關於 beat music meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

［新曲誕生］

《Beat Beats》給beatbox flute絕技長笛二重奏

很高興可以跟我的好夥伴、好朋友和學習力超強的好學生 Hui-hsuan Chen 蕙萱一起錄製這首新作品，一個人吹很炫很酷，兩個人吹更有渲染力！
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這首曲目如同標題所指示的”beat the beats”打敗節奏，勇敢面對節奏，專注跟隨著彼此間音樂的律動感，享受在節奏的浪潮之中，透過我寫下的各種不同的重音與連音的位置，以及花舌技巧，更重要的是記得使用大量的氣音來增強聲音的power & energy，上述這些最基礎的技巧決定了你演奏時的感染力，絕非必要但不可或缺！
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如果你喜歡這一首曲目，請自由分享與挑戰，也可在底下留下你出聽到的感受與心得，我會很樂意與大家一起討論音樂的各種大小事！

願健康與平安降臨在每個地球人與生命體的身上。
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Here is my new composition for 2 flute beatboxer 《Beat Beats》 in recording 🤘

This is a fantastic work and I am proudly recorded it with my student, coworker and partner Hui-Hsuan.
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Technically, it’s not difficult but make sure to follow each other’s musical groove, and “beat the beats” as the meaning of its own title!

Do not afraid of rhythm, enjoy the groove which I created by the different accents, liaisons and flutter tonguing, and play it with more airy sound, the airy sound will give the music such powerful energy, that will make people shine by your performance!
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Well, enjoy the music! And if you like it, please share it and discuss it with the world!

May the healthy and peaceful FORCE be with the world.
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#myrflute #FluteGamerProject
#BeatboxFluteKidsEnsemble
#beatboxflute #kids
#flute #フルート #플루트
#長笛 #長笛玩家 #玩家計畫 #音樂 #絕技長笛 #長笛家族 #短笛 #中音長笛 #低音長笛 #玩音樂 #美國 #台灣

Alumine Five of Stenheim

Stenheim is a relatively late entrant to the high-end speaker field. It was founded in 2010 by a collective of mainly ex-Goldmund engineers, and its products have inherited an unmistakable aesthetic and, to a lesser extent, sonic DNA, although it was a significantly evolved character that was to emerge in the shape of the debut model, the compact, two-way Alumine Two. It’s a developmental divergence that has continued and, if anything, accelerated with the emergence of each subsequent product. The latest Stenheim speakers, developed under the auspices of new owner Jean-Pascal Panchard, definitely have their own, unambiguous identity, both visually and musically.

I’ve been seriously looking forward to the arrival of the Alumine Five. Previous experience with the brand has included impressive exposure to the various versions of the enormous and enormously impressive Ultime Reference models, as well as a brief but highly rewarding flirtation with the stand-mounted Alumine Two in my own system. The possibility of combining the sense of musical articulation, enthusiasm and communication I experienced from the Alumine Two, with more than a hint of the clarity, scale and authority so effortlessly delivered by the Reference models, all in a package that, if not exactly affordable, at least isn’t completely out of the question, makes the Alumine Five a distinctly interesting proposition.

Yet, confronted with the Alumine Five in the flesh, there’s little to hint at the extraordinary promise lurking within. Resolutely rectangular in true Stenheim style, the Five’s aluminum cabinet, with its plate-to-plate construction, stands just 48" tall, 15" deep and presents a broad 11" face to the world, dimensions based on golden-ratio numbers. The front baffle is split by a physical break between the upper midrange-treble enclosure and the lower bass cabinet, independently ported by the laminated full-width slots above and below, a physical separation that is mirrored by the contrasting inlaid strips that help visually break up the one-piece side panels. The regular lines, smooth surfaces, flawless matte finish and lack of visible fixings could easily result in a bland, almost featureless appearance. But those trim strips and the offset midrange and treble drivers do just enough to give the Five a subtle hint of individual style without resorting to the sort of gauche and ostentatious flourishes that so often pass as design.

