關於 what makes you happy in a relationship answers ，我們在網路上蒐集到這些相關的討論、資訊與評價

รัก 2 ปี ยินดีคืนเงิน เป็นหนังรักที่ลงตัว นิยามความรักออกมาได้ลงตัว ดูแล้วมีความสุข 8/10
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บอกก่อนเลยว่าไม่ได้คาดหวังอะไรกับหนังเท่าไหร่ แต่ว่าชอบหนังของ CJ Major ตั้งแต่เรื่อง 20 ใหม่ คือมั่นใจว่ามันจะต้องมีอะไรดีแล้วก็ไม่ผิดหวังจริงๆ ผมเคยโพสถึงนิยามรักบ่อยมากว่ามันคือนามธรรมที่ไร้เหตุผล หนังเรื่องนี้ตอบโจทย์มาก บทหนัง มุขตลก การตบมุข เคมีพระเอกนางเอก ปั่นจั่นเอสเธอร์ นำหนังให้คนดูมีความสุขและมีอารมณ์ร่วมเต็มที่มากๆ หนังยาวเกิน 2 ชั่วโมง แต่รู้สึกมีความสุขตลอดเรื่อง
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รักส...
Continue ReadingLove for 2 years. Happy to refund. It's a perfect love movie that defines love. It's perfect. I feel happy after watching it.
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Let me tell you that I didn't expect much of the movie, but I like cj major movie since the new 20, I'm sure that there will be something good. I won't be disappointed. I used to post to define love very often that it's abstract that it's irrationa It's a lot of answers. The movie, funny jokes, chemical jokes, lead actor, actress, Zhan Esther brings the movie to the audience to be happy and very happy. The movie is more than 2 hours long, but I feel happy all the time.
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Love for two years. Happy to refund. Take the story of two people who have different love views. Let's work together. That's the actress of the story. She works as a match for lovers. The lead actor is the one who thinks about the policy for insurance company by the insurance. Recently, there are rules that couples who come to buy policy and love each other for more than two years will receive the allowance with interest. But with the wrong work, they are sent to take care of the policy for the department instead. Of course, I am beautiful world. Look at love, beautiful. Instead of being a bad person who looks at love, they have to break up for the company so that they don't have to pay the allowance, so these two
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Love movie must live chemistry. The lead actor and actress can bring the movie. I have to tell that it's very compatible with Esther Chemistry. Fist looks like a person. Believe in himself. Esther is the one who believes in Esther is the one who believes. In Love, these two carry the movie and take the audience to be in the mood with the movie that comes with the role that uses love cases in the policy. Let's see if this pair will be fulfilled. This pair will love or quit. Of course, the movie says the story. Of love in different cases, social status, body, job, habits, lifestyle of couples, and career, that people who are different. Finally, we have to be in relationship with each other as fans. Will we survive? Instead of the lead actor of math, statistics, let's calculate the policy to see if each couple will survive. While she thinks that love is about two people. Trust each other, honor each other.
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My favorite thing is that the movie tells us clearly that love is nothing fixed. Some couples can't survive. But why are we still in relationship until we have kids, or in everyday life. Some women are beaten up by husband. I will slap you, but why don't you break up and have a lot of kids. Love is not the reward of good deeds. Love is not a gift. Cuddle baht that comes from the wealth of two people love each other. It doesn't mean anything good. Let's meet. We can love each other, but what is it? Sometimes we can't define. There is no math formula on earth that can calculate and tell us how many years these two people can live or even the department of Dharma who are two years old. I can't tell you what after two years, some pairs may have to wait until they die. Right?
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I barely have to do much in the substitute because I am a man, but there is something to hide in my heart that I won't tell you. Esther, she is not pretty. She looks very normal but she looks so cute. It looks natural. She makes her love for 2 years. Happy to refund. It's a nice movie to watch and it's very fun with her charm.
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In conclusion, love for 2 years. Happy to refund. It's fun. The movie is a movie. Anyone who wants to watch it personally, I think I got a lot from this movie. Especially happiness. It's a love movie that I love very much. Give it to me. Haha.Translated

"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…

สำหรับคนที่ไม่ได้อ่านเมื่อเช้าครับ :)

