Question 1

words ending in ssMilton Goh Blog and Sermon Notes 在Facebook 的評價

Accepted Answer

I am sharing a vision that one of our readers, Heather Snell, received. It bears witness with my spirit. Hopefully it will show you how to pray for the destruction of COVID-19.

I received in my spirit that the COVID-19 is a man-made biological agent—not something that just happened to come from wild animals.

Without further ado, here is the vision Heather received.

28 March 2020 vision:

Fasting, praying, worshipping retreat: 10 hours straight praying in the spirit.
These words were coming to me: “Shifting things, shifting things, moving!”

2AM. Sitting in the silence and peace, listening to a recording of shofar. I began to notice the room was fading and the form of its space was becoming transparent, fading from existence.

My eyes were becoming aware of space beyond the natural. The walls and ceiling seemed to disappear. I was sensing angels busy and active doing errands?

Then I see a space with no limits or confinements, huge, no ending, but it was special in its form. There appeared to be rooms within rooms.

I heard the word “COZ”. Then I could see lines and strands of mathematical equations.

Seemed to be shifting and moving things, changing things. Then it changed from a line to a coil, never-ending, actively doing things. It is a live, living organism, but mathematical.

While continuing to pray all the while seeking to find answers, I saw more information on this.

The Holy Spirit whispered, “Coronavirus”. The Holy Spirit said, “While you have been praying in the spirit these last few hours, you have been working on shifting and moving things, the structural genetic DNA, which is the mathematical structure of the form of coronavirus at the root.

A flawed DNA genetic structure cannot stand—it will implode, and self destruct, be dismantled from within. It will wipe itself out.

As a man-made virus and constructed DNA of mathematical equations, the answer is to remove part of the mathematical pattern.

I took this revelation, released in prayer and decreed the command into the earth. I sat overwhelmed at this revelation as it was far beyond myself, my education, intelligence and my own thoughts.

(End of Heather’s vision)

On Sunday 29 March 2020, Pastor Prince shared something like this in his sermon:

Exodus 14:24-25 - The morning watch is the darkest part of the night, between 3am to 6am.
It is at this dark time that the Lord took off the Egyptian chariots’ wheels.
Pastor Prince has been praying for the Lord to mess up the DNA/ RNA of COVID-19 and destroy them.

“In the morning watch, Yahweh looked out on the Egyptian army through the pillar of fire and of cloud, and confused the Egyptian army. He took off their chariot wheels, and they drove them heavily; so that the Egyptians said, “Let’s flee from the face of Israel, for Yahweh fights for them against the Egyptians!”” (Exodus‬ ‭14:24-25‬ ‭WEB)

This is confirmation that we should be praying for God to dismantle the DNA/ genetic structure of COVID-19 so that it will implode and destroy itself.

This is probably how the swift end to the pandemic will happen. Praise Jesus!

Let’s pray:
Dear Abba God, we know You are in control. Thank You for teaching us how to pray for COVID-19’s swift destruction. In Jesus’ name, we declare for COVID-19’s genetic DNA structure to be messed up. Dismantle it by Your power and let us see a swift end to this pandemic. Heal all those who have been infected and protect everyone else from COVID-19. We plead the blood of Jesus over all the nations of the world. Amen!

———

In the meantime, keep feeding on God’s love for you. Stay focused on Jesus and not the raging waves all around!

At this link you can read more Christ-centered Bible Studies, devotionals, sermon notes and books to feed your faith ===> https://smart.bio/miltongohblog