The result is a refreshingly clean, classical appearance that will blend seamlessly with a range of different decors. Despite the lack of grilles (although they are available as an option, does anybody really spend this kind of money on a speaker and then compromise the performance by fitting covers?), the beautifully profiled baffle and absence of visible fixings makes for a genuinely neat, finished appearance that matches the superb surface finish on the cabinet. The end result just looks right, in a way that makes you wonder why you’d want grilles anyway.

The first hint of its potent sonic capabilities comes when you try to pick it up. Each comparatively compact cabinet tips the scales at 220 pounds. That’s a grunt-inducing, two-man lift. Now, take a look at the figures for bandwidth and sensitivity, and an in-room response that digs down as far as 28Hz combined with 94dB efficiency should raise your eyebrows, especially given the compact cabinet dimensions. Which brings us to the first experiential disconnect: boxes this size shouldn’t produce this much bass or do it so easily. Nor should they weigh so much -- although therein lies the clue to this particular conundrum. When it comes to bass extension, it’s not the external dimensions of the box that matter, but its internal volume. Just like the Crystal Cable Minissimo, a thin-wall cabinet makes for a much larger internal volume than the external dimensions might suggest -- especially if we apply the expectations of more conventional wood-based construction. Throw in the sheer weight of the aluminum panels and the combination of mass and physical dimensions would subconsciously suggest massively thick walls -- and a correspondingly limited internal volume. Instead, what we have here is a deceptively large volume, which, combined with the inertia of the heavy cabinet and the mechanical stability provided by the material, makes for an effective mechanical reference for driver movement, meaning that more of the energy your amplifier sticks into the speaker comes out as sound and (at least in theory) it will be more precisely rendered.

So far, not very much that’s new. It’s not like Stenheim (or Magico, or YG Acoustics) has exclusivity when it comes to aluminum cabinets. But what does make Stenheim different is the unique material they use in damping their cabinet panels. Of course, the separate enclosures and the internal baffles they demand make for an inherently heavily braced structure, but look inside a dismantled Alumine Five and you’ll find strategically placed pads stuck to the cabinet walls. These three-layer, self-adhesive pads combine a heavy damping layer (adjacent to the cabinet wall itself) with added foam and impervious layers, allowing the low-volume pads to influence both the mechanical behavior of the cabinet itself and the enclosed volume. It’s an interesting solution because it manages to overcome the weakness so often audible in simple, braced aluminum cabinets (the all-too-recognizable resonant signature of the material itself) while maximizing the benefits (large volume and rigidity) by obviating the need to stuff the internal space full of wadding or long-haired wool. In fact, if the Stenheims were stood behind a sonically transparent curtain, you’d be hard-pressed to recognize the music as emanating from an aluminum cabinet at all. The absence of the bleached, grainy or lean colorations, the lack of sterile, mechanistic reproduction, is one big half of the Stenheim story, living, breathing proof that it’s not what you use but how you use it that counts.

The other half is down to the drive units, and after the cabinets, those come as quite a surprise, both the lineup and the chosen materials. In stark contrast to the use of the latest, precision CNC techniques, complex damping pads and finishing options, the Alumine Five's drivers are as traditional as they come, with a coated silk-dome tweeter and pulp or laminated paper midrange and bass drivers. The cone drivers use textile double-roll surrounds and massive magnets more normally found in pro-audio applications, and while Stenheim doesn’t build its own drivers, the company works closely with its chosen supplier (PHL, definitely not one of the usual suspects) to specify the electrical parameters, mechanical characteristics and precise details of the surface coating.

The use of such lightweight cone materials and large motors aids the system efficiency, while a hybrid second-order/Linkwitz-Riley crossover, the result of extended listening and evolution, ensures phase coherence and excellent out-of-band attenuation and makes for easy non-reactive load characteristics, despite the three-way topology. The other aspect of the driver lineup that might be considered slightly unusual is the use of a large-diameter (6 1/2") midrange unit -- although less so since Vandersteen’s patent on the approach lapsed some years ago, resulting in a rash of companies suddenly exploring the possibilities of the topology.

