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

#NFTsummer Have you heard of Yat Siu? If you’re into gaming or into blockchain, maybe you’ve heard of Animoca Brands. Yat Siu is an entrepreneur and angel investor based in Hong Kong who founded Animoca Brands. Animoca Brands recently announced its raise of $88M at a $1B valuation to combine games with digital collectibles, also known as NFTs. Investors in the round include Kingsway Capital and AppWorks.

Have you heard Yat’s story? If you listen to some of his interviews, you’ll get a fuller picture of who he is and how he managed to build Animoca Brands, a unicorn blockchain company that boasts a broad portfolio of games including The Sandbox and products using popular IPs such as Formula 1®.

Yat was born in Austria to two musicians, so naturally he grew up studying music alongside his parents. He realized at a young age that he was more passionate about tech when he taught himself programming and built a software on an Atari for himself that composed music on the keyboard.

When Atari heard about this program, they reached out to Yat and hired him to work for them. Yat moved to Germany for a while to work with Atari, and then eventually made his way to Hong Kong in 1995, where he started the first internet provider in Hong Kong. After a few years, he founded Outblaze, a white-label SaaS provider, which he eventually sold to IBM in 2009.

In 2011, Yat founded Animoca to make mobile gaming apps and in 2014 it became Animoca Brands to focus on the blockchain gaming market. He had experienced what centralized platforms like the App Store could do to sellers and creators when one of their best gaming apps was temporarily banned, and wanted to help build a more decentralized world where decision-making is more open.

Check out what Yat has to say about how he got involved in crypto and NFTs, and how it relates to gaming.

If you’re interested in joining our community of founders, apply to AppWorks Accelerator #23 >> https://bit.ly/3iXpjmH

https://youtu.be/sUdkWHIFmSY

這首歌十年了... 厲害，我還沒死。

【歌詞版 高清YouTube】：https://bit.ly/2NVDibR
【我還是我I AM WHO I AM 高清版YouTube】: https://bit.ly/2ZIgYb0

我還是我
I am Who I am

我的名字 叫明志 這個自我介紹方式
My name is Namewee this is how I introduce myself

從小老師 就認為我是想要惹事
My teachers always thought I was looking for trouble

我熱愛文字 我討厭公式 我不想面對考試
I love literature but I hate the school system and all its exams

我更討厭你規定我的頭髮款式
I get annoyed when people comment on my hair style

我的思考方式 沒有人能夠抑制
I was born with a mind that is beyond the control of others

大人都固執的怪我固執 不懂事
Adult always blamed me for being stubborn & naive

我明白 待人處事都有 它的模式
I realized our society has its way of life

但不代表 全部人都要變成孔子
But that doesn’t mean all of us must become Confucius

十五歲 那年初我染上音樂的毒
Age of 15 I discovered the joy of music

我透過音符 來降低我內心的無助
Through its notes I find ways to express my thoughts

我學習美術 但依然無法省悟
I tried picking up art but it could not hold my inner feelings

是孤獨創造梵谷 還是梵谷創造孤獨
Was loneliness created Van Gogh or Van Gogh created loneliness?

中學畢業後 華人得自求多福
Upon finishing high school Chinese must find ways to further their studies

揮揮衣袖 我決定要到台灣留宿
Faced with challenges I decided to pursue my education in Taiwan

爸爸媽媽不要擔心 我不會辜負
Don’t worry mom and dad I promise not to fail you

等我讀完書 一定會回到歸屬
I will return to my beloved home when I graduate

我會好好過 我必須好好過
I will be fine I must stay strong

想家的時候 我就打開電腦拼命創作
When I lone for home I turn on my PC and started writing

牆壁上的大馬國旗 是我的寄託
My Malaysian flag on the wall keeping my spirit alive

床頭的那張全家福 總是讓我振作
My family portrait beside my bed keeping my strong

一個人 在外國 要獨立生活
As a foreigner living in a strange country I learn to become independent

