจบ
เพราะอีกนิดเดียวก็ถึง”แม่สาย”
ปลายทางของการวิ่งครั้งนี้
แต่เรายังอยากดูต่อ
ไม่อยากให้จบ
แต่ไม่ว่า”ความปรารถนา”ของเราจะเป็นอย่างไร
“ความจริง”ก็คือ”ความจริง”
หนังเรื่องนี้ต้องจบ
เหมือนกับ”ชีวิต”ที่ต้องมีการแยกจาก
ถ้าถามว่าหนังเรื่องนี้ให้อะไรกับเรา
ตอบได้เลยครับว่าให้แรงบันดาลใจที่ท่วมท้น
ได้ตั้งคำถามกับตัวเองว่าเราได้ทำอะไรเพื่อผู้อื่นบ้างหรือยัง
ไม่ต้องเป็นสิ่งที่ยิ่งใหญ่ระดับชาติเหมือน”ตูน”
เพราะทุกคนมี”ขนาด”ที่เหมาะสมของตัวเอง
ไม่ต้องทำใหญ่เท่าเขา
แต่ให้ทำแบบเขา
ทำเพื่อคนอื่น
มีคนถามผมว่าเขามีเงินอยู่ก้อนหนึ่ง
จะบริจาคเข้ามูลนิธิทั้งหมดหรือเหมาโรงให้คนในบริษัทหรือนักเรียนได้ดูหนังเรื่องดี
คำแนะนำของผมก็คือ...
“เหมาโรงเถอะครับ”
เพราะผมเชื่อว่าหนังเรื่องนี้เหมือน”น้ำ”และ”ปุ๋ย”ที่จะช่วยให้ต้นไม้”ความดี”ในใจที่ทุกคนมีอยู่เติบโตขึ้น
ถ้าแค่ครึ่งหนึ่งของคนที่ได้ดูหนังเรื่องนี้คิดจะทำเพื่อคนอื่นแบบ"ตูน"
สังคมไทยคงงดงาม
..........
วันที่ดูหนังฝนตกหนักทำให้มีที่นั่งเหลือพอประมาณ
ผมติดนิสัยชอบดูหนังคนเดียวแบบโล่งๆก็เลยเลือกที่นั่งแถวหน้าๆ
เป็นแถวที่ไม่มีคนนั่งเลย
ช่างเป็นการตัดสินใจที่ถูกต้องมาก
เพราะหนังเริ่มไปแค่ 5 นาที.
นัยน์ตาเริ่มมีความเปียกชื้นมาปกคลุม
ถ้ามีคนนั่งติดกัน. ผมจะรักษาฟอร์ม นั่งนิ่งๆ ปล่อยให้น้ำตาเอ่อไปเรื่อยๆ.
ความมืดในโรงหนังมีประโยชน์ตรงนี้
ถ้าเราไม่แสดงอาการ ไม่มีใครรู้หรอกว่าเรากำลังร้องไห้
ถ้ารำคาญมากก็แกล้งคันตาหลังจากซีนนั้นผ่านไป
แล้วก็พยายามดึงอารมณ์ไม่ให้คล้อยตามหนัง
จะไม่ยอมเสียฟอร์มควักผ้าเช็ดหน้าขึ้นมาเด็ดขาด
แต่วันนี้สบายมากครับ
ทั้งแถวที่นั่ง ไม่มีใครเห็น
ผมควักผ้าเช็ดหน้าออกจากกระเป๋ากางเกงอย่างสง่าผ่าเผยเลย
ถอดแว่น แล้วซับน้ำตา
ก่อนเก็บผ้าเช็ดหน้าเข้ากระเป๋า
ผ่านไปอีกพักหนึ่ง. เฮ้ย...คลออีกแล้ว
เหมือนเดิม
ควักผ้าเช็ดหน้าขึ้นมา เสร็จแล้วเก็บเข้ากระเป๋า
พอถึงกลางเรื่องเอาอีกแล้ว
ครั้งนี้ผมควักผ้าเช็ดหน้าวางไว้บนตักเลย
ท้า”ไก่”ณัฐพล. ผู้กำกับฯในใจ
รู้แล้วว่าเขาไม่หยุดแน่
เอาเลย”ไก่”... ตามสบาย
"ผ้าเช็ดหน้า"พร้อม
"2,125 เชื่อ บ้า กล้า ก้าว"ไม่ใช่หนังเศร้า
แต่เป็นหนังที่น่ารักมากๆ
คุณเคยเจอหนังที่น่ารักจนจนน้ำตาคลอเพราะความประทับใจไหมครับ
หนังเรื่องนี้เป็นแบบนั้น
..........
