關於 the most weird food in the world ，我們在網路上蒐集到這些相關的討論、資訊與評價

ช่วงนี้ไข้เลือดออกระบาดหนักสั้สๆ ไม่ใช่แค่ไข้เลือดออก พวกชิคุนกุนยาคนก็เป็นกันเยอะ พ่อแม่พี่น้องก็ระวังกันด้วย ไข้เกินสามวัน แล้วไม่หาย ก็ไปหาหมอโลด แล้วยาลดไข้กินได้แต่พารา ห้ามกินพวกบรูเฟ่นเชียว

ในโรคของหมอเด็กมี 2 โรคที่
ถ้าคนไข้ระหว่างนอน รพ.
ไข้ลงแล้วมีผื่นขึ้น 

หมอจะดีใจมากๆ
น้ำตาจิไหล 😂😂😂

แสดงว่า หายแล้ว
ได้กลับบ้าน คือ

1)โรคส่าไข้หรือหัดกุหลาบ
(Rosela infantum หรือ Exanthem subitum)
เกิดจาก
-ติดเชื้อไวรัสกลุ่มเริมชนิดที่ 6 หรือ 7
- อายุ 6-24 เดือน
- มาด้วยไข้อย่างเดียว 3-5 วัน บางรายไข้สูงทำให้ชักได้ บางรายกระหม่อมศีรษะด้านหน้าโป่ง
- พอไข้ลง ผื่นจะขึ้น เม็ดแดงๆเล็กๆ
- พบถ่ายเหลวร่วมด้วยได้
- พอไข้ลงปุ้ป ผื่นจะขึ้นจากท้อง ลำตัว กระจาย ไปแขนขา
- โรคนี้ไม่มีวัคซีนป้องกัน
- ไม่มียารักษา

2) โรคไข้เลือดออก

_ติดเชื้อไวรัสไข้เลือดออก
_ มี 4 สายพันธุ์ ติดจากผ่านทางยุงลายที่มีเชื้อกัด
_มี 3 ระยะ

ระยะ1 ระยะไข้

-ไข้สูงลอย 2-7 วัน มี 4 ปวด หัว กระบอกตา กล้ามเนื้อ กระดูก ผื่น จุดเลือดออกได้ คลื่นไส้ อาเจียน กินอาหารได้น้อย มักไม่ไอ ไม่ถ่ายเหลว

ระยะ 2: ระยะวิกฤต หรือ ช็อก
- ต่อจากระยะที่ 1 กินเวลา 24-72 ชม.
- เริ่มจากเกล็ดเลือดน้อยกว่า 100,000
- มักพบว่าไข้ต่ำลงจากระยะที่ 1 ยังมีไข้ได้หรือไม่มีไข้
- ระยะนี้ที่น่ากลัวเพราะตายได้
- ตายจากสาเหตุ ที่คนไข้บางรายมีเส้นเลือดรั่ว เหมือน ท่อน้ำประปาแตก ทำให้พลาสมารั่ว น้ำไม่ไหล อวัยวะต่างๆขาดเลือดไปเลี้ยง ส่งผล ตับไตวาย ช็อกนาน การแข็งตัวของเลือดผิดปกติ เลือดออกตายได้

ระยะที่ 2 มี 4 แบบ
_แบบ1; ไข้เดงกี่
Dengue fever หรือ. DF ไม่รุนแรงเพราะเส้นเลือดไม่รั่ว คนไข้ส่วนใหญ่มักเป็นแบบนี้ เกือบ 85% ของคนไข้

_แบบที่ 2: ไข้เลือดออก
Dengue hemorrhagic fever หรือ DHF มีเส้นเลือดรั่ว หรือ พลาสมารั่ว พบได้ 10-15% ของคนไข้ ตายได้ถ้ามาพบแพทย์ช้า ที่ตายเนื่องจาก เวลาพลาสมารั่ว จนช็อก คนไข้จะรู้สติแต่แค่อาจเพลียๆ.ซึม ปวดท้อง กระหายน้ำ

_แบบที่ 3 ไข้เลือดออกช็อก
Dengue shock syndrome หรือ DSS คนไข้จะช็อก คล้ายกับ DHF แต่มีภาวะช็อกร่วมด้วย เส้นเลือดรั่วมากจนช็อก พบได้ 3-5%

การรั่วของเส้นเลือดจะกินเวลา 48-72 ชม. หลังรั่ว ร่างกายจะซ่อมแซมเอง

ดังนั้น 48-72 ชม. หลังเกล็ดเลือด <100,000 แพทย์จึงเช็ค ตรวจเลือดบ่อย ทุก 4-6 ชม. เพื่อประเมินการรั่วของเส้นเลือด

_แบบที่ 4 ไข้เลือดออกอาการแปลกออกไป
Expanded dengue syndrome หรือ EDS คนไข้ไม่เข้าพวก 3 แบบแรก มีได้ 3 ชนิด
_มีโรคประจำตัวแล้วอาการแย่ลง
_ติดเชื้ออื่นเพิ่ม
_ภาวะแทรกซ้อนอื่นๆรุนแรงร่วมเช่นน้ำเกิน สมอง หัวใจ ตับไตวาย เลือดออกมาก

ทั้ง 4 แบบ DF DHF DSS หรือ EDS หมอจะวินิจฉัยเมื่อผ่านระยะที่ 2 ไป 24-72 ชม. โดยดูตามอาการคนไข้และผลเลือด

ระยะที่ 3 ระยะหาย ฟื้นตัว
_ต่อจากระยะที่ 2
_คนไข้มี 4 อาการ

A Appetile หิวข้าว กินได้มาก
B Bradycardia หัวใจเต้นช้า
C Convalescence rash !! คัน มีผื่นจุดขาวบนพื้นแดง
D Diuresis ปัสสาวะมาก

ระยะที่ 3 นี้ ที่สังเกตง่ายสุดคือ

คนไข้จะบ่นคัน+ผื่นขึ้น มากที่ขา แขน

ถ้าหมอเห็นคนไข้บ่นคัน + ผื่นขึ้น จะดีใจมาก แสดงว่าได้กลับบ้าน ปลอดภัยแล้ว

แปลกแต่จริง
ชื่อไข้เลือดออก แต่คนไข้ส่วนใหญ่ไม่มีเลือดออก..!!!