我做過很多工作 我面對很多數落
I took up many jobs to pay my bills and tuition fees

無論再辛苦 還有音樂陪著我
When times were tough at least I still had my music with me

我理想沒有變 因為我 還是我
My dream did not change, I am still who I am

我有我自己的夢 自己會走
I have my own dream I will keep going

就算再寂寞
Even it’s a lonely path

請原諒我的衝動 我會好好過
Please forgive me for being impulsive, I will be fine

(相信我還是我)
Believe me I am still who I am

我不怕暴雨狂風 將我淹沒
I’m not afraid the obstacles cos it will not drown me

毅然往前走
I will keep moving forward

就算旅途再癲頗 我不能回頭
Even if it is a journey of no return I will not give up

(相信我還是我)
Believe me I am still who I am

2007 年 那是個遲來的夏天
Summer came late in the year 2007

改編國歌事件 讓我人生從此改變
My life was forever changed with my national anthem song

透過網際網絡 我闖了禍
I got into trouble through the cyber space

但我堅持沒有犯錯 有人 說我叛國
I was misunderstood and got accused of betraying my country

有人 想幹掉我 有人 說不讓我回國
My life was threaten and I even was told I cannot come home

要我磕頭認錯 政客趁機出頭
I was pushed into the limelight by influential people trying to gain fame

媒體還配合炒作 世界 各地的記者call我
Media got into the action and suddenly international reporters started calling me

