這張來自經濟學人的製圖,清楚地表明了中共對“和平崛起”的定義(瞎)。
中共擁有DF-26,DF-41和高超音速導彈等技術
中共持續不斷擴張其軍事力量,擴建其超出自衛需求之海軍
中共不僅威脅台灣,蠶食南海,並持續對印太周遭國家施加壓力。
在這種威脅之下,除了國民黨提案「美軍協防台海安全」之外,我們更需要向盟國證明,我們是不可或缺的伙伴,而不是需要額外保護的負擔。
在這個狀況之下,台灣的國防支出,顯然還不足以回應這種需求。
誠然,台灣是重視內政、民生的民主國家,我們施政的優先順序,包含教育,健保政策、還有生產技術發展。怎麼樣更有效率運用資源,是重要課題。
一種方法是針對重要國防目標,有效支出。
增加國防開支對於確保國家安全和盟國信心,不可或缺,但在有限的資源下,我們必須更加明智地進行抉擇
投資 “我們可以承受的損失” “可消耗” 技術,可使我們的防禦能力與我們的投入,成比例遞增。
諸如無人機,反艦、地(水)雷、地面防空系統等並非「展示用」「高大上」的武器,可以比中共喜歡在閱兵表演、耀武揚威的武器以更合理的價格獲得。
與複雜的載人系統相比,它們的維護成本也更低。
不僅適合應對當前的威脅,並向我們在本地區的盟友表明,我們對國防很重視,而不僅僅是參與政治活動和散佈恐懼。
最後,國家安全的投入,並非代表每一個人都得要直接作為戰鬥兵員。
(你有看過世紀帝國開局全部都是兵沒有農民嗎?)
(不然研發假的歐)(貿易假的歐)(學院建假的歐)(世界奇觀建假的歐)(僧侶海假的歐)
每一個人扮演好自己應該扮演的角色,在外貿上增加依賴(讓各國與台灣互相依賴加深),在技術上增加能力(如台積電,成為各國利害關係的集中地),在制度及價值增加連結(透過外交、教育、文化的管道,讓理念相近的國家,更加重視台灣),在法律訴訟增加合作(力抗中共對於公平貿易的威脅,如:竊取各國重要技術機密、專利戰),每一項都是國家安全的一環。
希望針對威脅,台灣兩黨能快速建立共識,畢竟我們有共同的對手,需要投入更多的資源去面對,不管男女、不問種族,不管職業,這都是共同的課題。
This graph clearly demonstrates the PRC’s definition of “peaceful rise.”
An ever expanding military, with technologies like the DF-26, DF-41 , and hypersonic missiles, as well as a massive navy serve to menace the region and subjugate the PRC’s periphery.
Taiwan’s defense expenditures are clearly falling behind, at a time where we need to prove to our allies that we are an indispensable partner, rather than a liability that requires protection.
So how can our nation, which wants to prioritize spending that benefits our people’s livelihoods, through education, healthcare, and technological development defend itself against this Goliath?
One way is by spending effectively. While raising defense expenditures is a must in securing the safety of our island and the confidence of our allies, this is a game we must play smarter — not just harder. Investing in ‘’attritable’ technologies — those that we can afford to lose — can expand our defense capabilities disproportionately to what we spend. Technologies like unmanned aerial and undersea vehicles, anti-ship mines, and ground based air defense systems can be acquired at a much more reasonable price than many of the flashier items that the PRC itself likes to show off in military parades and air shows. They also come with lower maintenance costs than complex, manned systems. Adapting to the current threat environment will also show our allies in the region that we are serious about defense — not just engaging in political theatre and fear-mongering.
While we believe that a nation that truly wanted to be a force for good in Indo-Pacific would not focus so ravenously on expanding its military power, we must deal with the hand we’ve been dealt — and renew our focus on the defense of the global rules-based order — both for ourselves and for peace and stability in the region.
Peaceful rise? Sure, we get it — so Taiwan’s defense spending must reluctantly rise as well.
同時也有3部Youtube影片,追蹤數超過1萬的網紅translation,也在其Youtube影片中提到,#ウルフチームが発売した、オリジナルとなる88用RPG作であり、シリーズ2作目。 3Dダンジョンの前作から一転、見下ろし型の2Dマップに変わった。 10年後のアルカサス王国が舞台となり、各機種でマップやストーリーに違いがある。アニメシーンをAIC、キャラクターデザイン・原画を垣野内成美さんが担当。 ...
「peace island game」的推薦目錄:
peace island game 在 DJ荳子 Facebook 的最佳貼文
9月份節目歌單【好事自在Latte】
🌬9/30(一)
14:05:09 熱線你和我/張惠妹
14:08:47 彩色幻想/黃雅莉
14:12:43 Night & Day/Baha Men
14:19:06 把你還給你/方泂鑌
14:23:05 放逐/萬芳
14:27:23 Youngblood/5 Seconds Of Summer
14:34:32 結果咧/大嘴巴
14:39:58 威尼斯的淚/永邦
14:44:30 心/大原櫻子
14:52:06 Fiea Wheel Fest/Dot Politica
14:56:01 跟你交往的理由/Kola
15:03:56 哈樂DAY/黃妃
15:07:31 Still The One/One Direction
15:10:32 紅蘋果/孫盛希
15:18:31 三個人的晚餐/王若琳
15:22:52 音樂盒/平井堅
15:26:54 Something About Love/許孟哲
15:35:03 2-0+1/蘇運瑩
15:39:02 Lose/FTISLAND
15:42:08 你懂個屁/李玖哲/Flowsik
15:47:31 就像白癡一樣/盧廣仲
15:52:40 Killing Me Softly With His Song/SHANTI
16:04:03 深秋的黎明/黎明
16:08:34 Circle Game/P!nk
16:13:18 大好時光/汪蘇瀧
16:19:31 Body Count/Justin Timberlake
16:24:11 OK?OK!/蘇慧倫/任賢齊+羅百吉
16:32:13 不管有多苦/那英
16:36:33 The look of love愛情的樣子/Ronan Keating
16:42:17 Chillaxing/安心亞