1
ทันทีที่อ่านบทสัมภาษณ์พี่โน้ต-อุดม แต้พานิชใน The Cloud จบลง ผมก็ส่งข้อความไปหาพี่โน้ตทันทีว่าอ่านแล้วชอบมาก

ที่ชอบเพราะหลายคำตอบในนั้นทำให้เห็น "คำตอบ" ที่มาพร้อม "ความอาวุโส" ของชีวิต

พูดถึง "ความอาวุโส" นี้ผมไม่คิดว่าเกี่ยวกับ "อายุ" หากเกี่ยวกับความรู้สึก "อยู่มานาน" ซึ่งแต่ละคนมีไม่เท่ากัน ตามทฤษฎีด้านเวลา-หากชีวิตใครผ่านเหตุการณ์หรือประสบการณ์มามากจะรู้สึกว่าตัวเอง "ผ่านเวลา" มานานกว่าคนที่มีเหตุการณ์ในชีวิตน้อยกว่า

ชีวิตที่ "eventful" จึง "อาวุโส"

นอกจากนั้นผมยังแอบคิดอีกว่าการแบกรับภาระของ "ความดัง" ไว้บนบ่าก็ทำให้คนเรา "อาวุโส" ได้เช่นกัน เชื่อว่าน้องๆ BNK48 ทั้งหลายเมื่อผ่านไปสามปีก็จะมีความ "อาวุโส" ในหัวใจมากกว่าคนวัยเดียวกันทั่วๆ ไป

"อาวุโส" จึงไม่เท่ากับ "ชรา"

แต่อาจนำมาซึ่งความเข้าใจชีวิต

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2
“แต่ก่อนผมไม่ค่อยระวังตัว ถ้าเป็นช่วง 30 เราพรั่งพรูออกไปแล้วเดี๋ยวเกิดอะไรก็เรื่องของมึง ทั้งที่ผมไม่ต้องพูดประโยคนั้นก็ได้ ไม่ต้องมีใครเดือดร้อน ตอนนี้ผมพยายามเลือกคำ มีความใจเขาใจเราอยู่”

นี่เป็นหนึ่งคำตอบธรรมดาๆ ที่แสดงให้เห็นถึงความเปลี่ยนแปลงระหว่าง "วัยห่าม" กับ "วัยนิ่ง"

"ศูนย์กลาง" เปลี่ยนไปจากตัวเองไปอยู่ที่คนอื่น การก่นด่าโลกเปลี่ยนไปเป็นการทำงานกับตัวเองภายใน

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3
ท่ามกลางโลกที่เปลี่ยนแปลงอย่างฉับไวชวนปวดหัว หลายอาชีพล้มหายตายจาก โอกาสเหมือนมีให้ไขว่คว้าเต็มไปหมด แต่คว้ามาแล้วไม่นานก็หลุดมือไปอีก เจอคู่แข่งใหม่ๆ ผุดขึ้นเป็นดอกเห็น พี่โน้ตพบคำตอบของตัวเองว่า "ให้ทำเรื่องเล็กๆ อยู่ในที่เล็กๆ ของเราก็สามารถอยู่ได้"

เขายกตัวอย่าง "จิโร่" คุณลุงนักทำซูชิระดับเทพ ที่ทำซูชิเสียจนกลายเป็น "ศิลปะ" ผู้คนรอต่อคิวเป็นเดือนๆ ขายในราคาที่แพงกว่าซูชิทั่วไป

ส่วนตัวแล้วผมสนใจคำว่า "เล็กๆ" ที่ออกจากปากของคนระดับซูเปอร์สตาร์ ผมเดาว่าแต่ก่อนพี่โน้ตน่าจะเคยรู้สึกว่า "เดี่ยว" ของเขานั้นไม่ใช่งานเล็ก กระทั่งอาจมีบางช่วงวัยที่อยากขยายตัวเองให้ครอบคลุมพื้นที่ออกไปให้มากที่สุด

แต่ในโลกที่ขยายตัวออกทุกวินาที พี่โน้ตกลับเห็นสิ่งที่ตัวเองทำเป็นเพียง "เรื่องเล็กๆ" ซึ่งอยู่ใน "ที่เล็กๆ ของเรา"

