When the negative thoughts come- and they will come to us all- It does not help to just dwell on it.You have got to consciously replace it with a positive thought
Next time a negative thoughts comes, be conscious of how immediately it affects your body.We should all be conscious of what we think.
If you feel angry, ask yourself why you feel that way.If you can find the source of anger, you can turn it into something positive
Don’t let challenges & roadblocks to faze you.Avoid self-judgement, self-abuse & regret.Always do your best- yes your best will change from time to time & that is ok.Just remember that nothing is virtually impossible in this world if you just put your mind to it and maintain a positive attitude
Few things in the world are more powerful than a positive push.A smile 😊 ,a world of optimism & hope.A ‘you can do it! ‘ 💪🏽when things are tough
Vibrate high! 🌈✨❤️🆙
同時也有1部Youtube影片,追蹤數超過30萬的網紅Quynh Huong Le Do,也在其Youtube影片中提到,Quỳnh's Share #24: 12 điều nên biết về Nghiệp - QHLD #82 [12 THINGS TO KNOW ABOUT KARMA] 1. KARMA MEANS ACTION. Nghiệp chính là Hành động của bạn. ...
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Open Letter To Anas Zubedy - A Counter-Letter to Dr. Zakir Naik
Dear Dr Zakir,
I have to apologize for the outburst of my fellow countryman Anas Zubedy who, in his latest blog posting, has asked you to leave Malaysia. I am here to write to convince you otherwise: that not only should you not leave, but to lengthen your duration of stay, diversify your place of ceramahs, return more often and intensify your fervour in the kind of dakwah that you do: a most non-vindictive, non-antagonistic, scholarly and, unfortunately (the one that became the central raison d’etre of some people’s hatred towards you), full of indisputable truths in them. And I too will give you my reasonings.
Now I doubt though that this letter will be read by you, or even reach you, as compared to Anas’ who probably have his minions try send HIS letter to you. If as such, let’s just regard my letter as a rhetorical one---that it could/should be read by others other than you.
I apologize for Anas because you might think that his words represent the whole country in its entirety or are some kind of epitome of the general Malaysian psyche. Nothing could be further than the truth. You see, we Malaysian Muslims are a motley crew of different characters and idiosyncrasies, right from the most pious and God-conscious to the most despicably and spiritually turpitude. And you know what?
Everyone has access to the internet. Everyone can write their thoughts about Islam. Everyone can claim to be a voice of the religion and, if one is equipped with some kind of babyface- ness and some applauds from some islamophobes or liberal muslims, who knows---one might even get to be popular and well-read.
Anas does not belong to the former category. At least you can realize that much by now just via reading. And I am not saying he is spiritually corrupt either, being well-mannered and having pleasant demeanour. But you can well sense his ... lack of knowledge.
His lack of Islamic Spirit, of a Mujahid, of one who cares least if the religion is going to get some beatings or not. His concern is not that. Rather, his concern is more towards what his readers would think of him, the majority of which are made up of non-muslims and liberal islam.
For how are you expected to write if you are writing for those who would like to listen more about Islam not as one which the prophet SAW has brought, but as one which could be modified to fit in the whims and fancies of the general non-muslim populace.
He does not understand Aqidah, as you can well see his stand on Syiah. He does not conform to the idea of Islam being “ya’lu wa laa yu’la alaihi”, as promulgated by the prophet SAW. To him, all religions are the saaaaaaame. All have equal merits, and Islam is just one of the many numerators pegged on the denominator of goodness.
Contrary to his insistence of being an avid Quran reader (he even has some study group making tafsirs of Quranic verses. I am not joking!), he doesn’t understand the Qur’anic spirit. Or, at most, glance off the many diverse Qur’anic verses on faith and life in general and only pick ones which he thinks would be fodder enough for his general blog readers. I shudder to think of the kind of misinformation, of selective facts and of a general depravity of truths that his non- muslim readers have been exposed to all this while.
Now why is there a phenomenon such as Anas Zubedy? One word:
Born Again.
(OK that’s two)
You see, a 60’s, 70’s Malaysian Islam (of which Anas’ childhood was immersed in) is not the Malaysian Islam that we see now. Those were the years of Mokhtar Dahari, of Malaysian women not donning tudung, of “Guinness Stout Baik Untuk Anda” advertisements still embellishing the local malay-held Utusan newspapers.
In general, a widespread era of neo-jahiliyyah. Then in the 80’s-90s (Anas’ formative university years) there was an explosion of kesedaran, and students coming back from al-Azhar and Madinah University began to convey to their parent folks that hey! We’ve been having it wrong all these times.
There is no Bomoh Jampi. Mandi Safar is wrong. Donning the tudung is wajib. And prayers is a must, not something optional. There was an almost overnight transformation due to being exposed to the truer Islam as opposed to the malay-flavoured Islam prevailing then.
But some things steadfastly refuse to be swept along in the winds of change. City folks preoccupied with chasing the hedonistic dreams and life, and youthful folks (university ones, the kind that Anas was surrounded with) just on the verge of being exposed to newly-found breaking of religious shackles ignored this change.
Theirs was the era of Bakat TV. Of the discotheque. We don’t need no freakin’ Islam to tell us what we can do and what we can’t.
But the winds are stronger. Come the new millennium, people like Anas look around them and find that they have been left behind. Far, far behind. They feel a need to catch up, to be shoulder-to- shoulder with those who carve out a name championing a most noble cause. But what to do?
They don’t have any Islamic trainings. Some have left religion way, way back before. In universities and colleges, while the other students enjoin one another in their usrahs or khurujs or ceramahs, they were busy with dating, with Abba and Bee Gees, with discos. So apart from their primary school years of learning the Juz-‘Amma from their grandfathers or the local ustazs, they really have NOTHING by way of Islamic advancements to be put onto their spiritual resumes.
Beginning from the 2000’s, we see a proliferation of people who you SENSE come from a more liberal society and upbringing but writing about Islam. Suddenly overnight we have these Born-Again writers flooding the internet firstly to show that they THEMSELVES are also champions of Islam and secondly that hey! Read me! I have come with the kind of Islam that is both modern, progressive, accommodative which even the non-muslims love.