16:50:08 天真爛漫的溫暖/柴崎幸
16:54:28 Honey/郭書瑤
🌂9/27(五)
14:04:36 friDay 超展開/J.Sheon/魏如萱
14:08:15 不醉不會/田馥甄
14:12:05 Supergirl/Miss Papaya
14:18:04 何妨/家家/茄子蛋
14:22:29 散場的擁抱/倪安東
14:31:54 Q/AAA
14:36:06 妙妙妙/徐懷鈺
14:40:35 不為誰而做的歌/林俊傑
14:49:46 Show MeJessica Sutta
14:54:35 告別青春期/1976
15:04:03 歹姐妹仔 戴愛玲/黃妃
15:08:07 最高品質靜悄悄/9m88/leo王
15:11:29 Feels/Calvin Harris/Pharrell Williams , Katy Perry , Big Sean
15:17:50 三人舞Triangle/孫盛希
15:21:51 對眼/唐禹哲
15:25:36 FURUSA SAI-DA/平井堅
15:31:22 少了你該怎麼辦/曾寶儀
15:36:03 給珍愛的未來/EXILE放浪兄弟
15:40:52 大拉拉的888/張芸京
15:50:32 環遊世界/旺福
15:53:13 Maria/Ricky Martin
16:03:56 為了愛 夢一生/王傑
16:08:24 好好說/鄭秀文
16:13:02 戀人/氣志團
16:22:11 SOS/Take That 接招樂團
16:25:51 我要你愛 美秀集團
16:34:38 女人心事//晶瑩
16:39:17 I'm Here/梁多一
16:44:07 那人嘴巴冒出不知道啥麼東西/徐小花
16:51:37 Show Me How You Burlesque/Christina Aguilera
16:54:34 這叫愛/By2
🦜9/26(四)
14:04:24 散播快樂散播愛/草蜢
14:08:30 高興!快樂!我愛你!/Dreams Come True
14:12:47 耳朵要解渴/莫文蔚
14:19:20 Stars In Your Eyes/Kan Sano
14:23:43 笑開/方大同
14:30:06 曖昧/楊丞琳
14:34:08 像風一樣 /薛之謙
14:38:28 This Is Love/2PM
14:48:31 Good Time/Owl City/Carly Rae Jepsen
14:52:23 一事無成的偉大/八三夭
15:04:37 無言花/江蕙
15:08:58 沒有傘的人/楊永聰
15:12:52 Obsessed/Mariah Carey
15:20:18 365天/JPM
15:23:40 男孩/Hey! Say! JUMP
15:32:41 依然愛你/王力宏
15:36:43 Perfect/Ed Sheeran 紅髮艾德
15:41:03 SWAG午覺/異鄉人/9m88
15:49:41 Uptown Funk/Bruno Mars/Mark Ronson
15:53:51 羞羞男/李英宏
16:04:30 愛我/柯以敏
16:08:41 Like I Do/Christina Aguilera/GoldLink
16:13:31 留不下的/ 許維芳
16:20:04 Labels or Love/Fergie
16:23:55 9453/玖壹壹
16:32:18 洋蔥/丁噹
16:37:21 Love Is Over/ 德永英明
16:42:09 三分拍/張學友
16:45:15 Stupid Cupid/Mandy Moore
16:51:03 Lollipop 棒棒糖/倖田來未
16:54:22 Super Model/S.H.E
🍇9/25(三)
14:04:49 每朝美Day/夏宇童
14:08:59 Early In The Morning/桑田佳祐
14:13:54 無限青春Forever Young/F.I.R./Do As Infinity
14:15:48 Don’t Call Me Angel/Ariana Grande/Lana Del Rey & Miley Cyrus
14:23:50 流年/王菲
14:32:47 完美落地/亂彈阿翔
14:37:24 深呼吸/王艷薇
14:41:49 氧氣般的妳Love like oxygen/SHINee
14:49:07 Life's Good/The Lighters 萊特姊弟
14:53:37 The One You Love/Glenn Frey
15:04:39 你給人嘿/陳建瑋
15:07:51 Smily 笑嘻嘻/大塚 愛
15:11:13 我就是喜歡這樣/任賢齊
15:16:53 偏執狂/陳勢安
15:20:12 Wrecking Ball/Dami Im
15:23:29 癡情玫瑰花/Under Lover
15:32:23 南國的孩子/安溥)
15:37:53 紙人 楊永聰
15:42:53 Awake/BTS 防彈少年團
15:48:59 When The Going Gets Tough/Boyzone
15:53:21 天使也會受傷/小男孩樂團
16:05:18 一世情緣/姜育恆
16:09:54 愛比死更寂寞/艾怡良
16:13:26 2002/Anne Marie
16:19:05 戀愛泡泡糖/愷樂
16:22:39 Smile For Me/河合奈保子
16:26:04 當我們宅一塊/羅志祥
16:34:37 說真的/容祖兒
16:38:57 第三人稱/hush!
16:44:06 Don't U Wait No More/Red Velvet
16:51:11 小婚禮/吳建豪
16:55:37 Spice UpYour Life/T.I.V.C.
🍄9/24(二)
2:04:04 PM飛高高/張惠妹
2:07:23 PMWhat You Need/Britney Spears
2:10:49 PM少女/林宥嘉
2:17:27 PMControl Me/COLDE
2:20:47 PMOS不一樣/溫嵐
2:25:05 PMDon't be cruel/Elvis Presley
2:33:57 PM喜歡兩個人/彭佳慧
2:39:21 PM水災 Water Disaster/Matzka
2:44:56 PM歌舞伎町女王/椎名林檎
2:50:25 PMTo Be With You/Mr. Big
2:54:56 PM純真/黃建為
3:04:03 PM衝衝衝/伍佰
3:07:33 PMDark Horse/Katy Perry
3:11:01 PMParty Time/李玟
3:17:13 PM靜靜的/庾澄慶
3:21:15 PM相信你Believe In You/李毓芬
3:24:26 PMBreak All Day/觀月亞里莎
3:32:46 PM黑色星期二/陶吉吉
3:37:23 PM綠光/孫燕姿
3:40:30 PMTrick Me/Kelis 酷莉絲
3:47:44 PMTRULY/宋楚琳
3:50:50 PM傻瓜/Ken
3:54:00 PM疼愛/蕭敬騰
4:03:56 PM鴨子/蘇慧倫
4:07:13 PMGee/少女時代
4:10:38 PM喉嚨啞了/鄭可強
4:17:00 PMNo Me Dejes De Querer/Gloria Estefan
4:20:24 PM寶萊情緣/自由發揮
4:23:46 PM在這裡請你隨意/蘇運瑩
4:29:46 PM愛我別走/張震嶽
4:34:24 PMUpside Down/Jack Johnson
4:38:56 PMThe Days/Avicii/Robbie
4:49:18 P I wanna be down/M-Flo/板本龍一
4:53:58 PM桃花旗袍/By2
🤖9/23(一)
2:04:11 PM爆米花的味道/蔡依林
2:08:29 PMS.O.S./Jonas Brothers Jonas
2:10:47 PM超勇敢/By2
2:16:40 PM候鳥/蕭煌奇
2:21:13 PM約定/周蕙
2:25:23 PMI Do 我願意/Colbie Caillat
2:32:28 PMLucky/EXO
2:36:57 PM披星戴月的想你/告五人
2:42:42 PMHappiness/Love Psychedelico
2:49:07 PM轉吧!七彩霓虹燈/夾子電動大樂隊
2:54:21 PMVenus/Bananarama
3:03:56 PM妳不愛我/玖壹壹
3:07:34 PM無限青春Forever Young/F.I.R.飛兒樂團
3:11:46 PM帶我走 帶我走/Dreams Come True
3:21:08 PM4Minutes Left/4MINUTE
3:22:21 PM教海鷗飛行的貓/王心凌
3:25:50 PMMj Megamix/Michael Jackson
3:33:26 PM特別的人/方大同
3:37:43 PMHappy. Birth. Day/阿信.