#Pray #Faith

Question 2

words ending in ss麻利 malisheep 在Facebook 的評價

Accepted Answer

《免於恐懼的自由祈禱會》 呂秉權先生的分享#絕望中的希望 《免於恐懼的自由》祈禱會 呂秉權 兄弟分享--- #沸點即場筆錄 片段 ▶️ https://www.facebook.com/109180535767655/posts/2493494547336230?s=548400948&v=e&sfns=mo 主教、神父、各位兄弟姊妹，大家好！很感恩可以在這裏跟大家分享，大家還是平平安安。我想起一位從大陸偷偷地來香港返教會，「宗教自由行」的姊妹，她說，想不到竟然可以在街頭報佳音，如果在大陸做這事的話，一早就被拒捕了！原來，我們可以站在街上祈禱、唱聖詩，是這麼美好的事情！ 今次逃犯條例的修訂，令政府有一個很大的讓步，我可以說，這是一個奇蹟、是一個神蹟！ 為我們這群，一直研究中國大陸政治的朋友來說，看著所有原先的蛛絲馬跡，中央對港的方針，是沒有讓步這計劃的！我跟大家說，原本這樣的逃犯條例，是怎樣的一回事：北京和林鄭月娥，他們以為這條例必定順利通過！為什麼？ 首先，立法會絕對有足夠的票數去支持、商界也在中央的操控下一一「跪低」，即使你不情願，你不願意收回你的司法覆核也好，你最好也要跪低。 第二，在民意而言，北京已經評估過香港狀況，就算最多反對聲音、最壞程度，北京原先的評估，反對者就是佔中的規模；而佔中的規模，特區政府和警方已綽綽有餘，足以瓦解這行動於無形。兼且，這幾年來，香港的警隊， 已經不再是同樣的警隊了！香港的警隊已經進化了很多。 在後勤，我們亦知道解放軍已預備好。上一次佔領行動的時候，解放軍駐港部隊的深圳後勤部隊已經演練了；他們以四人枱一個人的規模，預備進行必要的介入，但最終沒有用到，但是他們是有部署的。如果有1萬人的集會，四個人抬1人，換句話說，就是說有4萬兵力在後勤準備。今次，不要以為我們看不見明顯的徵兆；解放軍駐港部隊已經不經不覺地做了不少工作。大家可記得？山竹襲港時，市面和郊野公園有大片破壞，解放軍駐港部隊幾百人，居然越過了駐軍法，沒有通知特區政府的情況下，可以出兵幾百人，穿着制服，他們以清理郊區的名義，動員幾百人，沒有駐軍令、沒有適當程序，他們就派了幾百個解放軍來了。這一點，我自己認為是十分危險的訊號。 第三，除了因為林鄭信心爆棚外，還有中央的因素在內。如果我們只看表面的話，會以為（修例）只是林鄭個人決定。其實，逃犯條例的修訂，中央跟香港談了很多年了，他們問香港要人，要了很多年了！今次在這修訂逃犯條例的大背景下，中央政府希望「法律武器化」香港；簡單來說，就是用任何香港的程序和法律去實行國家安全，這至高無上的保障。中央想通過這條移交逃犯條例，其實是一條「萬能Key」，文匯大公的權威解讀，國內中港智囊研究多年中港移交條例，除了一般所說：大陸犯罪的人匿藏在香港、除了香港人在國內犯罪回到香港外...... 更重要的計劃，就是威脅「國家安全」的罪犯。 在文匯大公報，5月23日引用權威人士解讀：當遇到威脅國家安全的罪犯時，一般是由香港，按照香港法律程序去處理的。那換句話說，是有不一般的情況了？當不一般的情況出現了，是不是就是可以超越香港程序去處理？而在國內研究這問題的智囊，很清楚跟我們說，在中國法律上，是沒有「政治犯」的！我們從前說反革命罪犯、或現在煽動顛覆國家政權罪犯，他們並非「政治犯」，而只是三個字：刑事犯！當我們面對刑事犯的時候，是否不引渡呢？是不是用政治犯為保護罩，我們就不引渡危害國家安全的罪犯呢？國內的智囊說，國內的邏輯是相反的！正是這些人破壞國家安全，香港更不能夠成為國家安全的漏洞，更加要去移交（罪犯），這是最恐怖的。 為什麼我們覺得恐怖呢？因為我們怎樣去定義一個人危害國家安全呢？那標準是相當之闊！在內地，只要你所謂「得罪共產黨」，你做一些黨不喜歡你做的事；你批評中央、你去支援內地的宗教，也許你報導一些新聞，內地不喜歡的......很容易你就會被檢控。 以往很多人被「砌生豬肉」（誣告），用藏毒罪、用偷竊罪、用間諜罪...... 被指控，是很恐怖的情況！我們中國大陸所行的體制，是人民民主專政，簡單來說就是「專政」兩個字！ 專政是什麼呢？專政就是說，當面對政府所認為的「敵人」時，就可以不需要依照法律辦事、可以越過法律。如果大家還記得，在內地發生過不少專政事件，劉霞為什麼會完全沒有在法律程序下，被剝奪人身自由、被軟禁這麼久？銅鑼灣書店的相關人士，為什麼可以在香港跟泰國等地被綁架；被綁了之後，自願被剝奪所有法律權利，不見家人，在電視機面前認罪......為什麼呢？因為當時中國政府正在實行專政。 國家主席劉少奇，用憲法的名義叫大家不可以這樣去迫死人， 到最後......他們將一個被鬥到遍體鱗傷，急需醫院治療的一個國家主席，丟在河南的一個密室，失救至死。專政還可以令十大元帥賀龍，他患有糖尿病和各種疾病；死的時候被人專政，把高質量的葡萄糖液，打進他的身體，葡萄糖液與糖尿病結合...... 令他的腎臟衰竭、身體衰竭而死。 當一個國家說自己依法治國，但隨時可以行專政的時候，香港的法律開了一扇門，與這種專政的做法接連、以國家安全名義...... 這是多麼恐怖的事呢？而這個程序去修例，就是原來的劇本！ 原來的劇本亦包括，中央在年頭的時候，審視全國的形勢，去防止各種的失控，各種不穩定因素，各種的風險。國家開了全國最高省部級的領導幹部大會，有習近平在中央黨校開講，很出名的什麼灰犀牛、黑天鵝、六個穩定，就是從這會議中出來的。當時中共領導人，是很害怕一件事： 所謂的中國「逢九必亂」，逢年份有9，他們就容易有大亂，中共見證着： 1949年，國共的更替；59年，大饑荒；69年，中蘇珍寶島之戰，國家主席劉少奇被鬥死；79年，中越戰爭；89年，六四事件；99年，法輪功圍中南海；2009年，新疆七五騷亂。 2019年頭的時候，中共已經開了全國大會去防止有任何混亂的情況。他們做了很多措施，亦都分享了很多經驗怎去處理問題。當時在中央的劇本中，香港的局勢可以說：穩如泰山！沒有可能在逢九必亂的其中一亂，是沒有可能的。他們所擔心的是經濟、與及萬一出現的失業問題，中美貿易之戰，絕對不是香港的事情。  近年，中央領隊領導人對香港的研判，他們認為香港局勢是非常的大好！為什麼這樣說呢？因為全面管治權已逐步落實，立法會受到建制的加持，由於這些社運、甚至旺角騷亂的人，相繼被重判；各種不同政見的人被DQ，整個社會的公民意識越來越低；北京與林鄭政府是極有信心的，這條例，不可能不通過！習近平早年說怎樣處理群眾運動時，清楚地說到：他剛剛上台，要扭轉胡、溫時代的那種妥協作風。習近平說：不可以：小鬧小解決、大鬧大解決、不鬧不解決！他不能讓這情況持續下去！習近平任內對港的多番措施，沒有一件證明他是妥協的；除了梁振英的不連任，而當時，是因為他在建制及商界中拿不到票 。有數票的人說，取得601票已是十分困難了，不是群眾的力量造成。而今次面對6月9日103萬人大遊行，大家可以看到，林鄭與北京政府當時的不妥協，遊行完後，無論人數有多少，依然故我，條例繼續。 當我們常常會問：天主你在哪裏？天主，為什麼香港可以被人摧殘至此？不知怎樣來了一個逆轉 ！當我們很多時質疑青年是「廢青」，在612星期三，出現了一個大家都不想看見、但卻成了一個逆轉的場面！一班青年人，他們有些是寫了遺書的，決定自己去擋子彈的情況下，他們去衝擊立法會、衝擊警方防線！當然從法律來說，他們的做法是犯法的；但是從一個公義的角度，他們認為這事情不應該這樣繼續下去，所以，他們做了抗爭。而這種抗爭，竟令到已經升級變形的香港警隊，殺紅了眼，連內部評估，也認為當警方被衝擊後，出去對群眾的清場用槍、去射頭部、用各種武器去攻擊一些無辜的人；警隊的一些內部評估，也認為是過火了。是這情況令到整件事逆轉！整個國際的壓力，令到北京政府難以承受。 那原先他們的計劃是怎樣呢？在內地的電視，和平集會的鏡頭全部被刪去，被描繪成示威者衝擊警察、暴徒般襲擊，今次他們想說成香港暴徒襲擊政府，以拿取道德高地。殊不知，警方濫用武器、過度執法、逆轉了整個畫面！原本習近平的計劃：叫做「楓橋經驗」，那就是遇到群眾事件時，就地解決，矛盾不上交！