Question 1

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[HannahEd Sharing] - Quote lấy lại động lực làm việc Em có đang muốn tìm điểm cân bằng trong cuộc sống? Em có đang cảm thấy mệt mỏi sau ngày dài làm việc, học tập? Em có đang cảm thấy áp lực, căng thẳng và muốn tìm cách động viên bản thân cố lên? Chị tin rằng sự bình tâm lại suy nghĩ kĩ mọi việc và đọc các câu châm ngôn sau sẽ giúp em lấy lại nguồn năng lực tích cực đó. Đọc và giúp chị share đến các bạn khác đang cần giúp đỡ luôn nhé

Question 2

give me a reason give me a chance give me something to love半瓶醋 在Facebook 的評價

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橫尾先生你傾向於在你的遊戲中有個悲傷的結局（除了《尼爾 自動人形》），這是為什麼呢？ 橫尾：我想啊，玩家在遊戲中的旅程中殺了那麼多的敵人，但自己卻迎來了一個Happy Ending，這很奇怪，所以我之前遊戲的主角都有著不幸的結局，我覺得對他們來說有個Happy Ending是不對的。 不過對《尼爾 自動人形》來說，對2B和9S來說，從被給予生命，他們殺了很多人，但也被自己殺了很多，很多次，有著無數次的輪迴。我認為這已經把他們殺死敵人的罪給贖了，幸福結局對他們兩個來說更合適一些。 【尼爾：自動人形】是好遊戲，2B很可愛～Talking To Yoko Taro, PlatinumGames Takahisa Taura, And Composer Keiichi Okabe About Life, Death, And Opportunity This interview with《Nier: Automata》director Yoko Taro and PlatinumGames designer Takahisa Taura was first conducted in March of this year. Square Enix then offered gameinformer another chance to talk with Taro again, this time with Keiichi Okabe to speak more about the games creation, music, and design philosophies and we are taking this opportunity to combine both until-now unpublished interviews together.  At the start of the first interview, Taro Yoko, whose pen name is appropriately Yoko Taro, was surprisingly quiet. He took a gulp from a bottle of Diet Pepsi and looked me straight in the eye to say something. I myself looked to the translator, who laughed at whatever Yoko said. She began Yoko-san wants you to write about how expensive the food and drinks are here, if you can. He says its way too much. [The following interview contains some spoilers for Nier: Automata, including the games final ending.] With Nier: Automata, you guys won a Game Developer Conference award. How do you feel about that? Yoko: We heard it was a users choice award where the players themselves select the winners, so Im just really happy that the players have selected our game for winning the award. How did PlatinumGames and Yoko-san first meet on Nier? Why did you decide on that project versus something like another Drakengard or a new IP as a whole? Taura: I loved the previous Nier title, I was actually went to Square Enix saying Please let us create a Nier sequel, because you havent done anything with it for a long time. At the same time, there was coincidentally Saito-san, the producer for Nier: Automata, talking with Yoko-san that they wanted to do something together. It just so happened that it was the right time, right place and we met for the first time when we started this project. When you started working on the Automata, did you know what it was going to be? Did you have an idea in your head of what a Nier sequel would look like after the first game? Yoko: Not at all, I had no ideas for a sequel in mind. When I first heard that we might do a collaboration with PlatinumGames, the image I had of them is that they only create Sci-Fi action games. When I thought of that, I thought of what part of the Nier storyline might fit in with that Sci-Fi action gaming sequence, I selected the themes for Automata because I felt it just fits in with the PlatinumGames style. PlatinumGames has a reputation for fast, often-challenging action games, but Nier: Automata is a lot easier. Was that intentional to keep it closer to the first Nier or perhaps a consequence of trying to make PlatinumGames action more mainstream? Taura: Thats actually exactly the reason why. Saito-san from Square Enix told us when the project started that, since the original Nier has a lot of female fans and a lot of non-action gamer fans, to make the game as fun and accessible as possible to people who arent accustomed to playing difficult action games. We always thought of making the game into something thats fun to play for newcomers to the action game field, but also to the more experienced players as well. One of the usual tropes of PlatinumGames is that, as the game goes on, it tends to escalate more and more to an explosive finale. Nier: Automata kind of messes with that formula a little bit by Ending A being a little bit more subdued and low-key and then goes up again and again until it finishes with endings D and E. Is that something you had to work with Yoko-san about, where the escalation and pacing would best fit the gameplay? Taura: In terms of like a climax or increasing the difficulty level toward the end, its not that different from our other titles, or at least we didnt feel like it was that different. The one major difference was that this was the first game that Ive at least worked that had the leveling up element in it. So as long as you level up your character, the boss would be easier to defeat, but if you dont, then some of the enemies toward the end of the game would be very difficult. For me, the balancing between the difficulty level of stages and bosses versus the levels the player might be was the difficult part in creating this game. One thing that we really had it easy with in this game is that Yoko-sans scenario and Okabe-sans music, once its mixed into the battle, makes a really menial and indifferent battle sequence suddenly becomes this dramatic and grandiose battle with everything at stake, so I felt like that really helped elevate our battle sequences as well. We did have an easy time thanks to that! With Automata, you started appearing at press conferences and as part of the marketing of the game, whereas previously you never did that. When you appear in public, you have been wearing a mask of Emil from the first Nier title. Why Emil specifically? Yoko: Hmm. One of the answers I can give is that, and I do have a little more that I want to elaborate on, is that for one Emil in the previous title is just a strong character on its own, so its more like an iconic image or character for Nier as a series. Another part of the answer is that Emil actually holds a great secret of the part of the Nier world and its not all revealed with the games Ive created so far. Im not sure if Ill have an opportunity to disclose that secret, but if I do, I might one day create a game that delves more into why its Emil and why I continue to wear Emils mask. I dont know if either of you can speak to this, but the trailers for Nier: Automata were a little misleading. They showed A2, who you play as late in the game, but with short hair, so she looked like 2B. Was that something you decided, to show those scenes but not make it clear who it was? Yoko: There were trailers like that? There was one specifically showing A2 fighting Hegel like that. Yoko: Ahh, yeah. Theres no reason! We werent trying to hide A2 or mislead anyone, it just happened to work out that way. Taura: We made so many trailers at some point we kind of didnt care what we showed. Oh, wow, thats going to shock a lot of fans in the Nier community. People really believed in the theory that you were hiding A2 in plain sight the marketing. Yoko: Haha, but it might not be the correct answer. Like Taura-san said, we made so many trailers that we cant remember them all, so Im definitely happy to take the credit without remembering why. Taura: Yeah, lets say we intentionally did that. For the fans. It might be true. Yoko: But I can say, in one of the trailers is A2 fighting one of the Engels, one of the big robots. She actually has long hair in the trailer, but in the actual game, its after she cut her, so she would have had shorter hair. That one was actually