ตอนใกล้จบของ”2,215 เชื่อ บ้า กล้า ก้าว”
มีฉาก”ตูน”บอกกับทีมงานก่อนลงไปวิ่งครั้งสุดท้าย
“จบแล้ว ไม่ทำอีกแล้ว”
เหมือนจะบอกทีมงานที่เหน็ดเหนื่อยทุกคนว่า”อาทิวราห์ คงมาลัย”จะไม่ทำอะไรบ้าๆแบบนี้อีก
ผมเชื่อว่าฉากนี้”ไก่”คงไม่ได้คิดเอง
แต่ทีมงาน”ก้าว”กดดันผู้กำกับ
ขอให้มีฉากนี้ในหนัง
เพื่อเป็นหลักฐานยืนยัน
เวลา”ตูน”คิดอะไรบ้าๆขึ้นมาอีก
ทุกคนจะเอาฉากนี้ให้”ตูน”ดู
“สัญญาว่าไง”
เพราะทุกคนรู้ดีว่า”ตูน”คงไม่จบแค่นี้แน่นอน
“เส้นชัย”สำหรับ”ตูน”
มันคือ “การสิ้นสุด”ของสิ่งหนึ่ง
เพื่อจะ”เริ่มต้น”สิ่งใหม่เท่านั้นเอง
เพราะนี่คือ”ความสุข”แท้จริงที่เขาได้ค้นพบแล้ว
Since I watched the movie. This movie is a movie that I dare to recommend everyone.
" Haha. I believe that I'm crazy. I dare to
Not just "nice to watch"
"But.. must watch"
This movie is made from the " One Step " project of " Toon Bodyslam " at the end of the year.
Which became the greatest "phenomenon" of Thailand.
When someone runs from south to the north of Thailand
Before "Toon" starts this project. He went in to talk to "Brother Keng" Jira Mali KUl.
At first he wanted GDH to help cut the foot from the live of running to bang saphan or a movie.
But " Brother Predatory " and " Wan " Wan Rit Dee. Pongsak, GDH's golden producer said that the movie making and live recording is different.
Let's be a new project that "Toon" is about to do.
"Brother Predatory" likes to run anyway.
He has been running with "Toon" in Bang Saphan project.
I have seen the beauty and good power on the side of the road that "Toon" runs.
GDH Pull "Kai" Nathaphon Bunprakkkkkkkkkkkkkkkkkkkkkkkkkk
"Chicken" is studying in New York about documentaries.
He flew right back when he found out this project.
" Kai " and 5 other sisters follow the 2,215 km run of " Toon "
Documentaries like this don't have " screenplay
Because no one knows what will happen all the time 55 today
From that day till today
Over 7 months
All the footage became a great documentary.
" Haha. I believe that I'm crazy. I dare to
..............
I watched this movie last week
Asking for "Brother Predatory" to buy round for all models of ABC students to watch.
Hope to be a good start of donating money according to "Toon" goal.
First episode "Toon" intended to let everyone watch for free.
" Toon " would like to change " ticket " to buy medical equipment for Akaranwamin 8 4 Buddhist Lent of Medicine Siriraj.
"Ticket price" depends on how much we value this movie.
"King Power" supports this project.
Buying both major and SF group for more than 700,000 seats to watch.