Seriously, don’t we wish that we have THESE kinds of people to face Abu Jahal and Abu Lahab during the prophet’s time (SAW)?
But commensurate with Anas’ path towards full righteousness is his being influenced by Quranist ideologies. He is surrounded by people like Syed Akbar Ali, Malaysia’s most vocal proponent of no-hadith, qur’an-only beliefs.
A lack of basic fiqh, fused with a rejection of the prophet’s hadith and general taqwa, and you have a most explosive case of Islamic Misinformation you can ever perceive with two brains.
So there you have it, Dr Zakir. Don’t take too much heart, now that you know certain histories and backgrounds. Onwards to the allegations that Anas have got on you.
1. YOUR PRESENCE IS CAUSING A FAMILY DISPUTE
Seriously, I don’t even feel a need to comment on this. It is self-explanatory, self-revealing. According to that other Anas, Anas bin Malik (RA), the Messenger of Allah (صلى الله عليه وسلم) said: " I wish that I could meet my brothers." The Sahaabah (RAA) asked: "Aren't we your brothers?" He replied: "You are my Companions, but my brothers are those who will believe in me without having seen me."
What can you say, Dr Zakir, some people regard their relationships to the multitude of non-muslims as his family much more than you and me ever are?
As for Anas, yes please be comforted by your “family” here. As for me, my brothers and family are ...err... quite different from yours. Before anyone can point a finger saying that I am against Muhibbah of the races, I am not.
I have a multiracial neighbor that I play games with, drink coffee with and argue with on whether Q could obliterate the Borgs in one fell swoop. But family? Brothers? I only follow the conjunction of the Qur’an: “Verily the believers are brothers.” (al Hujurat-10)
2. YOUR PRESENCE IN MALAYSIA HAVE MEGATIVE IMPACT ON NON-MUSLIMS TOWARDS ISLAM
Now I am scratching my head on this one. Is this a statistical study or what? A scientific poll? Which authority has the audacity to conclude something like this, and if so under what premises? And let me pose a counter questioning to Anas: Name one Islamic Dakwah personality which, if brought to Malaysia, would, in your mind, have a POSITIVE impact on the non-muslims towards Islam?
Hello... None, OK? Positive impact means what. That they nod their heads in appreciations? That they show they like it by purchasing Islamic paraphernalia?
Anas said that your presence is getting non-muslims further away from Islam. This is where Anas’ confusion reaches its peak. He equates people disliking Islam as a sign of failure.
If so, Anas lacks the knowledge of Seerah big, big time. He lacks the understanding, not to mention the spirit of Islamic Dakwah big, big time. (By the way how much does Anas know about dakwah, apart from him being able to SPELL it? Has he ever been in khuruj?)
When the prophet preached Islam in Mecca to Umaiyyah bin Khalaf, Walid bin Mughirah, Utbah bin Rabi’ah and others, what kind of response is Anas expecting to be produced by them. The same as his non-muslim and liberal muslim readers accord him now, with applauds and compliments?
Is Dakwah to be done the result of which should be praises and accolades rather than a general feeling of discomfort onto the ears of those whom the dakwah is given?
Have you, Dr Zakir, started to feel a sense of ... inadequacy in the understanding of the Islamic spirit prevailing on this person now?
3. COMPARATIVE DEBATES DO NOT WORK IN MALAYSIA
Actually Anas, they do. What you PERCEIVE as a non-level playing field as far as dakwah is concerned in Malaysia, is actually a phenomenon best described in one of the talk events of Dr Zakir Naik where after expounding the inconsistencies of some biblical texts, one christian questioner stood up and asked,
“Dr. Zakir. Why do you insult us christians? What have you got against the bible that you are saying that their passages are wrong? Why do you say that the bible is not from God?”
And Dr Zakir answers (Anas pay attention carefully). “If I tell you that 2 X 2 is 5, what do you have to say to that?” And the man answered “That you are wrong.”
To which Dr Zakir replied, “are you insulting me? I say 2 x 2 is 5 and you say I am wrong?” The man said. “I am not insulting you. I am just saying you are wrong”.
“Like wise”, said Dr Zakir. “Neither have I insulted the bible nor have I disrespected it.
What I am saying is it is just wrong. And here is why I have said so .... (proceeds to read and analyse the conflicting verses). Now how can God be the author of some conflicting facts? And if you have scientific, logical, mathematical and factual proofs that you can provide that disproves my thesis, then by all means produce it. If it is sensible enough, I am more ready to declare that I am mistaken in this.”
Anas, if it is not Zakir Naik who could highlight to the masses things like these, then who would. You? Would you like to take his place? No. Notwithstanding, with the kind of “with charity towards all, malice towards none and love for all ...” mentality permeating in you, never in a million years would you be so factual.
You would sooner hide verses such as “Innad-Deen indallah al-Islam” rather than tell your non muslim listeners what Allah says.
Then what would you say in from of Allah on the day of judgement if asked, “O Anas, on earth you played with your friends. Joked with them, socialize with them. But never once did you attract them to Islam.
Even if you think you did, it wasn’t via the way of the prophet. Never once were they attracted to the Quran because never once did you point out that whatever they read other than the Quran was wrong and not from me”.
Now I might sound I am in some level of bigotry here but upon closer scrutiny, I am not. The christians or people from other denominations have equal rights to say that “Actually you muslims are wrong according to our dogma. According to our beliefs, you all will enter hellfire.” And I am okay with that. And get this:
SO IS OUR ENTIRE GOVERNMENT, MUSLIM POPULACE AND ISLAM IN GENERAL. We do not mind you to think that WE are the unsuccessful ones in the hereafter, just like we think YOU are. But will that harm perpaduan?
Not at all. After all this, we still go to our friends’ daughter’s weddings, sit and sip Stevia-laced coffee in any kopitiam, and fight with one another whether Man U is better than Liverpool or imbibe uniappam in any banana-leaf restaurant.
What is preventing us from having our Mokhtar Dahari-Soh Chin Aun-Santokh Singh moments are NOT religion. Definitely NOT Islam. They are politics, and we have diverse ways to view THAT one. Speaking of which ...
Sorry Dr Zakir. Not much comment in here, apart from giving my two-cents view from a religious standpoint. I am neither a politician nor like politics that much, but I do NOT conform to the plan of making our top-most potential people to take over the premiership who have come from a background of homo-sexuality.