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4
คำว่า "ที่เล็กๆ ของเรา" ก็สำคัญ ในโลกทุกวันนี้เราต้องหา "ที่แห่งนั้น" ให้เจอ ซึ่งจะว่าไปอาจไม่ควรใช้คำว่า "หา" แต่ควรใช้คำว่า "สร้าง" ที่แห่งนั้นขึ้นมาเสียมากกว่า

ไม่ได้ "สร้าง" แบบเร่งรีบ ขอไปที แต่สร้างแบบพิถีพิถัน ค่อยเป็นค่อยไป ประณีตบรรจง ใส่ใจ ทุ่มเท แล้ว "ที่เล็กๆ ของเรา" จะค่อยๆ เกิดขึ้นมา และเปิดโอกาสให้เราได้หยัดยืนบนผืนโลกที่เต็มไปด้วยความเปลี่ยนแปลง

พี่โน้ตตอบข้อความกลับมาว่า "ผมเพิ่งเข้าไปอ่านบทสัมภาษณ์ของพี่บอยโกซึ่งอยู่ถัดจากบทสัมภาษณ์ของผม สิ่งที่น่าแปลกใจก็คือว่าคล้ายคลึงกันในความคิดความรู้สึกอย่างมาก มันน่าจะเป็นเช่นนี้ใช่ไหมสำหรับคนอายุ 50"

ผมคลิกตามเข้าไปอ่านบทสัมภาษณ์พี่บอยใน The Cloud ซึ่งพูดถึงการละวางจากชื่อเสียง ความไม่เที่ยงของมัน แต่สิ่งที่คล้ายกันกับคำตอบของพี่โน้ตมากก็คือความรู้สึกอยากทำงานไปจนตาย ถึงขั้นพูดว่า "ตอนตายต้องตายในห้องอัด หรือกำลังทำเพลงแล้วก็หัวใจวายตาย พีกดี ถ้าเป็นแบบนี้สำหรับเรามันเป็น Happy Ending"

ขณะที่พี่โน้ตพูดถึงการทำงานว่าไม่ได้ทำเพื่อให้คนมายกย่องว่าสุดยอด ไม่ได้เปรียบเทียบกับตัวเองในครั้งที่ผ่านๆ มา แต่ทำเพื่อ "ดำเนินต่อไป" ทำเพราะรักที่จะทำ และกระบวนการที่เอาใจใส่ในการพูดการซ้อมเพื่อให้ได้ "ซูชิ" ที่ดีที่สุดนี่เองที่ทำให้ชีวิตมีความหมาย

อีกจุดที่น่าสนใจคือ เนื้อแท้ของการทำงานนั้นไม่ได้ทำเพื่อตัวเองแบบเดิมแล้ว แต่ทำเพื่อคนอื่น ตั้งใจทำเพื่อให้คนอื่นมีความสุข คล้ายกับพี่บอยโกที่อยากเขียนเพลงเพื่อชโลมหัวใจคน เมื่อทำงานด้วยทัศนคติแบบนี้ "ความเจ๋ง" ก็เป็นเรื่องเล็ก และ "น้ำหนัก" ของการเปรียบเทียบทั้งกับตัวเองและคนอื่นที่แบกไว้บนบ่าก็เบาลงทันที

เรา "คราฟต์" ผลงานของเราเพื่อรอยยิ้มของคนที่ได้สัมผัสผลงานนั้น

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5
เมื่อคราฟต์ผลงาน ชีวิตเราจะคราฟต์ตามไปด้วย ประณีตตามไปด้วย เราไม่ได้ทำทุกสิ่งที่ทำได้ แต่เราจะทำเฉพาะสิ่งที่รักและตั้งใจทำให้ดีที่สุด

ชีวิตเช่นนี้ย่อม "คัดสรร" สิ่งที่เห็นแล้วว่ามีคุณค่าของตัวเองและคนอื่น มิใช่ทำทุกอย่างที่โอกาสเปิดกว้างให้ทำ