3:41:31 PMCake By The Ocean/DNCE
3:47:29 PM原諒我/劉德華
3:52:46 PMDiamonds/Rihanna
4:04:03 PM故事/紅孩兒
4:07:46 PMGrace Kelly/Mika
4:10:43 PM看走眼/弦子
4:16:57 PMIt Wasn't Me/Shaggy
4:20:40 PM當我來到這裡/蛋堡/葛仲珊
4:29:49 PM後來/劉若英
4:35:16 PM終於了解自由/周興哲
4:41:33 PM現代藝術/嚴爵
4:43:34 PMGod Is A Dancer/Tiesto
4:50:34 PMFalling in love/2PM
4:54:06 PM快遞甜心/關詩敏
🏵9/20(五)
2:04:55 PM賴床公主/Lulu黃路梓茵
2:08:12 PMHappy day/宇珩
2:11:47 PMWeek End/星野 源
2:18:50 PM年少有為/李榮浩
2:23:23 PM太陽/陳綺貞
2:27:46 PMJames Dean/Daniel Beding
2:36:09 PM人間煙火/田馥甄
2:40:58 PM看見什麼吃什麼/林宥嘉
2:44:11 PMSacred Heart/Laurel Music
2:49:20 PMMy Destiny/LYn
2:54:05 PMLet's Get It Started/The Black Eyed peas
3:04:04 PM查某囡仔/李千那
3:08:54 PM說好不哭/周杰倫/阿信
3:12:27 PMNo Tears Left To Cry/Ariana Grande
3:18:47 PMTimber/Pitbull/Ke$ha
3:22:15 PM你想娶我嗎/袁詠琳
3:25:30 PMLove Again/3rd Coast
3:33:00 PMBe Somebody's Love/Rachael Yamagat
3:36:41 PM生日快樂/伍思凱
3:40:12 PM越來越愛/飛輪海
3:46:58 PMFight The Blues/宇多田 光
3:52:14 PM天高地厚/信樂團
4:03:56 PM想愛你/黃大煒
4:09:00 PM相信你/李毓芬
4:12:11 PMGimmie Dat/Ciara
4:18:52 PMParty People趴踢幫/Nelly/Fergie
4:22:44 PM奇妙的幸運/麻吉弟弟/劉軒蓁
4:31:21 PM分手需要練習的/A-Lin
4:36:08 PM當/動力火車
4:42:04 PM愛的語言/風味堂
4:50:51 PMDeer In The Headlights/Owl City
4:53:41 PM久等了/愷樂
😘9/19(四)
2:04:04 PMCupid/Amy Winehouse
2:07:38 PM你願不願意/曹格
2:11:05 PM超完美極品/安心亞
2:16:58 PMOrdinary/THE CHARM PARK
2:20:07 PM我想你的快樂是因為我/洛客班
2:23:52 PM新的心跳/鄧紫棋
2:31:49 PM開始懂了/孫燕姿
2:36:13 PMLet Her Go/Passenger
2:41:29 PM飛向你飛向我/小旺福
2:48:42 PMI Do/Rain
2:53:28 PM陣頭/陣頭演員合唱
3:04:03 PM歹姐妹仔/戴愛玲
3:08:08 PM翻轉壞未來/李依瑾
3:11:53 PMGotta be you/One Direction
3:19:27 PM奇怪的帽子/關吉吉
3:23:37 PMSomebody's girl/平井堅
3:32:42 PM沒關係/D.O.