But later, someone told me that if I open it for free only. Those who want to watch but lazy to see if there is an empty seat. I won't go to see.
So they are open for sale as usual, but it's cheap.
And add a way to those who want to pass on inspiration to donate money to the foundation and buy a school for students or company.
"Haha. I believe that I dare to step" is a very cute movie.
This movie takes us back to the happy times.
The story of some skinny man.
On stage he is the number one "rock star" in Thailand.
But that moment " Toon " is the one who is " crazy " and " stubborn " with his own game.
55 days and 2,215 km distance
No respite at all
There is a scene where the team told "Toon" to stop by to take photos or say hi to those who are waiting along the way.
But "Toon" says he can't.
Everyone wants to see him
If he runs through. That picture will still be stuck in his eyes
Why don't you say hi to those who wait to see him?
That's "Toon"
......
My favorite thing in this movie is the movie.
"Chicken" is very good
He wrote a script from "truth"
But enhance the proper decoration.
Whether it's an interview for "Toon" to childhood.
Or using the line from the "Kop" interview.
The one who wrote the song for "Toon"
And understand one of the most "Toon"
Because "Toon" is shy to talk about himself in a good corner.
The words of " Kop " help us know more about " Toon "
In a corner we never knew.
I can tell that this movie is sharp because of the words of " frog
Each sentence of "Kop" is very sharp.
In the movie, we will see that "Toon" is an ordinary person.
Not a " superhero
There is a temper, angry, throwing stuff on the car.
Stubborn with mom
Or a joke some time
But the " greatness " of " Toon " is the size of " heart "
Have you ever finished watching a movie that you don't want to finish?
When the movie came to Chiang Rai
We knew the movie was about to end.
Because just a little bit more to "Mae Sai"
Destination of this run
But we still want to continue watching
Don't want to finish
But no matter what our "desire" is.
" Truth " is " truth "
This movie must end
Just like "life" to be separated from
If you ask what this movie gave us
I can answer that it gives overwhelming inspiration.
Have you asked myself what have we done for others?
No need to be a national big thing like "Toon"
Because everyone has their own "size"
No need to do it as big as him
But let's do it like him
Do it for others.
Someone asked me if he had a bar of money
Do you want to donate to all the foundation or buy theaters for people in the company or students to watch movies?
My advice is...
"Let's buy the shed"
Because I believe that this movie is like " water " and " fertilizer " that will help the " goodness " in mind that everyone has growing up.
If only half of the people watched this movie think about doing it for other people like "Toon"
Thai society would be beautiful
..........
Movie day. Heavy rain makes a lot of seats left.
I'm addicted to watching movies alone, so I choose front row seats.
It's a row where there is no one to sit.
What a right decision
Because the movie started for 5 minutes.
Eyes are getting wet.
If someone sits in a row. I will keep the form, sit still, let the tears, uh, go.
Darkness in the theater is useful here.
If we don't show symptoms, nobody knows we're crying.
If you are very annoyed, pretending to be itchy after that scene has passed
Then try to pull the mood from the movie
I won't lose the form to take a handkerchief.
But today is very comfortable.
The whole row of seats, no one can see.
I took the handkerchief out of my pants gracefully.
Taking off my glasses and tears
Before packing handkerchief in the bag
It's been a while. Hey... again
Same same same same as usual
Finished taking the handkerchief and packed it in the bag.
When it comes to the middle of the story again
This time I put my handkerchief on my lap
Challenge "chicken" at cuddle thaphon. Director in mind
I know he won't stop
Go ahead "chicken"... at ease.
"Handkerchief" ready
"Haha. I believe that I dare to step" not a sad movie.
But what a lovely movie
Have you ever met a movie that is so cute that you cry because of the impression?
This movie is like that
..........
Near the end of "Haha. I believe that I dare to step"
There is a scene "Toon" to tell the team before going down to run for the last
"It's done. I won't do it again"
It seems to tell all the tired team that " Sunday, I will never do anything crazy like this.