Any persons, entities and politicians who conform to this should not be agreed upon. Period. That’s my entire political thoughts wrapped in 2 sentences. Clever, Sensible and Far-looking is what I is.
Lastly Dr Zakir, do not take things too hard, as I said. Perchance if you could be visiting (on your way) to a small dilapidated coffee stall by the roadside in Keramat, maybe you can stop by and I can interest you with some home-made cheese pisang goreng and the best lemang this side of the hemisphere? No?
Sincerely,
Your brother
J Rizal
ps: check for adherence to Anas’ rules for Anonymous writers:-
4. Your presence is slowing down Malaysia’s political revitalization
1. No profanity---Checked
2. Seditious – nope.
3. Don’t play God --- Na’uzubillah.
4. Sweeping statements – Like, “You cause family disputes” kind of sweeping statements?
Nope.
5. Facts as opposed to opinions – Whaaaat? I thought I should be asking you that, especially
with that “Your presence here is causing negative impact” thing
how to change your thoughts from negative to positive 在 半瓶醋 Facebook 的精選貼文
"橫尾先生你傾向於在你的遊戲中有個悲傷的結局(除了《尼爾 自動人形》),這是為什麼呢?
橫尾:我想啊,玩家在遊戲中的旅程中殺了那麼多的敵人,但自己卻迎來了一個Happy Ending,這很奇怪,所以我之前遊戲的主角都有著不幸的結局,我覺得對他們來說有個Happy Ending是不對的。
不過對《尼爾 自動人形》來說,對2B和9S來說,從被給予生命,他們殺了很多人,但也被自己殺了很多,很多次,有著無數次的輪迴。我認為這已經把他們殺死敵人的罪給贖了,幸福結局對他們兩個來說更合適一些。"
【尼爾:自動人形】是好遊戲,2B很可愛~
Talking To Yoko Taro, PlatinumGames' Takahisa Taura, And Composer Keiichi Okabe About Life, Death, And Opportunity
This interview with《Nier: Automata》director Yoko Taro and PlatinumGames' designer Takahisa Taura was first conducted in March of this year. Square Enix then offered gameinformer another chance to talk with Taro again, this time with Keiichi Okabe to speak more about the game's creation, music, and design philosophies and we are taking this opportunity to combine both until-now unpublished interviews together.
At the start of the first interview, Taro Yoko, whose pen name is appropriately Yoko Taro, was surprisingly quiet. He took a gulp from a bottle of Diet Pepsi and looked me straight in the eye to say something. I myself looked to the translator, who laughed at whatever Yoko said. She began "Yoko-san wants you to write about how expensive the food and drinks are here, if you can. He says it's way too much."
[The following interview contains some spoilers for Nier: Automata, including the game's final ending.]
With Nier: Automata, you guys won a Game Developer Conference award. How do you feel about that?
Yoko: We heard it was a user's choice award where the players themselves select the winners, so I'm just really happy that the players have selected our game for winning the award.
How did PlatinumGames and Yoko-san first meet on Nier? Why did you decide on that project versus something like another Drakengard or a new IP as a whole?
Taura: I loved the previous Nier title, I was actually went to Square Enix saying "Please let us create a Nier sequel, because you haven't done anything with it for a long time." At the same time, there was coincidentally Saito-san, the producer for Nier: Automata, talking with Yoko-san that they wanted to do something together. It just so happened that it was the right time, right place and we met for the first time when we started this project.
When you started working on the Automata, did you know what it was going to be? Did you have an idea in your head of what a Nier sequel would look like after the first game?
Yoko: Not at all, I had no ideas for a sequel in mind. When I first heard that we might do a collaboration with PlatinumGames, the image I had of them is that they only create Sci-Fi action games. When I thought of that, I thought of what part of the Nier storyline might fit in with that Sci-Fi action gaming sequence, I selected the themes for Automata because I felt it just fits in with the PlatinumGames style.
PlatinumGames has a reputation for fast, often-challenging action games, but Nier: Automata is a lot easier. Was that intentional to keep it closer to the first Nier or perhaps a consequence of trying to make PlatinumGames action more mainstream?
Taura: That's actually exactly the reason why. Saito-san from Square Enix told us when the project started that, since the original Nier has a lot of female fans and a lot of non-action gamer fans, to make the game as fun and accessible as possible to people who aren't accustomed to playing difficult action games. We always thought of making the game into something that's fun to play for newcomers to the action game field, but also to the more experienced players as well.
One of the usual tropes of PlatinumGames is that, as the game goes on, it tends to escalate more and more to an explosive finale. Nier: Automata kind of messes with that formula a little bit by Ending A being a little bit more subdued and low-key and then goes up again and again until it finishes with endings D and E. Is that something you had to work with Yoko-san about, where the escalation and pacing would best fit the gameplay?
Taura: In terms of like a climax or increasing the difficulty level toward the end, it's not that different from our other titles, or at least we didn't feel like it was that different. The one major difference was that this was the first game that I've at least worked that had the leveling up element in it. So as long as you level up your character, the boss would be easier to defeat, but if you don't, then some of the enemies toward the end of the game would be very difficult. For me, the balancing between the difficulty level of stages and bosses versus the levels the player might be was the difficult part in creating this game.
One thing that we really had it easy with in this game is that Yoko-san's scenario and Okabe-san's music, once it's mixed into the battle, makes a really menial and indifferent battle sequence suddenly becomes this dramatic and grandiose battle with everything at stake, so I felt like that really helped elevate our battle sequences as well. We did have an easy time thanks to that!
With Automata, you started appearing at press conferences and as part of the marketing of the game, whereas previously you never did that. When you appear in public, you have been wearing a mask of Emil from the first Nier title. Why Emil specifically?
Yoko: Hmm. One of the answers I can give is that, and I do have a little more that I want to elaborate on, is that for one Emil in the previous title is just a strong character on its own, so it's more like an iconic image or character for Nier as a series. Another part of the answer is that Emil actually holds a great secret of the part of the Nier world and it's not all revealed with the games I've created so far. I'm not sure if I'll have an opportunity to disclose that secret, but if I do, I might one day create a game that delves more into why it's Emil and why I continue to wear Emil's mask.
