มีน้องๆ ถามมาว่าอยากเป็นโปรแกรมเมอร์ได้มั๊ย
.
ดังนั้นผมจึงทำลิสต์ไว้ 3 ข้อเอาไว้เช็ค
ดูว่าเราเองนี้มีคุณสมบัติเหมาะกับการเป็นโปรแกรมหรือเปล่า
.
😍 1) ต้องมีความเป็นนักประดิษฐ์
การเขียนโปรแกรมต้องมีการสร้างโน่นสร้างนี้ตลอดเวลา
สร้างเว็บ เกม แอพลิเคชั่นมือถือ สร้างโปรแกรมต่างๆ บนโลกคอมพิวเตอร์
.
พูดง่ายๆ คือสร้างซอฟต์แวร์บนคอมนะครับ
นี้คือสิ่งประดิษฐ์ที่ล้วนเกิดจากแป้นพิมพ์คีย์บอร์ด
ที่เหล่าโปรแกรมเมอร์เสมือนร่ายเวทมนต์เสกมันออกมา
.
จะให้ลองนึกถึงนักวิทยาศาสตร์ นักประดิษฐ์ระดับโลก
เช่น โทมัส อัลวา เอดิสัน (Thomas Alva Edison)
ถ้าสมัยนี้ก็ พี่มาร์ค ซัคเคอร์เบิกผูสร้างเฟสบุ๊ค
บิลเกตผู้ก่อตั้งไมโครซอฟต์
สติฟจอป ผู้ก่อตั้งบริษัทแอปเปิล
.
นี้ขอยกตัวอย่างคนดังๆ
ถ้าน้องไม่รู้จักลองคนเหล่านี้
ลองเอาชื่อที่เอ่ยมาสักครู่ไปค้นประวัติดูได้
.
แล้วถ้าเกิดชอบ
รู้สึกว่ามีคนพวกนี้เป็นไอดอล
อยากขอลายเซนต์
อยากถ่ายรูปด้วย
ก็อยากจะกวักมือให้อ่านบทความนี้จนจบ
.
เอาเป็นว่าอยากให้ลองถามหัวใจตัวเอง
ถ้าน้องๆ ชื่นชอบการสร้าง การประดิษฐ์คิดค้น
มีความสุขที่ได้สร้างอะไรขึ้นมาด้วยสองมือเราเอง
ยิ่งมันเสร็จขึ้นมา เราจะรู้สึกวาว
มันเจ๋ง มันเยี่ยมยองกระเทียมเจียว
แล้วยิ่งมีคนมาใช้งานสิ่งที่เราสร้าง
.
ลองนึกถึงน้องๆ ได้สร้างเฟสบุ๊คมากับมือ
น้องภูมิใจไหมที่มีคนใช้กันเป็นพันล้านคนทั่วโลก
ถ้าน้องๆ รู้สึกโคตรภูมิใจมากๆๆ มีความสุข
ที่เห็นสิ่งประดิษฐ์เราออกสู่สายตาโลก
ยินดีด้วยนี้คือก้าวแรกของเส้นทางการเขียนโปรแกรม
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😍 2) ต้องเป็นนักแก้ปัญหา
นึกถึงคนที่เขียนโปรแกรม
พวกเขาจะมีอุปสรรคปัญหาให้แก้ตลอดเวลา
.
✔ จากลูกค้าที่โยนปัญหามาให้เรา
✔ หรือโปรแกรมเราที่ติดบั๊ก แต่ไม่ติดรอหัวใจ
✔ โปรแกรมเกิด error หรือข้อผิดพลาดในโปรแกรม
✔ เวลาทำงานไม่ผ่าน ทำงานไม่ตรงตามจุดประสงค์
✔ โปรแกรมก็ต้องมานั่งตามเช็คตามล้าง
.
อาชีพนักเขียนโปรแกรม พวกเขาต้องมานั่งขบ คิด
บางทีปัญหาไม่จบในที่ทำงาน
นอกเวลาก็ต้องมานั่งคิด
เช่น กินข้าว อาบน้ำ นั่งถ่ายในห้องน้ำ ก็ต้องนั่งมานั่งคิด
.