煎你的皮、但內裡燒不焦；鬥你的表面，但內部不會出事...... 但很可惜，今次特區政府不單止沒有「矛盾不上交」，不但上交中央、還上了國際層面；令中共面對非常大的壓力，因而出現了一個逆轉。 我認為，這是天主的眷顧、天主的神跡！ 到最後，我想用一個眼神去完結我這個分享：我記得，在612過後，我跟朋友去了一所聖堂，在聖堂門口見到一對警察，虎視眈眈，還是非常強硬的態度，他們想去捉拿聖堂內的青年。我在聖堂內看見一位青年，穿著黑背心，眼神很惶恐。我問他，可要幫他買件衣服，讓他離開？他說：「不用了」，他在聖堂得到了保護，找到了他的家，真正的父親、母親。當我行出教堂外，警察的目光，好像張牙舞爪，想要抓一個孩子...... 希望上主繼續眷顧我們，賜我們平安；希望傷者能得平安...... 主佑香港！ 2019年6月19日晚上 ▶️ 祈禱會直播 https://www.facebook.com/1764198537146061/posts/2394608974105011?s=548400948&sfns=mo ▶️再談逃犯條例修定研討會 https://www.facebook.com/hkjpcom/videos/2180158835373248?s=667412853 “Hope in despair”  sharing of Mr Lui Ping Kuen at the “freedom from fear” prayer meeting  Bishop, father, brothers and sisters:  I am so grateful to share with you all here and I am grateful that we are all safe. I think of a sister who sneaked in Hong Kong to attend church services, “Religious Individual Visit”. She was surprised that there was street caroling in Hong Kong because one will be arrested if one does this in the Mainland. It is so wonderful that we can pray and sing hymns on the street! I can claim that it is a miracle that the government retreats on the extradition bill!  For people like us who have studied Chinese Politics for a long time, we found that the Central Government had no plan to retreat in their policy towards Hong Kong from the clues we observed. I told you what the extradition bill was about originally: Beijing and Carrie Lam thought that the bill must be passed smoothly! Why?  First of all, there were definitely enough votes in the Legislative Council to pass the bill, and the business sector also submitted under the control of the Central Government, whether you were willing or not, whether you wanted to withdraw the judicial review application or not, you’d better submit to it.  Secondly, the Central Government has assessed the views of people in Hong Kong and they thought that the worst case scenario would be similar to that of the scale of Umbrella Movement only. They believed that the HKSAR Government and the Police could handle that scale of protest easily. Moreover, Hong Kong Police Force is not the same as the one a few years ago and has improved a lot. We also knew that the Peoples Liberation Army was well prepared to support. The logistic unit of Peoples Liberation Army Hong Kong Garrison in Shenzhen has drilled during the previous occupying movement. They prepared to intervene, on a scale of 4 soldiers to remove 1 protester, when necessary. Although it was not carried out eventually, they were prepared. If there is a rally of 10 thousands people, 4 soldiers removing 1 protester, that means there are 40 thousands soldiers preparing to support. We can see significant signs that Peoples Liberation Army Hong Kong Garrison has done a lot when we are not aware of it. Do you still member, there was extensive damage in urban and rural areas during the strike of severe typhoon Mangkhut? A few hundred soldiers from the Peoples Liberation Army Hong Kong Garrison wearing their uniform, bypassing the Garrison Law and without informing the HKSAR Government, were mobilised in the name of clearing the rural areas. Ignoring the Garrison Law and proper procedure, they sent a few hundred soldiers. I think this is a very dangerous sign.  