intentional, because we did not reveal before the game that A2 would cut her hair, so we actually made a scene specifically with long-haired A2 to take that trailer. So thats that shot was kind of a lie. In the Automata DLC, the CEO of Square Enix Yosuke Matsuda, as well as PlatinumGames boss Kenichi Sato, are boss fights. Where did that idea come from and how did you get them to approve it? How did they react when you asked them? Yoko: Haha, oh yeah. Taura: The development team went to Square Enix and said Please let us use him in our game! Their reaction was initially saying Uhm, are you sure you want to? We were thinking for a while of what we could do with the DLC, because we didnt have a lot of time to develop it, so we wanted to do something fun with it. When we were thinking about it, we saw that Final Fantasy XV used a character model of president Matsuda in one of their marketing assets. When Yoko-san saw that, he reached out and asked if maybe we could use that in the game at Platinum. We said that, if we get the character models, we could definitely use them for something in the game. We reached out to Square Enix and they gave us the model and we were able to use that character model for a boss fight. If it was just that you were able to fight the CEO of Square Enix, then it would have just been the same as what Final Fantasy XV did, so we had to think of ways to spice that up even more. So we had PlatinumGames CEO Sato-san appear in the fight as well. We also included background music that arranged their voices, we included their voices in the music, just to add a little bit more and beat out Final Fantasy XV. That BGM track is Matsuda-san and Sato-sans debut single. We didnt even get permission from them, so its an unofficial debut single, and those are much rarer. Speaking of crossovers, did you know that Nier fans have been trying get Katsuhiro Harada of Bandai Namco to put 2B in Tekken? Is that something you guys would want to do? [Note: This interview was conducted before 2B was announced as a Soulcalibur guest character.] Yoko: For us, if we were asked, we would gladly say yes to anything for money. Were open to any kind of opportunities for anything, ever. Even if its Candy Crush, if they want to use 2B, we will say yes, please go ahead and use her. Actually, speaking of doing anything for money, youve never created a direct story sequel before, theyve all been loosely tied together and many years apart. Saito-san has already said there will be another Nier game, if the characters are popular enough, would you create a direct sequel to Automata or would you change the characters and location again? Yoko: I havent thought about it once! Taura-san, where would you want to create a new game? Taura: Actually, when I brought my concept document to Square Enix about a Nier sequel, I wanted to write a story about that prologue portion in the first Nier game. You know the beginning of the game, where youre kind of in Tokyo, in an area thats more modern? I kind of want to delve into that storyline a little bit more. So if Im allowed to create a new Nier title, thats what I want to create. But thats just me speaking as a fan of the series, so I dont think that will actually happen officially. Yoko: When I actually heard about that idea from Taura-san when we first started this project, I felt that it would be very difficult to make a modern recreation of Tokyo because its the city that we constantly see every day. You just notice differences in the lies that we put in there, so I felt it would be very difficult to do to recreate a city that we know and see so much. But now that I know that PlatinumGames is such a good studio that they most likely will have that power and talent to be able to create that kind of video game world, I think that might be an option. Whether or not well do that is a different question, but it is a viable option. One of the things you said before the release of Drakengard 3 was that you wanted to call it Drakengard 4 and just let people figure out what the theoretical Drakengard 3 was supposed to be. Thats similar to what you did with Automata where the game takes place 10,000 years after Nier and people who played the first game were more confused than new players. Was that an intentional idea or something youve wanted to do for a while? Yoko: Its not that I brought over that idea to Nier: Automata, the greatest reasoning why I did this is because I wanted players who havent played the original title to enjoy Nier: Automata so you can enjoy the game without knowing anything about the previous game. Thats the biggest reason why we took a storyline thats so far in the future that it really didnt have anything to do with the previous title. A common through-line for Yoko-sans games is flowers: the lunar tear in the Nier series, the flower in Zeros eye in Drakengard 3, is that symbolizing anything in your games or is it just visual imagery you like? Yoko: Well, I do like flowers in general, but yes, there is a greater meaning to it that I have with these flowers. Its the same as Emil like I talked about earlier, I just havent revealed it anywhere. There is a meaning, which is why they keep on coming back in my games, but I havent revealed it anywhere yet. With the last Nier game, you had said that you built the game on the concept of people  being okay with murdering people who are different. With Nier: Automata, the games actually became more fun to play and control and touch, do you think theres a danger in giving people that sense of ease in killing enemies in the narrative? Yoko: In the previous title, I actually feel like I overdid that a bit. I did want to portray that enemies have a reason to live and a reason to fight on their own as well, but I feel like I forced that idea that I had in my mind a little bit too much on the players. So for Nier: Automata, I did not want to focus on it, I didnt want to impose my feelings and thoughts. I actually feel that its fine if some people feel its fun to kill in our games. If thats all that they feel from the game, then its fine, because its their freedom to feel what they want from the game. To answer your question, I think that its fine to have that happen. Taura: I actually have the same answer, too. I feel like if its fun to fight, thats great as a game designer. But if you feel bad to kill these cute little robots, thats fine with me as well. I feel like different people will have different reactions to the game and they will feel differently when they play the game, so Im actually happy to create a game that creates those kind of differences within the players as well. Yoko: Thats a really good question for us, because if players felt that it was way too fun to kill these enemies that it started making them feel guilty, thats something we didnt really aim to do. Just as we mentioned earlier, Im really happy that players were able to take it on their own and experience it on their own, then we didnt just provide something for people to take it as-is on face value. I feel like its great that the players are now taking the game and experiencing it on their own and trying to figure things out on their own. There was a time after 2B was revealed that people were asking you about her design on Twitter and you answered that you just like sexy ladies. That quote has become pretty famous and attached to you and a lot of people are reading into it. Is that a thing you still believe, would you ever take the quote back, or would you have ever changed 2Bs design? Yoko: [laughs] Dont straight men like cute girls? Isnt that common knowledge? I didnt realize that was a quote. A lot of people use you as an example as a