ที่ตายกันจาก พลาสม่ารั่ว เส้นเลือดรั่วมากกว่า 

_ โรคไข้เลือดออกมีวัคซีนป้องกัน แต่ต้องมีประวัติเคยเป็นมาก่อน อาจจะเป็น DF DHF DSS หรือ EDS อายุที่ฉีดได้ 9-45 ปี ไม่ฟรี ต้องจ่ายเงินเอง
(ป้องกันโรคได้70% ป้องกันนอน รพ.80% ป้องกันภาวะรุนแรง90%)

_ ปัจจุบัน ยังไม่ยารักษาเฉพาะ การดูแลรักษาเพียงเพื่อดูแลสารน้ำ เกลือแร่ในร่างกายให้ปกติ ไม่มากไป ไม่น้อยไป ไม่มีภาวะแทรกซ้อน

🥺 ทั้ง 2 โรค ต้องผ่านการมีไข้ก่อน 3-5 วัน ถึงจะมีผื่นขึ้นได้

ทั้ง 2 โรค ผื่นที่ขึ้นไม่อันตราย 3-5 วัน ก็กลับมาเป็นปกติได้

ไม่ต้องทายาหรือกินยา

แต่ถ้าคันมาก หมอจะให้ยาแก้คันชนิดกินและคาลาไมด์ช่วยทาแก้คัน

โลกนี้ก็แปลก
แปลกแต่จริง
มีโรคที่คนไข้มีผื่นขึ้น
แล้วหมอดีใจ

ปล...คันขานะ ไม่ใช่คันหู
อันนี้หมอช่วยไม่ได้จริงๆ

🥺🥺🥺
There are 2 diseases in child doctor's disease.
If the patient is in the hospital.
I have fever and I have rashes 

The doctor will be very glad.
I'm really crying 😂😂😂

So it's gone.
Got to go home is

1) fever or learning rose
(Rosela infantum infantum Exanthem subitum)
It's caused by.
- infected with herpes group, type 6 or 7
- 6-24 months old
- I come with only one fever for 3-5 days. Some high fever can make me have some seizures. Head in front of Pong.
- When I have fever is down, I will take a small red pill.
- Found a liquid film.
- When I have fever, rash will rise from my stomach, my body will spread to my arms and legs.
- This disease has no preventive vaccine.
- There is no cure.

2) Dengue fever

_ infected with dengue virus
_ There are 4 strains from passing through mosquitoes that have bites.
_ There are 3 phases.

Phase 1 fever.

- High fever. Floating for 2-7 days. There are 4 headaches, cylinder, eyes, muscles, bones, rashes, spots, bleeding, nausea, vomiting. Eat less food. I usually do n

Phase 2: Crisis or shock
- Continued from the 1nd period. Eat for 24-72 hours.
- Started from less than 100,000 platelets.
- I often find that I have low fever from the 1nd stage. I still have a fever or no fever.
- This phase is scary because I can die.
- Die from why some patients have leaky blood vessels like a broken tap water pipe. Plasma leaks water, organs are not flowing. It affects liver, kidney failure, kidney failure, abnormal blood clotting, dead bleeding.

There are 4 styles in phase 2
_ type 1; how many fever is this?
Dengue fever or. DF is not severe because blood vessels don't leak. Most patients are usually like this. Nearly 85 % of the patients.

_ Type 2: Dengue
Dengue hemorrhagic fever or DHF with leaky blood vessels or plasma. 10-15 % of patients die. If they come to see a doctor late, they die because of plasma time leaks. The patient will know about it. But they may be tired. Absorbing thirsty stomach pain

_ Type 3 Dengue shock
Dengue shock syndrome or DSSS. The patient is shocked similar to DHF, but there is a shock collar with blood vessels. 3-5 % found.

Leak of blood vessels will last 48-72 hours. After a leak, body will repair itself.

So 48-72 hours. After platelet. 100,000, doctors check blood tests frequently every 4-6 hours. To evaluate the leakage of blood vessels

_ Type 4 Dengue. Weird symptom.
Expanded dengue syndrome or EDS. Patient is not in. There are 3 types of first 3 types. There are 3 types.
_ Having congenital disease already, the symptom is worse.
_ More infections
_ Other complications are joint severe such as excessive water, brain, heart, liver, kidney failure, bleeding a lot.

All 4 DF DHF DSS or EDS. Doctors will diagnose when they pass 24-72 hours. According to the patient and blood results.

Phase 3, recovering.
_ Continue from the 2th phase.
_ The patient has 4 symptoms.

A Appetile. I'm hungry. I can eat a lot.
B Bradycardia. Heart beat slowly.
C Convalescence rash!! Itchy with white spot rash on red floor.
Diuresis urinate so much

This 3nd phase is the easiest to notice.

The patient will complain about itching k̄hæn rashes on the legs, arms.

If the doctor sees the patient complaining about itching + rash, I will be happy. It's safe to go home.

Weird but true
Dengue name, but most patients don't bleed..!!!

Dying from plasma leaking leaky blood vessels 

_ Dengue fever has vaccine preventive but must have a history before. Maybe DF DHF DSS or EDS. 9-45 years injection. Not free. Pay by yourself.
(70 % prevent disease. Prevent sleeping in the hospital. 80 % anti-severe 90 %)

_ Nowadays, no medicine, only treatment for the treatment. To take care of the mineral salt water substances in the body. Not too much, no complications.

🥺 All 2 diseases have to go through a fever before 3-5 days to have a rash.

All 2 rash diseases that are not dangerous. 3-5 days can be back to normal.

No need to apply or take medicine.

But if it's very itchy, I will give you an itchy medicine and kalamide to fix itchy.

The world is strange.
Weird but true
There is a disease that the patient has rashes.
And the doctor is glad.

Ps... itching legs, not itching ears.
This one the doctor can't help it.

🥺🥺🥺Translated

ASAKU® X Dragon Life
Part.1
All 13 chapters in this book.

Original author：Mingkun Liu
Translator: Claudia Liu @ fanyi4life
Preface: Outline of ASAKU X Dragon Life

In year 36722 on Epic Calendar...

On the surface in the Epic World, green Mirror Cores started to appear on Humans Continent, Fairies Continent, and Phantom Continent. The location differed every time it happened. Meanwhile, the center was pouring out little guarding monsters. In 24 hours, the green core would turn red and release energy of Reversal Impact in radius of one kilometer, to turn back the time. The energy released would bring even more powerful monsters, together with the supreme core monster. One Mirror Core would cause one Reversal Impact which would turn animals or monsters around berserk as well.

The Mirror Cores emerged one after another, with the intervals of three to seven days. Currently, there was no way to destroy it. Once a Reversal Impact took places, the time within the range would be turned back, as well as the lives and scenery would be restored to the previous condition. In other words, people might become younger, but those who haven’t outlived the time reversed would disappear. Things would be restored to normal once they leave the range.

When Reversal Impact happened, not only time was turned back, but plenty of monsters would pour in to protect the core. People that once lived in the time that was reversed would be brought back as well, but appeared like a reanimated corpse without a soul. Yet for others who still remembered them, it would be a moment to look forward to.

Since the time reversed could not be estimated, no one dared to risk inside the range and fight against the monsters. When the Reversal Impact took place, whoever was inside the range could do nothing but evacuate as soon as possible.

On the surface of the Epic World, the Fairies were the only ones that were invulnerable to Reversal Impact, which also explained why the Mirror Core would not be found on the Fairies Continent. The Fairies were shielded from the danger of the Reversal Impact. We were not entirely sure of the reason why the Fairies were protected, but they did not hold the power to destroy the core. The only solution the Fairies could propose was to seal the core, to stop the monsters from flooding in our world.

Delegated by Oudelos, the Fairies King, Asaku, as the Seal Priest from the Light race, led his partners to explore the world. With the Compass of No Return, which could locate the Mirror Core and calculate the time turned back, Asaku would seal the core to stop Reversal Impact and the inundation of monsters.
Chapter One: Asaku the Seal Priest

At three o’clock in the afternoon on Monday, August 12th, year 36722 on the Epic Calendar...