Perhaps more important, in the case of the Alumine Five, it means that you are getting the tweeter and midrange drivers from the Ultime Reference series speakers, teamed here with a pair of 10" woofers but without the benefit of a super tweeter. Even so, Stenheim quotes bandwidth out to 35kHz, which should suffice for most purposes. The review speakers arrived with the optional second set of terminals installed, allowing for biwiring or, more significantly, biamping, an upgrade opportunity that makes this an option you should take. If, in the meantime, you are single-wiring the speakers, make sure you factor in a set of jumpers that match your speaker cables: the Alumine Five's overall sense of musical coherence makes the benefits especially obvious. Likewise, good wiring practice is essential, both in terms of cable dressing and diagonal connection (red to midrange/treble, black to bass, with jumpers arranged accordingly).

Aside from the speaker's substantial weight, the parallel sides and flat surfaces of the four-square cabinet make setting up the Fives an absolute joy. Precise, repeatable, angular adjustments are easily achieved, while changes in attitude are just as straightforward, helped by the beautifully profiled stainless-steel spiked feet and deeply cupped footers. Both the cones and their locking rings have nice, large ports to take the supplied pry bars, but it’s worth greasing the threads before installation. One other thing to watch out for: the spikes are seriously (refreshingly) sharp -- sharp enough to penetrate a thick rug and score the floor below, so be careful where you stand the speakers once the feet are installed. Final positioning disposed the speakers on a broad front with minimal toe-in. When it came to dialing in their considerable musical energy, the most critical factor proved to be height off the ground, with tiny adjustments of the spikes making profound differences to the weight and pace of the presentation. Likewise, equal weighting of the four spikes was crucial to a proper sense of grounded weight and dynamic authority.
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Price: $60,000 per pair.
Warranty: Five years parts and labor.

(Source: The Audio Beat)

"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…

★「大門弥生 "まけんな" DANCE WS TOUR 2020」★
新曲発売記念して大阪、東京、神奈川での開催に加え、遠方の為にも来れない方の為に、初の"オンラインWS"も開催決定！！「歌って踊れる＆シンガーのバックダンサー」としての基礎など大門弥生だからこそ教えれる内容が盛り沢山。あまりないこの機会に是非ご参加下さい。
Schedule：
11/7 (Sat) 大阪 OSAKA
11/8 (Sun) Online
11/13 (Fri) Online
11/14 (Sat) 神奈川 KANAGAWA
11/15 (Sun) 東京 TOKYO
(※他の地域もブッキングお待ちしてます。)

（（詳細））
■11/7 (SAT) 大阪 at WREXX Ast
19:00 - 20:30
¥3,700- (Special Shooting有り）
WSでPick UpされたメンバーはプロのカメラマンさんとのShootingあり！
『予約』studiodeanca@gmail.comまで
題名に”YAYOI DAIMON WS”
・氏名・電話番号・メールアドレスを記入してメール送信でエントリー完了。
（エントリー後のキャンセルはキャンセル料として全額を負担いただきます。）
問合せ先：インスタグラム @studio_deanca
—————————————

■11/8 (SUN) Online WS
日本時間（JST） 11am - 12:30am
（１時間レッスン＋質問タイム３０分）
¥2,500-
LA 7pm - 8:30pm
NY 9pm - 11:30pm
SanPaulo 11pm - 12:30pm
『予約方法』officeschwaza@gmail.comまで
題名に”YAYOI DAIMON WS”
・氏名
・希望受講日
・電話番号
・メールアドレス
を記入してメール送信でエントリー完了。
★エントリー後、振込先など詳細をこちらより送らせていただきます。
★振り込み完了確認後、”Zoom Online レッスン”のパスワードが送信されます。
★（振込後のキャンセルはキャンセル料として全額を負担いただきます。）
問合せ先：インスタグラム @yayoidaimon.info
『How to reservation』
Send e-mail to
officeschwaza@gmail.com
Put subtitle ”YAYOI DAIMON WS”
・Name
・Date
・Phone Number
・email address
After entry, we will send you details such as transfer destination.
After confirming the transfer completion, the password for "Zoom Online Lesson" will be sent.
(Cancellation after transfer will be charged in full as a cancellation fee.)
Q&A：Instagram @yayoidaimon.info
————————————