เพราะบ้างทีชั่วโมงทำงานมันจบไปแล้ว
แต่หัวสมองเรายังไม่จบ
ยังเกิดความรู้สึกคาใจ อยากแก้ปัญหาคาใจให้ออก
.
บางคนขนาดตอนหลับก็เอาไปฝัน
สามารถคิดแก้ปัญหาตอนหลับได้ก็มี
หัวสมองเราต้องเป็นนักสู้
สู้ในที่นี้ หมายถึงสู้เพื่อแก้ไขปัญหา
พอแก้ปัญหาได้ รู้สึกว่ากูเจ๋ง กูเยี่ยมว่ะ
เราเองสุดยอดที่แก้ปัญหาได้
.
ลองนึกถึงเวลาเล่นเกมปัญหาเชาว์ต่างๆ เช่น
จับผิดสิ่งที่อยู่รูปภาพ
หรือทายปริศนาคำศัพท์
หรือเล่นเกมรูบิก เป็นต้น
.
ถ้าน้องรู้สึกชอบว่ะ พยายามสู้
พยายามแก้ปัญหาเชาว์พวกนี้
แก้ให้ได้ แก้ไม่ได้ จะไม่เลิก
.
ยิ่งแก้ได้ ยิ่งจะกระโดดโลดเต้น
ถ้าน้องมีความรู้สึกแบบนี้ ยินดีด้วยครับ
นี้คือก้าวที่สองของเส้นทางสู้การเขียนโปรแกรม
.
😍 3) ต้องสนใจและติดตามเทคโนโลยี
งานเขียนโปรแกรม
งานส่วนใหญ่อยู่ใลกไอที คอมพิวเตอร์
พื้นฐานจะเป็นนักเขียนโปรแกรมได้
ต้องสนใจและติดตามเทคโนโลยี
ตรงไปตรงมามากๆ
อยากลืมว่าเทคโนโลยีมันเปลี่ยนแปลงเร็ว
บ้างตัวมา แล้วไปฆ่าเทคโนโลยีอื่นตาย
.
✔ กล้องถ่ายรูปแบบฟิล์ม เดี่ยวนี้เป็นกล้องดิจิตอล
✔ โทรศัพท์มือถือเมื่อก่อนยังขาวดำ ปุ่มกดธรรมดา
ปัจจุบันเป็นทัสสกรีน หน้าจอสัมผัส เป็นสมาร์ทโฟน
.
การที่คนเขียนโปรแกรมต้องเรียนรู้
ปรับตัวตามกระแสเทคโนโลยีให้ทัน
จะทำให้คนภายนอกมองว่าเราคือผู้เชี่ยวชาญ
เขามาจ้างเราเพราะอะไรรู้ไหมครับ?
.
เพราะเขาทำไม่เป็น
อย่าลืมว่าคนไม่เป็นไอที
ยังไงเขาก็ไม่เป็นจริงๆ เลยนะ
.
ด้วยเหตุนี้เขาจึงต้องจ้างเขียนโปรแกรม
ยิ่งเราเก่งด้านนี้
กล้าพูดได้เลยว่า
สามารถเรียกค่าตัวให้แพงได้
เพราะเราในสายตาลูกค้า หรือนายจ้าง
คือผู้เชียวชาญ เพราะเขาทำไม่ได้อย่างเรา
ดังนั้นเราไม่ใช่กระจอก
.
เพราะฉะนั้นถ้าเราไม่หมั่นตามเทคโนโลยี
ไม่หมั่นฝึกฝน
ไม่เป็นผู้เชียวชาญ
แล้วเราจะเก่งได้ไง
.
นี้แหละคือคุณสมบัติ 3 ข้อ
ในการเช็คว่าเราเป็นนักเขียนโปรแกรมได้หรือไม่
.
.
🧘♂ ++++++ 🧘♂
.
ทิ้งท้าย
ทุกอาชีพมันก็มีด้านมืดด้านสว่าง
ด้านสว่างทางสายนี้ คือเงินดี
.
ยิ่งเป็น เอาท์ซอร์ส หรือ contact
เงินเดือนเกินครึ่งแสน
เก่งจริงมีให้เห็นมาแล้ว
ยิ่งภาษาอังกฤษได้
โปรไฟล์จะเราจะหล่อสวย
มีแต่คนจ้องตามจีบ
.