In the Village of Eden, part of the Kingdom of Phil and located on the south-west of Humans Continent, a Mirror Core appeared and villagers started to evacuate. Troops dispatched by the Kingdom of Phil were engaged in a hard fight against monsters to ensure a safe evacuation of villagers. In the last thirty minutes when the core started to turn red, the military retreated and set up a line of defense in a safe zone outside village. Once the Reversal Impact started, the monsters would no longer be limited. All of a sudden, in front of the troops popped up a Folding Corridor from which a young magic knight walked out. The magic knight was dressed in blue with a white cloak, equipped with the Seal Knife and followed by a clown puppet and a winged lion. There was also an adorable little girl, walking with the trio toward the village. Some soldiers saw them and tried to stop them. The magic knight turned around and said, “Per order of Oudelos, the Fairies King, I am the delegate to seal the Mirror Core. My name is Asaku, the Seal Priest from the Light race. You are all useless here, so just run.”

Soldiers said, “How insolent!”

Hearing this, the little girl standing by Asaku punched him on the shoulder and said, “Asaku, that is just rude!”

Then she turned around and saluted the soldiers, saying, “My name is Ellia, and I am the animal trainer from the Soil race. Asaku is my brother, and I apologize for his attitude. May I ask: who is the general leading the troops?”

The human general stepped ahead, replying respectfully, “We appreciate assistance from the Fairies. This is General Stalul. Please kindly seal the core to prevent even more damage.

Ellia asked, “Have all villagers evacuated?”

General Stalul replied, “Yes, we have sent everyone to a safe place.”

Upon hearing this, Asaku said, “Great! So now I can do anything I want freely!” Then he rushed into the village with the clown puppet and the illusion lion, in the direction where the core was with all the monsters.

Ellia saluted General Stalul again and explained, “I am here to investigate the reason why monsters have gone berserk. Even the generally gentle monsters are turned violent by the core. Please proceed with caution.” Then Ellia ran into the village and caught up with Asaku.

Facing assault of countless monsters, Asaku fought back with the Seal Knife. Those monster who were injured by the Seal Knife were sealed and frozen. Meanwhile, this knife absorbed and stored power of monsters. What’s more, it could also soak up power of attributes from the Nature. For example, if the knife came in touch with stone, it took in the power of soil.

When Asaku cast magic, he had the three-star matrix magic on his left hand, the reversed matrix magic on his right hand, so all he had to do was to take in the power, based on its nature, and use it on the matrix magic to initiate an attack. When swamped by monsters, Asaku could use the reversed three-star matrix magic to amplify the magic power; to focus fire, Asaku could zero in on the three-star matrix magic for a fatal blow. The more power the rituals absorb, the more potent the magic will be.

Ellia used the Love Racket to purge the monsters. Ordinary monsters would be pacified and become passive. Some of them would even help Ellia in combat.

The closer they were to the core, the more powerful the monsters were. Determined to dash into the core, Asaku put away the Seal Knife and yelled at the clown puppet, “Come, Ghost Card Uda, transform into the Sun Sword!" Uda then transformed from a clown puppet into a sword as shining as the sun. Asaku chopped his way toward the core with the Sun Sword. However, where the sun didn’t shine, the sword lost its glow and power as well. Uda said, “Asaku, seriously, I don’t have power without the sun. And the sun is setting soon. So chop chop, wrap it up now!”

Asaku replied, “Yea, roger that. I’ll finish the fight as soon as possible!” Then he hopped on the illusion lion, and dashed toward the core.

Soon Asaku and his partners arrived at the core that was about to turn red, but a baby’s crying caught everyone’s attention. Looking for where the crying was from, Asaku found a young mother holding a baby, hiding in a corner nearby. Asaku shouted but there wasn’t time. Without second thought, Asaku flew to the woman and grabbed her. Ellia held the baby tightly and hoped to take the mother and her baby to safety. At that moment, Reversal Impact happened!!

A strong wave of ripple dispersed and things around started to change. The young mother turned into ashes and disappeared, yet the baby in Ellia’s arms survived unharmed like a miracle. Shocked, Ellia held the baby and screamed, “You said everyone was evacuated, everyone!”

Checking on the Compass of No Return, Asaku learned that the time was turned back eighty years. Ghost Card Uda reminded Asaku to seal the core and prevent more loss.

Asaku asked Ellia to take the baby to safety, but once the baby left Asaku’s arms, he started to cry. No one but Asaku could calm the baby down. The baby clutched Asaku. In the end, Asaku carried the baby on his back and returned to combat to seal the core. Ellia even teased Asaku about the baby.

Irritated, Asaku yelled, “Shut up!!”

The yelling woke up the baby and he started to cry. At the same time, both Asaku and Ellia put a finger in front of the mouth and said, “hssssss” to hush the baby.

Asaku said, “The supreme demon has showed up. Let’s go knock it down, get it done and go home!”

The supreme demon for this core was a giant cannibal flower, spitting poison at Asaku and lashing him with its vines. Dodging with Flying-n-Leaping, Asaku chopped all vines he could but failed to get close to the demon for a direct strike.

Strange to say, but the baby Asaku carried stayed composed through the fight. He was so quiet, unusually quiet.

Ellia rode on a mountain pig she just calmed, trying to assist Asaku in combat. Yet the demon was too powerful, so all she could do was flee.

By then, the sun set completely. Ghost Card Uda shouted, “Oh no! The sun…” then it turned back into the clown puppet.

Without the Sun Sword, Asaku could only fight with the Seal Knife.

Asaku thought, “Seriously, the Seal Knife can’t do the monster much harm because the power it absorbs is not enough. I need a blaze to burn it!”

Then Asaku turned around and shouted at Samoyed, the illusion lion, “Cast three fire bolts at me!”

With one turn over, Samoyed jumped into distance and spat three enormous fire bolts to Asaku.

Asaku lifted his left hand, fingers spread out, and a three-star matrix magic appeared on his palm and took in the fire bolts. Jumping high, Asaku dashed back into the cannibal flower’s mouth with his left fist clutching and the fire bolts amplifying.

Asaku stepped forward, letting go of his left fist, “Three-star matrix magic, Fire Tornado!"

The wave of fire burned the cannibal flower into ashes. Asaku hurried to the Mirror Core with a transparent cube of crystal in his hand, the Holy Crystal Cell with inscription on it. Before Asaku successfully cast the ward and sealed the core, numerous monsters still fought on. Thanks to Samoyed, the illusion lion protected everyone.

With one flash, the ward was complete and the core was sealed. All monsters were gone right away, but the surroundings remained the same. Everything was the way they had been eighty years ago.

When it was safe, Asaku approached the villagers and wanted to hand over the baby to them. Unexpectedly, all villagers panicked. They were convinced that the baby was the son of Demon. Asaku learned that the mother gave birth to the baby without a known father, so no villager was willing to adopt the baby. Besides, the baby wouldn’t let go of Asaku. Without an option, Asaku carried the baby on his back and returned to the Fairies Continent with Ellia, who said goodbye to her new mountain pig friend, through Folding Corridor.