我必須學會沉著
I had to learn to stay calm

謠言越來越多 讓人陷入惶恐
Rumours started flowing and my heart started pounding

甚至 還有人把偷渡路線圖 send給我
I even received maps with international escape routes

爸爸媽媽 對不起 不要難過
Sorry mom and dad please don’t be sad

牆壁上的國旗 我從來沒有拆過
I have not taken down the flag hanging in my bedroom

我破了千萬點閱 也上了各大版面
My youtube video broke records and my face made newspaper covers

有人喜歡有人討厭面臨輿論考驗
I got cheered and got booed I must learn to face the music now

我的故事 被文學家 寫進了書
My story was documented into a book

我的臉 還被人畫成了 卡通人物
My face even got drawn into cartoon characters

再多褒與貶 都已經事過境遷
I wished that all the fame and criticism would die down some day

畢業後的我 決定勇敢面對誤解
Upon graduation I decided to return to my beloved country

我用陸路 交通跨越六個國度
With only land routes I walked across 6 countries to come home

拍攝紀錄 沿途上的驚險 和領悟
I even shot a documentary on my challenging journey

一步步 很艱苦 終於回到大馬領土
Thought every step was tought I finally came home to Malaysia

被拍照 被訪問 還被叫到警察總部
I got called to police station and faced many media interviews

雖然 你們都把我 當成公眾人物
Even though most think of me as public personality

但我必須穩住 要保持個人創作元素
But I stayed true to myself to retain my creative art

有人說 我的作品荼毒青年思想
People criticized my songs for poisoning the younger generation

有人說 我的頭腦都在胡思亂想
Some said my mind is full of dirty thoughts

說我亂講 說我是社會毒瘤發癢
That I have bad morel in the civil society

還怪我 變成他兒子的偶像
Some just blamed me for becoming his son’s idol

面對攻擊 我早就已經習慣
I am used to faced difficult situations

保持沉默微笑 是我最好的答案
Keeping silent is my best defense and response

裝模作樣 從來就 不是我的強項
Putting a fake face is never an option for me

但我出門逛逛 卻要偽偽裝裝
I can no longer be myself when I go out

我的email 每天都有人來 訴苦
People write to me pleading for help everyday

但我愛莫能助因為我不是 政府
I just cannot do much because I am not the government

你們來我facebook 鼓勵我 詆毀我
Some come to my Facebook supporting and slandering me

我不刪除因為那是言論自由淨土
I didn’t delete because it is their freedom of speech

我想要讓你聽見 讓你看見
I want you to listen and I want you to see

我想說的話 我的電影 和我的音樂
The messages I convey through my voice, my film and my music

徘徊尺度邊緣 自由自在的暢所欲言
Walking the fine line in freedom of speech

那是主流媒體 永遠看不到的世界
Which is something the mainstream media can never understand

我站在不 同的的角度我不會停下腳步
I stand from a different point and I will not stop

這條思路 是老天送給我的禮物
This path is a gift from god

你說我糊塗 你甚至想要把我說服
You claimed that I am lost and want to brainwash me

對不起我 還是我那就是我的態度
Sorry, I am still who I am, and this is my attitude

在Kuala Lumpur 開始了新的生活
I am starting new life in Kuala Lumpur

這裡人潮洶湧 馬路坑坑洞洞
It is crowded here and the roads are full of potholes

一不小心 我可能會在這裡失控
If I’m not careful things may just get out of control

這條路 很難走 但我已經 沒有回頭
The path is not easy but I do not have a choice anymore

(我還是我 我還是我)
Because I am still who I am

-

『數位音樂服務 Digital Music Services』

KKBOX: http://bit.ly/2HGk1tT
Spotify: https://spoti.fi/2CQHzbk
iTunes & Apple Music: https://apple.co/2uGZInt
Amazon: https://amzn.to/2FOENE4
MyMusic: http://bit.ly/2UnHq9p
虾米音乐: http://bit.ly/2WIf4nA
网易云音乐: http://bit.ly/2FONeiC
JOOX: http://bit.ly/2VdVHTj


-

Namewee 黃明志 Official Facebook Fan Page:
https://www.facebook.com/namewee/

Namewee YouTube Channel Link:
http://www.youtube.com/user/namewee

#Namewee #黃明志

"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…

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Hi! I'm Eden Kai aka Yusuke from Netflix Terrace House Aloha State. Hope you enjoy this video about "My First Trip to LA" part 3. In this video, some behind the scenes when I collaborated with famous YouTuber Andrew Fung of the Fung Bros and Japanese actress Narisa Suzuki in Little Tokyo, Los Angeles! Narisa is also friends with one of the Terrace House Aloha State castmates, too! Hint: his nickname is the "guilty samurai", lol... ;) I had an awesome time and we ate lots of delicious food!
Then, a short clip of me playing "She Saw Me Dance" at the JACCC Plaza for the 77th Nisei Week Festival 2017. Also, met the beautiful 2017 Nisei Week Royal Court Princesses at the Aratani Theater. They had a special request for me to play "Monogatari"... I had so much fun with an impromptu performance at the Aratani Theater. The acoustics and sound were amazing there! Glad I had my ukulele with me! :-)

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***Check out the video we collaborated on: "LITTLE TOKYO FOOD CRAWL" w/ YUSUKE & NARISA - Fung Bros Food: https://www.youtube.com/watch?v=ScWE5fVVo1Q&lc=z234gdlb5qvavhmntacdp435fdc04vqmuayko3k4qr5w03c010c.1507585987992411

Special Thanks: Kaitlin Hara and the 2017 Nisei Week Royal Court princesses for the Aratani Theater video clip!

Thank you to the Nisei Week Foundation and Hawaiian Airlines for sponsoring my first trip to LA!!!

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ABOUT EDEN KAI:
With millions of fans around the world, Eden Kai has earned his reputation as being a ukulele and guitar virtuoso, a Pop/R&B vocalist, and an accomplished actor. While many were first introduced to Eden when he joined the cast of Netflix and Fuji Television’s Terrace House: Aloha State, the young star’s success had already been years in the making. He has since gone on to make additional appearances on Terrace House: Tokyo 2019-2020, appeared on Shiro to Kiiro on Amazon Prime and has performed at the Fuji Rock Festival (the largest outdoor music festival in Japan), Nisei Week Festival in Little Tokyo, OC Japan Fair and ANA Honolulu Music Week in Waikiki. Eden’s accomplishments have earned him interviews by NBC News and The Yomiuri Shinbun (the world’s most circulated newspaper).

His most recent album, Home Sweet Home, released in 2018 and was recorded in Tokyo, Japan, produced by his music label in Japan Victor Entertainment. Three tracks from that album were featured in episodes of Netflix Japan’s Terrace House during the show’s Opening New Doors and Tokyo 2019-2020 seasons. The series also featured Eden’s instrumental compositions of “Touch the Sky” and “Feel the Earth.” “Monogatari” was his debut pop vocal single, which he wrote and performed on the show. That music, as well as Eden’s past album releases, can be heard on all major streaming services and is available for purchase on Eden’s official website, www.EdenKai.com.

In addition to working on his own music, Eden has collaborated with some of the world’s top artists and producers, including EXILE and Dream. One of his compositions was used to create “Anuenue,” a hit J-Pop single recorded and released by Dance Earth Party, which landed at #11 on the Oricon Music Charts in Japan.