ยิ่งรู้จักเก็บเงินดีๆ
ยิ่งรู้จักใช้เงินทำงานให้เป็น
รับรองได้เห็นเงินล้านก่อนอายุ 30 ไม่ยาก
.
แต่ถ้าเป็นพนักงานประจำ
ก็ต้องบอกตามตรงรายได้จะไม่สูงมาก
ยกเว้นไปทำต่างชาติ
หรือพวก startup บางเจ้า เขากล้าจ้างแพง
.
ส่วนด้านมืดคืองานเครียด
อาชีพนี้อยู่ได้เพราะเรา....
ต้องใช้สมองแก้ปัญหา ให้ลูกค้า
เพราะลูกค้า หรือนายจ้าง
เขาทำไม่ได้เหมือนเรา
จึงต้องมาจ้างเราเขียนโปรแกรมให้
.
สำหรับบทบาทอาชีพนี้
ถ้าเปรียบเป็นนักฟุตบอลคือ
ไม่ตำแหน่งกองหลัง ก็ผู้รักษาประตู
ทำงานปิดทองหลังพระเสียมากกว่า
เราไม่ใช่กองหน้า
.
พอไม่ใช่กองหน้าซุปเปอร์สตาร์
บางคนเลยเจอกดเงินเดือนลง
ทั้งที่ความรับผิดชอบเกินเงินเดือน
.
ถ้าใจไม่รักไม่ชอบอยู่ยาก
ยิ่งถ้าไม่มีพื้นฐาน 3 ข้อที่กล่าวมา
รับรองอยู่ได้ไม่นาน
ก็เบื่อลาออก
ไปทำอย่างอื่นกันหมด
.
อย่าลืมในโลกใบนี้
มันมีงานที่เงินดี
ที่ไม่ต้องใช้สมองแก้ปัญหา
เหมือนนักเขียนโปรแกรม
งานดีเงินดีมีเยอะมากมาย
.
เพียงแต่อาชีพไหน?
จะเหมาะกับตัวตนน้องๆ
ถูกจริตหรือไม่ ก็เท่านั้นเอง
.
งานที่ไม่ใช่ ยังไงก็ไม่ใช่
.
.
.
.
.
.
.
.++++++++++++++++++++++++++++
<ประชาสัมพันธ์ ขายหนังสือ/>
“โปรแกรมเมอร์ก็รวยได้ ด้วยเส้นทางเอาท์ซอร์สสายดำ”
ความยาว 176 หน้า กระดาษ A5 (≈ 41,002 คำ)
แบ่งเป็น 2 เวอร์ชั่น
.
👉 1) เวอร์ชั่นพิเศษเป็น PDF
ปรินต์ออกมานอนเกาพุงอ่านได้ ราคา 330 ฿
ติดต่อสั่งซื้อไดที่ไลน์ @269aibvq (เฉพาะ PDF)
.
👉 2) เวอร์ชั่นอีบุ๊กอ่านผ่านโปรแกรมของเว็บ mebmarket
ไม่มีแจก PDF ปรินต์ออกมาไม่ได้
ราคาถูกลงมาหน่อย 250 บาท ฿
กับ 279 บาท ฿ (ซื้อผ่านระบบ Apple)
ซื้อได้ที่ 👇
https://www.mebmarket.com/web/index.php…
.
สำหรับตัวอย่างหนังสือ ดาวน์โหลดได้ตามลิงก์ข้างล่าง 👇
https://drive.google.com/open…
.
✍ เขียนโดย โปรแกรมเมอร์ไทย thai programmer
Sisters asked me if I want to be a programmer.
.
So I made 3 lists for checking out.
Let's see if we qualify as a program.
.
😍 1) An inventor must be
Programming must be built all the time.
Build web games, mobile application, create programs in the computer world.
.
Easy to say. It's built software on computer.
This is an invention that was all caused by keyboard.
Where the virtual programmers cast their spells.
.
Let's think about the scientists, the innovators, the world.
Like Thomas Alva Edison (Thomas Alva Edison)
If these days, it's me, Mark sạkh, the creator of Facebook.
Bill Gate, the founder of Microsoft.
Stiff Jopp, founder of Apple Company.