I believe this scene "chicken" doesn't think about it.
But the team "step" pressures the director.
Let's have this scene in the movie
For proof of confirmation.
When "Toon" thinks more crazy
Everyone will show this scene to "Toon"
" What do you promise
Because everyone knows that "Toon" won't end this for sure.
" finish line " for " Toon "
It's the "ending" of one thing.
To "start" something new
Because this is the true "happiness" he has discovered.Translated
happy ending back number 在 謙預 Qianyu.sg Facebook 的最佳解答
【賭上靈魂的女人】
青竹蛇兒口,黃蜂尾上針,兩者皆不毒,最毒婦人心。
I have a Bazi client, who has been a social escort for over a decade.
She didn't tell me the truth at the start. In fact, she "challenged" me to use my 6th sense and offered her Bazi.
I do not need your Bazi to read you inside out. Also, Bazi analysis is a highly methodological and scientific method to understand a person's past, present and future Destiny. I'm no medium. There is no 6th sense needed.
Over the many short messages before our meeting, she expressed her shock that I could read so much from merely her words.
I didn't have her birth details at that time, nor had I seen a single photo of hers.
With the internet era, a competent Metaphysics practitioner must have the ability to dissect a person's true character and intention, even from a simple "Hi".
Impossible? Too judgmental? You just haven't met a seasoned human scanner in real life. Or you don't know the true you well enough to see the rock hard truth in our words.
While messaging me questions about a (legitimate) business of hers, I replied with a verse written by my Grandmaster, Living Buddha Lian Sheng:
"君子愛財,取之有道。
不義之財雖到手,
無限後患跟著來。"
(While wealth is covetable, a gentleman makes his wealth through just and ethical means.
Ill gotten wealth, though in your hands, will elicit endless troubles pouring your way.)
She was astounded and asked, "Do you actually know what my job is? This is shocking..."
I guess I passed her challenge with flying colours.
.
She wasn't a sex worker, due to harsh circumstances like severe poverty or mountains of heavy medical bills for her family.
A drunk gang rape incident in her uni days changed her views on men and she wanted to take revenge on men. She lived a life of drugs and alcohol in between her lectures.
The way I see it, is her obsession for money that caused her downfall.
On one hot summer day in 2006, she answered a social escort advertisement. She was barely 21 and was influenced by what she read online.
The "Mama-san" who looked her over told her she needed to put on weight.
She was surprised. Wasn't it easier to earn money with a slim figure?
The Mama-san snapped, "Nonsense. Most men dislike a woman who is too slim. They prefer those with some flesh."
She silently made a promise to herself to swallow more burgers.
Her first client was an Arabic businessman. She was paid US500 for one hour.
That virgin taste of easy money lured her deeper and deeper into the abyss.
Clients of powerful backgrounds, Singapore and overseas, single and married, private and government sectors...one-on-one, multiple players, mass orgies...
She lived like a bird freed from her cage. Suddenly she could buy anything she desired, just by sweet talking and giving lusty men access to her nubile body. She was in and out of hotels, as frequently as 5 times a day.
The carefree lifestyle, the freedom of not answering to any boss and those money that poured from the sky was her drug.
In her own words, she was "the woman that all wives curse and fear".
She referred to herself as the woman the wife will loathe to find traces of existence, when the wife checks her husband's handphone with trembling hands.
It was as if she took pride in that.
How did her cause of seeking revenge on men become a twisted path of demolishing other women's marriages?
.
It didn't take her long to accumulate 6-figures in her bank account.
The more money she had, however, the more insecure she became.
She worried about losing it all. She deeply craved the warmth of love to complete her soul.
She was only 22. The client was manly, handsome and charming. He gave her $20K for her company.
She badly wanted him for her own. To be his wife.
With $100,000 withdrawn, she gave it all to her 2nd Mama-san. She decided she would use black magic to lock his heart. And soul.
But it was a fraud. The Mama-san started exhorting from her.