3:36:21 PM城裡的月光/許美靜
3:41:35 PMSave room/John Legend
3:49:53 PM不要不要/卓文萱
3:53:20 PMI Like It/安立奎
4:03:56 PMRAIN/范曉萱
4:08:33 PM把你還給你/方泂鑌
4:12:32 PMJust A Man In Love/桑田佳祐
4:19:00 PMMaterial Girl/Madonna
4:22:48 PM甩一甩/葛仲珊/比莉
4:26:33 PMFunky那個女孩/大嘴巴/藍心湄
4:34:59 PM洋蔥/楊宗緯
4:39:27 PM你是答案/王笠人
4:44:07 PMDon't Go Away/Fun Factory
4:50:43 PM兩人同行一人免費/楊士弘
4:54:00 PMI Do I Do I Do I Do I Do/ABBA
☕️9/18(三)
2:04:11 PM味噌湯/手越增田
2:08:06 PM我的Super Life/錦繡二重唱
2:11:22 PMMURMURSHOW/慢慢說樂團
2:17:06 PMSuperpower/Adam Lambert
2:20:13 PM獻上我的心/杜德偉
2:24:33 PM一步一步愛/鄭秀文/陳奐仁
2:32:20 PM跟你借的幸福/蔡健雅
2:37:09 PMEverything At Once/Lenka
2:40:52 PMParty/葛仲珊
2:48:33 PM女孩/韋禮安
2:54:36 PMLights, Camera, Action!/SUPER JUNIOR-D&T
3:03:56 PM啞巴情歌/黃乙玲
3:08:04 PM說好不哭/周杰倫/阿信
3:11:38 PMI Choose You/Sara Bareilles
3:17:43 PM精舞門/羅志祥
3:21:21 PMVenus/Lady Gaga
3:29:54 PM一次幸福的機會/蕭敬騰
3:34:47 PM不愛別的/蔡日軒
3:39:09 PM少女們/AKB48
3:46:32 PMBreathless /The Corrs
3:49:54 PM我愛你Beach/BOXING
3:54:13 PM好難得/丁噹
4:04:03 PM真永遠/劉德華
4:08:07 PM最寂寞的歌/MFM
4:12:31 PMV.I.U/BEAST
4:18:13 PMHouse Party 好事派對/家家/OZI
4:21:09 PMBlurred Lines/Robin Thicke
4:25:22 PMI Got A Trouble 我得娶某/Matzka
4:34:52 PMIt's Gonna Be Alright/順子
4:39:34 PMSmooth Operator/Sade
4:44:51 PMCatch Your Double Eye/Bii畢書盡
4:51:24 PM十三號星期舞/蔡依林
4:54:32 PMBoys & Girls/Will.i.am
🥤9/17(二)
2:04:04 PMAir Balloon/Lily Allen
2:07:48 PM一百種失戀的方法/陳大天
2:10:42 PM不吃早餐才是一件很嘻哈的/MC HotDog
2:17:41 PMNAPPA/Crush
2:20:52 PM愛呦/陶晶瑩/夢飛船
2:25:34 PM親親親愛的/羅文裕
2:33:30 PMPhysical/Olivia Newton John
2:37:05 PM魯蛇/大嘴巴
2:41:49 PM不完美/李玖哲
2:47:50 PM愛上他/暉倪
2:51:18 PM不快樂/鄒宗翰
2:54:43 PMI'll Be Ready /Sunblock
3:04:03 PM就算無做伙/蔡家蓁
3:08:40 PMNobody Knows/Boyzone
3:12:47 PM奇幻精品店/許哲珮
3:18:34 PM心電心/王心凌
3:22:17 PMHungry Spider/槙原敬之
3:26:47 PMPOSA POSA/松田丸子
3:35:50 PM該忘的日子/郭靜
3:40:01 PM解脫/張惠妹
3:44:33 PMHot/BIGBANG-太陽
3:48:53 PMGirls Just Wanna Have Fun/Miley Cyrus
3:53:03 PM窗外/戴佩妮
4:03:56 PM執迷不悔/王菲
4:09:05 PM把你還給你/方泂鑌
4:13:05 PM戀/星野 源
4:19:43 PM愛自由/游智淇
4:22:22 PMCome Dance With Me/Michael Buble
4:25:03 PM熱情的沙漠/黃小琥
4:33:23 PM重傷/林凡
4:37:18 PMIf/Babyface
4:41:20 PM還沒倒下那就奔跑吧/強辯樂團
4:44:13 PMAmericano/10CM
4:49:26 PMHow we Roll/頑童MJ116
4:53:07 PMDon't Cha/Pussycat Dolls Don't
☕️9/16(一)
2:04:11 PM吃到撐死只要三百元/MOJO
2:07:04 PM友情-上等牛肉花/松浦亞彌
2:10:32 PM你要不要吃哈密瓜/告五人
2:18:07 PM月光下的影子/張語噥
2:21:27 PM預感/陳奕迅
2:26:18 PMWhere Have You Been/Rihanna
2:34:32 PM玫瑰少年/蔡依林
2:37:38 PMJust A Little Bit/Claudia/Fatman
2:43:05 PM愛我吧/方大同
2:50:25 PM喂?/BTOB
2:54:35 PM摘一顆星星/KIMBERLEY 陳芳語
3:03:56 PM傷心無話/葉樹茵
3:08:37 PM人累/習譜予
3:12:51 PM Fast Car/Jonas Blue/DakoFast
3:20:15 PMIs You/Ailee
3:24:33 PM還剩下什麼/蘇慧倫/羽泉
3:28:39 PM大頭仔/徐佳瑩
3:36:32 PMRADIO/孫燕姿
3:40:03 PMI NEED U/防彈少年團
3:43:30 PM我的媽/黃靖倫
3:48:40 PM我的80年代/雷光夏
3:53:10 PMTotal Eclipse Of The Hea/Westlife
4:04:03 PM我期待/張雨生/陶晶瑩
4:09:47 PM相信你Believe In You/李毓芬
4:12:58 PMWhat I Like About You/Jonas Blue
4:18:53 PM顛倒歌/黃妃
4:22:18 PMS.O.S/ABBA
4:25:31 PM點菜達人/陳昇
4:35:04 PMPush The Button/Sugababes
4:39:41 PM童話/光良
4:43:39 PM只有我看得見/10CM
4:50:31 PM碰碰愛/何維健
4:54:07 PMLove & Girls/少女時代
💝9/13(五)
2:04:04 PM給我Fu/盧瑮莉Lily
2:07:26 PM新流感/楊丞琳
2:11:13 PMI Need Your Love/Calvin Harris
2:17:35 PMWithout You/高爾宣
2:20:41 PM原來愛情這麼傷/梁詠琪
2:29:29 PMWANT/SHINee 泰民
2:32:49 PMRing Ring Ring/S.H.E
2:36:33 PM你不是真正的快樂/五月天
2:44:24 PM沒什麼不能愛/曾沛慈
2:48:28 PMSolo Por Ti/Gipsy Kings
2:52:11 PM背叛/楊宗緯
3:04:03 PM心肝插一刀/黃妃
3:08:21 PM突然心動/陳曉東
3:13:20 PMGood Morning/槙原敬之
3:20:59 PM愛是這樣/艾怡良
3:25:27 PM夢見/許仁杰
3:32:56 PM獨一無二的女孩/謝沛恩
3:36:39 PM聽妳說/郁可唯/林凡
3:40:34 PMHooked On A Feeling/Blue Swede
3:49:49 PM別想我放過你/田亞霍
3:53:03 PMBlurred Lines/Robin Thicke
4:03:56 PM割愛/萬芳
4:07:25 PMIt's Just Love/MISIA
4:13:34 PM珍珠奶茶/品冠
4:20:37 PM對我告白/馬靚農
4:24:02 PMice cream/f(x)
4:27:04 PM以歌會舞/郭富城
4:34:21 PM遇見/庾澄慶
4:37:54 PMThe Best Thing About Me/Ricky Martin/JoMusica
4:42:20 PM無色憂傷/王艷薇
4:49:37 PMCrazy Rays/V6
4:53:31 PM太空警察/宇宙人
🍐9/12(四)
14:04:38一想到你呀/張惠妹
14:09:15變身派對/Twins
14:13:11可愛的妖怪/平井堅
