Question 1

family entertainment meaning鴨頭 嘉人 在Facebook 的評價

Accepted Answer

【キンコン西野が全国の図書館3300館に絵本『えんとつ町のプペル』を寄贈】

まずは近況報告からさせていただきます。
２つあります。
まずは一つ目。

昨日、「スナック西野」の収録がありました。

「スナック西野」というのは、月に２度（ときどき３度）、僕の自宅に僕の友人をお招きして、呑みながらバッキバキに仕事の話をする僕がやっている月額５９０円のYouTubeチャンネルです。

　
【参加はコチラから↓】
https://m.youtube.com/sponsor_cha…/UCOy5sLcFLqYNqZ1iurp4dCg…

　
昨日は、メガネブランドのOWNDAYS代表の田中さんに来ていただいて、あれやこれやとお話しさせていただきました。

その中でも「どうしてOWNDAYSは実店舗がメインなのに、コロナ禍において、ダメージを受けるどころか、経営を加速させることができたのか？」という話がもうメチャクチャ面白くて、経済評論家のそれじゃなくて、現場の手触り感のある話なんですね。

コロナをどう捉え、どう立ち回るか、今回は世界中の経営者の手腕が試されたと思うのですが、昨日、聞いたOWNDAYS田中さんの捉え方、立ち回り方が僕個人的には圧倒的に正しいと思っていて、その部分は是非、観ていただきたいです。

「スナック西野」が隔週土曜日に放送されます。夕方に１０分の無料版が流れて、その夜に１時間の有料版が流れます。

次回のゲストはメガネブランドOWNDAYSの田中さん。その次は、おそらくSHOWROOMの前田さんです。

お楽しみに。

https://youtu.be/J_E_Vixvvj8

　

近況報告の二つ目です。

先日、公開された映画『えんとつ町のプペル』のメインビジュアル。こちらは映画館に貼り出されるポスターや、映画館にデーン！と出る看板に使われる、いわば「広告素材」なのですが、この出来がメチャクチャいいんです。

僕はスマホの待ち受けにもしています。

これ、普通に、額装して部屋に飾りたいよなぁと思ってですね、映画の公開日や声優さんの名前といった文字情報を全部抜いて、「アートポスター」として販売することになりました。

(コチラ)→https://silkhat.yoshimoto.co.jp/projects/2134

　
クラウドファンディングのリターンとして出しているのですが、一つ、条件があります。

ポスターって「配送」にしてしまうと、配送費が結構かかっちゃうんですね。

なので、１２月に六本木ヒルズで開催する『えんとつ町のプペル光る絵本展in六本木ヒルズ（入場無料）』での直接受け渡しを条件とさせていただきました。

会場まで受け取りに来られる方、限定です。

友達の分を代表で取りに来るのもオッケーですし、ポスターの転売も全然オッケーですので、勝手に商売を始めていただいても構いません。

あと、サラッと言っちゃいましたが、六本木ヒルズで個展を開催しようと思ったら、３０００万円ぐらいかかっちゃうのですが、それを「入場無料」というのは、そこそこ狂気の沙汰なんです。

これは、オンラインサロンの売り上げから個展の開催費用を捻出しているからできたわけで、オンラインサロンの売り上げというのは、こういうことに使わせていただいております。

エッフェル塔で開催した個展が入場無料だったのも、同じ理由です。

光る絵本展は入場無料ですので、是非、ご家族で遊びにいらしてください。
クリスマスに開催します。

というわけで、今日の本題です。

タイトルにありますとおり、この度、図書館協会の方とお話しさせていただいて、全国の図書館３３００館に絵本『えんとつ町のプペル』を寄贈させていただくことが決定しました。

よく、「支援とか寄贈とかばっかりしていますが、大丈夫なんですか？」と聞かれるので、ご説明させていただきと、まず大前提として僕は「いい人」だと思われたいというのがあります。なので偽善中の偽善です。

くわえて、利益や貯金を増やすことには僕は一切の興味がなくて、なので、働いていただいたお金はエンタメ投資か支援活動に回すことを決めています。そういうコンセプトで会社をやっているんです。

最悪、食いっぱぐれて食う物に困ったら、サロンメンバーさんの家を一軒一軒回って、晩飯をご馳走になることを勝手に決めているので、そのへんセーフティーネットはバッチリなんですね。

次に、「図書館で読めちゃったら絵本が売れなくなるのでは？」というご意見・ご心配に対してお答えすると、たしかに「もう読んだから要らない」と考える方もいらっしゃるとは思うのですが、その一方で、「図書館で読んだ絵本を自分用に持っておきたい」という新しい需要も生まれると思っていて、これは「どっちとも言えない」というところだと思います。

くわえて僕は、絵本が「売れる売れない」よりも、「知ってる知らない」の方を重要視した方がいいという考えで、もちろん活動を続けていく以上、「売れること」というのはとっても大事なのですが、それよりも遥かに「知ってもらうこと」の方が大事だと思っています。