She was desperate and down to her last $2. She began stealing from her family and lying to feed the incessant demands and threats from her Mama-san.
She gradually realised this was her retribution of selling her body for quick money.
However, this new realisation didn't change her a bit.
She met a new client, Dave. He was a married man. It was love at first sight for her.
The initial joy she had from the money and attention he showered her blinded her wisdom to the extramarital affair.
She stayed in one of Hong Kong's expensive apartments at a prime district. But it soon became an soulless shell of loneliness that prompted her suicide attempts.
Dave coldly dumped her like a hot potato, as he didn't wish to handle an emotionally volatile woman.
.
Ken told her she bore an uncanny resemblance to his first love. She fell hard for his sweet words and gentle demeanour.
He weaved a forlorn tale of an emotionally abusive and lonely marriage, and how it was impossible for him not to to be attracted to her.
They travelled greatly and dined at expensive restaurants.
To have a married man giving his heart to her, was like tasting the forbidden apple. That first juicy bite satiated her craving to be desired. And to win another woman.
This time, she decided she would use black magic again to break up his marriage. She coveted that role of his wife. A permanent and lasting relationship, finally.
Black magic uses the dark forces of ghosts to carry out the client's wishes. She paid a good US$10,000 for a famous sorcerer and another US$4000 for her Thai amulet and mud puppet.
Did she capture Ken in the end?
They got into physical fights crazily. The amulet that controlled the ghosts backfired, and her sanity was devoured by the ghosts.
.
Her craziness drove her to swallow 200 sleeping pills and cut her wrists. ANYTHING to have him stay with her. Ken was horrified and visited her daily at the hospital. She felt triumphant. Finally, he was at her beck and call.
The happiness was short-lived. After her discharge, he broke up with her when he was on an overseas stint.
She went absolutely berserk and grabbed a knife to her throat. It felt that the ghosts wielded full control of her mind and body. Her mum kept yelling at her.
The realisation of truth came too late for her: A man, who lied to his wife and had an affair, will never be honest with her. Once a liar, always a liar.
She was warded into the high-dependancy unit at the mental hospital. Everyday, she was surrounded by suicidal and high-risk patients. They were bounded at their feet and hands. It was a petrifying sight. Was this the end of her life? She wasn't even 28. How did she allowed a man to destroy her prime years?
She sought to understand love and karma. She delved into Buddhist books, wanting to know what caused her to lose her mind. She started to have deep regret about taking short cuts in life and her laziness in earning money the ethical way. She saw, on her hands, the fresh blood of people's happiness that she had killed.
But the greed and anxiety in her couldn't be satisfied with a regular job. Or a single man who doesn't make enough to provide for her.
She was needy, attention-seeking and quarrelsome. I had called her a yoyo. I had spent many hours over a few months, replying to her messages.
Every day, she fought hard against the temptation to take up another escort job
.
「捨邪歸正」
I lost count how many Masters she sought advice from before she found me online.
She read my posts and was amazed by my tenacity to take failures.
She watched my video on suicide and became aware of the Hell that all suicide victims go to. To repeat that act of killing themselves every day at the same time they died.
Among the many things I said at our consultation, I could tell her the age range she sold herself and that it was a elder lady who gave her the chance. She was surprised at my accuracy.
I told her the only way out was to sincerely repent for her past misdeeds. Blind listening to Buddhist chants and sutras would do nothing to change her fate. That is passive. Being active is to recite it and abide by the precepts.
I instructed her to write out her story in as much details as possible, to lead other sex workers, or wannabes, suicidal people and men with affairs to the Right Path.
This was one of the fastest ways I know that can change a disastrous life around.
All the Thai amulets, crystals and pendants she stashed in her room MUST go. She spoke of their decreasing power over time, and it seemed like a never-ending black hole as she kept on buying more and more to help her legitimate business.
She asked whether she would be able to get a publisher to buy her story.
I told her to forget about making money from her book. Give it for free. Post it online. Somehow, somewhere, everywhere. Get the story out. Fast.