I don't know if either of you can speak to this, but the trailers for Nier: Automata were a little misleading. They showed A2, who you play as late in the game, but with short hair, so she looked like 2B. Was that something you decided, to show those scenes but not make it clear who it was?
Yoko: There were trailers like that?
There was one specifically showing A2 fighting Hegel like that.
Yoko: Ahh, yeah. There's no reason! We weren't trying to hide A2 or mislead anyone, it just happened to work out that way.
Taura: We made so many trailers at some point we kind of didn't care what we showed.
Oh, wow, that's going to shock a lot of fans in the Nier community. People really believed in the theory that you were hiding A2 in plain sight the marketing.
Yoko: Haha, but it might not be the correct answer. Like Taura-san said, we made so many trailers that we can't remember them all, so I'm definitely happy to take the credit without remembering why.
Taura: Yeah, let's say we intentionally did that. For the fans. It might be true.
Yoko: But I can say, in one of the trailers is A2 fighting one of the Engels, one of the big robots. She actually has long hair in the trailer, but in the actual game, it's after she cut her, so she would have had shorter hair. That one was actually intentional, because we did not reveal before the game that A2 would cut her hair, so we actually made a scene specifically with long-haired A2 to take that trailer. So that's that shot was kind of a lie.
In the Automata DLC, the CEO of Square Enix Yosuke Matsuda, as well as PlatinumGames boss Kenichi Sato, are boss fights. Where did that idea come from and how did you get them to approve it? How did they react when you asked them?
Yoko: Haha, oh yeah.
Taura: The development team went to Square Enix and said "Please let us use him in our game!" Their reaction was initially saying "Uhm, are you sure you want to?"
We were thinking for a while of what we could do with the DLC, because we didn't have a lot of time to develop it, so we wanted to do something fun with it. When we were thinking about it, we saw that Final Fantasy XV used a character model of president Matsuda in one of their marketing assets. When Yoko-san saw that, he reached out and asked if maybe we could use that in the game at Platinum. We said that, if we get the character models, we could definitely use them for something in the game. We reached out to Square Enix and they gave us the model and we were able to use that character model for a boss fight.
If it was just that you were able to fight the CEO of Square Enix, then it would have just been the same as what Final Fantasy XV did, so we had to think of ways to spice that up even more. So we had PlatinumGames' CEO Sato-san appear in the fight as well. We also included background music that arranged their voices, we included their voices in the music, just to add a little bit more and beat out Final Fantasy XV. That BGM track is Matsuda-san and Sato-san's debut single. We didn't even get permission from them, so it's an unofficial debut single, and those are much rarer.
Speaking of crossovers, did you know that Nier fans have been trying get Katsuhiro Harada of Bandai Namco to put 2B in Tekken? Is that something you guys would want to do? [Note: This interview was conducted before 2B was announced as a Soulcalibur guest character.]
Yoko: For us, if we were asked, we would gladly say yes to anything for money. We're open to any kind of opportunities for anything, ever. Even if it's Candy Crush, if they want to use 2B, we will say yes, please go ahead and use her.
Actually, speaking of doing anything for money, you've never created a direct story sequel before, they've all been loosely tied together and many years apart. Saito-san has already said there will be another Nier game, if the characters are popular enough, would you create a direct sequel to Automata or would you change the characters and location again?
Yoko: I haven't thought about it once! Taura-san, where would you want to create a new game?
Taura: Actually, when I brought my concept document to Square Enix about a Nier sequel, I wanted to write a story about that prologue portion in the first Nier game. You know the beginning of the game, where you're kind of in Tokyo, in an area that's more modern? I kind of want to delve into that storyline a little bit more. So if I'm allowed to create a new Nier title, that's what I want to create. But that's just me speaking as a fan of the series, so I don't think that will actually happen officially.
Yoko: When I actually heard about that idea from Taura-san when we first started this project, I felt that it would be very difficult to make a modern recreation of Tokyo because it's the city that we constantly see every day. You just notice differences in the lies that we put in there, so I felt it would be very difficult to do to recreate a city that we know and see so much. But now that I know that PlatinumGames is such a good studio that they most likely will have that power and talent to be able to create that kind of video game world, I think that might be an option. Whether or not we'll do that is a different question, but it is a viable option.
One of the things you said before the release of Drakengard 3 was that you wanted to call it Drakengard 4 and just let people figure out what the theoretical Drakengard 3 was supposed to be. That's similar to what you did with Automata where the game takes place 10,000 years after Nier and people who played the first game were more confused than new players. Was that an intentional idea or something you've wanted to do for a while?
Yoko: It's not that I brought over that idea to Nier: Automata, the greatest reasoning why I did this is because I wanted players who haven't played the original title to enjoy Nier: Automata so you can enjoy the game without knowing anything about the previous game. That's the biggest reason why we took a storyline that's so far in the future that it really didn't have anything to do with the previous title.
A common through-line for Yoko-san's games is flowers: the lunar tear in the Nier series, the flower in Zero's eye in Drakengard 3, is that symbolizing anything in your games or is it just visual imagery you like?
Yoko: Well, I do like flowers in general, but yes, there is a greater meaning to it that I have with these flowers. It's the same as Emil like I talked about earlier, I just haven't revealed it anywhere. There is a meaning, which is why they keep on coming back in my games, but I haven't revealed it anywhere yet.
With the last Nier game, you had said that you built the game on the concept of people being okay with murdering people who are different. With Nier: Automata, the games actually became more fun to play and control and touch, do you think there's a danger in giving people that sense of ease in killing enemies in the narrative?
Yoko: In the previous title, I actually feel like I overdid that a bit. I did want to portray that enemies have a reason to live and a reason to fight on their own as well, but I feel like I forced that idea that I had in my mind a little bit too much on the players. So for Nier: Automata, I did not want to focus on it, I didn't want to impose my feelings and thoughts. I actually feel that it's fine if some people feel it's fun to kill in our games. If that's all that they feel from the game, then it's fine, because its their freedom to feel what they want from the game. To answer your question, I think that it's fine to have that happen.
Taura: I actually have the same answer, too. I feel like if it's fun to fight, that's great as a game designer. But if you feel bad to kill these cute little robots, that's fine with me as well. I feel like different people will have different reactions to the game and they will feel differently when they play the game, so I'm actually happy to create a game that creates those kind of differences within the players as well.