Chapter Two: A Trojan Horse

At eleven o’clock in the morning on Tuesday, August 13th, year 36722 on the Epic Calendar, a meeting was held in the Fairies Empire Meeting room with the presence of Fairies King Oudelos, General Alga, Priest Harp, Fairies Princess Jiefulo, Asaku, Ellia, and the human baby.

Asaku got down on one knee and updated the Fairies King Oudelos the current situation in the Village of Eden, while the human baby slept peacefully in the cradle tended by Ellia.

Asaku ended the report, “My King, this is the update of the event in the Village of Eden.”

The Fairies King Oudelos dismissed Asaku and turned to General Alga, saying, “My General, may I have your thoughts on this?” General Alga was red in the face, and the King yelled at him, “Seriously, you two got drunk this early in the day?”

General Alga explained, “Well, we are not to blame. Priest Harp brews the best wine ever, which is perfect to wake me up in the morning.”

Priest Harp argued, “Alga, I thought we were friends! And I even saved the goodies for you.”

“Ahem…” the King coughed to stop the fight, and then everyone fell silent. The King reached out his hand, and Priest Harp presented the King the wine. Bottom up and the King yelled, “Woot! Great wine indeed!” Then he turned around to Asaku and said, “All right, now we can continue.”

Seeing this, Princess Jiefulo said to the King angrily, “Father, really? You have business to attend to. How could you drink with them so early?”

King Oudelos said, “Awww it’s nothing, my honey. It’s quite peaceful on the Fairies Continent.”

Hands on her hips, Princess Jiefulo said, “Oh my… Some sense of danger, please?”

Scratching his head, Asaku said in a hopeless tone, “Do you old things really care about this Mirror Core?”

General Alga said, “We fairies do not interfere whatever happens outside the Fairies Continent. It was the Holy Dragon King who brought us an order from the Gods, stating that only the fairies can fight against the Reversal Impact, so the King is commanding you to handle the core in the Village of Eden.”

Asaku said, “The Holy Dragon King, you mean the conspirator? Why do we have to listen to him?”

Fairies King Oudelos replied, “Because this is an order from Gods, we have to comply.”

Asaku snorted.

Priest Harp walked toward the human baby and said, “This is a remarkable baby. He completely waves off the influence of Reversal Impact.”

Ellia pulled the baby’s blanket, and found on the blanket it said “Adam.” Surprised, Ellia even saw a birth mark of emblem of rainbow on the baby’s back.

The birth mark seemed to be quite weighty. Both the King and General Alga went to the baby to take a closer look at the baby.

Slowly, the Fairies King spat out, one word after the other, “Rainbow… Savior..."

General Alga said, “So the kid is the new successor of Rainbow Savior. His name is Adam."

Priest Harp said, “I suppose it was part of their plan to send Asaku off to the Village of Eden. We are set up!”

Asaku said, “So what now? This baby is so needy and wouldn’t let go of me. If he wakes up and I’m not around, he’s going to cry like there’s no tomorrow. Nuh-uh, I’m not babysitting anyone.”

General Alga asked, “Wait a second, Asaku, you know where the two cores were previously?”

Asaku replied, “Yes, they were in the Time Library on the Elves Continent and Hugilus Desert, south-east of Kingdom of Phil on the Humans Continent. But when I got there, Reversal Impact had been completed on the cores. When I went to the Eden Village, per the King’s order, I should’ve been able to seal the core and stop everything, but the kid was in the way.”

Priest Harp asked, “Both cores happened near Kingdom of Phil on the Humans Continent? Something doesn’t add up here.”

Abruptly, the Fairies King Oudelos stood up and yelled, “General Alga, rally the guards and prepare for war!” Immediately, General Alga dashed out of the meeting room and alarmed the guards!

Asaku asked, “What’s going on?”

Princess Jiefulo said, “Protect the baby with all you can.”

Hearing this, Ellia grabbed Adam who was sound asleep in her arms tightly.

Priest Harp yelled, “This is a scheme plotted against us! The core in the Time Library was to fabricate the history, while that in the Hugilus Desert was to restore the mirror in the lake. The baby was left there on purpose because they knew he wouldn’t be influenced by the Reversal Impact. In the end, you returned to the Fairies Continent through the Folding Corridor with the baby. Your tracks left behind granted access to those who cannot enter the Fairies Continent through the reflection of mirror.

At that moment, a tremendous crash was heard, which shook the whole Fairies Empire. Priest Harp said, “I will put the baby into deep sleep, so his crying wouldn’t attract the mobs. Ellia, please take care of Adam. Asaku, go defend us!”

Ellia replied, “Yes, Priest Harp, I will protect the baby with all my might.”

Asaku yelled, “The situation is dire. I’m right on it! Ghost Card Uda! Samoyed!”

Asaku summoned two escorts and the three rushed to where the loud noise was from.

Right above the Fairies Empire Hall appeared a crack of time and space, from which poured in lots of monsters! General Alga led the Royal Guards to fight!

Seeing this, Asaku yelled with surprise, “What is this all about!”

The next second, Asaku transformed the Ghost Card Uda into the Sun Sword and joined the fight.

Soon, the King and Princess Jiefulo came to the Fairies Empire Hall, heavily protected by the Royal Guards.

Out of the crack, a phantom fox with nine tails appeared in the middle of the hall.

The phantom fox said in an exciting tone, “Woot! You guys are here to welcome me, the gorgeous and graceful me, right? Show me your love~”

Asaku yelled, “You high or what? What did you just smoke!?”

Then a fairy soldier who was responsible for space defense reported to the King, “My King, a Mirror Core just popped up on the Fairies Holy Land!”

Hearing this, the king instantly ordered that General Alga guard the holy land, Asaku take care of the monsters to stop them from approaching, and commanded some royal guards to stay and assist Asaku.

Witnessing the depressing situation, Princess Jiefulo said, “I’ll stay and defend the empire with Asaku.”

The King replied in a serious tone, “No! You have to go to the Holy Land with General Alga.”

Through the corridor behind the hall, the King led General Alga, Princess Jiefulo, Ellia and others to the Fairies Holy Land.

All the monsters in the hall were decimated by Asaku and the royal guards while the phantom nine-tailed fox remained still, as if it had been watching a show, until everyone was killed but the fox.

Bursting in laughter, the fox yelled hysterically, “Now the spotlight is on me and only me~ I’m the center of everything like a superstar!”

When the fox was done talking, it waved its paw, creating an enormous shocking wave. In order to protect the royal guards, Asaku dashed to the front, dressed in Shadow Lion Armor and glowing, and blocked the attack of the phantom nine-tailed fox.

Equipped with the Sun Sword, transformed by Ghost Card Uda, and Shadow Lion Armor, transformed by the illusion lion Samoyed, Asaku was ready for combat.

Once ready, Asaku said to the remaining guards, “Go protect the holy land, and leave the monsters here to me.”

“Thank you, sir!” the royal guards replied and then retreated to the holy land.

The phantom nine-tailed fox said, "I am the Darkmirror General VI from the Mirror Continent. My name is Phantom Nine-Tailed Fox. Awww you can also call me Fox Nine-Nine, you know, cuter~”

The fox continued, “So you are Asaku, the one that has gained the power of Gods, the combination of Gods and Fairies, and that makes you a real… goof, you know, god plus fairy, so goof.”