当たり前の話ですが、知られなかったら売れないので。

順番としては「知られる」方が先なんですね。

全てのサービスのお客さんは「知らないから買わないお客さん」と「知ってて買うお客さん」と「知ってて買わないお客さん」の３つに分けられて、まずは、知ってもらう割合を増やすことが大事だと思います。

図書館で「えんとつ町のプペル」を読んだご家族が、「えんとつ町のプペル」を買わなかったとしても、「えんとつ町のプペル」の話を、まだ「えんとつ町のプペル」を知らない友達とかに話してくれたら、その友達が「買ってくれる候補」には入る。

あとは、絵本は買わないけど、「図書館で読んだ絵本の映画は観に行く」という選択肢もある。

ときどき、「販売している本をどんどん貸し出されてしまうと、売り上げに悪影響が出る」と図書館を敵視する出版社さんがいらっしゃいますが、さっきみたいな考えでいくと、図書館の意味ってメチャクチャあると思っていて、敵どころか、互いに好影響をもたらしながら共存できる関係です。

なので僕は本屋さんも応援しますし、図書館も応援します。

西野亮廣(キングコング)

　
　

▼西野亮廣の最新のエンタメビジネスに関する記事(1記事=2000~3000文字)が毎朝読めるのはオンラインサロン(ほぼメルマガ)はコチラ↓
https://salon.jp/nishino

▼Instagram版はコチラ↓
https://nishino73.thebase.in/items/25497065

━━━
２０２０年１２月２５日公開！
映画『えんとつ町のプペル』

▼オンラインムビチケ（特典付き）の購入はこちら↓
https://mvtk.jp/Film/070395

▼上映館はこちら
https://theater.toho.co.jp/toho_theaterlist/poupelle.html…
[Xin Nishino gives a picture book ′′ a no-in-town ′′ to the 3300th library across the country]

First of all, I'm going to have a status report.
There are 2
First one.

Yesterday, there was a recording of ′′ snack nishino,"

′′ snack nishino ′′ is 2 degrees a month (sometimes 3 degrees), I invite my friend to my home, and I'm going to talk about work to basher while drinking. I'm doing it It's a youtube channel for 590 yen per month.

　
[join here ↓]
https://m.youtube.com/sponsor_channel/UCOy5sLcFLqYNqZ1iurp4dCg?noapp=1

　
Yesterday, I came to Mr. Tanaka, representative of the glasses brand, and I was able to talk to this and this.

Even in the middle of the day, ′′ why is owndays the main store, but in the corona misfortune, it was able to accelerate the management?" it's already so interesting, and it's not the economic critic, It's a touch of the site, isn't it?

How to capture corona and how to fight, this time I think that the skills of the management of the world have been tested, but yesterday, I heard how to capture owndays tanaka, and how to fight, I personally think that it is overwhelmingly right. I'd like you to watch that part.

′′ snack nishino ′′ will be broadcast on Saturday. A 10-minute free version will be flowing in the evening and a 1-hour paid version will be flowing that night.

The next guest is Mr. Tanaka from glasses brand owndays. Next is probably maeda from showroom.

Look forward to it.

https://youtu.be/J_E_Vixvvj8

　

It's the second one of the status report.

The main visual of the movie ′′ a in town ′′ which was published the other day. This is a poster that will be pasted in the cinema and Dane in the cinema! It's a ′′ advertising material ′′ that is used for the sign that comes out, but this is so messed up.

I'm also waiting for my smartphone.

I think this is normally framed and decorated in my room, I'm going to pull out all the character information such as the public day of the movie and the name of the voice actor, and I'm going to sell it as an ′′ Art Poster,"

(here) -> https://silkhat.yoshimoto.co.jp/projects/2134

　
I'm putting it out as a return to crowdfunding, but there's one condition.

When the poster is ′′ shipping it takes a lot of shipping costs.

So, in December, we were able to take a direct delivery at the ′′ a picture book book in roppongi hills (FREE ENTRY)′′ held in roppongi hills.

It's limited to those who can come to the venue to pick it up.

It's okay to come to pick up a friend's minute, and the resale of the poster is totally okay, so you can start your business.

I said it was easy, but I thought I was going to hold a solo exhibition in roppongi hills, and it takes about 3000 Yen, but it's a pretty madness that ′′ free entry ′′ is a lot of madness.

This is what I was able to do because I was able to make the cost of the exhibition from the sales of the online salon, and the sales of the online salon are used to use this.

It's the same reason why the exhibition held at the Eiffel Tower was free admission.

The Glow painting book is free to enter, so please come and visit us in your family.
It will be held at Christmas.

So today's chase.

As in the title, I was able to talk to the Library Association, and I was able to give you a picture book ′′ a no-′′ to the 3300th library across the country.