developer that just says what is on their mind. Yoko: Before we released the game, on Twitter, because so many people were sending me 2B fan art, I said that Send me a zip file of all your erotic fan art! When I tweeted that out, my number of Twitter followers jump from 20,000 to 60,000 just with that one Tweet. I actually think its because I did something thats more of a taboo in the western world where I talked about sexuality or gender that openly on Twitter, but thats actually...so, I do know that what I said did not just creative positive buzz and theres some negative buzz around it as well, but I feel like it kind of has to do with the Japanese culture where were not too strict about gender and sexuality and being more open about talking about those things. I think its the same thing as reading manga as an adult, its a little bit different when you think about it because in Japan thats more common, its not considered something weird or something outlandish. With that kind of feedback that I get from fans, I just feel like its the difference in culture between Japan and the rest of the world. That is something you tend to tackle fairly often. Drakengard 3 was partly about sex and sexuality treated casually within the games universe, is that something you feel doesnt translate across all regions? Yoko: I actually dont think [translating across regions] has a lot to do with sexuality. I dont think it would have sold more copies of Drakengard 3 if I took away aspects of sexuality or added more in there. I feel that Nier: Automata sold well because we worked with PlatinumGames, so I dont think that has anything to do with a sexual nature. For the original Nier, there was a lot of information on the periphery of the game like books with background information and short stories that answer questions raised in the game. Automata even had a stage play predating the game. Do you think its harder for western fans to grasp the whole stories of these games when theres Japanese-exclusive media about it expanding the lore? Yoko: Of course we cant localize everything because we have limitations in budget, so its really difficult to do all of that, but I actually think there really isnt a need to know everything, either. The meaning I have behind Emils mask or the flowers you asked about, like I said its not revealed in the game at all or anywhere else yet, but no one really needs to know that to enjoy the game or enjoy the world or enjoy the game. More than gaining knowledge, I want players to cherish the experience they have when playing the game. Its more about that instead of the knowledge they could have for every question. Of course the theatrical stage play was more of like a YoRHa spinoff, but you dont need to know that to enjoy the game. Every piece, like the books and the stage play, is made in a way so that you can enjoy it by yourself, so you dont need that extra knowledge to enjoy it. It may add a little bit depth to the knowledge that you have, but you dont necessarily need to have it. I do understand the otaku mentality that you want to know everything, you want to have everything answered, you want to collect everything, but I dont see the value in knowing everything. For example, just in real life, you might not know everything about the politics that surrounds the world or even in your own country, and theres really no point in knowing everything that happens in the world. Maybe a lot things, but not everything, right? Whats more important is how you interact with people around you, immediately around you, and I think thats the same with video games. You dont really need to know everything that happens in the world to enjoy it. Of course I do respect the freedom that the players feel as well, so if you do get mad that we cant localize everything in America, or America never gets everything, thats also something to be respected and I do understand the frustrations surrounding that as well. When Nier: Automata released, it did so in a three-month timeframe that several other big Japanese games came out in the U.S., like The Legend of Zelda: Breath of the Wild and Yakuza 0. A lot of people started heralding those games as a return of Japanese development in the west. What do you think about going from fairly niche games to what some people consider the tip of the spear of modern Japanese development? Yoko: First and foremost, just to speak about having so many good titles in that timeframe, my thought was Are you people trying to kill me with this?! In Japan, Horizon came out first, then it was Nier, then Zelda, and I think in the west, it was Horizon, Zelda, then Nier in North America. So were literally sandwiched between those two with a two-week window in between each and they were all very similar to us in the futuristic setting. Especially for Zelda, it was one of the titles we copied in the first place, so I really felt like they were trying to kill us at the time. Personally, not even thinking about Nier: Automata during that time frame, I was running around excited about all the fun-looking games coming as a gamer myself. Hideki Kamiya [PlatinumGames] has once said that Nier: Automata saved Platinum. Is that something you agree with and how has the relationship been between PlatinumGames and Square Enix? Yoko: Speaking from my perspective, of course Taura-san will likely know more about it internally at PlatinumGames...Kamiya-san, hes very laid back on Twitter, but when you actually really talk to him, hes a very serious person and very sincere. I guess Nier: Automata did generate sales for them, because I received a direct letter of gratitude from him saying Thank you very much for creating a great game. I dont even know if we saved them or not in that sense, but just receiving that kind of message from was just very heartwarming and I was just really happy that I was able to provide such a game for them. Taura: You could make the headline of your article Yoko Taro Saved PlatinumGames and thats definitely true. Yoko: Its a very true headline. Why do both of you think that Nier: Automata was more successful than Yoko-sans previous games or most other PlatinumGames titles? Taura: Mainly because PlatinumGames sensibilities were much better than Yoko Taros. Yoko: I actually think its the Square Enix brand, the name Square Enix gives a more reliable feeling to an otaku type of title. PlatinumGames strong name being known for making really good action games and I think the combination of the two really helped. This time with Nier: Automata, we sold about 2.5 million copies and the previous title we sold around 500,000. For the last game, we werent really in the red, but it wasnt exactly a success either. We have these passionate fans that really supported the time from announcement and the series as a whole. Of course for Automata, too, we had a very passionate fan base including the media and including yourself that gave impressions and articles that helped make the game into a success, so Im just really grateful for the fans and media alike that really supported the title and were passionate about it. [The remainder of this interview took place a few weeks later with Taro Yoko and Nier: Automata composer Keiichi Okabe. Okabe is also known for his work on both Nier titles, Drakengard 3, Tekken, and contributing some tracks to Super Smash Bros. Ultimate. Before we started recording, Yoko said it will be okay if I asked Okabe most of the questions and I remarked that I wouldn’t want to make him jealous. He paused for a moment and then said it doesn’t matter because he would get paid either way.] You two have been working together for a long time, I was curious how much the music