Asaku shouted back, “You goof! What is this with your stupid nickname, Fox Nine-Nine? I don’t have time for this. I’m going to knock you out now!”

Fox Nine-Nine said, “Awww you think you can beat me? Muahaha~” He blinked to Asaku at once and initiated an attack!

The Fox was rather fierce, so Asaku was having a hard time fighting even with the Sun Sword and the Shadow Lion Armor. Meanwhile, Asaku cast matrix magic to absorb the Fox’s magic. Thanks to the Shadow Lion armor, most of the damage was mitigated.

Moving and attacking, the Fox laughed hysterically, “Hahahaha oh my my~ becoming one with god at the price of fairy power? So you can never cast any elemental magic and… now you can only attack by taking in power first? Awww that is hilarious… hahahaha!”

Asaku said, “Why do you look into my history?”

The Fox replied, “Awwww that’s because I love you, silly~ Muah!”

Asaku yelled, “OH MY GOD that is soooo disgusting!!”

Next, the Fox’s nine tails all spread out, looking all appealing and alluring. The Fox said, “Asaku~ this is going to be my mightiest blow, as powerful as my love for you~”

Even with bare eyes, Asaku could see tremendous power compile on the Fox. He knew, this assault would decide the ending of the fight.

On his mind, Asaku was talking to Uda and Samoyed, “We have to use that skill.”

Ghost Card Uda said, “Are you sure, Asaku? You haven’t mastered the power of God, and this strike will exhaust you. We don’t know when you’d recover.”

Samoyed argued, “But this is the only way out now. I cannot take any more attack from the Fox. We have to knock him out first. We will guard you, Asaku.”

By then, the Fox took in enough energy. He shouted, “Multiple Foxes Explosion!”

Turning over, a pair of angel’s wings and a pair of fairy’s wings grew out on Asaku’s back. The Keys of Seven Attributes flew around Asaku. Glowing, the light around Asaku turned into seven huge swords. Asaku shouted, “Take that, God’s power is with me. Seven Keys Comet Impact!”

The fatal strikes from both parties collided. The Fox was too late to dodge the attack and was gravely injured, so he fled into the crack back to the Mirror Continent. What’s more, Asaku’s potent attack almost wiped the Fairies Empire clean.

Ghost card Uda and the Illusion Lion Samoyed broke away from Asaku, while the latter collapsed on the ground. He was still conscious, but couldn’t move even one finger.

Samoyed carried Asaku on his back and took Uda to the Fairies’ Holy Land. By then, the Fairies Continent that had remained intact for thousands of years was officially intruded.

Arriving at the Holy Land, Asaku saw the Mirror Core on the altar in the center of the holy land. The King was leading fairies to fight against the monsters. Feeling hopeless, Asaku tried to put himself together and asked, “How come Priest Harp hasn’t sealed the Mirror Core?”

Chapter Three: Freeze Froze Frozen

At two o’clock in the afternoon on Tuesday, August 13th, year 36722 on the Epic Calendar.

A Mirror Core was placed in the most important holy land on the Fairies Continent, while Priest Harp didn’t even bother sealing the core; instead, he was only fighting against monsters.

Brought to Priest Harp by Samoyed, Asaku asked Priest Harp why he hadn’t sealed the core in the Fairies Holy Land. After all, it was Priest Harp that gave him the Holy Crystal Cell.

“Holy Crystal Cell was brought back from the God’s Continent by Holy Dragon King. Only you could use the crystal, which is why you were assigned this job.” Priest Harp explained to Asaku.

Upon hearing this, Asaku turned depressed and said, “But I’m too weak to activate the Holy Crystal Cell. So there is nothing we can do but to witness our holy land being destroyed by the Reversal Impact?”

Priest Harp said, “Rest, Asaku, and restore as much health as possible.”

At that moment, Ellia ran toward Asaku, crying, “A guy in a black cloak took Adam away… I was no rival to him… it was my fault…”

Asaku comforted her, “No, it wasn’t your fault. Don’t cry, Ellia…”

Priest Harp said, “I suppose kidnapping Adam was part of the plan.”

General Alga led the Royal Guards to set up a formation of attack, fighting against the monsters around the core. The Fairies King stood right above the core, trying to smash the core with magic of thunder but in vain.

A strong dark light emitted from the high tower of the holy land, creating a gap of time and space. From the gap, a knight riding on a dark dragon flew out. In a voice as loud as thunder, the knight said, “I am General Philips, the Darkmirror General II. Now, authorized by the Mirror Continent, I officially declared war against the Fairies Continent.”

The knight on the dark dragon emitted a unique magic power, which froze all monsters.

Sensing the power, both Asaku and General Alga blurted out, “It’s the power of Salu, the missing fairy of the wind race! Why would fairies’ power pour out from him?”

General Alga added, “Not exactly. This is something more potent, combining fairies’ power of wind attribute and dark power.”

“I can’t think of anyone on the Fairies Continent that can compete with him.”

The Fairies King fell silent.

General Philips waved, and the dark dragon spat out a super tornado that blew away the fairies troops. Some fairies cast defense for protection. Then everyone noticed that the wind did no harm to Princess Jiefulo.

The King commanded, “Take shelter behind Princess Jiefulo.”

The entire troops all hid behind Princess Jiefulo and they followed her wherever she went.

Princess Jiefulo asked, “Why are you guys staying behind me? I’m gonna teach that General Philips a lesson.”

Once she said these words, she moved to General Philip’s direction. The troops were begging her not to move, so they could stay where they were.

General Philips noticed this as well and he showed strong emotion. The next second, he darted to Jiefulo.

While everyone was trying to protect Jiefulo, General Philips grabbed Jiefulo and kissed her. Everyone stopped and so did the furious tornado.

Turning red, Princess Jiefulo pushed Philips away angrily and slapped him hard. “You crazy psycho! How dare you kiss me like this? Who do you think you are?” she shouted at him.

Soothing his cheeks, General Philips seemed disappointed and said, “You’ve forgotten all about…”

Then the dark dragon came take Philips away.

Seeing Philips leave, Jiefulo felt her heart beating fast. She touched her lips that Philips just kissed and burst into tears. She wondered, “What is wrong with me that I feel so sad and sorrowful?”

General Philips rode the dark dragon to the front of the fairies troops and taunted, “Send your best to challenge me.”

General Alga jumped into air, summoned his mount, the griffon, and accepted Philips’ challenge. “This is General Alga,” Alga said, “I am the strongest guardian on the Fairies Continent.”

General Philips said, “I have been waiting for this moment, to finally challenge you to a duel.”

General Alga asked, “Can you answer me one question?”

General Philips interrupted him and said, “I can tell you directly what you want to know. First of all, I am Salu, the missing fairy of the wind race. Secondly… the Salu you know are actually two people. One is on the Fairies Continent and the other is on the Mirror Continent. My real name is Philips.”

General Philips looked at Asaku who was still trying to restore his strength, saying, “Just like Asaku, we both have double masks.”

General Alga gasped, “Double what?!”

Still powerless, Asaku thought, “What does it mean exactly, double masks?”

Then Uda saw Philips’ weapon and said to Asaku, “He has the Moon Sword!”

Asaku replied, “No way. That's not possible.”