Yoko: That's a really good question for us, because if players felt that it was way too fun to kill these enemies that it started making them feel guilty, that's something we didn't really aim to do. Just as we mentioned earlier, I'm really happy that players were able to take it on their own and experience it on their own, then we didn't just provide something for people to take it as-is on face value. I feel like it's great that the players are now taking the game and experiencing it on their own and trying to figure things out on their own.
There was a time after 2B was revealed that people were asking you about her design on Twitter and you answered that you just like sexy ladies. That quote has become pretty famous and attached to you and a lot of people are reading into it. Is that a thing you still believe, would you ever take the quote back, or would you have ever changed 2B's design?
Yoko: [laughs] Don't straight men like cute girls? Isn't that common knowledge? I didn't realize that was a quote.
A lot of people use you as an example as a developer that just says what is on their mind.
Yoko: Before we released the game, on Twitter, because so many people were sending me 2B fan art, I said that "Send me a zip file of all your erotic fan art!" When I tweeted that out, my number of Twitter followers jump from 20,000 to 60,000 just with that one Tweet. I actually think it's because I did something that's more of a taboo in the western world where I talked about sexuality or gender that openly on Twitter, but that's actually...so, I do know that what I said did not just creative positive buzz and there's some negative buzz around it as well, but I feel like it kind of has to do with the Japanese culture where we're not too strict about gender and sexuality and being more open about talking about those things.
I think it's the same thing as reading manga as an adult, it's a little bit different when you think about it because in Japan that's more common, it's not considered something weird or something outlandish. With that kind of feedback that I get from fans, I just feel like it's the difference in culture between Japan and the rest of the world.
That is something you tend to tackle fairly often. Drakengard 3 was partly about sex and sexuality treated casually within the game's universe, is that something you feel doesn't translate across all regions?
Yoko: I actually don't think [translating across regions] has a lot to do with sexuality. I don't think it would have sold more copies of Drakengard 3 if I took away aspects of sexuality or added more in there. I feel that Nier: Automata sold well because we worked with PlatinumGames, so I don't think that has anything to do with a sexual nature.
For the original Nier, there was a lot of information on the periphery of the game like books with background information and short stories that answer questions raised in the game. Automata even had a stage play predating the game. Do you think it's harder for western fans to grasp the whole stories of these games when there's Japanese-exclusive media about it expanding the lore?
Yoko: Of course we can't localize everything because we have limitations in budget, so it's really difficult to do all of that, but I actually think there really isn't a need to know everything, either. The meaning I have behind Emil's mask or the flowers you asked about, like I said it's not revealed in the game at all or anywhere else yet, but no one really needs to know that to enjoy the game or enjoy the world or enjoy the game. More than gaining knowledge, I want players to cherish the experience they have when playing the game. It's more about that instead of the knowledge they could have for every question. Of course the theatrical stage play was more of like a YoRHa spinoff, but you don't need to know that to enjoy the game. Every piece, like the books and the stage play, is made in a way so that you can enjoy it by yourself, so you don't need that extra knowledge to enjoy it.
It may add a little bit depth to the knowledge that you have, but you don't necessarily need to have it. I do understand the otaku mentality that you want to know everything, you want to have everything answered, you want to collect everything, but I don't see the value in knowing everything. For example, just in real life, you might not know everything about the politics that surrounds the world or even in your own country, and there's really no point in knowing everything that happens in the world. Maybe a lot things, but not everything, right? What's more important is how you interact with people around you, immediately around you, and I think that's the same with video games. You don't really need to know everything that happens in the world to enjoy it.
Of course I do respect the freedom that the players feel as well, so if you do get mad that we can't localize everything in America, or America never gets everything, that's also something to be respected and I do understand the frustrations surrounding that as well.
When Nier: Automata released, it did so in a three-month timeframe that several other big Japanese games came out in the U.S., like The Legend of Zelda: Breath of the Wild and Yakuza 0. A lot of people started heralding those games as a return of Japanese development in the west. What do you think about going from fairly niche games to what some people consider the tip of the spear of modern Japanese development?
Yoko: First and foremost, just to speak about having so many good titles in that timeframe, my thought was "Are you people trying to kill me with this?!" In Japan, Horizon came out first, then it was Nier, then Zelda, and I think in the west, it was Horizon, Zelda, then Nier in North America. So we're literally sandwiched between those two with a two-week window in between each and they were all very similar to us in the futuristic setting. Especially for Zelda, it was one of the titles we copied in the first place, so I really felt like they were trying to kill us at the time.
Personally, not even thinking about Nier: Automata during that time frame, I was running around excited about all the fun-looking games coming as a gamer myself.
Hideki Kamiya [PlatinumGames] has once said that Nier: Automata saved Platinum. Is that something you agree with and how has the relationship been between PlatinumGames and Square Enix?
Yoko: Speaking from my perspective, of course Taura-san will likely know more about it internally at PlatinumGames...Kamiya-san, he's very laid back on Twitter, but when you actually really talk to him, he's a very serious person and very sincere. I guess Nier: Automata did generate sales for them, because I received a direct letter of gratitude from him saying "Thank you very much for creating a great game." I don't even know if we saved them or not in that sense, but just receiving that kind of message from was just very heartwarming and I was just really happy that I was able to provide such a game for them.
Taura: You could make the headline of your article "Yoko Taro Saved PlatinumGames" and that's definitely true.
Yoko: It's a very true headline.
Why do both of you think that Nier: Automata was more successful than Yoko-san's previous games or most other PlatinumGames titles?
Taura: Mainly because PlatinumGames' sensibilities were much better than Yoko Taro's.
Yoko: I actually think it's the Square Enix brand, the name Square Enix gives a more reliable feeling to an otaku type of title. PlatinumGames' strong name being known for making really good action games and I think the combination of the two really helped. This time with Nier: Automata, we sold about 2.5 million copies and the previous title we sold around 500,000. For the last game, we weren't really in the red, but it wasn't exactly a success either. We have these passionate fans that really supported the time from announcement and the series as a whole. Of course for Automata, too, we had a very passionate fan base including the media and including yourself that gave impressions and articles that helped make the game into a success, so I'm just really grateful for the fans and media alike that really supported the title and were passionate about it.