I often ask," I'm all about support and donations, but is it okay?" so let me explain it, and first of all, I want to think that I'm a ′′ good person ′′ Yes. So it's hypocrisy in hypocrisy.

In my mouth, I don't have any interest in increasing profit and savings, so the money that I've been working on is deciding to turn into an entertainment investment or support activity. I'm doing a company with that kind of concept.

The worst, if you're in trouble with the things you eat, you'll be able to go around the salon member's house and have a treat for dinner, so the safety net is perfect.

Next," if you read it in the library, you won't be able to sell a picture book?" if you answer your opinion, you'll think that there are some people who think that ′′ I don't need it because I read it already," Meanwhile," I think I'm going to have a new demand that I want to have a picture book that I read at the library, and I think this is ′′ I can't say both of them

In my mouth, I think that the picture book is better to take a look at the ′′ I don't know ′′ than ′′ I can't sell it," and of course I continue to work," I'm going to sell it," It's very important, but I think it's more important to ′′ know ′′ than that.

It's an obvious story, but if you don't know, you won't

In order, ′′ known ′′ is first.

Every service customer is divided into one of the ′′ customers who don't buy because they don't know ′′ and ′′ customers who know and buy ′′ and ′′ customers who know and don't buy ′′ and first of all, I'll get it I think it's important to increase the percentage.

Even if the family who read ′′ a in the library ′′ didn't buy ′′ a in the town," the story of ′′ a in the town ′′ is still ′′ a ′′ If you talk to a friend who doesn't know the-in one town, that friend will enter the ′′ candidate to buy ′′

Later, I don't buy a picture book, but there is also an option that ′′ I'm going to see the movie of the picture book I read at the library,"

Sometimes there is a publisher who is enemy to the library, ′′ if you are getting more and more of the books that are selling, it will affect the sales," but when you think about it earlier, the meaning of the library is messed up. It's a relationship that can coexist with each other, not an enemy.

So I'm rooting for the bookstore, and I'm rooting for the library too.

Ryo Nishino (King Kong)

　
　

▼ an article about the latest entertainment business of ryo nishino (1 articles = 2000 to 3000 characters) can be read every morning online salon (almost mail magazine) is here ↓
https://salon.jp/nishino

▼ Instagram version is here ↓
https://nishino73.thebase.in/items/25497065

━━━
Released on December 25, 2020!
The movie in a town ′′

▼ Buy Online Bangabandhu (with perks) here ↓
https://mvtk.jp/Film/070395

▼ here is the screening hall
https://theater.toho.co.jp/toho_theaterlist/poupelle.html#region7Translated

Question 2

family entertainment meaning不丹不單不簡單 在Facebook 的評價

Accepted Answer

現代人的娛樂大多是使用3C產品解悶，依賴電腦、手機，上網聊天或打電動遊戲，看似豐富的生活，但人與人之間，真實面對面的互動反而減少了。不丹卻用一種特別的全民運動兼娛樂活動，維持著整個社會的向心力。在不丹有句諺語，『不會射箭的人就不是不丹人』，意思是每位不丹人都會射箭。然而現代的的不丹人使用弓箭並不是為了狩獵或打仗，而是延續了傳統文化，更將它提升為不丹的代表性運動，甚至是會派代表參加奧運比賽的少數項目之一。更是凝聚家庭、社會的重要社交活動到底多重要呢？讓我們繼續看下去~補充說明：本第十集內容所採用之照片及影像蒐集自網路，如有侵權，敬請告知刪除，謝謝！Nowadays, our entertainment mostly comes from electronic devices.We rely on computers and phones for chats or playing games.Although our lives seem busy,there is less face-to-face connection between people.Bhutan has a special social activity, which is also their national sport, to keep people connected.In Bhutan, there is a saying that “one who cannot fire an arrow is not a Bhutanese”meaning each Bhutanese can play archery.However, today’s Bhutaneses use bows and arrows not for hunting nor battles. It is a continuation of the traditional culture, which became a national sport.It is one of the few Olympic Games that the country participates in.It is also an important family and social event.How important is archery to Bhutan?See this video to learn more. Notice:The photos and videos in this episode arecollected from the internet.If there is any copyright infringement, please notify us for removal.Thanks.#不丹 #Bhutan #射箭 #弓箭手 #archery #archer #TsheringChoden #Karma #奧運-------------------------------------------------------我們在YouYube也有上架影片喔~👉https://youtu.be/Z5vyyIyTZ_Q如果有喜歡我們的影片，歡迎按讚、訂閱+分享🥰有話想要跟我們分享嗎?歡迎留言或私訊給我們喔😉If you like our videos, please like, subscribe + share 🥰Have something to share with us? Welcome to leave us a message or private message 😉

Question 3

family entertainment meaning半瓶醋 在Facebook 的評價

Accepted Answer

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

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