■11/13 (FRI) Online WS
日本時間（JST） 21:00 - 22:30
（１時間レッスン＋質問タイム３０分）
¥2,500-
London 1pm - 2:30pm
Paris 2pm -3:30pm
Beijing 8pm - 9:30pm
Seoul 9pm -10:30pm
『予約方法』
officeschwaza@gmail.com
まで
題名に”YAYOI DAIMON WS”
・氏名
・希望受講日
・電話番号
・メールアドレス
を記入してメール送信でエントリー完了。
エントリー後、振込先など詳細をこちらより送らせていただき
振り込み完了確認後、”Zoom Online レッスン”のパスワードが送信されます。
（振込後のキャンセルはキャンセル料として全額を負担いただきます。）
問合せ先：インスタグラム @yayoidaimon.info
—————————————

■ 11/14 (SAT) 神奈川 at Studio Jel’aime
まけんなダンサーR!noのスタジオに参戦！
19:00 - 20:30
通常受講者　¥3,000-
Studio jel’aime 会員 ¥2,500-
—————————————

■ 11/15 (SUN) 東京 at Studio Major 9F
Pick UpされたメンバーはオフィシャルShootingあり！
WS最終日なので、この日限りの何かがあるかも。
16:00 - 17:30
￥3,000-
『予約方法』
officeschwaza@gmail.com
まで
題名に”YAYOI DAIMON WS”
・氏名
・希望受講日
・電話番号
・メールアドレス
を記入してメール送信でエントリー完了。
（エントリー後のキャンセルはキャンセル料として全額を負担いただきます。）
問合せ先：インスタグラム @yayoidaimon.info

【DANCE MOVIE】大門弥生(YAYOI DAIMON) 「まけんな -MAKENNA-」
Available on https://linkco.re/bqQCXRmM
Instagram https://www.instagram.com/yayoidaimon/
Twitter https://twitter.com/DaimonYayoi
Apple Music
https://music.apple.com/jp/artist/852...
Spotify
https://open.spotify.com/album/1r7TaI...

10/2 2020 Release
Artist：大門弥生 (YAYOI DAIMON)
Lyric：大門弥生 (YAYOI DAIMON)
Music：XLII
Special Guest Dancer：YUU @yuu0715yuki
Dancer：AKANE @a_ka_ney
Dancer：MIHOREINE @mihoreinee_
Dancer：R!NO @rino_matsubara
Choreography：YUU @yuu0715yuki
Director : 武藤 眞志
Hair&Makeup：Yuko Fujiwara
Style：NIKE、TIMELESSTOKYO、OTO GIRLS、寺田歯科医院

Label : Schwaza Records (schwaza.jp)
A&R：Kosuke Kuraseko
jacket title：SEIRAN @seiran_jp
jacket：MARIN KADOWAKI

Special Thank You：HANA KIMURA「木村花を忘れない」

#MAKENNA #GoForIt #Dance

【まけんな (MAKENNA)】日本語（English）
Back in the game right now

口から出まかせ言ってんな（Stop with all the chatting）
やることタイト like my pu**y（The shit I do tight like my pu**y）
リング上で戦う女同士（Alpha females fight up on the ring）
マケンナ気合いはアスリート（Don’t lose the spirit is athlete）
大和撫子生まれはストリート（Yamatonadeshiko born from the hood）

ほっとけんほどドープなビート（A beat so dope I cant leave it）
乗り遅れないように踊っとかんと（Stay dancing so I dont miss the ride）

顎足無しからやってきた（I come from where nothing be）
関西からcome againやってきた（Came from Kansai come again finally here）
コロナでビザも落ちました（Because of Corona my Visa dropped）
人生の意味なんか知らんがな（Well I dont know the meaning of life）

Hey I don’t lose
I don’t I don’t I don’t lose
Dont Lose Dont Lose!