composition is tied in with the writing. One of the city themes in Nier: Automata uses similar composition to a track in Nier. Does that come from the writing or the musical identity of the series? Okabe: Since Yoko-san is I feel the type of person that doesnt want to do the same thing over and over again, even if he did receive praise for what he did previously, I kept that in mind while I was composing music for Nier: Automata. I also wanted to have some kind of connection that you would feel as a player between the previous title and this one, so I used similar tones from previous titles or from the previous game. It might not be exactly the same, but I used some similar types of music lines from the previous title so that you might feel that kind of connection. But we do have tracks that are arrangements of previous tracks from older titles, but that was mostly for fan service. I kind of wanted to drill down a little bit this time and get to the core of your philosophy of why and how you make games. If you had to pick a reason to hold up and say This is why I make video games, what would that be? Yoko: I feel that video games, amongst all the different entertainment mediums, have the most freedom in what you can do as a creator. For example, in a film, if you are able to control movement, then thats no longer a film in my eyes. In video games, you could have film-like cutscenes and videos, you could have them going on forever as much as you would like as a creator. That kind of freedom to do that is what I really wanted to do and I feel like video games are what provide me that option, even if I never do it. Is there any kind of message you use games for that you want to convey to your audience or anything you want them to hear from you? Or do you prefer to let them take whatever interpretation they get from your games? Yoko: Its the latter. I would want our players to freely interpret what Ive created just on their own, to grasp something for their own. I feel thats one of the interesting aspects of video games is that you are able to freely interpret whats being shown to you. I also feel like the players make the game whole by playing it. The action of playing the game I feel has meaning in itself and because of that I want the players to find something from the game, feel something from the game, for themselves. Nier: Automata won a number of awards, Okabe-san you won best music at The Game Awards, Automata won the audience award at GDC. Is there any pressure to appeal a more mainstream audience with your next game? Okabe: For a popular title that will be played by many, it doesnt really matter what kind of genre you put out musically. I will still be interested to compose music for those if possible. I would have to take a different approaches to those kind of mainline titles, whereas for Nier, I felt that the music can be more geared toward a core audience where only those who would understand the music would play it. But at the same time, once you understand, I want you to be deeply affected by it. Thats what I aim for with Nier. If I am to work on a way more mainstream title next time, I will have to change that mindset I have as a composer, but that would be something Id like to challenge myself more. To answer your question, yes, Id like to try that, but Id also do whatever kind of jobs Im assigned to. Yoko: For me, my games I actually think are really niche. How Nier: Automata was so successful was actually just a coincidence. To make a successful game is something that I cant really aim to do, so I think that Ill probably return to my small and dark corner, my niche corner, with my successive titles. Who would you both consider your inspirations for writing and composing? Okabe: For me, its obviously more of a composer than a writer, but I dont really focus on one person. I tend to just try to get music here and there and have a wide net. I am greatly affected by people who Ive listened to in my youth, like Japanese composer Ryuchi Sakamoto, Ennio Morricone who creates film music, and also pop music like Michael Jackson and Madonna. I am affected by those as well. Yoko: I have received inspiration from a lot of things, but I think personally expressions in film or any like visual production is something Im deeply affected by. For example, Neon Genesis Evangelion by Hideaki Anno, that was really a strong influence on me. Also, the drama series 24, the way that they incorporate speedy and complicated constructions of storylines was something that was very new at the time. Just throughout the timeline of visual production, I think theres a sudden burst of evolution, and I think that that moment in a title that does that just greatly affects me and becomes an inspiration for me. But I feel that can be said for the rest of the world. Lately, anything that Christopher Nolan creates I think is very intriguing where he tries to include deep knowledge and thoughtfulness into what he creates. Im very interested in this new wave of evolution. Last year, with the release of Animal Crossing on mobile, you talked on social media about how it was your favorite game of the year because you created a narrative where the characters were all unwillingly imprisoned in the camp. Do you often create your own narratives for games? Yoko: I do that for some games and I dont for others. Off and on, I guess. Its a lot easier to create my own storyline per se for a more primitive game. For example, in Zelda: Wind Waker, you start off with a grandma and your sister living on an island and its really happy and joyful and theres really no reason for Link to get out of there and fight Ganondorf because youre already living happily. You dont need to get out of that happiness. As a gamer, I felt the kind of sadness to have to leave that happy island life. In Dragon Quest [V], you have to choose who you want to wed, and I felt that I couldnt really get into liking either of the characters. I also couldnt find the point of having to decide who I want to marry, so I just at that instant I turned off the game and said My journey ends here! My mind narrated The three of them went on the journey and lived happily ever after, the end. That was my ending for Dragon Quest V. Around the release of Drakengard 3, you spoke about how its not possible in this industry to make a six-minute game and sell it for $60, no matter how good those six minutes are. Is this something you still think? Yoko: That analogy was given to explain that, no matter how much you try to make a game really good, theres a limit to what you can do. If you are to create a six-minute game, because you cant go through a lot of different stages, you would have to create one stage. Which means that you could really refine the quality of that one stage without having to put in a lot of money into it and a lot of manpower into it. Also, because its only six minutes, you cant really have too many characters in it, so you could focus on one or two characters at max. By doing that, you could refine the quality of those two characters. But because youre time-limited, no matter how much you refine the quality of the world around you or the characters, if youre limited to six minutes theres just so much you could do that the game wont become good at all. That was an example for me to say that theres a limit to what you can do in video games. Okabe-san, in the music for a lot of Yoko-sans game, you use constructed or uncommon languages, is there a specific reason for that? Okabe: [laughs] Yeah, for one, because it is Nier: Automata, Replicant, and Gestalt, they all take place in a unique world, even though theyre in the timeline of our current world, its so