14:20:44Brand New Story/放浪新世代
14:24:13兄弟姊妹/張韶涵
14:30:29男人KTV/胡彥斌
14:35:13All I Ask/Adele
14:40:46認真就輸了/八三夭
14:50:10哪邊涼快哪邊待/Erika 劉艾立
14:53:52Haven't Met You Yet/Michael Buble
15:04:03愛的太超過/李千那/李英宏
15:07:46把你還給你/方泂鑌
15:11:46Uptown Girl/Westlife
15:21:05單眼皮女生/中國娃娃
15:24:31Umpah Umpah/Red Velvet
15:28:06檸檬甜甜的/何維健
15:36:32在樹上唱歌/郭靜
15:40:24男子漢的浪漫/玖壹壹
15:47:40不好說/許書豪
15:50:51Feedback/Janet Jackson
15:54:41Interlude/Tyler
16:03:56重提往事/周治平
16:08:30偷時間的人/黃妍
16:12:30留在我身邊/青山黛瑪/SoulJa
16:19:47四格漫畫/陶晶瑩
16:23:39Waka Waka/SHAKIRA
16:26:54BOOM BOOM BOOM/好大一團
16:34:09愛情多惱河/熊天平
16:38:15月亮見/岑寧兒
16:43:53In Your Arms/Backstreet Boys
16:50:44明天見 Sweet Dreams!/EXO-CBX
16:53:37蕭灑小姐/蕭亞軒
🥦9/11(三)
14:04:11荷里活/曹格
14:07:25Title/Meghan Trainor
14:10:17Strawberry Sex/平井堅
14:18:03Doin' Time/Lana Del Rey
14:21:17天天/陶吉吉
14:25:24傻眼了/Karencici
14:33:20Runaway/SUPER JUNIOR
14:36:42Super Star/S.H.E
14:41:01遠距離/伍家輝
14:49:22有你我就不孤單/C.T.O/羅志祥/愷樂
14:53:01Blow Me/P!nk
15:03:56繁華攏是夢/江蕙
15:08:56深情幾許/尹昌健
15:13:15Be The One/Bii畢書盡/李玉璽/陳彥允
15:20:30Hollaback Girl/Gwen Stefani
15:23:46JIGGY/F.CUZ/郭書瑤
15:26:56來個蹦蹦/玖壹壹/Ella 陳家樺
15:33:12I'm Ok謝謝/江美琪
15:37:04感謝感激暴風雨/嵐
15:41:46哈尼哈尼/強辯樂團
15:48:55Hello/阿杜
15:53:02亦敵亦友/閻奕格
16:04:0我會想你/吳宗憲
16:08:36相信你Believe In You/李毓芬
16:11:47Fantastic 夢幻繽紛/鈴木亞美
16:19:12Lay All Your Love On Me/ABBA
16:23:35我要你愛/美秀集團
16:32:33沒那麼簡單/潘裕文
16:37:45我也不想這樣/王菲
16:43:42WOWOWOW/SHINee
16:50:05快給我愛/蔡秋鳳
16:53:33Turn Up The Radio/Madonna
🎀9/10(二)
2:04:04 PM幸福的泡泡/黑澀會美眉
2:06:44 PMGreat DJ/聽聽樂團
2:10:03 PMBon Appetit/moumoon
2:18:01 PMCall Anytime/JINU
2:21:12 PM非法入境/汪佩蓉
2:26:10 PM抱緊處理/杜德偉
2:32:38 PM笑笑的/A-Lin
2:35:47 PMStaying Alive/Bee Gees
2:41:31 PM紙人/楊永聰
2:49:24 PM安全第一/呂薔
2:52:53 PMBad Romance/Lady Gaga
3:04:03 PM等/曾瑋中
3:08:51 PM偷時間的人/黃妍
3:12:50 PMI Love You Always Foreve/Betty Who
3:19:33 PM我想知道牽手的感覺With Y/PEACE靖
3:22:47 PM媽媽說/周渝民
3:26:08 PM奇蹟的香舞/松浦亞彌
3:35:15 PMGoodbye/Air Supply
3:39:12 PM分飛/徐懷鈺
3:45:57 PMI PROMISE YOU/Wanna One
3:50:40 PM轉眼/五月天
4:03:56 PM傷痕/林憶蓮
4:09:42 PM把你還給你/方泂鑌
4:13:41 PMCaptains Of The Sky/Sky Sailing
4:19:22 PM天地一鬥/周杰倫/Kobe Bry
4:22:26 PMTeeth/5 Seconds Of Summer
4:25:43 PM超勇敢/By2
4:32:53 PM我們的故事/Tension
4:38:50 PMSIMPLE IS BEST/矢井田瞳
4:48:54 PM雙手插口袋/頑童MJ116/張震嶽
4:53:40 PMDancer/Flo Rida
💍9/9(一)
2:04:11 PMLadies and Gentleman/GTM
2:07:22 PM想你想你/王心凌
2:10:29 PM愛愛愛/FT ISLAND
2:17:54 PM對的時間點/林俊傑
2:21:47 PM一生守候/王若琳
2:26:32 PMFantasy/Mariah Carey
2:35:00 PM萬花瞳/蔡依林
2:38:44 PM電眼女孩/倖田來未
2:43:27 PM猜測/無印良品
2:50:41 PMI Got You/Bebe Rexha
2:53:48 PMSuper Girl/蕭亞軒
3:03:56 PM心肝亂啥米/蔡佳麟
3:08:01 PM相信你Believe In You/李毓芬
3:11:12 PMParadise/Coldplay
3:20:35 PM東岸/BCW/家家
3:24:35 PMThrift Shop/Macklemore
3:31:36 PM同手同腳/林宜融
3:35:35 PM花帔/流氓阿德
3:41:52 PM世界的盡頭/椎名林檎
3:48:08 PMI Gotta Feeling/The Black Eyed peace
3:54:03 PM左右/廖文強/吳汶芳
4:04:03 PM不知所措/優客李林
4:08:55 PM三局兩勝/馮提莫
4:12:36 PMCALIFORNIA GIRLS/Katy Perry
4:19:44 PMOye/Gloria Estefan
4:24:19 PM女力/溫嵐
4:32:01 PM一首簡單的歌/王力宏
4:36:01 PM喜歡你/陳潔儀
4:41:28 PMBe the light/ONE OK ROCK
4:50:13 PMLove Is The Way/Red Velvet
4:53:38 PM獨家快樂/卓文萱
🍰9/6(五)
2:04:04 PM男人幫/任賢齊/蘇永康
2:08:19 PMBy The Way/Red Hot Chili Pepper
2:11:51 PM未來哈囉/楊丞琳
2:17:42 PM怎麼了/周興哲
2:22:51 PM紙飛機/林憶蓮
2:26:42 PM太陽的光芒/島谷瞳
2:36:46 PMPraise You/Fatboy Slim
2:41:45 PM愛不愛都寂寞/任容萱
2:48:25 PM夢不落/孫燕姿
2:53:12 PMDon't/Team
3:04:03 PM越走越勇/黃文星
3:07:38 PM相信你Believe In You/李毓芬
3:10:49 PMOne Kiss/Dua Lipa/CalvinDua
3:17:45 PM想要快樂/杜德偉
3:21:05 PMnobody but me/Michael Buble
3:29:20 PM希望是永不沉睡的夢/Super Junior-圭賢
3:33:55 PM只想對你說/那對夫妻林京燁
3:45:30 PM花花/宇宙人
3:48:59 PMLet me be your Teddy Bear/Elvis Presley
3:51:51 PM怎麼能這樣/曾沛慈
4:03:56 PMRain/郭子
4:08:39 PM現在開始做朋友/群星
4:21:37 PMLove Yourself/萬芳
4:24:34 PM忘記你我做不到/張學友
4:29:24 PM現在開始做朋友/群星
4:39:40 PM五虎/慢慢說樂團
4:43:01 PMSha La La/Dreamhouse
4:49:52 PMMy Hero/田亞霍
4:53:24 PM我戀愛了/張韶涵
🈯️9/5(四)
14:04:04Hug Yourself/郭修彧
14:08:12take me there/indigo
14:11:43為你幸福過的我/戴愛玲
14:19:38Happy End/上白石萌音
14:24:32你是我的OK繃/浪花兄弟/周杰倫浪花兄弟