Thirdly, besides the overconfidence of Carrie Lam, the Central Government is also a key factor. On the surface, we would think this (amendment of the bill) is solely Carrie Lam’s own decision. In fact, the amendment of extradition bill has been discussed between the Central Government and the HKSAR Government for many years. They have been asking Hong Kong for people they wanted for many years! The Central Government wants to make law their weapon in Hong Kong, to put it simply, the Central Government wants to exercise national security by using any procedures and laws in Hong Kong, this is the ultimate protection. The Central Government wants to pass this extradition bill, which works for nearly anything. From the authoritative interpretation by the Wen Wei Po and Ta Kung Pao, the think tank in Mainland which has been studying extradition law between Mainland and Hong Kong for many years, that it is because, besides the situations that the criminals from the Mainland hide in Hong Kong or Hong Kong people committed offences in the Mainland and hide in Hong Kong, more importantly the criminals that threaten “national security”.  On 23 May, Wen Wei Po and Ta Kung Pao quoted interpretation from authority that it is normally handled by Hong Kong according to Hong Kong legal procedures when there are criminals that threaten national security. In other words, there are abnormal situations? Will it bypass the Hong Kong legal procedures to handle the case when abnormal situation occurs? Member of think tank in the Mainland who studies this issue told us clearly that, there is no “political offenders” under Chinese law. No matter the “counter-revolutionary” offenders in the past or the current “inciting subversion of state power” offenders, they are not “political offenders” but criminal offenders! Are we not to extradite a criminal offender? Are we not to extradite offenders threatening national security by using “political offender” as a protection shield? Member of think tank in the Mainland said, the logic in Mainland is the opposite! As these people cause damage to national security, Hong Kong should not be the loophole of national security and more justified to extradite (offenders). This is the most dangerous part.  Why do we think that this is dangerous? It is because it is very easy for one to be defined as threatening national security. In the Mainland, if you do anything that the Communist Party doesn’t want you to do and upset the Communist Party, such as criticising the Central Government, supporting the religions in Mainland, reporting some news they don’t like. You are easy to be prosecuted.  In the past, there were a lot of people being prosecuted with false accusations including possession of drugs, theft, espionage. It is very horrible! The system in Mainland China is called “People’s democratic dictatorship”, to put it simply, dictatorship! What is dictatorship? It means that the Government do not need to follow the law and can bypass the law when dealing with their “enemies”. There were many incidents occurred under dictatorship in the Mainland if you still remember. Why were Liu Xia put under house arrest, deprived of personal freedom, for such a long time without following any legal procedures? Why were the people related to Causeway Bay Books kidnapped in places like Hong Kong and Thailand, then voluntarily deprived all legal rights, not to meet their families, and pleaded guilty on television? Why? It is because the Chinese Government is practising dictatorship at that time.  