When her boyfriend left her a sum of money, I insisted that she returned it. Don't take money that you didn't earn it rightfully. She said that was her breakup fee. I put my feet down, and said it was a proper relationship between two singles, and she caused the breakup. Why would she need money for loving a man who had loved her?
She promised she would write her story.
But she lied to me. Just like how she lied of making the $49 donation the next day, before seeking a Bazi consultation with me.
She went to the Guan Yin Temple at Waterloo Street, and sought a divination stick. It was her favourite activity whenever she was troubled or at a dilemma.
Right after she left the temple, she messaged and questioned why she received a 下簽 (bad lot) for my recommendation.
I asked for the number of the divination lot and the actual question she posed.
"I want to write a story about my life to encourage women not to sell their bodies and for married men not to have affairs. I may be hurt or sabotaged by people, so please protect me."
That didn't sound like a question. But the Bodhisattva had a way in teaching sentient beings.
I was dumbfounded at the Bodhisattva's omnipresent accuracy and foresight, when I saw the divination number.
It was a bad lot indeed, but not because of the solution I gave to my client.
.
「莊子試妻」
Zhuangzi was a famous and well-respected Chinese philosopher of the Warring States Period.
One day at the mountains, he walked past a new grave and saw a woman kneeling over the freshly turned soil, hurriedly fanning it.
Not understanding the woman's behaviour, Zhuangzi asked for her intention.
The woman replied, that her husband lied beneath the soil. Before he died, he had said she could only remarry, when the soil of his grave dried. It was the rainy season at that time, hence her fervent fanning, so that she could quickly seek a new man.
Zhuangzi shook his head, when he heard of her heartlessness.
Unknown to many, Zhuangzi was an accomplished Taoist practitioner. With his supernatural powers, he helped the woman to dry the soil almost immediately. Thrilled at the dried grave, the widow gave her fan to Zhuangzi and hurried down the mountain.
Zhuangzi returned home, singing and waving the fan. His wife, Tian, questioned where he got the fan from. When she heard of the widow, Tian was so angry that she tore the fan into pieces and called the widow shameless.
Zhuangzi pacified his wife and said he had faith in her chastity.
A few days later, he fell very sick and died. Tian was saddened at her husband's sudden death and wept in sorrow
At his funeral, a very handsome young man showed up with his old servant. He said he was Zhuangzi's student, and a son of an important government official.
He wanted to perform the rites of a dutiful student, and helped in his teacher's funeral, by watching vigil for three years.
His good looks caught the eye of the newly minted widow, Tian. She sought to know more his eligibility from the old servant.
Within 20 days, they got married.
On the night of their wedding, the young man was struck with an ear-shattering migraine. Tian anxiously asked the old servant for help. The old servant said his young master had this strange illness since birth. The only cure was to consume the brain of a human. Back in his hometown, the father would take the brain from the prisoners sentenced for death for his son.
But in this remote countryside, where could they find a human brain as medicine?
Tian thought of her dead husband. She promptly took an axe and hacked open his coffin.
Zhuangzi leapt out from the coffin and mused this now-famous Chinese verse, "青竹蛇兒口,黃蜂尾上針,兩者皆不毒,最毒婦人心。"
Tian proclaimed that she heard noises in her coffin and wanted to see if Zhuangzi was alive.
Zhuangzi questioned the red finery on her and the red decor in the house. Tian argued that she wanted to welcome him. So she donned on the wedding finery to get married with him again.
The young man and his servant walked in. They were actually manifestations of Zhuangzi's supernatural powers.
Tian was so ashamed of her heartless and deciteful act that she eventually hung herself.
.
Every divination lot comes with a poem and a background story. This was the background story on my client's divination lot.
The poem states:
因名喪德如何事 卻恐吉中變化凶
酒醉不知何處去 青松影里夢朦朧
Virtues are destroyed in pursuit of self gain. Fear that the auspicious will morph into bad.