[The remainder of this interview took place a few weeks later with Taro Yoko and Nier: Automata composer Keiichi Okabe. Okabe is also known for his work on both Nier titles, Drakengard 3, Tekken, and contributing some tracks to Super Smash Bros. Ultimate. Before we started recording, Yoko said it will be okay if I asked Okabe most of the questions and I remarked that I wouldn’t want to make him jealous. He paused for a moment and then said it doesn’t matter because he would get paid either way.]
You two have been working together for a long time, I was curious how much the music composition is tied in with the writing. One of the city themes in Nier: Automata uses similar composition to a track in Nier. Does that come from the writing or the musical identity of the series?
Okabe: Since Yoko-san is I feel the type of person that doesn't want to do the same thing over and over again, even if he did receive praise for what he did previously, I kept that in mind while I was composing music for Nier: Automata. I also wanted to have some kind of connection that you would feel as a player between the previous title and this one, so I used similar tones from previous titles or from the previous game. It might not be exactly the same, but I used some similar types of music lines from the previous title so that you might feel that kind of connection.
But we do have tracks that are arrangements of previous tracks from older titles, but that was mostly for fan service.
I kind of wanted to drill down a little bit this time and get to the core of your philosophy of why and how you make games. If you had to pick a reason to hold up and say "This is why I make video games," what would that be?
Yoko: I feel that video games, amongst all the different entertainment mediums, have the most freedom in what you can do as a creator. For example, in a film, if you are able to control movement, then that's no longer a film in my eyes. In video games, you could have film-like cutscenes and videos, you could have them going on forever as much as you would like as a creator. That kind of freedom to do that is what I really wanted to do and I feel like video games are what provide me that option, even if I never do it.
Is there any kind of message you use games for that you want to convey to your audience or anything you want them to hear from you? Or do you prefer to let them take whatever interpretation they get from your games?
Yoko: It's the latter. I would want our players to freely interpret what I've created just on their own, to grasp something for their own. I feel that's one of the interesting aspects of video games is that you are able to freely interpret what's being shown to you. I also feel like the players make the game whole by playing it. The action of playing the game I feel has meaning in itself and because of that I want the players to find something from the game, feel something from the game, for themselves.
Nier: Automata won a number of awards, Okabe-san you won best music at The Game Awards, Automata won the audience award at GDC. Is there any pressure to appeal a more mainstream audience with your next game?
Okabe: For a popular title that will be played by many, it doesn't really matter what kind of genre you put out musically. I will still be interested to compose music for those if possible. I would have to take a different approaches to those kind of mainline titles, whereas for Nier, I felt that the music can be more geared toward a core audience where only those who would understand the music would play it. But at the same time, once you understand, I want you to be deeply affected by it. That's what I aim for with Nier. If I am to work on a way more mainstream title next time, I will have to change that mindset I have as a composer, but that would be something I'd like to challenge myself more. To answer your question, yes, I'd like to try that, but I'd also do whatever kind of jobs I'm assigned to.
Yoko: For me, my games I actually think are really niche. How Nier: Automata was so successful was actually just a coincidence. To make a successful game is something that I can't really aim to do, so I think that I'll probably return to my small and dark corner, my niche corner, with my successive titles.
Who would you both consider your inspirations for writing and composing?
Okabe: For me, it's obviously more of a composer than a writer, but I don't really focus on one person. I tend to just try to get music here and there and have a wide net. I am greatly affected by people who I've listened to in my youth, like Japanese composer Ryuchi Sakamoto, Ennio Morricone who creates film music, and also pop music like Michael Jackson and Madonna. I am affected by those as well.
Yoko: I have received inspiration from a lot of things, but I think personally expressions in film or any like visual production is something I'm deeply affected by. For example, Neon Genesis Evangelion by Hideaki Anno, that was really a strong influence on me. Also, the drama series 24, the way that they incorporate speedy and complicated constructions of storylines was something that was very new at the time. Just throughout the timeline of visual production, I think there's a sudden burst of evolution, and I think that "that" moment in a title that does that just greatly affects me and becomes an inspiration for me. But I feel that can be said for the rest of the world.
Lately, anything that Christopher Nolan creates I think is very intriguing where he tries to include deep knowledge and thoughtfulness into what he creates. I'm very interested in this new wave of evolution.
Last year, with the release of Animal Crossing on mobile, you talked on social media about how it was your favorite game of the year because you created a narrative where the characters were all unwillingly imprisoned in the camp. Do you often create your own narratives for games?
Yoko: I do that for some games and I don't for others. Off and on, I guess. It's a lot easier to create my own storyline per se for a more primitive game. For example, in Zelda: Wind Waker, you start off with a grandma and your sister living on an island and it's really happy and joyful and there's really no reason for Link to get out of there and fight Ganondorf because you're already living happily. You don't need to get out of that happiness. As a gamer, I felt the kind of sadness to have to leave that happy island life.
In Dragon Quest [V], you have to choose who you want to wed, and I felt that I couldn't really get into liking either of the characters. I also couldn't find the point of having to decide who I want to marry, so I just at that instant I turned off the game and said "My journey ends here!" My mind narrated "The three of them went on the journey and lived happily ever after, the end." That was my ending for Dragon Quest V.
Around the release of Drakengard 3, you spoke about how it's not possible in this industry to make a six-minute game and sell it for $60, no matter how good those six minutes are. Is this something you still think?
Yoko: That analogy was given to explain that, no matter how much you try to make a game really good, there's a limit to what you can do. If you are to create a six-minute game, because you can't go through a lot of different stages, you would have to create one stage. Which means that you could really refine the quality of that one stage without having to put in a lot of money into it and a lot of manpower into it. Also, because it's only six minutes, you can't really have too many characters in it, so you could focus on one or two characters at max. By doing that, you could refine the quality of those two characters. But because you're time-limited, no matter how much you refine the quality of the world around you or the characters, if you're limited to six minutes there's just so much you could do that the game won't become good at all. That was an example for me to say that there's a limit to what you can do in video games.
Okabe-san, in the music for a lot of Yoko-san's game, you use constructed or uncommon languages, is there a specific reason for that?