much in the future that it should feel kind of foreign. Thats one of the reasons why I went for language we cant understand, but another is that, in games in the past, game directors actually got mad at many occasions for including vocals into the soundtrack. They were saying that it would become too distracting from the gameplay and would distract the player. It was considered more of a taboo, so for Nier, I included vocals in there without a language you could understand more for the sound that you get from the words. It wasnt to convey any meaning of what was being said, but more for a sound impact. Yoko-san, you tend to have very sad endings in your games, with the exception of Nier: Automata which is as happy an ending as you can get with most characters dying. Why do you tend to write toward more sad endings and do you feel like Automatas happy ending fit the game better? Yoko: The reason why I created endings that end on a death is because, until now I was creating games where you would kill a lot of enemies, but Ive always felt that it doesnt feel right when the protagonist has a happy after theyve killed so many enemies during the course of their journey. Thats why in Replicant and Gestalt, or my previous titles, the protagonist pretty much ended up dying because I didnt feel like it was right for them to have a happy ending. But for Nier: Automata, 2B and 9S, from the time that they were given life, theyve been killing a lot of enemies, but theyve also been killed by them many, many times, and regenerated many times. Theyve actually been killing each other, which you find out at the very end, many, many times as well. So I felt that kind of cleansed them of their sins for killing so many enemies, which made me feel that a happy ending was more fitting for those two. Do you feel like that cycle of violence and death and the consequences of that are human nature? Yoko: I think the reasons why we kill in video games do kind of shine light on whats kind of broken within humanity or humans in general. We want peace in the world, but we also enjoy killing others in video games, like shooting guns in video games. I think thats karma in a sense for humans, the way that video games grasp the true essence of humanity, whether or not thats what they were aiming to do. Is there a series that you know, like Persona or Yakuza or anything like that, that either of you would want to work on? Yoko: A series or anything? It can be anything. Yoko: Personally, its not a Japanese title. Id actually love to see how western titles are developed, because I have no insight into how theyre made. There was a moment in time where I felt that it might be fun join a western development to see how things run. Of course theres the language barrier that would make it difficult for me to do that, but generally speaking I feel that western storytelling follows kind of a similar route for all the stories that western mediums create. I would feel it fascinating to find out why western games use certain flows and storyline arcs. Okabe: Im kind of a fanboy myself, so there is a part of me that wants to work on major titles like Dragon Quest. I feel that if I do work on those titles, the pressure of working such a known title would be just too big and because there is a part of me that really loves that series, I feel like I would try to skew my music in a way that would fit into that series instead of trying to create music that I think is good. I dont feel like I would be able to bring out the best quality in my music if I worked on those big titles, because of that pressure and because of the image I have of those titles in my mind. Currently, my want to work on those major titles and the part of me thats telling me I shouldnt do it are about equal. Were either of you surprised by Nier: Automatas success? Yoko: [in English] Oh yes. Okabe: For me, I live in Tokyo and developer PlatinumGames live in Osaka, so we did have quite a distance in-between, like literal physical distance between us. From the moment that I created the music to when I was able to see it next, there was a big gap in time, so when I was able to my music in the game for the first time, the game was pretty close to finished, they were almost done with development. At that moment, I thought Maybe this one might sell? But at the same time, I didnt think it would become this big of a success, I always thought it might do better than the previous titles, but it was like a hunch that I didnt feel until this time in Yoko-sans titles. I did have some kind of a gut feeling that it might do well. The last song of Automata, Weight of the World, had a chorus with the entire games development staff at PlatinumGames and Square Enix singing along to encourage the player. Why did you decide on that for the final song of the game? Okabe: I didnt remember this, I actually forgot about it for a while, but Yoko-san actually came to me telling me that he wanted a chorus at the end of the game pretty early on in the development process. I apparently made disgruntled face at him and did not remember why I even made that face or even that I made that face. After a while, I actually remember why I had such a reaction with the disgruntled face, because theres a couple of different types of choirs, but Yoko-san likes the more classical choir, so when he requested that he wanted a choir, I thought he wanted that classical type of choir at the last part of the game. At that moment, I thought Well, that doesnt really fit in with the game plan, I dont really want to do that, which is why I had that expression on my face. After we talked about it, Yoko-san mentioned that wasnt really what he was going for, he said that because that last scene is all about all these different people helping you, he wanted everyone to sing, he wanted it to feel like everyone is singing there with you as you play. When I thought about doing that, and I actually agreed that might be a good idea, because in Nier: Automata all the choir vocals that you hear in the game, its actually recorded by a small group of singers, I just overlapped their voice so it sounds like a big choir. Because that last part of the game is more about you playing amongst a lot of people, I felt that taking that approach again of overlapping voices again would not really work. So I reached out to the dev teams because they were working on that part and I thought it would be a good idea to have them put themselves in the game as well. I also thought that they dont need to have a good voice, its just to give that feeling that youre playing with all these developers. Development teams from Square Enix, PlatinumGames, and also some composers from my company who didnt work on Nier: Automata are singing in it as well. Theres also children of PlatinumGames developers and their family actually singing in it as well. That was the reasoning behind why we decided to do that at the end. Has there ever been, in all your games youve made, an idea you had that you had to be talked out of? Yoko: For the first Drakengard, I had an idea of [Japanese pop-star] Ayumi Hamasaki, like her character model, wearing all-silver spandex, like a giant version of her descending from the sky and you would fight against her by music. Everyone else on the staff shut it down. It does still leave that kind of music game essence kind of in there, but the part Ayumi Hamasaki comes out in silver spandex has been taken out. Isnt that kind of similar to Drakengard 3s actual ending? Yoko: Similar, but I actually wanted to go for something funny, or shockingly stupid. But no one would let me. Source： https://www.gameinformer.com/…/talking-to-yoko-taro-platinu…