The drunkard knows nowhere to go. In the green forest a shadow lingers in a dreamy haze.
.
It is common to encounter clients that lack faith in my recommendations.
Some will ask many questions after our session, wanting to know why my solutions will help them or how I derive my solutions. There are also emotional clients who would flare up and lose all their manners, when they can't get an answer that they like from me.
I don't ask my doctor what ingredient goes into the making of my cough syrup and how it works scientifically in my body.
I take action by drinking it as prescribed. Because based on past experience, I trust that his medicine will work to help my predicament. I don't drink, I continue to be sick, I don't see results.
My suggestions don't require my clients to consume unknown medical liquids into their bodies. Yet few clients take action, when it comes to their Destiny.
Despite me being recommended by their friend who experienced positive results with my help, and have genuine testimonials to justify my fees.
That divination lot was Bodhisattva telling me: My client will not write her story, for she does not sincerely regret her past acts.
It was also a grave reprimand to her to mend her ways before it was too late.
But she didn't see the divination lot in the same manner as I did.
Not only does she lack faith in my words, she distrusted the holy words of the Bodhisattva too.
.
Give money, buy love, buy fame, buy business, buy wealth and buy that. No need hard work.
Such is the sexy appeal of many ghostly amulets. They appeal to people who want many things in life but refuse to follow the Law of Karma, to sow seeds the right way.
I see one client bidded for a Thai amulet from a Facebook Live. Another wanted to buy a multi-coloured bracelet, because "so pretty! Got power some more!" Luckily, his Wife who had learned some Buddhism from me stopped him.
.
In March 2017, this client sent me a message:
"Hi Ji Qian, hope you are well. Good luck for your Home Fengshui For A Happy Marriage tomorrow.
I was looking thru our past convos where we first started speaking online. Yes, Im a spoilt brat and Im a yoyo porcupine. I look at a sentence that is poignant - "the day you stop relying on men is the day you become prosperous". I wonder if that day will ever come. I I finally understand that my Facebook Adverts getting disabled is due to my past karma. And I haven't finished writing the repentance story which u instructed me to write in August. I think I know that I'm half-hearted in repentance, that's why I can't bring myself to finish the story. I'm just wondering if I am supposed to survive on my savings till my Facebook Advert Account get reactivated.
I haven't been able to find any new product to sell since XXX (sales also failing miserably). I am weak-willed and too reliant on men. The only thing keeping me from committing suicide is my mum and because I'm reminded by Shifu's words that a suicide victim is doomed to repeat the same act."
菩薩英明。
.
Last year, I had casually asked if I could share her story. She promptly gave me the permission.
Yesterday, one client called me unempathetic towards him. The way he wrote suddenly jolted my memory of this client. I had taken too long to write her story.
I told her to write in English and Chinese, and she did part of it.
The account you read of her past was adapted from her written work. Though there are many grammar and structural mistakes, she does write very well.
The poison in our hearts will eventually consume our souls if we do not purge it out. What joy is there when we resort to brutal force to keep a man by our side? Should he chooses to leave, that does not discount the value of our self worth. A man who isn't interested in you for the right reason isn't attractive.
The same goes for men who cheat or pay for sex. You are ruining another woman's life when you satisfy your lust.
When you inflict suffering on another being, in return, you get pain and suffering on yourself. So don't sow the seed in the first place. Repentance done right over a period of time can prevent your past bad seeds from germinating, and reduce your suffering.
If there is any merit in sharing her story here, I dedicate all of it to my client.
May she have the inner wisdom and stability to lead a virtuous life.
May she always be surrounded by good teachers to show her the way.
May her vile affinities be broken and replaced by good ones.
May her greed and hatred be subdued.
May she repent for her past transgressions in time.
No matter how long it may take, one step forward into the Light is one step away from Darkness.
.
ཨོཾ་མ་ཎི་པདྨེ་ཧཱུྂ༔
Om Ma Ni Peh Me Hom
happy ending back number 在 masa - masa Youtube 的最佳解答
ご視聴ありがとうございます!