Eden also recognizes the importance of using his music to help others. He has hosted several ukulele workshops in Honolulu and Japan, been the featured performer at the Waikiki Spam Jam, benefiting the largest non-profit in Hawaii that feeds the needy, and the Hawaii Food and Wine Festival from which proceeds helped local children in the community. Eden has donated proceeds from some of his songs to assist humanitarian causes, including the support of a health center in Haiti and the purchase of educational materials for children in Bangladesh.

---------
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Hi! I'm Eden Kai. If you watch Netflix's Terrace House Aloha State you know me as Yusuke. Since leaving the Terrace House many people have been asking me to make more videos about what I'm doing now... I'd like to share with you my life after Terrace House.

Hope you enjoy this video about "My first trip to LA" part 2.
In this video, I joined the 2017 Nisei Week Festival in Little Tokyo, Los Angeles, and was really happy to meet many awesome fans, and went to BuzzFeed and got a great tour around their amazing studio buildings.

Big SHOUTOUT and much thanks to Sean M. and everyone at BUZZFEED!!! Everyone was so cool and I met one of my favorite BuzzFeed video producer and ghost hunter, Shane Madej!!! He's a big fan of Terrace House and a super awesome guy!

Follow Shane on his Instagram: @shanemadej
Check out and subscribe to BuzzFeed and Shane on Buzzfeed Unsolved Mysteries! Awesomeness!: https://www.youtube.com/watch?v=cDZweMXXY6Y&list=PLVAvUrL_VQiNZYyMnmzLZs8_W9l-WBqm-
BuzzFeed YouTube channel: https://www.youtube.com/user/BuzzFeedVideo
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Thank you so much to the Nisei Week Foundation and Hawaiian Airlines for sponsoring my first trip to LA!!! You guys are so awesome!!! I really appreciate everyone's kind help and support on my trip.

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ABOUT EDEN KAI:
With millions of fans around the world, Eden Kai has earned his reputation as being a ukulele and guitar virtuoso, a Pop/R&B vocalist, and an accomplished actor. While many were first introduced to Eden when he joined the cast of Netflix and Fuji Television’s Terrace House: Aloha State, the young star’s success had already been years in the making. He has since gone on to make additional appearances on Terrace House: Tokyo 2019-2020, appeared on Shiro to Kiiro on Amazon Prime and has performed at the Fuji Rock Festival (the largest outdoor music festival in Japan), Nisei Week Festival in Little Tokyo, OC Japan Fair and ANA Honolulu Music Week in Waikiki. Eden’s accomplishments have earned him interviews by NBC News and The Yomiuri Shinbun (the world’s most circulated newspaper).

His most recent album, Home Sweet Home, released in 2018 and was recorded in Tokyo, Japan, produced by his music label in Japan Victor Entertainment. Three tracks from that album were featured in episodes of Netflix Japan’s Terrace House during the show’s Opening New Doors and Tokyo 2019-2020 seasons. The series also featured Eden’s instrumental compositions of “Touch the Sky” and “Feel the Earth.” “Monogatari” was his debut pop vocal single, which he wrote and performed on the show. That music, as well as Eden’s past album releases, can be heard on all major streaming services and is available for purchase on Eden’s official website, www.EdenKai.com.

In addition to working on his own music, Eden has collaborated with some of the world’s top artists and producers, including EXILE and Dream. One of his compositions was used to create “Anuenue,” a hit J-Pop single recorded and released by Dance Earth Party, which landed at #11 on the Oricon Music Charts in Japan.

Eden also recognizes the importance of using his music to help others. He has hosted several ukulele workshops in Honolulu and Japan, been the featured performer at the Waikiki Spam Jam, benefiting the largest non-profit in Hawaii that feeds the needy, and the Hawaii Food and Wine Festival from which proceeds helped local children in the community. Eden has donated proceeds from some of his songs to assist humanitarian causes, including the support of a health center in Haiti and the purchase of educational materials for children in Bangladesh.

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Song: Kontinuum - Aware [NCS Release]
Music provided by NoCopyrightSounds.
Watch: https://www.youtube.com/watch?v=89IUAznfjqE
Download/Stream: http://bit.ly/kontinuum-aware

Song: Rivero & Anna Yvette - Heaven [NCS Release]
Music provided by NoCopyrightSounds.
Watch: https://youtu.be/WS9ludtQmqs
Download/Stream: http://ncs.io/HeavenCr