Question 3

give me a reason give me a chance give me something to love玳瑚師父 Master Dai Hu 在Facebook 的評價

Accepted Answer

【玳瑚師父課室】《第46場回顧：旺得福聖誕餐會》
46TH RECAP: “A WONDERFUL CHRISTMAS” LEARNING SESSION (English version below)

妳你有改命的決心嗎？

可是，妳你懂得尊敬她他人和自己嗎？還是覺得有免費的東西，不拿白不拿？

玳瑚師父於2018年12月24日，舉辦了眾人期待已久的餐會，第46場《旺得福聖誕餐會》。

餐會前，有參與者送上聖誕卡與花束，祝賀師父佳節愉快。餐會後亦有出席者拿玳瑚師父的新書《向善向上2 - 漫畫版》請師父簽名。

師父的餐會不收分文，一向爲他臉書專頁忠實按讚的讀者粉絲們而辦。但每次依然會有報名者，沒有閱讀，沒有按讚，也想趁機來得到師父免費的風水命理知識。

曾有一位報名者，怒氣沖沖地責問：「你要求人家讀那麽多，合理嗎？！」

也有一位沒得來的報名者說：「我自己的業，我自己背。」

其實，沒有要求。貼文中也有註明：餐會本來就是給玳瑚師父，回饋每篇都有閱讀按讚的粉絲讀者們。師父的文章有很多做人的道理，如果沒有看就已經不算善待自己，又怎麼有福份得到師父的幫助呢？

沒有付出行動，也談不上支持玳瑚師父的文宣，就想得到免費幫助，可又合情合理呢？

有位出席者曾被師父列入黑名單。因爲2017年夏天的一場餐會之前，他要求盡早接到通知，才能叫母親不煮他的飯，卻依然遲到，被拒於門外，不得參加餐會。遲到的原因是他在家裡吃飯，時間遲了，有能力卻不想花錢搭德士，依然搭巴士，在最後一刻才通知，事後也沒有主動親自向師父道歉。

當時，師父未到會場時，就已預知助理，這位男士會遲到，因為有錢卻依然要省錢，所以選擇遲到。師父告知助理，這等人無法改命，因此收到簡訊時，就直接不要給他來。

師父對於出席者的要求是：有改命的決心，也肯尊重他人。因此，禮貌和準時本來就應該兼有的。

一年半後，師父允許他出席平安夜的餐會，因爲他找師父已許久，該給一次機會，也可應證師父最初看他相的準確性。果真，他見到師父時，並沒有第一時間走過來打招呼和道歉，依然需要師父弟子的提醒。