English comment is after Japanese.
back numberの「水平線」をカバーさせていただきました。
予告なく8/18に突然発表された新曲です♪
詳細はリンクのオリジナルMVの説明欄をご覧いただければと思いますが、
back numberが多くの音楽ファンに支持される理由が分かる気がします♪😉
メロディーラインが思いの外複雑でした💦
最後の大サビは転調するのですが、全音上がることもあって、
今回はグライダーカポではなく「G」→「A」にして弾きました🎸
なお、耳コピですので、コード間違い等はご容赦ください💦💦
最後までお聴きいただけると嬉しいです!😄
※原曲はこちら!
back number - 水平線
https://youtu.be/iqEr3P78fz8
※チャプター
00:00 タイトル(Title)
00:03 イントロ(Intro)
00:32 1Aメロ(1-Verse)
00:58 1Bメロ(1-Bridge)
01:12 1サビ(1-Chorus)
01:39 間奏(Interlude)
01:51 2Aメロ(2-Verse)
02:18 2Bメロ(2-Bridge)
02:31 2サビ(2-Chorus)
02:57 ソロ(Solo)
03:17 3サビ(3-Chorus)
03:31 大サビ(Last_Chorus)
04:04 アウトロ(Ending)
*-*-*--*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
Thank you so much for watching!
I did a cover of "Suiheisen (Sea horizon)" by "back number".
This was suddenly release without notice at 18th Aug.'20.♪
I want you to refer to the detail which is wrote in the comment of the original MV, but I understood the reason that so many fans of "back number" supports them.♪😉
The melody was unexpected complex.💦
Although last hook key is modulated, it is raised a whole note, so I played to change the key chord from "G" to "A" without the glider capo.🎸
As well, please bear with chord errors if there are any because the copy by ear.💦💦
I'd be happy if you watch till the end.😀
Thanks my friends!
*The original song is here!
back number - Suiheisen
https://youtu.be/iqEr3P78fz8
*-*-*--*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
#back_number #水平線
#インターハイ(全国高等学校総合体育大会)
happy ending back number 在 阿鳥誠/アトリマコト Youtube 的最佳解答
阿鳥誠です。
全校集会、緊急集会・・・
先生の長い話・・・
集会嫌だ。。。という人必聴!
全校集会あるあるで「HAPPY BIRTHDAY」です。
是非お聴きください!
※替え歌が苦手な人は視聴しないことをお勧めします。
《ご本家様MV》
https://www.youtube.com/watch?v=ZIn20Rmj030
《お借りしたinst音源》
▽「生音風カラオケ屋」様
https://www.youtube.com/watch?v=66JbBm2zJ9I
《動画に使用させていただいたフリー素材》
▽「いらすとや」様
https://www.irasutoya.com/
※13点使用させていただいております。
▽「videvo」様
https://www.videvo.net/
▽「PEXELS VIDEOS」様
https://videos.pexels.com/
▽「pixabay」様
https://pixabay.com/ja/videos/
《阿鳥誠SNS》
▽サブチャンネル(マコトノアトリエ)
https://www.youtube.com/channel/UCxFoE8jA7y9L9cx0SRHw6OA
▽Twitter
https://twitter.com/makoto426
Mako兎ソロシングル「君と僕」
iTunes他各配信サイト配信中!
#替え歌
#バックナンバー
#全校集会
happy ending back number 在 阿鳥誠/アトリマコト Youtube 的最佳解答
Mako兎(makoto)です。
TBS系 火曜ドラマ「初めて恋をした日に読む話」主題歌
back numberさんの「HAPPY BIRTHDAY」
歌わせて頂きました。
是非お聴きください!
《動画に使用させていただいたフリー素材》
▽「videvo」様
https://www.videvo.net/
《Mako兎SNS》
▽サブチャンネルhttps://www.youtube.com/channel/UCxFoE8jA7y9L9cx0SRHw6OA
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