14:34:11記得我嗎/陳冠希
14:38:15閃亮新世界/少女時代
14:48:32太空人/吳青峰
14:53:42小女孩/張芸京
15:04:03出社會/林宗興
15:08:38All of your life/Backstreet Boys
15:13:07起來/四分衛
15:22:20你知道這不是愛/蔡詩蕓
15:26:08All The Things/Pitbull/INNA
15:34:18歲月這把刀/林凡
15:38:29盲點/鄧紫棋
15:42:09愛情累計里程/拉格菲爾
15:48:59Misery /Maroon 5
15:52:33題外話/許茹芸
16:03:56你是我的幸福嗎/伊能靜
16:07:57Too Good To Say Goodbye/Bruno Mars
16:12:40自己人/鼓鼓
16:18:45杜U Love Me/王力宏
16:22:11Riff Off/Das Sound
16:30:46Across The Universe/Fiona Apple
16:35:37喜歡你/陳潔儀
16:40:20你老爸在你背後/婁峻碩
16:47:33不想長大/田亞霍
16:51:53執著/酷懶之味Clazziq
☔️9/4(三)
2:04:11 PM三個字/魏如萱
2:07:48 PMThrowback Love/Meghan Trainor
2:11:00 PM很不低調/方大同
2:18:59 PMHelp Us To Love/Tori Kelly/The Hiding
2:22:38 PM星星/林育群
2:32:35 PMStarships /Nicki Minaj
2:36:02 PM不得了/陳慧琳
2:40:54 PM一路靠北/曹格
2:47:45 PM稻草人/李遐怡
2:53:03 PM專屬魔力/MP 魔幻力量/郭 魔幻力
3:03:56 PM心肝寶貝/鳳飛飛
3:08:34 PM最寂寞的歌/MFM
3:12:57 PMUr My Radio/Daniel Powter
3:19:51 PM吃飯皇上/阿達
3:23:14 PMAlways On My Mind/Pet Shop Boys
3:32:31 PM我在想你的時候睡著了/劉若英
3:37:23 PM你們要快樂/李聖傑
3:45:11 PM忍者棒棒/卡莉怪妞
3:51:58 PM好好過/胡歌
4:04:03 PM為愛往前飛/林隆璇
4:08:43 PM無題日常 2019/余佩真
4:13:23 PM舉棋不定/w-inds.
4:20:39 PM天旋地轉/梁一貞
4:25:16 PMFace 2 Face/Mandisa
4:34:02 PM怎麼說我不愛你/蕭敬騰
4:38:30 PM大人的科學/文慧如
4:43:27 PMBang Bang/Ariana Grande
4:50:27 PM別想我放過你/田亞霍
4:53:29 PMSuper Girl/Super Junior M Super
🥤9/3(二)
2:04:04 PM愛的抱抱/郭書瑤
2:07:18 PMKISS THE SKY/Jason Derulo
2:14:39PMSELFISH/Mamamoo玟星/Red velvet瑟琪
2:17:47 PM化妝舞會/有感覺
2:26:50 PM孤單Tequila/張惠妹
2:31:54 PM就是喜歡你/平井堅
2:38:21 PMGood-Boy/呂薔/仔仔
2:41:53 PMI Gotta FeelingF REM/David Guetta
2:48:51 PM聽見/JS
2:53:17 PMSeptember/Justin Timberlam
3:04:03 PM無眠/黃妃
3:08:39 PM太空人/吳青峰
3:13:40 PMRock N Roll/Avril Lavigne
3:20:05 PM小小的勇氣/FUNKY MONKEY
3:24:46 PM肯定就是你/許慧欣
3:34:08 PM何日君回來/于立成
3:38:46 PM十七/S.H.E
3:46:40 PMWHY WHY WHY/棉花糖
3:49:18 PMY.M.C.A/Village People
3:54:07 PM我喜歡/陶吉吉
4:03:56 PM就在今夜/丘丘合唱團
4:06:59 PMCrystal Ball/Keane
4:10:55 PM真的/許時
4:17:20 PM國王皇后/大嘴巴
4:20:31 PMRohff/Pharrell Willia
4:29:13 PM讓懂你的人愛你/蘇永康
4:34:03 PM親愛的你/嚴正嵐/房東的貓告白
4:39:19 PMGangnam Style/ Psy
4:49:25 PM我累了 你淚了嗎/田亞霍
4:53:45 PM帕妃侖巴/Puffy 帕妃
🍭9/2(一)
2:04:11 PM新寶島曼波/四葉草
2:07:14 PM妳+我=love?/手越增田
2:11:14 PM可愛美眉/張信哲
2:18:07 PM我累了 你淚了嗎/田亞霍
2:22:28 PM想念你的歌/Saya
2:27:30 PMLet It Go/Idina
2:35:39 PM我跟你卡好/玖壹壹/羅志祥
2:40:22 PMLoving You/Michael Jackson
2:46:50 PM女生卡卡/藍又時
2:50:16 PMGood Time/Sistar
2:54:31 PM你是我心內的一首歌/王力宏
3:03:56 PM心裡有針/蕭煌奇
3:08:53 PM最寂寞的歌/MFM
3:13:16 PM是!MOSHI MOSHI...是夏天/Orange Range
3:22:27 PMBurn/Ellie Goulding
3:26:15 PMDr. Jolin/蔡依林
3:34:36 PM學不會/吳克群
3:38:56 PMZombie/The Cranberries
3:44:00 PM天降辣妹/小男孩樂團
3:50:20 PM空口言/孫燕姿
3:53:41 PMReady or Not/SHINee
4:04:03 PM傷痕/林憶蓮
4:09:51 PM現在開始做朋友/群星
4:14:37 PM世界中唯一僅有的花/槙原敬之
4:21:59 PM實況轉播/莫文蔚
4:25:19 PMBest Years Of Our Lives/Baha Men
4:33:21 PM那又怎麼樣呢/張玉華
4:38:17 PM爛好人/阿杜
4:43:08 PMMusic/Madonna
4:50:16 PMUNHERO/田亞霍
4:53:24 PM 愛的感覺/趙奎燦
#歌單
#好事自在Latte
#好事989
#DJ荳子
peace island game 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…
peace island game 在 translation Youtube 的精選貼文
#ウルフチームが発売した、オリジナルとなる88用RPG作であり、シリーズ2作目。
3Dダンジョンの前作から一転、見下ろし型の2Dマップに変わった。
10年後のアルカサス王国が舞台となり、各機種でマップやストーリーに違いがある。アニメシーンをAIC、キャラクターデザイン・原画を垣野内成美さんが担当。
BGMは桜庭氏、宇野氏、塩生氏による共同作曲で、桜庭氏がRPGを担当するのは本作が初めてとなる。
桜庭氏の激しいプログレサウンドと、塩生氏のメロディアスなサウンドが加わって楽曲は一層熱くなった。「Bridal And Peace」は、桜庭氏自身の結婚式で使われた曲が元ネタ。
作曲: 桜庭統氏、宇野正明氏、塩生康範氏
Manufacture: 1989.11 wolf team
Computer: PC-8801mkIISR series
Sound: YM2608 (Sound Board II)
Composer: Masaaki Uno, Motoi Sakuraba, Yasunori Shiono
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00:00 01.Ten Years After1
01:18 02.Ten Years After2
03:57 03.Loggers (ナウクルーズの街)
06:16 04.Smile (店1)
09:36 05.Take A Rest (店2)
12:03 06.Western Kingdom (プルデンシア王国/港町ディレク)
15:08 07.Up Down (デュ・クーロス王国)
18:42 08.Kingdom Earth (オトナック平野)
21:22 09.Light And Dark (ナウクルーズの森)
24:26 10.Slash!! (戦闘)
26:48 11.Hobbit Kid (Visual: チノップ・ノーレン)
29:25 12.Lady Thief (Visual: サーラ・メディン)
32:27 13.Mystic Land (エルフの村)