.
Let's give a celebrity example.
If you don't know, try these guys.
Let's get your name in a while. Let's go through the history.
.
What if I like it?
Feel like these people are idols
I want to ask for a signature.
Wanted to take a picture
I want to shake my hand to read this article until the end.
.
Let's just say that I want you to ask your heart.
If the sisters love creating invention
Happy to create something with our own two hands.
The more it's done we'll feel shiny
It's cool. It's great. Jeaw garlic.
And more people use what we create.
.
Let's think about the brothers and sisters. Created Facebook with their hands.
Are you proud that there are billions of people around the world?
If the sisters are feeling very proud and happy.
Seeing our invention out of the world.
Congratulations, this is the first step of the programming path.
.
😍 2) must be a problem solver
Think of the programming people.
They will always have obstacles to solve.
.
✔ from customers who throw us trouble
✔ or our program that sticks to the buck but doesn't get stuck waiting for the heart.
✔ error or error program error
✔ Working time, not working, not working on purpose.
✔ Programme, I have to come to sit and check and wash.
.
Programmers career. They need to sit and think.
Maybe problems don't end at work
I have to sit and think about it.
Such as eating, taking shower, sitting and filming in the toilet, I have to sit and think.
.
Because sometime in the working hours are over
But our head is not over yet.
I still feel like I want to solve my problem.
.
Some people even when they sleep, they take it to dream.
I can think of solving problems when I sleep.
Our head is a fighter.
Fighting here means fighting to fix the problem.
When I can solve the problem, I feel like I'm cool. I'm great.
It's me. The best that I can solve problems.
.
Think about game time, chow problems like
Catching the wrong thing in the photo
Or guess the vocabulary puzzle
Or play Rubik, etc.
.
If you feel like it, try to fight.
Trying to solve these chao problems
I can't solve it. I can't fix
.
The more I can solve, the more I can jump and dance.
If you have feelings like this, congratulations.
This is the second step of the path to programming.
.
😍 3) Must be interested and follow technology.
Programming
Most jobs are in computer IT.
The basics can be a program writer.
Need to be interested and follow technology
Very candid.
I want to forget that technology is changing fast.
Some of them come and kill other technologies.
.
✔ This single film camera is a digital camera.
✔ Mobile phone used to be white, black, black, normal pressing button.
Currently, it's Tuspicious. The touch screen is a smartphone.
.
The way a programmer needs to learn
Adapt to the technology trend.
Will make outsiders think that we are experts
Why did he hire us?
.
Because he can't do it.
Don't forget that people are not IT.
He's not really real at all
.
That's why he has to hire to program.
The more we are good at this.
I dare to say that
Can be charged to be expensive
Because we are in the eyes of customers or employers.
I'm an expert because he can't do it like me.
So we are not shoddy
.
So if we don't stand by technology
No practice.
I'm not an expert
How can I be good at it?
.
Here are 3 qualifications.
In check if we can be programmers
.
.
🧘♂ ++++++ 🧘♂
.
Backing up.
Every career has a dark side, bright side.
The bright side this line is good money
.
The more outsource or contact
Salary is over half hundred thousand
Really good. I have seen it.
The more English I get.
My profile will be handsome, beautiful.
There are many people who follow me.
.
The more you know how to save good money.
The more you know how to spend money to work.
I guarantee that it's not difficult to see a million before 30
.
But if it's a full time employee.
I have to be honest. The income won't be very high.
Except to go foreign.
Or some startups. They dare to hire expensive people.
.
The dark side is stressful work
This career lasts because of us....
Need brain to solve problems for customers.
Because of a customer or an employer.
He can't do it like us
So you have to hire us to program it.
.
For this career role.
If it's like a footballer, it's
No defender position, goalkeeper.
Working to close gold after monk's back is more broken.
We are not a striker
.
Enough is not a superstar striker.
Some people found that they pressed their salary down.
Responsibility is beyond salary
.
If you don't love, you don't like
If you don't have the 3 basics that you say.
Guaranteed it won't last long
I'm bored to quit.
Let's go do something else
.
Don't forget in this world
It has a job that pays well
That doesn't need brain to solve problems.
Like a program writer.
Good work, good money, lots of them.
.
Just what profession is this?