Uda explained, “I know I’m right. Moon Sword and I are two ghost cards, and we are connected. How did he get it?”

General Philips said, “Well, time for diplomatic courtesy is over, so I’m going launch an attack~ To begin with….”

Once General Philips snapped his finger, the core was turning red and Reversal Impact was imminent, which shocked Asaku and all the other fairies.

Asaku said, “I can’t believe that he could’ve sped up the time for Reversal Impact. I’m going to seal the core!”

Pity that Asaku was still too weak to even get up. All he could do was lie on Samoyed.

Asaku said to Samoyed, “Get closer, so I can touch the core.”

Samoyed moved closer to the core, and Uda helped Asaku put his right hand on the core. Suddenly, the turning slowed down, leaving Asaku in excruciating pain.

Priest Harp said, “Asaku, you can’t seal the core like this. You are only delaying the inevitable. If you continue like this, you will die from exhaustion.”

Asaku said, “Even this is to buy a bit more time… this is the only thing I can do now.”

Hearing this, Ellia put her hands on Asaku’s, and said,

“I want to guard the Fairies Continent as well.”

Asaku lowered down his head and nodded.

Riding on the griffon, General Alga initiated an attack at Philips. The crash of the two most potent powers in the whole world created a ripple that froze the fairies troops and monsters completely.

As time went by, the combat was heating up, and Asaku couldn’t hold it any more.

All of a sudden, Philips turned to the Fairies King and said, “My King, allow me to tell you: the time set on the core is 1000 fairies’ years, roughly 41 human years. That would be the time of the Eight Races for the fairies!”

Upon hearing this, all fairies appeared shocked and scared.

General Alga said, “I will never ever allow you to turn back the time to 1000 fairies’ years ago. That was a chaotic time, which will cause devastation in the Epic World at this moment!”

Just when General Alga was preparing to launch his most powerful attack, Compressed Air Cannon, General Philips unexpectedly attacked with the same strike!

General Alga said, “You are my student that I’m proud of, and you are Salu from the Fairies Continent!”

Smiling, General Philips remained quiet...

While the two were about to crash, the core glowed in red, the Reversal Impact was triggered and Asaku couldn’t hold it anymore!

At that moment, the Fairies King Oudelos shouted, “As your King, I will not allow the fairies to perish here. Race of Air, assembly to initiate the teleportation ritual!”

Just as the Race of Air was casting the spell, the King said to General Alga and Priest Harp, “Guard the Fairies.”

Quickly, General Alga retreated to the King, together with Priest Harp who yelled at Asaku, “Go! Run as fast as you can!”

The Fairies King then drew a special magic sigil on his hand, which turned into an eagle that dived into the ground.

The King nodded at General Alga and Priest Harp, and the trio shouted, “The supreme sealing magic of the Fairies, Frozen Seal!”

That was the time the Reversal Impact starting to affect the surroundings and the Race of Air launching the teleportation ritual.

General Philips said, “Dang! You even thought of freeze the whole Fairies Continent. Nuh-uh, I’m not going to be trapped here.” Then he opened the gap of time and space but didn’t leave without taking a second look at Jiefulo.

The Reversal Impact was stopped by Frozen Seal, so was the teleportation ritual which wasn’t fast enough to save all fairies. Asaku was lucky, as he was sent away. Right before he was teleported, he heard Priest Harp, saying, “Find the Fairies Queen Aranda… only she can save the Fairies. You are our only hope, Asaku.”

Tears in his eyes, Asaku was sent into the teleportation tunnel and he lost consciousness.

The time on the Fairies Continent stopped. No one could enter, nor anyone could exit.

Chapter Four: Tear of the Mermaid

At ten o’clock in the morning on Monday, August 19th, year 36722 on the Epic Calendar...

Waking up but still dizzy, Asaku heard familiar voices and they were Uda, Samoyed and Ellia. The three were excited to see Asaku. “Woot! Finally, you’ve come to yourself!” said Uda.

Ellia leaned over to Asaku and said, “I was so so worried about you, Asaku… Thought I’d lost you.”

Asaku said, “I’m good. So where are we now?”

Uda replied, “We were sent to the Mermaid Kingdom on the Phantom Continent. The Mermaid Queen arranged accommodation for us here. You slept for almost a week!”

Asaku looked around, and found himself in a small, warm room showered in sunshine reflected by water. “It seems to be a girl’s room,” said Asaku.

Uda said, "Because there are only girls in the Mermaid Kingdom.”

Asaku was surprised, and he saw the room was filled with flowers, so he asked,

"What are these flowers about?”

Shrugging, Uda grinned, “The flowers are from your fans. The whole kingdom knows about you, and all girls are crazy for you. They’ve been sending flowers here, together with their greetings. The Mermaid Queen even promulgated to address you as the Sleeping Prince Charming of the Fairies…”

Samoyed turned around and giggled...

Footsteps were heard outside the door, so Uda told Asaku to fake sleep. If people knew he was awake, the fans would inundate the house immediately.

So Asaku lay down to fake sleep, and then about ten mermaids entered the room with flowers and gifts. Samoyed turned invisible, and Uda transformed into a clown puppet. Nothing could stop these girls --- they all kissed Asaku on the cheeks and wished him the best. It took them quite a while to have all the fun and leave.
Asaku got out of bed, with his hands on the cheeks that were just kissed. All smiling, Asaku blushed.

Ellia looked away, pouting unhappily.

Uda knocked on Asaku’s head and said, “Wake up!”

Asaku said, “I don’t want to stay here like a caged animal. I’m going to sneak out and look for some intel.”

“But Asaku,” Ellia said, “you can’t just go out like this. As the Sleeping Prince Charming of the Fairies, you will create a chaos. Let me dress you up.”

The Mermaid Kingdom is located under water, protected by a ward deep in the ocean. In the kingdom, one can breathe as freely as they can on the land.

On the street, there was a mermaid dressed in a maid’s outfit with a weird hairstyle and makeup, and a clown puppet on “her” shoulder. That was Asaku. Ellia dressed up as a mermaid as well, following Asaku. Samoyed turned invisible and stayed at their side.

Asaku asked, “Why do I have to go out in a maid’s costume? This is so silly! The skirt… it’s so cool down there and that feels so… weird!”

Laughing, Ellia replied, “Told you to wear some panties.”

“Nuh-uh,” Asaku said, “no girls’ panties for me!!”

Uda said, “But people would recognize you without the costume! That’d be trouble if they knew who you are. Thousands of mermaid girls would surround you to show you their love.”

Samoyed turned invisible so only his voice was heard, “Don’t count on me. I can’t stop all of them~”

Asaku said, “What is wrong with this place? The air is so stuffy. It just feels wrong, and the wind is not blowing at all.”

Uda replied, “The Mermaid Kingdom is quite exclusive. They are particularly hostile against the Beast Kingdom on the Phantom Continent. Both Samoyed and I are citizens of the Beast Kingdom, so we can never ever be found here. People say the Mermaid Kingdom enjoys a pleasant relationship with the Fairies Continent, so maybe this is why you are sent here.”

Ellia loved pets and she was talking to the angel fish roaming on the road. Asaku asked her, “Why are you talking to a fish?”