Look
やれんならやってみ（If you cant, then do it）
思い立ったらすぐやる方がいい（Don’t think! just do it）
どうせ当たらんロッタリー（Not gonna win the lotto anyways）
みんなが予想外のパンデミック（Nobody expected the pandemic）

Ring-ring
I don’t need pass the dutch
Ding-ding
勘違い fuck my life（Misunderstanding fuck my life）
Win-win
we gon win pon de mic
Rrrrrn Rrrrrn
変わらん情熱（My passion never changes）

お前のやる気スイッチはどこ？（Wheres your beast mode switch at?）
中途半端ならやめてええよもう（If you gon be bitch you can quit）
何回やっても（No matter how much you try）
ライバルは半歩先にいてまだ上を狙ってる（Your rival is one step ahead aiming for higher）

A mi seh
Hey I don’t lose
I don’t I don’t I don’t lose
Don’t Lose Don’t Lose!

Just do what you do, Imma do what I do
Just do what you do, Imma do what I do

Tengo hambre
腹が減っては戦が出来ねぇ（Cant fight on a empty stomach）
好きな時好きなもん食べれるこの環境にまずサランへ（Eat what I want when I want）
First "Saranghae" love to this sensation

ありきたりな物語（A common story）
花咲かせたいことばかり（I just wanna win and succeed）
大当たりした時に仲間たちと共に笑いたい（When I get my big bag I just wanna laugh with my dude）

Hey I don’t lose
I don’t I don’t I don’t lose
Don’t Lose Don’t Lose!

大門弥生 (YAYOI DAIMON) 「まけんな (MAKENNA) 」Official Video
Available on https://linkco.re/bqQCXRmM
Instagram https://www.instagram.com/yayoidaimon/
Twitter https://twitter.com/DaimonYayoi
Apple Music
https://music.apple.com/jp/artist/852...
Spotify
https://open.spotify.com/album/1r7TaI...

10/2 2020 Release
Artist：大門弥生 (YAYOI DAIMON)
Lyric：大門弥生 (YAYOI DAIMON)
Music：XLII
Special Guest Dancer：YUU @yuu0715yuki
Dancer：AKANE @a_ka_ney
Dancer：MIHOREINE @mihoreinee_
Dancer：R!NO @rino_matsubara
Choreography：YUU @yuu0715yuki
Director : 武藤 眞志
Hair&Makeup：Yuko Fujiwara
Style：NIKE、TIMELESSTOKYO、OTO GIRLS、寺田歯科医院

Label : Schwaza Records (schwaza.jp)
A&R：Kosuke Kuraseko
jacket title：SEIRAN @seiran_jp
jacket：MARIN KADOWAKI

Special Thank You：HANA KIMURA「木村花を忘れない」

#MAKENNA #GoForIt #Dance

【まけんな (MAKENNA)】日本語（English）
Back in the game right now

口から出まかせ言ってんな（Stop with all the chatting）
やることタイト like my pu**y（The shit I do tight like my pu**y）
リング上で戦う女同士（Alpha females fight up on the ring）
マケンナ気合いはアスリート（Don’t lose the spirit is athlete）
大和撫子生まれはストリート（Yamatonadeshiko born from the hood）

ほっとけんほどドープなビート（A beat so dope I cant leave it）
乗り遅れないように踊っとかんと（Stay dancing so I dont miss the ride）

顎足無しからやってきた（I come from where nothing be）
関西からcome againやってきた（Came from Kansai come again finally here）
コロナでビザも落ちました（Because of Corona my Visa dropped）
人生の意味なんか知らんがな（Well I dont know the meaning of life）

Hey I don’t lose
I don’t I don’t I don’t lose
Dont Lose Dont Lose!