I will be suitable for the younger ones.
Right or not. That's all.
.
A job that is not a job is not a thing.
.
.
.
.
.
.
.
.++++++++++++++++++++++++++++
< Public relations book sale />
′′ Programmers can also be rich with black outsource routes
Length 176 pages h̄n̂ā paper (≈ 41,002 words)
Divided into 2 versions
.
👉 1) Special version as PDF
Princess came out to sleep and scratch my belly. Read it. Price is 330 ฿
Contact Line s̄ạ̀ng sụ̄̂x 269 aibvq (PDF only)
.
👉 2) Ebook version read through the program of mebmarket web.
There is no PDF giving away. Can't print.
The price is cheaper. 250 baht ฿
With 279 Baht ฿ (Buying via Apple System)
Buy it at 👇
https://www.mebmarket.com/web/index.php?action=BookDetails&data=YToyOntzOjc6InVzZXJfaWQiO3M6NzoiMTcyNTQ4MyI7czo3OiJib29rX2lkIjtzOjY6IjEzMTQxMiI7fQ
.
For the book preview, download the link below 👇
https://drive.google.com/open?id=1tAnMozeYd63dcbBGTQmT_ZrpSaamZS3e
.
✍ Written by Thai programmer thai coderTranslated
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let's jump right in 在 Sunny & Ivy の時光小站 Facebook 的精選貼文
[Mommy's heart chat]
When adults do basic health care, only if they are easy to cooperate with paramedics, one order one move can be completed in short time. Any check seems simple, but it is difficult for some children, and for Kasper, he is a normal thing. I need regular tracking from head to foot, including brain brain, eye, hearing, rehabilitation and orthopedic, which is strictly an old bird level, but every time I check, I have a headache because he will scare himself. Self.
This time, let's talk about the part of the follow-up tracking of eyesight. The last one said that I went to an eye that was just opened soon. Even at the beginning, I showed that the child was slow-flying, hoping to let the nurse understand that the child is afraid, but in the process But it was a very beautiful encounter, though he flew slowly, but the mind was super sensitive. One of the other's eyes would make him afraid, and the light let kasper watch the instrument and focus for 20 minutes. The Child's emotions are already unhappy and even resist. I can only soothe the psychology of his fear, and ask the nurse to help, but the face of the nurse from the beginning is very patient, tell me :" must be very tight. Kasper's head, ask him not to move around, ok? Eyes must watch ahead, or how to test it! Still, you hold your child to be strong." I understand that nurses are actually very hard, and facing many people who check, may be less patient in professional, but I also know what the child is afraid of, and take the instrument to check it out. The data that comes out can't judge if the child's eyes are problematic? The doctor can only open the hitomi agent to go back to the clinic for a week.
In this week, I keep saying to Kasper: " I know you don't like some eye-eye water because it's uncomfortable, so you hate it, even you will collapse crying and resist, so that the neighbors have to play 113 line to catch mom. Now, but if we don't have a collaboration check, it might be a bit of eye water, so do you want to?" he shook his head and said, " don't!" I confirm again :" will you be able to cooperate with the check?" He nodded and said, " yes!" thank you my child for listening to what I said. Even when I was less cognitive than before, even a day before the day before the day, the teaser still will be declared a failure, and the only thing I can do is flowers. It's been a long time to soothe him.
A week later I searched for an eye clinic that I used to follow, and for Kasper, the first visit, the clinic looks old and even the equipment is not new, I still suggest that the child is slow-flying, and the nurse will be with me soon. I said, " Mom takes care of the child, you have worked hard!" I told the nurse :" the child's experience at the last clinic, I am deeply afraid that this time may still not be able to test the result. ~ " the nurse is very patient :" Mom doesn't matter, let's not force it, it's possible that the child has not tested before, so it will be afraid." and whispered to the kasper :" the head is close to a bit, some of them are balloons, some are the houses, just look at it. ! Aunt raised the chair high, and if you would be afraid, tell me?" I thought it was done in three minutes, I was surprised to say, " how can it be!" I don't know whether a week has been announced. But at least kids overcome is the truth.