34:15 14.Eleven Archerz (Visual: ディアナ・フィレリア)
35:52 15.Waiting Fate (ブラート・ニール聖殿)
38:09 16.Pale-Face~Rune Blade~ (Visual: ルーンブレード-ペイル・フェイス)
40:01 17.Dwarven Warrior (Visual: バザン・ストレイグ)
43:40 18.Grief Prince (Visual: グラン・デュ・クーロス)
46:51 19.Departure (Visual: アリサ・イルメイク・アルカサス)
50:18 20.By Linden (菩提樹)
53:48 21.Where Are You Going? (海)
56:07 22.Strange Island (悪魔の島)
59:11 23.Eastern Kingdom (東の王国/未使用)
01:01:32 24.Mad King (Visual: トリュターム国王)
01:05:26 25.Spark!! (スパーク!!/未使用)
01:08:22 26.In The Dark (洞窟)
01:10:49 27.Deserted Ruins (ヴァーレス神殿)
01:13:44 28.Rune Tradition (Visual: ルーンブレードの意志)
01:17:14 29.Devil Errand (Visual: ウォーレン城登場)
01:20:41 30.Chaos (カオス/未使用)
01:22:28 31.Charge!! (ウォーレン城)
01:24:51 32.Bloodly Jewel (Visual: チノップの死)
01:30:53 33.Will Power (Visual: ウォーレン倒れる)
01:33:57 34.Wills Over (ゲームオーバー)
01:37:22 35.Bridal And Peace (エンディング *桜庭氏が自身の結婚式入場曲用に書いた曲を流用・再構成)
01:40:32 36.店頭デモ
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peace island game 在 translation Youtube 的精選貼文
#リバーヒルソフトが発売した、オリジナル版となる88用RPG作品であり、および飯島健男氏の小説。
開発時は1本の作品として制作される予定だったが、シナリオの長さから上・下の2巻に分けて開発する事となったが、上巻が発売された各PCのうち88版のみ下巻が発売されなかった。
BGMはSHOW-YAが音楽原案を出し、藤岡氏が作曲を行った。
88版はopn版とopna版が用意されているが、opna版は、opn版にパンが振ってあるだけとなっている。
音楽原案:SHOW-YA
作曲: 藤岡千尋氏
Manufacturer: 1989.11 Riverhill Soft
computer: pc-8801 series
Hardware: YM2203
composer: chihiro fujioka
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00:00:00 01.Revival of Dahl (ダールの復活)
00:04:30 02.Theme of BURAI (BURAIのテーマ)
00:13:44 03.Theme of BURAI 2 (BURAIのテーマ2)
00:22:53 04.Opening 1 (オープニング 1)
00:27:18 05.Opening 2 (オープニング 2)
00:33:10 06.Three Musketeers dirge (short version) (三銃士哀歌 (ショートバージョン))
00:36:12 07.Three Musketeers dirge (monaural) (三銃士哀歌 (モノラル))
00:37:50 08.hayate (ハヤテのテーマ)
00:38:55 09.Castle of Bidault (ビドーの城)
00:40:29 10.Sakyo (幻左京のテーマ)
00:42:44 11.plot brother(プロット兄弟のテーマ)
00:44:59 12.Lillian(リリアンのテーマ)
00:49:04 13.アレック(アレックのテーマ)
00:53:05 14.Cooke (クークのテーマ)
00:56:24 15.Celestial Island (ソレス島)
01:01:50 16.Carbromal (ロマールのテーマ)
01:03:01 17.fight (闘いのテーマ)
01:04:03 18.Temporary rest (一時の休息)
01:06:03 19.The End (ジ・エンド)
01:06:22 20.Peace (やすらぎ)
01:08:37 21.Brave rally(勇士結集)
01:11:07 22.Rival appeared 1 (ライバル登場~1)
01:13:20 23.Rival appeared 2 (ライバル登場~2)
01:15:32 24.Rival appeared 3 (ライバル登場~3)
01:18:06 25.Simmering 1 (一触即発 1)
01:20:48 26.Simmering 2 (一触即発 2)
01:24:05 27.Simmering 3 (一触即発 3)
01:27:21 28.It is done battle 1 (戦い済んで~1)
01:30:06 29.It is done battle 2 (戦い済んで~2)
01:33:05 30.It is done battle 3 (戦い済んで~3)
01:36:03 31.It is done battle 1 (新たな希望~1)
01:38:35 32.It is done battle 2 (新たな希望~2)
01:41:44 33.It is done battle 3 (新たな希望~3)
01:44:15 34.Rest of the warrior (戦士の休息)
01:47:36 35.Nanashishishi Arc de (七獣士凱旋)
01:49:30 36.In Cyprus Castle (キプロス城にて)
01:50:55 37.A New Departure (新たなる旅立ち)
01:54:55 38.End of the desert (砂漠の果て)
01:57:39 39.Conspiracy (謀略)
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peace island game 在 Kento Bento Youtube 的最佳解答
Patreon Video: How My Grandpa Survived The HIROSHIMA ATOMIC BOMB: https://patreon.com/kentobento
Get ‘Asiany’ Merch at our new merch store!: https://standard.tv/kentobento
★ How Would You Take Down North Korea? (The 7 Choices) https://youtu.be/VM_fzaWAybw
★ Has McDonald's Conquered Asia?: https://youtu.be/pgHiRsk2UjY
★ How Would You Escape North Korea? (The 7 Choices): https://youtu.be/6A0ZOkMDLw0
★ 10 Things You Didn’t Know About FUKUSHIMA NUCLEAR DISASTER: https://youtu.be/HpOG4WFKBZQ
★ 10 Things You Didn’t Know About THE JAPANESE EMPEROR: https://youtu.be/h--roytkH3Q
★ Where Are The Asian Borders?: https://youtu.be/vPupwlZlNMY
Available subtitles so far: ENGLISH
(Credit: Mountain Chicken)
★ Help us with subtitles in your language! http://www.youtube.com/timedtext_video?v=wETSBaFwzu0
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10 THINGS YOU DIDN'T KNOW ABOUT THE HIROSHIMA ATOMIC BOMBING (& NAGASAKI)