Okabe: [laughs] Yeah, for one, because it is Nier: Automata, Replicant, and Gestalt, they all take place in a unique world, even though they're in the timeline of our current world, it's so much in the future that it should feel kind of foreign. That's one of the reasons why I went for language we can't understand, but another is that, in games in the past, game directors actually got mad at many occasions for including vocals into the soundtrack. They were saying that it would become too distracting from the gameplay and would distract the player. It was considered more of a taboo, so for Nier, I included vocals in there without a language you could understand more for the sound that you get from the words. It wasn't to convey any meaning of what was being said, but more for a sound impact.
Yoko-san, you tend to have very sad endings in your games, with the exception of Nier: Automata which is as happy an ending as you can get with most characters dying. Why do you tend to write toward more sad endings and do you feel like Automata's happy ending fit the game better?
Yoko: The reason why I created endings that end on a death is because, until now I was creating games where you would kill a lot of enemies, but I've always felt that it doesn't feel right when the protagonist has a happy after they've killed so many enemies during the course of their journey. That's why in Replicant and Gestalt, or my previous titles, the protagonist pretty much ended up dying because I didn't feel like it was right for them to have a happy ending. But for Nier: Automata, 2B and 9S, from the time that they were given life, they've been killing a lot of enemies, but they've also been killed by them many, many times, and regenerated many times. They've actually been killing each other, which you find out at the very end, many, many times as well. So I felt that kind of cleansed them of their sins for killing so many enemies, which made me feel that a happy ending was more fitting for those two.
Do you feel like that cycle of violence and death and the consequences of that are human nature?
Yoko: I think the reasons why we kill in video games do kind of shine light on what's kind of broken within humanity or humans in general. We want peace in the world, but we also enjoy killing others in video games, like shooting guns in video games. I think that's karma in a sense for humans, the way that video games grasp the true essence of humanity, whether or not that's what they were aiming to do.
Is there a series that you know, like Persona or Yakuza or anything like that, that either of you would want to work on?
Yoko: A series or anything?
It can be anything.
Yoko: Personally, it's not a Japanese title. I'd actually love to see how western titles are developed, because I have no insight into how they're made. There was a moment in time where I felt that it might be fun join a western development to see how things run. Of course there's the language barrier that would make it difficult for me to do that, but generally speaking I feel that western storytelling follows kind of a similar route for all the stories that western mediums create. I would feel it fascinating to find out why western games use certain flows and storyline arcs.
Okabe: I'm kind of a fanboy myself, so there is a part of me that wants to work on major titles like Dragon Quest. I feel that if I do work on those titles, the pressure of working such a known title would be just too big and because there is a part of me that really loves that series, I feel like I would try to skew my music in a way that would fit into that series instead of trying to create music that I think is good. I don't feel like I would be able to bring out the best quality in my music if I worked on those big titles, because of that pressure and because of the image I have of those titles in my mind. Currently, my want to work on those major titles and the part of me that's telling me I shouldn't do it are about equal.
Were either of you surprised by Nier: Automata's success?
Yoko: [in English] Oh yes.
Okabe: For me, I live in Tokyo and developer PlatinumGames live in Osaka, so we did have quite a distance in-between, like literal physical distance between us. From the moment that I created the music to when I was able to see it next, there was a big gap in time, so when I was able to my music in the game for the first time, the game was pretty close to finished, they were almost done with development. At that moment, I thought "Maybe this one might sell?" But at the same time, I didn't think it would become this big of a success, I always thought it might do better than the previous titles, but it was like a hunch that I didn't feel until this time in Yoko-san's titles. I did have some kind of a gut feeling that it might do well.
The last song of Automata, Weight of the World, had a chorus with the entire game's development staff at PlatinumGames and Square Enix singing along to encourage the player. Why did you decide on that for the final song of the game?
Okabe: I didn't remember this, I actually forgot about it for a while, but Yoko-san actually came to me telling me that he wanted a chorus at the end of the game pretty early on in the development process. I apparently made disgruntled face at him and did not remember why I even made that face or even that I made that face. After a while, I actually remember why I had such a reaction with the disgruntled face, because there's a couple of different types of choirs, but Yoko-san likes the more classical choir, so when he requested that he wanted a choir, I thought he wanted that classical type of choir at the last part of the game. At that moment, I thought "Well, that doesn't really fit in with the game plan, I don't really want to do that," which is why I had that expression on my face. After we talked about it, Yoko-san mentioned that wasn't really what he was going for, he said that because that last scene is all about all these different people helping you, he wanted everyone to sing, he wanted it to feel like everyone is singing there with you as you play.
When I thought about doing that, and I actually agreed that might be a good idea, because in Nier: Automata all the choir vocals that you hear in the game, it's actually recorded by a small group of singers, I just overlapped their voice so it sounds like a big choir. Because that last part of the game is more about you playing amongst a lot of people, I felt that taking that approach again of overlapping voices again would not really work. So I reached out to the dev teams because they were working on that part and I thought it would be a good idea to have them put themselves in the game as well. I also thought that they don't need to have a good voice, it's just to give that feeling that you're playing with all these developers.
Development teams from Square Enix, PlatinumGames, and also some composers from my company who didn't work on Nier: Automata are singing in it as well. There's also children of PlatinumGames developers and their family actually singing in it as well. That was the reasoning behind why we decided to do that at the end.
Has there ever been, in all your games you've made, an idea you had that you had to be talked out of?
Yoko: For the first Drakengard, I had an idea of [Japanese pop-star] Ayumi Hamasaki, like her character model, wearing all-silver spandex, like a giant version of her descending from the sky and you would fight against her by music. Everyone else on the staff shut it down. It does still leave that kind of music game essence kind of in there, but the part Ayumi Hamasaki comes out in silver spandex has been taken out.
Isn't that kind of similar to Drakengard 3's actual ending?
Yoko: Similar, but I actually wanted to go for something funny, or shockingly stupid. But no one would let me.