ไม่พยายามยืดแขนขาออกไปครอบครองอาณาจักรใหญ่โต แต่เข้มข้นที่สุด บรรจงที่สุดกับ "ที่เล็กๆ ของเรา" และตั้งใจทำ "สิ่งเล็กๆ" นั้นให้ดีที่สุด แล้ววันหนึ่ง "สิ่งเล็กๆ" นั้นจะผลิดอกออกผลทำให้เราอยู่ได้

ที่สำคัญไปกว่านั้นคือ การตั้งใจทำ "หนึ่งสิ่ง" ให้ดีสุดฝีมือนั้นทำให้ทุกวันมีความหมายมากกว่าการทำ "ทุกสิ่ง" แล้วความสนใจ พลังงาน ความสามารถกระจัดกระจายเสียจนสัมผัสไม่ได้ถึงคุณค่าของสิ่งนั้นและคุณค่าของตัวเอง

เมื่อตั้งใจทำงาน เราจะรู้สึกทันทีว่าตัวเรามีคุณค่า

เมื่อทำแบบผ่านๆ ไป ขอไปที เราจะรู้สึกว่าชีวิตช่างไร้ความหมาย

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6
ในหนังสือ "ฮารูกิ มูราคามิ ไปพบ ฮายาโอะ คาวาอิ" มีประเด็นหนึ่งเกี่ยวกับเรื่องนี้ นั่นคือเรื่อง "คอมมิตเมนต์" หรือการทุ่มเทตน

คุณคาวาอิบอกว่า คนหนุ่มสาวเดี๋ยวนี้จะรู้สึกว่าสภาพ "ดีแทชเมนต์" (การไม่ยึดโยงเข้ากับอะไร/อิสรภาพ) เป็นเรื่องที่คูลและเท่ ส่วนมูราคามิบอกว่า เขาให้ความสำคัญกับคอมมิตเมนต์มากขึ้นเรื่อยๆ

ผมตั้งข้อสังเกตเอาเองว่า ด้วยความเร็วของเทคโนโลยีและข้อมูลข่าวสารล้นทะลักเช่นนี้ ผู้คน "จ่มตัวเอง" ลงไปในสิ่งใดสิ่งหนึ่งได้ยากขึ้นเรื่อยๆ เราหลงใหลคลั่งไคล้และให้เวลาด่ำดิ่งลงไปในสิ่งที่รัก สิ่งที่มุ่งมาดปรารถนากันอย่างยาวนานน้อยลงเรื่อยๆ ทำสิ่งหนึ่งได้แป๊บหนึ่งเดี๋ยวก็เปลี่ยนไปทำอีกอย่างหนึ่งแล้ว หรือไม่ก็ทำงานชิ้นเล็กๆ แบบรวดเร็วให้จบไปในแต่ละวัน จึงยากมากที่จะมีโอกาสได้สร้างสรรค์งานที่ประณีตบรรจงซึ่งต้องอาศัยการ "คอมมิต" ตัวเองกับสิ่งนั้นอย่างจ่มจ่อเนิ่นนาน

การที่เราทำงานแบบ "ผ่านไปวันๆ" นี่เองที่ทำให้เรารู้สึกว่างเปล่ากับชีวิต ความคิดอยาก "ดีแทช" ตัวเองจากทุกอย่างนี่เองที่ทำให้เรา "เหงา"

ชีวิตที่มีความหมายคือชีวิตที่ปักหลัก จมจ่อ ใส่ใจ ขัดเกลา ทำเกินร้อย สร้างงานที่ทำอยู่ให้เป็น "งานคราฟต์" ไม่ว่างานนั้นจะเป็นอะไรก็ตาม

แทนที่จะใฝ่หา "อิสระ" ทางการงานหรือการเงิน สิ่งที่ทำให้ชีวิตมีความหมายกลับกลายเป็นการ "ผูกมัด" ตัวเองเข้ากับสิ่งที่เราเห็นว่ามีคุณค่าต่างหาก

แทนที่จะคิดถึงการ "ลาออก" สิ่งที่ทำให้ชีวิตเบิกบานอาจเป็นการ "ทุ่มเท" ให้งานที่ทำอยู่กลายเป็นสิ่งที่มีความหมายในชีวิตให้จงได้