“I can talk to all living creatures~” Ellia replied, “and I want to befriend with all the cute ones.”

Asaku shrugged and said, “I can only understand Uda and Samoyed.”
At the time, a dowager walked by with a group of maids. The dowager gazed at Asaku, which made both Asaku and Ellia nervous.

Completely ignoring Ellia, the dowager said to Asaku, “Huh~ aren’t you a pretty one~ a little bit too flat-chested but no matter. What is your name? Who do you work for?”

Asaku tried to reply with a higher pitch, “Bonjour, Madam! My name… is Eklia, and I am the maid for Mrs. Mel.”

Upon hearing this, the dowager flipped and yelled, “What a waste!! You are adorable and you work for that crazy hag, Mel!?”

Then she took ten pearls from the bag and handed them over to Asaku, telling him, “This is the down payment. You go back and dissolve the contract with that hag, and report to Duke Vitalis Castle tomorrow.”

Once she was done talking, she led the maids and took leave. Asaku and the rest were left behind, startled.

Asaku complained, “Who is she and how can she call me flat-chested…”

Ellia laughed and said, “Eklia… my dear brother… that is awesome! You were hit on dressed up as a girl!! And that Lady Mel is real, too!”

Samoyed laughed so much it almost rolled on the floor.

“That is not funny!” Asaku said, “We still have business here. We’ve lost track of the core for one week, and Priest Harp said I have to find the Fairies Queen to save the Fairies Continent. How can I waste even one more minute here to be someone’s maid?”

Just then Asaku’s stomach rumbled, so he looked at the restaurant on the road and decided to dine in there.

By the entrance, Ellia said goodbye to the angel fish and entered the restaurant with Asaku. They chose a table in the corner to avoid attention.

“What!” Asaku screamed when he read the menu, “One set costs one pearl!”

Uda stopped Asaku immediately, “Quiet, Asaku, if you don’t want to pay, we can go back to the accommodations the Queen arranges for us.”

“Nuh-uh,” Asaku refused, “No way!”

Blushing, Asaku said, “I do enjoy being so popular though…”

Ellia punched Asaku on his shoulder, “Asaku, you are terrible!”

Then the waitress dropped by, asking, “What can I get for you today?”

Asaku gave a gesture of four fingers and said, “Four set meals, please.”

“Are you sure,” the waitress asked, “that you can eat so much?”

Asaku replied, “Sure, no problem at all.”

The waitress replied, “All right, four pearls then. The food will be served right away.”

When the food came, Asaku devoured everything in front of him, while Uda and Samoyed hid in the corner and ate quietly.

Asaku said, “I think we should leave the Mermaid Kingdom as soon as possible for the Beast Kingdom where I can ask help from an old friend, King Brad.

Samoyed said, “But it is forbidden to use the Folding Corridor in the Mermaid Kingdom, so we have to go through the connected tunnel to the Beast Kingdom above water.”

“But the tunnel is guarded," Samoyed continued, “no one is allowed to pass without the permission from the Mermaid Queen.”

“Besides,” Ellia said, “it is rude to leave without saying goodbye. We should at least thank the Queen for her kindness to take us in.”

Uda said, “It is true that the Mermaid Kingdom does maintain a good relationship with the Fairies Continent, but the Mermaid Queen made it official that Asaku is the Sleeping Prince Charming of the Fairies… that just doesn’t sound right.”

Asaku, “But if we don’t go back, we need to make money.”

“Asaku," Ellia said while she laughed, “ you have to support us all by working as a maid then!”

Both Uda and Samoyed nodded.

Holding his head, Asaku grumbled, “Why am I always the one that does all the work?”

While Asaku and his friends were talking, they had no idea that they had been surrounded by mermaid soldiers.

Politely, a girl mermaid soldier said to Asaku, “Friend from the Fairies Continent, our Queen would like to speak to you in Her Majesty’s Castle.”

Asaku said, “Ah… you’ve caught me…”

The mermaid soldiers took Asaku and his friends to the Castle where the Mermaid Queen resided. On the way, the road was full of fans who were crazy for Asaku. They screamed his name and more, “Asaku, my Sleeping Prince Charming of the Fairies… I love you~~”

At night in the castle , Asaku was taken to the Throne Hall where the Mermaid Queen sat on her throne. Both Asaku and Ellia took a bow, and Asaku addressed to the Queen, “Your Majesty, my name is Asaku, and I am from the Fairies Continent. We do not mean to intrude, as our presence here is nothing but an accident. We sincerely beg for your kindness and forgiveness.”

The Mermaid Queen replied, “I am the Mermaid Queen Kamina. You can tell your two escorts to show themselves.”

Hearing this, Uda and Samoyed turned visible and got down on one knee, asking for forgiveness.

Queen Kamina said, “I am fully aware of the situation. The rest of you can leave now.”

The Queen’s entourage took leave and only the Queen and Asaku and his friends remained.

“Follow me.” The Queen said once they were left alone.

The Queen led Asaku and his friends to the Royal Garden, hid them in a concealed corner. She then told them to stay quiet and asked Asaku to play along no matter what happened. Though confused, Asaku concurred.

Shortly, a young woman walked into the garden, with a fairy man, whose hair is white and elegant, flying in the air. The couple looked at each other deeply in the eyes, and the man took out a flower made of seashells and crystal.

The white-haired man said, “Mermaid Princess Yulia, I want to hold your hands in mine forever. Will you marry me?” The young woman shook her head and replied, “No, Fluffy… It has to be my Mother who can make the decision.”

Fluffy held the woman by her hands and said, “Then let’s elope!”

Yulia refused and said, “As much as I love you, such behavior is not allowed.” Then the man tried to leave with the woman, while the Mermaid Queen walked out between them and Asaku and his friends still hid in the dark.

The Queen reprimanded, “How insolent! Release my daughter and leave now!”

The white-haired man talked back, “I have no fear to whatever queen, including you, Your Majesty. If I snap, no one in your kingdom is capable of taking me down.”

The Queen said, “You are indeed contemptuous, but we do need a powerful man to be our King and to protect our people.”

The white-haired man laughed, saying, “So~ Your Majesty has agreed to our marriage then?”

The Queen continued, “But only the most powerful and the most beautiful man can be our King.”

Fluffy replied, “Awww thank you, Your Majesty, for all the kind words.”

The Queen interrupted Fluffy, “No, you are not the only one that is qualified here. Recently, the Sleeping Prince of the Fairies has visited us. He is even more beautiful than you and well-loved by the whole kingdom.”

The Queen then pointed at Asaku who had no choice but to show up, and the latter played along, “I am the Fairy Prince that is truly qualified to be the King. Leave now, before it turns even more humiliating.”

Fluffy yelled, “I will challenge you to a duel! Don’t be so sure you’ll win, Asaku from the Fairies Continent.”

Asaku was surprised, asking, “How do you know who I am? Have we met?”

Fluffy just looked at Asaku without saying one more word.

The Queen clapped and said, “Quiet down, both of you. As the Queen, I shall be fair and just. I will hold a Joust for a Spouse and the winner can marry Princess Yulia and become the future King of the Mermaid Kingdom!”

Asaku yelled in surprise, “What?!”

Fluffy said, “Deal! When will that be?”