Source:
https://www.gameinformer.com/…/talking-to-yoko-taro-platinu…
how to change your thoughts from negative to positive 在 Quynh Huong Le Do Youtube 的精選貼文
Quỳnh's Share #24: 12 điều nên biết về Nghiệp - QHLD #82
[12 THINGS TO KNOW ABOUT KARMA]
1. KARMA MEANS ACTION. Nghiệp chính là Hành động của bạn.
Nghiệp vận hành trên Nguyên tắc Vàng: “Điều gì bạn đã làm trong quá khứ hoặc đang làm trong hiện tại với kẻ khác sẽ được trả lại trên chính con người bạn trong tương lai.
[Karma works on the modified Golden Rule: “What you have done in the past and are doing now to others will be done to you in the future.”]
2. KARMA IS CAUSE AND EFFECT. Nghiệp là Nhân - Quả.
“Bạn gieo gì gặt nấy” và “Ném đi cái gì nhận về cái ấy”, hai câu này sẽ giúp bạn học cách yêu thương kẻ khác (để còn được nhận về yêu thương, chứ oan oan tương báo đời nào mới chấm dứt).
[“As you sow, so shall you reap” and “What goes around comes around” helps you learn how to love.]
3. KARMA BEGINS AND ENDS IN LOVE. Nghiệp khởi đầu và kết thúc đều bằng tình yêu thương.
Nghiệp dạy bạn cách mang tình yêu thương vào bất kỳ một hoàn cảnh xấu nào để hoá giải các 'ác nghiệp', tạo nên các ‘thiện nghiệp’.
[Karma teaches you how to bring more love into any ‘bad’ situation to create ‘good karma’.]
4. KARMA APPLIES TO EVERYONE EQUALLY. Nghiệp áp vào mọi người một cách bình đẳng.
Hãy biết rằng Nghiệp luôn luôn mang đến mọi sự công bằng. Điều này sẽ giải phóng bạn khỏi cảm giác tức giận, buồn khổ, tổn thương hoặc tiêu cực về bất kỳ điều gì.
[Knowing karma always creates justices frees you from being angry, sad, hurt, or ‘negative’ about anything.]
5. KARMA = WHAT YOU AGREE TO DESERVE. Nghiệp = Những gì bạn xứng đáng nhận lãnh (cả tốt cả xấu).
Để hóa giải nghiệp bạn cần chấp nhận mọi điều xứng đáng xảy đến với mình, dẫu tốt dẫu xấu, bằng cách chuyển hóa các vấn đề của cuộc sống mình theo hướng yêu thương nhiều hơn.
[To transcend karma you need to agree to deserve more by resolving your life’s issues to know more love.]
6. KARMA = FOCUS-ATTITUDE-ATTENTION. Nghiệp = Tập trung – Thái độ - Sự lưu tâm.
Bạn sẽ đạt được những gì bạn xứng đáng đón nhận thông qua sự tập trung vào suy nghĩ, cảm xúc, và hành động của bạn.
[You get what you agree to deserve through the focus of your thoughts, emotions, and actions.]
7. KARMA IS ABOUT TEACHING. Nghiệp là để dạy ta những bài học.
Để chữa lành nghiệp, khi nhìn vào các vấn đề, hãy tìm cho ra những bài bạn cần học, và hoan hỉ chấp nhận nó.
[To heal your karma, seek out the lessons you must learn and come into agreement with doing so.]
8. KARMA IS ABOUT LEARNING. Nghiệp là để học.
Thứ duy nhất đáng gọi là lỗi lầm là khi bạn không rút kinh nghiệm được gì từ những lỗi lầm bạn đã gây ra trong quá khứ (Và dĩ nhiên, trong trường hợp này, bạn sẽ có cơ hội… được trải nghiệm thêm lần nữa, cho đến khi nào bạn ‘học hỏi’ được bài đó mới thôi!)
[The only true error is to fail to learn from your mistakes (of course, you will get another chance).]
9. KARMA CHALLENGES YOU TO CHANGE. Nghiệp thách thức bạn phải thay đổi.
Nghiệp có thể được thay đổi. Nó có thể được hóa giải khi bạn chọn mang yêu thương/từ bi vào mỗi tình huống, hoàn cảnh. Nói nôm na, câu này mang nghĩa: Dùng thương để hóa giải mọi sự.
[Karma can be changed. It can always be transcended when you choose to bring more love in the situation.]
10. KARMA ALWAYS COMES DUE OVER TIME. Nghiệp sẽ đến đòi đúng lúc.
Cho dù mất cả ngàn năm hay chỉ vài giờ là tới ‘lúc nghiệp tới đòi’, thì nghiệp trước sau gì cũng đến, tạo thế cân bằng cho lực bạn đưa ra và phản lực trả về với bạn.
[Whether it takes thousands of years or just a few hours to be realized, karma will be balanced.]
11. KARMA WORKS BY INTENTION. Nghiệp vận hành trên thứ bạn chủ tâm làm.
Nghiệp sẽ ‘xử’ bạn từ chính những gì bạn chủ ý trong lòng khi bạn phát ra ý nghĩ – lời nói – hay hành động mà bạn đã làm.
[What intention was deep inside your heart when you thought-spoke-acted is how karma judges you.]
12. KARMA LEADS TO DHARMA. Nghiệp đưa dẫn tới Pháp.
Pháp: chính là những nguyên tắc bất di bất dịch của cuộc sống.
Nghiệp luôn đưa bạn đến số phận xứng đáng nhất dành cho bạn (sau khi bạn đã lĩnh hội được tất cả những bài học cần học bên trên), gọi là Pháp: một đời sống có mục đích, có chí hướng và có tỏ ngộ nhiều điều hay lẽ phải.
[Karma is always leading you to your best destiny which is Dharma: a life of purpose and enlightment.]
[Gốc tiếng Anh: healpastlife.com]
Chuyển ngữ & Giọng thể hiện: Lê Đỗ Quỳnh Hương
Bạn tâm đắc nhất những mục nào trên đây? Mình thì chấm nhất các ý: Số 3: Nghiệp khởi đầu và kết thúc đều bằng tình thương/tâm từ; Ý số 7: Nghiệp là để dạy ta những bài học; Ý số 8: Nghiệp là để học; và Ý số 9: Nghiệp thách thức ta chịu thay đổi.
(20.05.2020 – QH)
#thamkhao #Nghiep #Karma #QHLD
![post-title](https://i.ytimg.com/vi/ssSRe2m_JiU/hqdefault.jpg)