Look
やれんならやってみ（If you cant, then do it）
思い立ったらすぐやる方がいい（Don’t think! just do it）
どうせ当たらんロッタリー（Not gonna win the lotto anyways）
みんなが予想外のパンデミック（Nobody expected the pandemic）

Ring-ring
I don’t need pass the dutch
Ding-ding
勘違い fuck my life（Misunderstanding fuck my life）
Win-win
we gon win pon de mic
Rrrrrn Rrrrrn
変わらん情熱（My passion never changes）

お前のやる気スイッチはどこ？（Wheres your beast mode switch at?）
中途半端ならやめてええよもう（If you gon be bitch you can quit）
何回やっても（No matter how much you try）
ライバルは半歩先にいてまだ上を狙ってる（Your rival is one step ahead aiming for higher）

A mi seh
Hey I don’t lose
I don’t I don’t I don’t lose
Don’t Lose Don’t Lose!

Just do what you do, Imma do what I do
Just do what you do, Imma do what I do

Tengo hambre
腹が減っては戦が出来ねぇ（Cant fight on a empty stomach）
好きな時好きなもん食べれるこの環境にまずサランへ（Eat what I want when I want）
First "Saranghae" love to this sensation

ありきたりな物語（A common story）
花咲かせたいことばかり（I just wanna win and succeed）
大当たりした時に仲間たちと共に笑いたい（When I get my big bag I just wanna laugh with my dude）

Hey I don’t lose
I don’t I don’t I don’t lose
Don’t Lose Don’t Lose!

Fujii Kaze - "Kaerou"


Director：Kodama Yuichi（vivision）
Assistant Director：Sato Ryuken（DIAMOND SNAP）
Cinemato Grapher：Okuguchi Makoto（Tsuji Office）
1st Camera Assistant：Shimizu Erika
DIT：Oyama Taito（progressive）
Lighiting Director：Kobayashi Kosei
1st Light Assistant：Omura Kiron
Prop Artist：Sakai Toshihide（TATEO inc）
Art Assistant：Sano Mariko（TATEO inc）
Grip：Taniguchi Takashi（OF）
Camera Car：Arai Keita（S3）
Casting：Yamauchi Tomokazu／Nishimura Kazuyuki（KOSEI）
Location Cordinator：Yamauchi Hiroshi
Stylist：Sugiyama Mayumi／Masuda Mika
Stylist Assistant：Oga Nozomi
Costume（fujii kaze）：YOHJI YAMAMOTO
Hair & Maike up（fujii kaze）：Takai
Hair & Maike up Assistant（fujii kaze）：Morishita Haruka


Color Grading：Ishihara Yasutaka（SONY PCL）
Shooting Editor：Gorilla（vivision）
Offline Editor：Kodama Yuichi（vivision）

VFX：Mizuno Masaki／Kawasaki Kotomi（Khaki）

CGI：Takagane Koji（Khaki）

Mixer：Masutomi Kazune

Producer：Inagaki Mamoru（GEEK PICTURES）
Production Manager：Taniguchi Yuki（GEEKPICTURES）
PM Assistant：Kanazawa Satoru／Takahashi Hiroki／Takeguchi Akefumi／Oshida Keiji／Iwanaga Yasuhiro／Mimori Yosuke／Sakamoto Ryosuke（GEEK PICTURES）／Sato Yosuke（GEEK PICTURES）


CAST
Aoyama Asami
Isse
Ichizo
Kathleen
Saikatsu
Sandy K
Shibamoto Yasuyoshi
Taira Jin
Tateishi Kirara
Tanaka Jin
Daikohara Chieko
Tenkou Mayumi
Hotta Shinzo
Fujii Kaze
MASASHI
Yamaki Koharu
Yoshizawa Kazumi
Ruri


☆ 05.20(wed) release 1st ALBUM "HELP EVER HURT NEVER"(CD)
▶️ https://Fujii-Kaze.lnk.to/HEHN