守株待兔等待貴人時，別忘了，貴人也有很多人在追，沒有誰是應該幫誰的。

餐會精彩摘要：

（A）平安三部曲 - 內心的平安

一、師父請大家說出對「平安」這兩個字的看法。

二、師父對「平常心」的解析：
。一切都在適當的運作上
。不要過份的貪圖妄想，
。量力而爲就能得平穩
。人與人之間不要鬥爭，不要爭奪，不要有歹念，不要佔別人的便宜。

三、我們要學習宇宙的運作，爲何春天會花開，夏天會結果，秋天會凋零，冬天會冬眠？

四、爲何身體是一切的開始？

五、有分別心就會有敵人。玳瑚師父心中沒有不喜歡的人，他永遠都會選擇接受，因爲他心中只有愛，沒有敵人。

（B）平安三部曲 - 屋子的平安

六、屋子對，風水對，心情自然會好，賺錢又多，一定平安

七、哪五種建築物是噩夢的開始？

八、大門的前景如何決定我們的「錢」途平安？

九、出席者李承修先生現場分享：

2017年至2018年裡，他出席師父免費活動至少十四次。師父看他年輕，就幫他一把，在2018年的拜天公活動時，師父送他一個祭拜過的供品，問：「師父賜大福給你，要不要？」

李承修先生點頭說要，便雙手接過師父賜予他的供品，並感謝師父。他得到師父無數的風水貼士和自身增運法後，積極的去進行。他的電子商務從幾乎零營業額，到今年收入增加到令人驚訝的數字！

十、問：堅強的意志力不可以超越壞風水的影響力嗎？

師父答：人不可能那麽厲害。凡夫有很多的問題，心裡很複雜，因此會產生很多的負能量。祇有修行人才能超越，因此自己不能做到的，就應該去請一個能做到的師父。

十一、問：大門外就看到另一戶，好嗎？

十二、爲何玳瑚師父不推崇用水晶改命？

十三、屋子和我們健康的關聯

十四、如何選最適合自己的飯桌

十五、請不到好的風水師父，如何自己選屋子？

十六、2019年如何催旺家中財位？

（C）平安三部曲 - 自身的平安

十七、玳瑚師父分析眾人的氣色

十八、男人犯淫如何影響旺氣？

十九、精神 - 「精」與「神」的關聯

二十、有錢了，不要自己吃，發達了，也要幫助別人。

（D）玳瑚師父現場看風水

二十一、有方案，沒魄力的男人如何看？

二十二、有再大的抱負，爲何還是敗給差勁的臥房風水？

二十三、原來五行的運用決定我們的盛衰！

二十四、這種房屋，有如一個戰場：主吵架、沒錢、犯陰煞！

等等等。

我們的年齡祇會一年一年的加，不會一年一年的減少。風水，能夠把一個機會變成一百個機會。玳瑚師父不是叫大家貪心，但是在這個世界，沒有錢是萬萬不可以的。玳瑚師父與出席者們開玩笑說：「我希望每個人都生活安逸，這樣你們就不會向我借錢。」

師父提醒男出席者們：男人介紹自己時，要有力，不要柔柔弱弱，聽不到聲音。但也要記得，男人的威風，在於有本事又能幹，而不是叫你用你的力氣去打女人、欺負女人。

平安的定義在於妳你的心境。我們都要去接受每個人，去想每個人都有她他的長處。當我們能夠把自己的心打開時，就是我們真正去迎接「平安」的時候了。

.....................

Do you have the resolve to change your destiny?

However, do you know how to respect others and yourself? Or do you think that if something is available for free, you would be a fool for not grabbing it?

On the night of Christmas Eve, 24 December 2018, Master Dai Hu conducted the much anticipated 46th Learning Session, A Wonderful Christmas.

Before it commenced, a participant gave Master a bouquet of lilies and a Christmas card, wishing him happy holidays. At the end of it, there were also participants who sought Master's autograph for his new comic book, Towards Kindness, Towards Betterment.

Master Dai Hu had never charged a single cent for his learning sessions. They were always conducted to repay his loyal fans, who dutifully read his FB posts and tapped Like for every single one of them. However, there will be still applicants, who neither read nor tap like for the posts, wanting to attend the free Learning Sessions and benefit from Master Dai Hu's Chinese Metaphysics knowledge.

One rejected applicant texted, "I will bear the consequences of my own karma."

Another applicant angrily asked, "Is it logical that you expect people to read so many of your posts?!"

Actually, there is no expectation. It is already clearly stated in the FB notice: the Learning Sessions are meant to benefit Master Dai Hu's devoted readers and fans, who read his FB posts and tapped Like for every single one of them.

There are sensible life truths in Master Dai Hu's posts. If you do not read them, you can't be considered as a person who treat yourself with benevolence. In this case, how will you have the good fortune to receive the help of Master Dai Hu?

If you did not invest any effort, and do not support Master Dai Hu's writings, yet you still wish to get his help for free, how is that reasonable and logical?

One participant was blacklisted by Master Dai Hu previously. He was due to attend one session in the summer of 2017. Before that, he requested for an early notification, so that he could inform his mother not to cook dinner for him. However, he still arrived late and was denied entry.

His reason for his lateness was him wanting to save money. He ate dinner at home and took the bus, despite running late and having the financial ability to take a taxi. He sent a late notice and did not personally apologise to Master Dai Hu for his tardiness.