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7
กระนั้นคุณคาวาอิก็แนะนำว่า "คนเราควรใช้ชีวิตไปกับสิ่งที่สำคัญที่สุดของตน...อัตลักษณ์จะปรากฏชัดขึ้นเรื่อยๆ ระหว่างมีชีวิตไป"

สิ่งที่จำเป็นอย่างยิ่งในโลกที่เต็มไปด้วยทางเลือกเช่นทุกวันนี้คือการตัด คัดทิ้ง และคอมมิตเฉพาะสิ่งที่สำคัญ

บังเอิญเหลือเกินที่หนังสือ "อิคิไก" ของเคน โมงิ ก็ยกตัวอย่างเรื่องซูชิของคุณลุงจิโร่ เริ่มเล็กๆ จดจ่อกับสิ่งนั้น ปั้นมันให้เป็นคราฟต์ ไปให้ไกลกว่าที่ตลาดต้องการ ทำให้มีคุณภาพยิ่งกว่าที่จำเป็น แล้วงานนั้นจะค่อยๆ พาเราเข้าไปอยู่ในภาวะลื่นไหล แล้วเราจะอยากตื่นขึ้นมาทำงานนั้น

"งานเล็กๆ" ใน "ที่เล็กๆ ของเรา"

คุณลุงจิโร่ก็พูดคล้ายพี่บอยโกว่า จะขอตายตอนปั้นซูชินี่แหละ

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8
ชีวิตของผมเองตอนนี้ตัดเหลือสามสิ่งสำคัญ หนึ่งคือร่างกาย สองคือการงาน สามคือความสัมพันธ์

ร่างกาย-ผมคอมมิตกับตัวเองว่าจะวิ่งมาราธอนเป็นระยะ ทำให้ต้องซ้อมอย่างต่อเนื่อง อยากวิ่งให้ดีขึ้นเรื่อยๆ และพยายามจะ "คราฟต์" การวิ่งให้ค่อยๆ สวยงามขึ้นในแง่สถิติทั้งหลาย

การงาน-หลังจากเปลี่ยนวิธีการ ตัดการงานเล็กน้อยออกไป ใช้เวลาเขียนหนังสือเล่มหนาๆ ผมพบว่าตัวเองมีพลัง มีภาวะลื่นไหล และมีสมาธิกับงานแบบนี้อย่างมาก ที่สำคัญกว่านั้นผมรู้สึกมีความสุขกับงานที่ทำ และชอบผลงานที่สำเร็จออกมามากกว่าตอนทำงานชิ้นเล็กๆ ที่มีปริมาณมากแต่คุณภาพอาจไม่เข้มข้น

ความสัมพันธ์-เมื่อคัดสรรงานและกิจกรรมให้เหลือแต่สิ่งสำคัญ เวลาที่มากขึ้นจึงมอบให้คนใกล้ชิดและมิตรสหายได้มากขึ้น ซึ่งความสัมพันธ์ที่ดีย่อมทำให้ชีวิตมีพลังไปดูแลร่างกายและสร้างสรรค์ผลงานต่อไป

ช่วงสองปีที่ผ่านมา ผมได้เรียนรู้ว่า ชีวิตที่ดีนั้นไม่ต้องเปรียบเทียบกับใคร กระทั่งเปรียบเทียบกับตัวเองในอดีต งานที่ดีคืองานที่เราพร้อมทุ่มเท จดจ่อ และอยากพัฒนาให้มันดีที่สุด จะทำแบบนั้นได้ต้องปล่อยมือจากงานที่ "อยากทำ" แต่ไม่ "อยากที่สุด" เสียบ้าง การทำเช่นนี้อย่างต่อเนื่องจะทำให้เรารู้สึกอยากตื่นขึ้นมาเพื่อ "ขัดเกลา" สิ่งนั้นให้ดีขึ้นเรื่อยๆ

ใช่แหละ, เราอาจยังทำได้ไม่ดีที่สุดในตอนต้น เหมือนการวิ่งที่ยังไม่ดีนัก แต่ถ้าทำไปเรื่อยๆ เราจะค่อยๆ เห็นผลในการงานที่ทำ ขอเพียงแค่อย่ารีบปล่อยมือจากมัน