President Liu Shaoqi asked people not to persecute and caused the death of others in the name of constitution, at the end… They left a president who was seriously hurt by the crowd and was required to be sent to hospital for treatment urgently, in a room in Henan secretly and died as he was not saved in time. Dictatorship also made one of the then 10 Marshals of the Communist Party, He Lung, who suffered from diabetes and other illnesses, dead after an injection of a large dose of glucose. The glucose and diabetes caused his death by kidney failure and multiple organ failure.  When a country claims that it exercises rule by law, but it can also exercise dictatorship at anytime, if the Hong Kong legal system will be connected to this dictatorship, in the name of national security… how horrible is this? And this is the original script, which the law would be amended according to this procedure! The original script also included that, the Central Government has assessed the situation of the whole country to prevent any out-of-control situation, to prevent any uncertainties and risks in the beginning of this year. A countrywide meeting for officials of provincial level was held and Xi Jinping gave a speech at the Central Party School. Those famous saying included “grey rhinocero”, “black swan”, “six certainties” are originated from this meeting. The leaders of Communist Party were scared of one thing: the so-called “chaos in the years ending in 9” as the Communist Party witnessed chaos happened in those years ending in 9: 1949 - the Kuomintang was replaced by the Communist;  1959 - the Great Famine; 1969 - Sino-Russian Zhenbao dao War and President Liu Shaoqi was dead; 1979 - Sino-Vietnamese War; 1989 - Tiananmen Square Protests; 1999 - Falun Gong practitioners surrounded the Zhongnanhai (Central Government compound in Beijing); 2009 - 5th July Incident in Xinjiang.  In the beginning of 2019, countrywide meeting was held by the Communist Party to prevent any chaotic situation. They have done a lot and shared experience on handling problems. On the script of the Central Government at that time, the situation in Hong Kong was extremely stable. This was impossible for Hong Kong to become one of the chaos in the “chaos in the years ending in 9”. This was impossible. They were worried about the economics and the possible unemployment problem, US-China Trade War, definitely not Hong Kong issue.  The leaders of Central Government assessed that the circumstance in Hong Kong was very favourable in recent years. Why did they think so? It is because overall jurisdiction is gradually exercising in Hong Kong, the Legislative Council is supported by the pro-establishment camp;  the social activists or even people involved in MongKok Riot were serving severe sentences; people of different political views were disqualified, civil awareness of the community became lower and lower; Beijing and Carrie Lam’s team were very confident in passing the bill. Talking about how to handle social movement, Xi Jinping stated that he would change the compromising style of Hu(Jintao)-Wen(Jiabao) Era when he came to power. Xi Jinping said no to “small conflict solves on a small scale, large conflict solves on a large scale, no conflict then nothing will be solved”! He could not allow this situation to continue. None of the policies towards Hong Kong showed any compromise during Xi Jinping’s rule, except no second term of office