1. Nan-Nan
2. Mo-Eh-Wa
3. YASASHISA
4. Cause It's Endless
5. Flavor Of Sin
6. Cho Si Noccha Te
7. Tokuni Nai
8. I'd Rather Die
9. Hey Mr.Wind
10. SAYONARA Baby
11. Kaerou


【First Edition】 ¥4,000(+tax) UMCK-7064/5
＜Bonus＞
・Special booklet
・HELP EVER HURT COVER ＜11 songs＞
1. Close To You
2. Shape Of You
3. Back Stabbers
4. Alfie
5. Be Alright
6. Beat It
7. Don't Let Me Be Misunderstood
8. My Eyes Adored You
9. Shake It Off
10. Stronger Than Me
11. Time After Time

【Normal Edition】 ¥3,000(+tax) UMCK-1659
【Digital】 ¥2,100(+tax)



iTunes Store: https://itunes.apple.com/jp/artist/%E8%97%A4%E4%BA%95-%E9%A2%A8/1486113150?app=itunes&at=10I3LI&ls=1
Spotify: https://open.spotify.com/artist/6bDWAcdtVR3WHz2xtiIPUi
YouTube Music: https://music.youtube.com/channel/UCxjfYUXFwmjUCGHMeBri5_w
Amazon Music: https://music.amazon.co.jp/artists/B0819FY3KC?ref=dm_sh_e043-549a-9e40-b221-a1efe
LINE MUSIC: https://music.line.me/artist/mi0000000011ec3db5

Official APP: http://c-rayon.com/fujiikaze/
Official site: http://fujiikaze.com/
Instagram: http://Instagram.com/fujiikaze
twitter: https://twitter.com/FujiiKaze



Go Home
Written by Fujii Kaze
Prod by Yaffle

Mixing Engineer Masahito Komori
Recording Engineer Yoshimasa Wakui / Daishi Iiba(birdie house)
Recorded at AOBADAI STUDIO / ABS RECORDING STUDIO
Mixed at ABS RECORDING STUDIO
Mastering Engineer Tsubasa Yamazaki
Mastered at EELOW

Drums Leon Yuki
Electric Bass Naoki Kobayashi
Percussion Takashi Fukuoka
1st Violin Rina Odera
2nd Violin Natsue Kameda　
1st Viola Mikiyo Kikuchi
2nd Viola Reiichi Tateizumi
Cello Yuki Mizuno
Acoustic Piano Fujii Kaze


You are melting into sunset
I am fading into sunrise
If our path never cross again
Then, that is the way it is

You're turning on the lamp
I'm searching for the light
We both have nothing to fear, nothing to lose
We both have nothing at all in the first place

See you, see you again
Those boys' eyes aren't innocent anymore
Those evening bells are ringing out but can't be heard anymore
That is, that is almost like
Everything seems to be over
Far from it, We've got a long way to go, and I'll never forget...

Ah Let's forget everything and go home
Ah Let everything flow away and go home
Though that scar hurts, tho this thirst never be quenched
That doesn't matter anymore, Let's blow them all away

Let's go home with a nice breeze
Let's go home with a gentle rain
What is the use of hating each other
I'm, I'm gonna be the first one to forget


You are worried about the future
I am still attached to the past
This is our last time, I'm supposed to be a God
But still we are too much human

I looked at the world without me
From above, and I found out
It keeps on turning exactly the same as always
That made me feel easy somewhat

See you, see you again
We say farewell at the right before the highway
Leaving all the hustle-bustle behind, I walk alone
Taking, All my life was about taking
And not a bit of giving
Not knowing the meaning of this life I've lived

Ah, Let's give everything and go home
Ah, With empty hands, Let's go home
What we can give is just what we are given
Let's say thank you and be honored
I'm waiting for you, Let's go home
Let's go home where happiness never ends
What can we take with us when we leave this world
Let go of the burdens we're carrying, one by one
What is the use of hating each other
I'm, I'm gonna be the first one to forget

Ah, How am I going to live from today