Next is a headache of optometry, it is difficult to have kasper than the right gap, the last one is using the numbers, but the process is also 2266, don't know whether it is the the or the correct answer that is completely unavailable? So I told the nurse: " this part won't be hard to test!" the nurse told kasper :" you're really good, right? Let's study first, usually let mom scare a big jump in the end! Because you're better than that!" I'm watching the interaction between nurses and kasper on the side. It may be too difficult for the gap, so the nurse took a picture card, as long as the kasper showed the direction against the front, and the practice was 15 For a minute but I didn't see the nurse's face being unhappy, I whispered and smiled at the beginning, and the nurse asked kasper. " should I wear glasses or stick with a stick?" the kid is very assertive. :" to wear glasses!" I can't imagine that the official optometry only saw kasper cooperate with the nurse's instruction. The direction of the transfer is easy to correct. The process is really scaring me, though the nurse is not beautiful, but that is the one that will make people I really want to be close to the deep. Thank you so much for this lovely and bark nurse, so that I and kasper are feeling a very temperature clinic.
A lot of people will ask me to go to the hospital to see? Looking for that doctor? Frankly speaking, I really do not like to recommend, because maybe i feel fit, but I am deeply afraid of the experience that I recommend to you, so I often recommend looking for a health care worker who is comfortable with me, because it is a long time to fly the road. Often, when I get back to the clinic, parents are often very uncomfortable because of the discomfort of their children. If they are to disturb their minds, they will be found guilty. I am not trying to play privilege, but because I understand the point that the child is not able to get through. It is often short to see a doctor, but it is the most difficult to soothe the child's safety when it takes a long time.
Through this platform, not only can we share the food, the sights, but there will be a share of "slow flying" every week, hoping to let more people know about the children of different slow flying, maybe i am not the most professional, but in this way Experience sharing you will find that in fact he / they are very naive and cute, believe in you more understanding, give greater tolerance, no longer keep distance but close each other's heart.
#第127篇
#檢查對我們來說是家常便飯
#好的醫護人員可以讓孩子高度配合
#慢飛孩子的心思都擁有強烈的敏感度
#認識不同的慢飛天使從你我開始
#瞭解也是一種互動的幫助開始
#媽咪心事聊聊天 #時光小站
#遲緩兒 #慢飛孩子
let's jump right in 在 半瓶醋 Facebook 的最佳貼文
"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…
let's jump right in 在 EDAMAME Arcade Channel Youtube 的精選貼文
Dissidia Final Fantasy is coming to console in 2018, so get you ready for it, we are playing the Arcade version. Tom Lee and Kabukin haven't played before so let's see how they go without any instruction first...
CONTROLS:
Left strick = move
LI = Guard/Step
LII = Change Target
Right Stick = Camera (push to reset camera)
RI = Dash/Wall run(press III)
RII = Change Target
I = EX Skill
II = Brave Attack
III = Jump
IV = HP Attack
Crystal Core = Summon
http://www.jp.square-enix.com/DFF/system/system1_2.html
© 2015-2017 KOEI TECMO GAMES/SQUARE ENIX CO., LTD. All Rights Reserved.
CHARACTER DESIGN: TETSUYA NOMURA
----
EDAMAME ARCADE CHANNEL
Welcome to your source of Japanese Gaming, Arcading and all things crazy in Japan!
We'll be your guides into the Japanese Gaming industry, culture, community in Japan.
EDAMAME!?
Edamame is a cooked soy bean snack that you'll find at almost every Japanese restaurant. Using the first thing on the table at IZAKAYA!
Twitter @edamamearcadech
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KABUKIN:
https://www.youtube.com/c/Kabukin536
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Is a Japanese YouTuber, musician and all round awesome dude.
TOM LEE:
https://www.twitter.com/itsmeTomLee
https://www.youtube.com/c/tomlee777
Has been in Japan for 10years and will help try make sense of everything.
let's jump right in 在 Joanna Soh Official Youtube 的最佳解答
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MORE VIDEOS TO GUIDE YOU THROUGH YOUR JOURNEY
10 Food Hacks to Eat Less! (+Lose Weight)
https://youtu.be/_gENF8iiIOg
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Here's the complete playlist to more than 50 videos:
https://www.youtube.com/playlist?list=PLyP8pbBMxcsjSQjf_2V8ZJku_njMfh_Zm
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