“Three days from now," the Queen replied, "and it will be held in the arena.”

“Mother, how could you make such a decision…” Yulia cried while she ran away.

Fluffy was full of confidence and he said, “I’ll show you what I’ve got!” before disappearing in the night.

At the same time, Asaku, Uda, and Samoyed said, “It’s a set up…”

The Queen looked back at Asaku, nodding and smiling…

Back to the Throne Hall, Asaku sat on the corridor, pouting.

The Queen explained, “I understand it was really rude to set you up like this, but the situation called for it as we do not have enough arms to deal with this phantom.”

“Phantom?” Asaku asked, “Fluffy is a phantom?”

The Queen nodded and replied, “Yes, he is a fox from the Illusion Tribe of the Beast Kingdom on the Phantom Continent. We mermaids will never ever marry a beast.”

Samoyed concurred, “The three kingdoms on the Phantom Continent are quite hostile against each other. It is a great mercy that Uda and I can remain free here.”

“But are the arms here so weak?” Asaku asked, "Besides, if they truly love each other, why would Your Majesty have to stand by the rule and separate them?”

The Queen stood up, pointing her scepter at the ceiling right above the throne. The ceiling broke and there was a…

“Mirror Core!” Asaku yelled, “And it is red, so the Reversal Impact occurred already!”

Then Asaku took out the Compass of No Return to confirm the time reversed, but only figured out there was no difference in time. The Mermaid Kingdom wasn’t sent back in the past during the Reversal Impact. What was this all about?

Before Asaku could have a better understanding of what was going on, lots of monsters flooded from the core. Asaku and his friends prepared for combat. One monster dashed toward the Queen, and Ellia screamed, “Watch out, Your Majesty!”

To everyone’s surprise, the monster went right through the Queen.

The Queen said, “Don’t worry about me. Asaku, could you please seal this Mirror Core, first?”

“Yes, Your Majesty.” Asaku replied.

Covered by his friends, Asaku reached the core and sealed it by performing Holy Cell. With the core sealed, the Mermaid Kingdom was freed, and the air refreshed and flew again.

The Queen sat on her throne, and started to explain from the beginning, “About six months ago, the core occurred here. Even with all the arms we could afford, we could not resist it, and then the Reversal Impact took place.”

Surprised, Asaku asked, “But the time remains the same?”

The Queen replied, “The Reversal Impact turned back the time to 130 years ago, when the Mermaid Kingdom was an island above water, instead of deep in the ocean. Our Kingdom didn’t sink into the water until thirty years ago.”

“So the Reversal Impact brought back the Mermaid Kingdom 130 years ago!” Uda said.

The Queen said, “That is correct.”

Asaku asked further, “But what about the Mermaid Kingdom that was influenced by the impact…?”

The Queen replied softly, “Disappeared. We have all disappeared. Everything you see now is a reflection of our thought. We keep on living like this.”

Then the Queen took off an earring in the shape of a drop of water from her left ear, and she gently continued, “This is our beloved treasure, the Mermaid Tears. When the Reversal Impact struck us, the grave fear and sorrow from all our people triggered the Mermaid Tears.”

Trying to hold back tears, Asaku said, “So Your Majesty, and all the people I have seen in the kingdom are reflection of thoughts, protected by the Mermaid Tears.”

Ellia couldn’t hold it anymore, and she just cried out loud.

The Queen continued, “Asaku, you understand this, don’t you… Yulia cannot marry Fluffy, even with my blessing. Once Yulia is married to Fluffy, she, together with the whole kingdom, will realize that we are gone, no more. Could you keep this secret between you and me, please?”

The tears wouldn’t stop from falling, and both Asaku and Ellia nodded.

“Even it’s just an act,” the Queen said, “please do beat Fluffy, marry the princess, become our new King. Please, Asaku… give my people new hope. By then, we will no longer need the Mermaid Tears, and we can disappear with happiness. Could you please do us one last favor?”

Without saying a word, Asaku nodded. Ellia cried so much even the angel fish could swim in her tears.

Three days later, people started to swarm into the arena. The whole kingdom was there to witness the Joust for a Spouse held by the Queen.

Ready and set, Asaku slowly walked into the arena, to keep his promise.

Chapter Five: A Happy Smile

At ten o’clock in the morning on Thursday, August 22nd, year 36722 on the Epic Calendar...

Almost all the citizens of the Mermaid Kingdom gathered at the arena, the cheers were deafening as today would be the day, a new king would be elected. The champion could also win the hand of Princess Yulia, and the game started!

Both Asaku and Fluffy entered the arena, gazing at the other. The atmosphere totally changed.

Fluffy would like to charge in and attack Asaku immediately, while the latter looked at the Queen with so much sadness in his eyes. The Queen nodded at Asaku, with the crying Princess Yulia on her left side, and Ellia on her right side.

The horn was blown, which could be heard miles away. The game officially started!

On his hand, Fluffy attacked with a spear bursting of energy, and Asaku fought back with Uda and Samoyed, both transformed into his most trustworthy gear. Asaku’s Sun Sword clashed with Fluffy’s Shine Spear. Sparkle could be seen everywhere. As the fight intensified, Fluffy cast Magic Light Sword to attack Asaku, which shocked Asaku who tried to block it with the shield on his left hand.

Surprised, Asaku yelled, “Did I see it right? That was my Magic Light Sword?”

Samoyed replied, “You are right. That is your magic.”

Fluffy asked, “Hey Asaku, aren’t you a master of magic attack? Since when you have switched to a sword? Where is your magic?”

Asaku kept quiet, “Tsk…”

Uda said, “Asaku, this seems like a deja vu. I’m sure we know this Fluffy from somewhere.”

Fluffy yelled, “Woot! This is fun! I’m holding nothing back!”

Casting Light Sword Magic, Fluffy charged in to Asaku and attack!

Reaching out with his left hand, Asaku absorbed in the power with the three-star matrix magic. The matrix magic could take in power of three attacks only, so Asaku was still harmed. On his right hand, Asaku blocked the attack of Shine Spear with his Sun Sword.

Rolling over, Asaku released Aurora Impact! The three-star matrix magic seemed to take Fluffy by surprise. While Fluffy tried to dodge the attack, Asaku pushed further with the Sunshine Impact. Both impacts hit Fluffy hard and Asaku was winning.

“I never knew you could attack like this,” Fluffy shouted, “but your light magic doesn’t hurt me much as I also master light magic. You can’t beat me by absorbing my magic power!”

All of a sudden, the white-haired fairy turned into an enormous white fox, together with a bunch of small white foxes.

Asaku yelled, "... I... I hate foxes…”

The crowd started to scream and tried to run away. Princess Yulia was so scared that she wept, and the Queen explained to her this is who Fluffy really was. Princess Yulia cried even louder for being lied to.

Then Fluffy attacked with its enormous body and tail, while casting Meteor Shower at Asaku. The bunch of small white foxes were attacking with their super adorable paws, which made it even harder for Asaku to defend.

to be continued～
Google play book search 『ASAKU X Dragon life』

"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…

In this episode of #WeekendsWithJenn, WE TRIED THE CRAZIEST, MOST OUT-OF-THIS-WORLD PIZZAS in MALAYSIA!
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