"งานเล็กๆ" ในสายตาคนอื่น อาจมีคุณค่ามากสำหรับชีวิตเรา เพราะมันจะค่อยๆ ถางทางให้เกิด "ที่เล็กๆ ของเรา" ขึ้นมาได้

เราไม่ได้ต้องการคนทั้งโลกหรือทั้งประเทศ หรือมากมายอะไรเพื่อทำให้การงานที่เรารักนั้นดำเนินต่อไปได้ เราต้องการแค่ "จำนวนหนึ่ง" ซึ่งมากพอ

"จำนวนหนึ่ง" ที่ต่อแถวรอเข้าร้านซูชิร้านเล็กๆ ของเรา

แต่สิ่งนั้นมิได้เกิดขึ้นเพียงชั่วข้ามคืน มันอาศัยการยืนระยะ กัดไม่ปล่อย และทำสุดหัวใจและฝีมือ จนกว่าจะได้ "ซูชิ" ที่อร่อยที่สุด

แต่มันคุ้มที่จะ "คอมมิต" กับอะไรสักอย่าง เพราะชีวิตที่ไม่คอมมิตกับอะไรอย่างจริงจังนั้นช่างว่างเปล่าและไร้ความหมาย

หาสิ่งที่จะประณีตกับมัน ทำสุดหัวใจ

แล้วชีวิตเราจะมีความหมาย

แล้วชีวิตจะกลายเป็น "ศิลปะ" ในตัวมันเอง
1
As soon as I read the interview, brother note-udomtae panich in the cloud ended, I sent a message to brother note that I like it very much.

I like it because many answers in it makes me see the " answer " that comes with " Seniority " of life.

Speaking of this " Seniority " I don't think it's about " age " if it's about feeling " for a long time " that each person has not equal in theory - if someone's life has been through many events or experiences, you will feel like they are " through time " With less life events

" eventful " life is " Senior "

Besides, I secretly think that carrying the burden of " famous " on my shoulder can also make people " Senior " too. I believe that bnk48 sisters, there will be more " Senior " in the heart than the same age.

" Senior " is not equal to " old age "

But may bring understanding life

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2
"before I wasn't careful. If it's 30, we were out. Whatever happens, it's your business. Even if I don't have to say that sentence. No one needs to be in trouble. Now I'm trying to choose a word to have his heart."

This is one normal answer that shows the change between " age " and " young age

"Center" has changed from yourself to other people. Cursing the world has changed to work with yourself within.

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3
In the midst of a world that changes quickly, many careers fall away from opportunities. It seems like there are plenty of them. But I have snatched it. Soon, I found a new rival. I see brother note found his answer, " to do small things in Our small place can live "

For example, " Jiro " Uncle, a great sushi maker who made sushi to become " Art people have been waiting for months to sell at more expensive than normal sushi.

Personally, I am interested in the word " small " that comes out of superstar's mouth. I guess brother note should have felt that his " solo " is not a small job, even some ages that I want to extend himself to cover. Space out as much as possible

But in a world that expands every second, brother note sees what he does is just " small things " that are in our " small place "

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4
The Word " our small place " is important in the world. Nowadays, we need to find " that place " that we should not use the word " find " but we should use the word " build " place to lose.

I don't " build " in a hustle, but it's a meticulously, gradually, delicately. We are dedicated. " our little place " will slowly happen and open the opportunity for us to stand on a world full of change.

Brother note replied, " I just read brother boy ko's interview next to my interview. The surprise thing is that it's very similar in my thoughts. It should be like this for a 50 year old

I clicked to read the interview of brother boy in the cloud, which talks about his reputation, but the similar thing with brother note's answer is that I want to work until he said " when I die, I die in the room. Recording or making music and having a heart attack. If it's like this for me, it's happy ending "

While brother note talks about working that he didn't do it to make people say that it's awesome. It doesn't compare to himself in the past time, but he does it to " continue " do it because he loves to do it and the best " process of speaking rehearsal to get the best " Sushi " that makes it Life has meaning

Another interesting point is that the real texture of work is not doing it for yourself, but do it for others. Focus on doing it to make others happy. Similar to brother boy who wants to write a song to help people's heart when working with this kind of attitude " cool " it's a small thing and the " weight " of comparing both myself and others who carry on the shoulder is lighter immediately.