Before Master Dai Hu reached the venue, he had already informed his assistant that this gentleman would be late by choice as he was a miser, and hence, chose not to spend when necessary. Master Dai Hu remarked that a man of such caliber made a poor candidate for destiny transformation, and preempted the assistant to turn him away when he would text later.

Master Dai Hu's prerequisite to all participants has always been:

* Have the tenacity to turn your destiny around
* be able to respect others

Therefore, good manners and punctuality are definitely traits that one should have.

1.5 year later, Master Dai Hu gave permission for this gentleman to attend the Christmas Eve's Learning Session. Reason being, he had been trying to contact Master Dai Hu for quite some time, and it was time to give him a chance. Secondly, the meeting would also validate Master Dai Hu's accuracy in reading his facial features.

True indeed, when the gentleman saw Master Dai Hu, he failed to take any initiative to introduce himself, greet Master, or offered his apology. He had to be reminded by Master's disciple before doing it.

When we are passively guarding a tree-stump, waiting for a benefactor to stroll by, don't forget that the same benefactor is also pursued by many other people, who bother to show the initiative. Nobody is obligated to help anybody.

Learning Session Highlights:

（A）TRILOGY TO BEING SAFE & SOUND - #1 INNER MIND

1. Master Dai Hu invited everybody to share what being safe and sound meant to them

2. Master Dai Hu explained the term 平常心 (a calm mind):
- Everything function in an appropriate order
- No excessive coveting and wishful thinking
- Live within your means and you will achieve stability
- Do not fight with others, do not contend with others
- Do not harbour evil intentions.
- Do not take advantage of others.

3. We must learn the ways the Universe operate. Why do flowers bloom in Spring, fruits are borne in Summer, the leaves wilt in Autumn, and hibernation take place in Winter?

4. Why does everything begin from our bodies?

5. To have a discriminating heart is to have enemies. In the heart of Master Dai Hu, there is nobody that he dislikes. He always choose to accept, because there is only love in his heart and no enmity.

（B）TRILOGY TO BEING SAFE & SOUND - #2 HOME

6. When the house is right, the Feng Shui is right, your mood will naturally be great and so will your income level.

7. Which 5 types of buildings are the beginning of your nightmares?

8. How does the front view of our main door decide the safety and soundness of our money future?

9. A participant, Mr Lee Cheng Xiu, shared his live testimony:

Between 2017 and 2018, he attended 14 of Master Dai Hu's free learning sessions. Master Dai Hu decided to give him a helping hand, upon seeing how young he was. In 2018's prayers to the Supreme Jade Emperor, Master Dai Hu gave Mr Lee an offering from the prayer session and asked, "I bestow great fortune to you. Do you want it?"

Mr Lee Cheng Xiu nodded his head and said he wanted, before receiving the offering with both hands and saying thank you. He received countless Feng Shui advice and self luck booster suggestions, and diligently implemented Master's advice. His ecommerce revenue increased dramatically from almost zero sales to a shocking figure this year.

10. Question: Can strong willpower surmount the influence of a bad Feng Shui?

Master Dai Hu's reply: It is impossible for a mere mortal to have this ability. Man has many problems and a complicated mind. These produce many negative energies. Only an accomplished spiritual cultivator is able to triumph the effects of a bad Feng Shui. Hence, when you are unable to do it, you should seek the help of a Master who can do it.

11. Question: When your main door faces the main door of another household, is it ideal?

12. Why does Master Dai Hu discourage the use of crystals in destiny transformation?

13. The correlation between our homes and our health

14. How to choose a dining table most suitable for ourselves

15. If you are unable to engage a good Feng Shui master, how can you choose a suitable house?

16. In 2019, how do you activate the store of wealth in your home?

（C）TRILOGY TO BEING SAFE & SOUND - #2 SELF

17. Master Dai Hu analysed the facial auras of participants.

18. How does sexual misconduct affect the prosperity of men?

19. The Chinese term 精神 - the correlation between 精 and 神

20. When you have the money, do not eat it all by yourself. When you strike it rich, you must help others.

（D）MASTER DAI HU LIVE FENG SHUI AUDITS

21. How do you tell that this man has plans but lack the drive and boldness to carry them through?

22. Why is a great ambition defeated by lousy bedroom Feng Shui?

23. So this is how the application of the five elements determine our victories and defeats!

24. A house formation like this is like a live battlefield - daily quarrels, lack of money, Yin afflictions.

etc.

Our age will only increase year by year, and not the other way. Feng Shui has the ability to transform a single opportunity into a hundred more. Master Dai Hu is not encouraging everybody to be greedy, but in this world of form, it is impossible to live without money. Master Dai Hu cracked a joke with the participants, "I hope for everyone to have a comfortable life, so that you won't end up having to borrow money from me."

Master Dai Hu also reminded the male participants: When a man introduces himself, there must be strength in his words and never to speak weakly or softly. But bear in mind that a man is deemed impressive when he is capable and competent, not when he uses his strength to beat a woman or bully the fairer sex.

The definition of 平安 (being safe and sound) lies in your state of mind. We must be able to accept everybody, and think of their good points. The moment we can open up our hearts will be when we can truly receive 平安 .

*********************

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心可造天堂，心可造地獄。
改命必從心起，改運必先行動。

30則真人真事的度眾故事 30 real-life deliverance stories of Master Dai Hu
全彩色的漫畫 Comic in full colour illustration
中英文翻譯 In both English & Mandarin
192頁 192 pages

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The mind can create Heaven. It can also create Hell.
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