for CY Leung. It was because he could not get enough votes from the pro-establishment camp and the business sector at that time. One who counted the number of votes (before the election to estimate the number) said that it was difficult enough to get 601 votes. It was not a result of the power of the people. There were 1 million and 30 thousands people joining the demonstration on 9th June, we could see that Carrie Lam and Beijing Government did not compromise. No matter how many people joined the demonstration, they continued the procedures to pass the bill after the demonstration.  When we keep asking: “Where are you God?” “God, why are Hong Kong people tortured like this?” Here comes a reverse! When we question the youngsters as “useless”, on Wednesday 12th June, a situation that we all didn’t want to see occurred, but it made a reverse! A group of youngsters, some of them have written their testaments and decided to block the bullets, charged against Legislative Council and the Police cordon lines! Of course, their acts were illegal from the legal point of view; however, from the point of justice, they didn’t think that this issue should continue in this way. Therefore, they protested. This kind of protest unexpectedly triggered the uncontrolled attack by the upgraded and distorted Hong Kong Police. Even the internal assessment of the Police Force considered that the Police who used guns, shot in the head and used different weapons to attack innocent people, to clear the scene after being clashed, went too far. This is what made the issue reversed! The international pressure made it unbearable for Beijing Government.  Then what was their original plan? On the Mainland television, shots of peaceful assembly were all deleted and would be described as the protesters crashing the Police and attacking like mob. They wanted to claim that Hong Kong mob attacked the Government to gain moral high ground. However, excessive use of force by the Police reversed the whole situation. The original plan of Xi Jinping was called Fengqiao Experience” which solves the social events on site and not to escalate it; attacks the surface but not to affect the core part. Unfortunately, the HKSAR Government could not solve the problem on site and escalated to the Central Government, and even reached an international level. It created a very big pressure for the Communist Party and made a reverse.   I think this is mercy from God, a miracle from God! Lastly, I would like to conclude my sharing by the expression shown in one’s eyes. I remember I went to a church with friends after the 12th June incident and saw a pair of policeman at the entrance of the church, looking aggressive and wanted to catch the youngsters in the church. I saw a youngster in church, wearing a black vest, looked terrified in his eyes. I asked him whether I should help him to get clothes so that he could leave. He answered no. He found protection and home in the church, found his real father and mother. When I left the church, from the look of the policemen, it seemed to me that they wanted to catch a child…  May God continues to bless us with peace and may the wounded be given peace. God bless Hong Kong! Evening of the 19th of June    #沸點直擊

Question 3

words ending in ss半瓶醋 在Facebook 的評價

Accepted Answer

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

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