We "Craft" our work for the smile of those who have touched that work.

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5
When craft our life will craft followed by exquisite. We do not do everything we can, but we will do only what we love and focus on doing our best.

Life like this will "choose" what you see that you have value for yourself and others, not doing everything that you have an open opportunity to do.

Not trying to stretch out limbs to possess the biggest kingdom, but the most intense with " our little place " and focus on doing our best " small things " and one day " small things " will be bloomed to make us live.

More importantly, it is to do your best " one thing " makes every day more meaningful than doing " everything " and attention, energy, ability is scattered that you can't feel the value of that and your own value.

When we focus on working, we will immediately feel that we are valuable.

When I do it through, please ask for it. I will feel that life is meaningless.

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6
In the book " Haruki Murami to meet hayao kawai there is one point about it. is " commissioned " or dedication.

Mr. Kawaii said that young people will now feel "Dtachmentum" (Non-connected to anything / freedom) is cool and cool. Murami says he values the commissions. More and more and more.

I have noticed that with the speed of technology and information overflow like this, people "dipping themselves" into something. We are passionate, crazy and give time to go down to what they love what you are focused. Let's wish for less and less. Do one thing. You will change. Do another thing or work quickly. Each day. It's very difficult to have a chance to create exquisite work that requires " commit. " myself with that for a long time.

The way we work like " through day " makes us feel empty with our life. I want to " Dtash " from everything that makes us " lonely "

A meaningful life is a life that settles down, purify, do more than a hundred. Create a "Craft" whatever the work is.

Instead of seeking " freedom " in work or finance, what makes life meaningful becomes " binding " to what we see valuable.

Instead of thinking about " quitting " what makes life cheerful, it may be " dedicated " to the work that you do become meaningful in life.

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7
Mr. Kawaii also suggested that " people should live with their most important things... identity will become clearer while living...

What is absolutely necessary in a world full of choices such as these days is to cut off and commissions only what matters.

It's a coincidence that keni's "Ikikai" book. For example, Uncle Jiro's sushi started small. Focus on it into a craft further than the market wants to make it even more quality than necessary. And that job will slowly take us into slippery and we will want to wake up to that job

" small job " in our " little place "

Uncle Jiro said it's like brother boy ko that he would want to die when she made sushi.

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8
My life is now cut down to three important things. One is the body. Two is work. Three is relationship.

My body - I commissioned myself that I would run a marathon periodically. I have to practice continuously. I want to run better and try to "Craft" running slowly getting more beautiful in terms of statistics.

Work - after changing the way to cut off a little work out to write a thick book, I found myself powerful, fluidity and focused on this kind of work. More importantly, I feel happy with the work and prefer the work done more than working. Small pieces with large quantities but quality may not be intense.

Relationships - when selecting jobs and activities are important, more time gives more people closer and friends. Good relationships make life powerful to take care of your body and create the work.

In the past two years, I have learned that a good life doesn't have to compare to anyone. Even compare to myself in the past. Good work is a job that we are ready to focus on and want to develop the best. We can do that. We have to let go of the work that I want to do " but I don't want to do the most doing this continuously will make us feel like waking up to " purify " that thing better.

Yes, we may not do our best at the beginning. It's like a bad run. But if we keep doing it, we will gradually see the result in the work that we do. Just don't rush to let go of it.

" small work " in other people's eyes may be very valuable for our lives because it will slowly squatter the way to " our small place "

We don't need the whole world or the whole country or anything to make our loved work continue. We only need "a number" which is enough.

"a number" in line waiting to enter our little sushi shop

But that doesn't happen overnight. It lives standing, biting, not letting go and doing all my heart and skill until the most delicious "Sushi"

But it's worth "commissioned" with something because life that doesn't commissioned with anything seriously is empty and meaningless.

Find something to be exquisite with it. Do with all my heart.

And our lives will have meaning.

Then life will become "Art" in itself.Translated