*CORRECTION: In the video, the location of Nagasaki is off. It should be more on the left side of Kyushu island.
1) Godzilla
Godzilla, the giant Japanese dinosaur-looking monster, a worldwide pop culture icon; who’s been in numerous movies.
Why am I mentioning this? Well, Godzilla owes its existence to the atomic bombs. In the aftermath, with the devastation still fresh in the Japanese consciousness, Godzilla was created as a metaphor for nuclear weapons and their destructive capabilities.
2) The Korean Casualties
An enormous number of Koreans also perished in the blast. In fact, around 25% of casualties were Koreans. Korea was under Japanese rule at the time so there were many drafted or conscripted Koreans in Hiroshima & Nagasaki. It’s unfortunate that the Korean victims of this tragedy have often been neglected
3) Close Call Kyoto
Today’s Kyoto landscape would have been greatly altered, and not for the better, if the Americans had gone about their original plan. The targets were in fact supposed to be Hiroshima & Kyoto. However, the US Secretary of War at the time, Henry L Stimson, insisted on sparing the city
4) The Pamphlet Warnings
Just prior to dropping the Atomic bombs, the US Airforce released pamphlets or leaflets from their planes warning Japanese citizens of the impending destruction. They were largely ineffective.
5) The Little Boy & The Fat Man
These were the American codenames of the two atomic bombs.
6) The American Casualties
12 American airmen were captured, then taken to the Chugoku Military Police Headquarters in Hiroshima, where the American weapon of mass destruction indiscriminately took them out.
7) Go
An important Go tournament was held in the suburbs of Hiroshima, about 5 km from ground zero; a pivotal match up was ongoing between champion Hashimoto and the challenger Iwamoto. When the atomic bomb went off, people were injured, buildings were damaged, and the game came to an immediate halt. Fortunately no one died as tournament officials had earlier moved the game away from the blast radius after coming across the American pamphlets.
The players took this opportunity to have a quick lunch break. Afterwards on the same day, they finished the game. White won.
8) Operation Meetinghouse
As devastating as the atomic bombs were, it didn’t even rank as the most destructive bombing event of WW2. That title goes to the deathly firebombing of Tokyo by the US Air Force, also known as Operation Meetinghouse. This was estimated to be the single most destructive bombing attack not just in Japan, but in history.
9) The Flame Of Peace
The Hiroshima Peace Memorial Park was built in dedication to the legacy of Hiroshima as the first city in the world to suffer a nuclear attack. In the park, sits The Flame of Peace which has burned continuously since 1964, and will remain lit until all nuclear weapons are removed from the world and the planet is free from nuclear threat.
10) The Improbable Survivor
Tsutomu Yamaguchi worked for the Mitsubishi company, and on August 6th, 1945, he was away from home on a business trip in Hiroshima.
He witnessed the Little Boy dropping from the sky and the explosion ruptured his eardrums, blinded him, and left him with serious burns. But he was alive.
The very next day, he dragged his body to a station, made his way out of Hiroshima and back to his hometown. At home, he finally received treatment for his wounds.
Two days later, despite being seriously injured and heavily bandaged, he informed Mitsubishi that he was back from his Hiroshima business trip and ready to report to work. So, he went to work, as if nothing major had happened.
Yamaguchi was lucky to have survived the Hiroshima Atomic Bomb. However, he was unlucky that he went back home..
..to Nagasaki..
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