關於 let's call it a day meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

SUNAT ANAK KETIKA BAYI, SUNNAH YANG DILUPAKAN

Orang arab panggil khitan, orang melayu pula sebut khatan atau sunat, orang-orang tua sebut 'masuk jawi'.

Ramai yang tak tahu, sunat meng'khatan'kan bayi pada hari ke-7.
...Continue ReadingCIRCUMSTANCES WHEN A BABY, A FORGOTTEN SUN

Arabs call khitan, Malays mention circumcision or circumcision, the old people say 'enter jawi'.

Many people don't know, circumcision will make baby circumcision on the 7. th day

Yes, apart from aqiqah, shaving hair, and giving name, circumcision also among the sunnah of his majesty SAW on the 7th day of birth.

Baby is suitable for circumcision as soon as birth to 4 months old. After that, it's quite difficult to be circumcised, because the baby is starting to lie down.

Sadly, many do not know or miss this sunnah circumcision. It's also a custom for the Malays to circumcise their son when they're late for children.

From Jabir bin ' Abdillah ra; that Rasulullah saw implemented Hasan and Husain's aqiqah and Husain and proceeded both on the sevent (HR; Thabrani and Baihaqi)

From Ibnu ' Abbas ra said,
′′ There are seven things that include the sunnah of the baby on the seventh day: Named, circumcised,...." (HR; Thabrani)

From Abu Ja ' far ra said,
′′ Fathimah carried out his son's aqiqah on the seventh day. He also shaved and shaved his hair as well as the silver as the weight of his hair." (HR; Ibn Abi Syaibah)

Alhamdulillah, Taqi & Zaki we circumcised their time 3 months.

We're a little late. But for some people they ask, why is it so early?

Among the reasons why many choose to miss the child's circumcision:
1. Don't know the circumcision between the sunnah of the 7th day and better be hastened.
2. Pity and worry, afraid that the baby is sick.
3. I haven't reached the heart to see the circumcision process and watch the baby cry
4. Want children to feel the experience of being circumcised.

Circumcision is sunnah. So it's a religious guide. Islam is not wrong, but Islam is rahmah's religion.

So, don't think about ' poor baby ', afraid that baby is sick and so on. Because Islam will not be wronged by its people. While in animals Islam teaches rahmah's nature, this is what happens to babies. So of course there's rahmah when we're circumcising our baby.

Among the advantages of circumcision as a baby:

1. Babies lack of pain, because baby skin is still soft. baby sleeps a lot. Just like us, if we sleep, all the pain will be gone.

2. Baby wounds heal fast, as early as 5-7 days.

3. Babies don't need to confinement. Even parents don't need to get tired of taking care of children's abst Because the food is only milk.

4. Babies are not blocked by the move. Because the baby's work is lying down and sleeping.

5. Babies won't be afraid. Because babies still have no fear. Different from children, they already know the meaning of fear.

6. Parents don't need to be tired of persuading their children so they agree to circumcise Because baby is ready to surrender to be circumcised.

7. Circumcised babies can avoid the disease. Some children who have not been circumcised will be affected by blind urine. So, finally the doctor recommended to be circumcised soon.

8. Parents are also not tired of taking care of babies after circumcision. Because the care is very easy.

Isn't this all proof of sunnah rahmah? Ease baby's affairs and ease parent s' affairs.

If mom or dad are afraid, maybe we can try not to watch the circumcision process. Let her baby nenda or uncle accompany her. Don't be because of our shortcomings, the sunnah has to be missed.

If the circumcision experience is sought,
Hmmm, there are many other experiences that the child can find. At least, you can record the circumcision process using your handphone. When you grow up, show back to the child.

It's here, the custom is changed to sunnah.
Don't be because according to our custom to leave sunnah.
Sunnah is more important.

You don't lose your child's circumcision
Actually, they will be very grateful because their parents chose to circumcise them early.

How many mothers regret that they didn't regret because they didn't circumcise their children when they were little.

If something has been missed, it's okay. Continue to find the right time to circumcise your children. InsyaAllah it will be eased

Khitan has two times, mandatory time and sunnah time. The mandatory time is when the age of baligh, and the sunnah time is before. Ibnu Hajar the best time to do the circumcision is on the seventh day after birth and does not slow down the circumcision so that the time is mandatory unless there is a certain excuse or cause. (Fathul Bari 10/342).

Let's follow the sunnah :)

Thank God, the process of Taqi & Zaki circumcision is all made easy. I'm not awake either, live like normal days. Day 3 of our circumcision has gone on holiday in Terengganu.. hehe..

We are circumcised with Dr. Khairuddin at Taqwa clinic, Ipoh. Dr Khairuddin is very experienced. Her work is very thorough and neat.

Cost of only RM140 including medicine. It's pretty cheap than most normal places. If it's in KL Selangor area, we survey the price of about RM250- 400. That's what we do in Ipoh, save money! Hehe..

Time to circumcise the baby, Dr. Khairuddin shows the 'palat' that is inside the penis Taqi & Zaki, the doctor also said,

′′ Look, even the baby's palat has many like this, imagine if the 12-year-old is not circumcised anymore. Many have been accumulated in there ".

This is a piece of our experience. We were not able to follow the sunnah for Taqi & Zaki circumcision on the 7th day due to health and various matters. So we can only follow the sunnah to hurry to circumcise them.

Islam is very beautiful. There must be a lot of wisdom behind the sunnah circumcision when a baby.

Our children also look more macho and handsome when they're married 😎

Good morning..

Nur Shazareen
Mama to 2 macho heroes & a heroin ayuTranslated

"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…

สำหรับคนที่ยังไม่ได้อ่านเมื่อเช้าครับ :)

น้อง-พี่-ที่รัก:
รักกันไม่ได้แปลว่าจะต้องชอบกันทั้งหมด
(เขียนถึงเนื้อหาบางส่วนในภาพยนตร์)
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1
ครั้งหนึ่งที่ป๊ากับพี่สาว (ซึ่งผมเรียกว่า แจ้) มีปากเสียงกัน ผมพยายามพูดอะไรบางอย่างให้สองฝ่ายคืนดี หายโกรธ ยกเหตุผลต่างๆ นานา สิ่งที่พี่สาวผมบอกกลับมาก็คือ "แกไม่ต้องยุ่งหรอกน่า เค้าอยู่กันมาเป็นสิบๆ ปีแล้ว เดี๋ยวมันจางลงก็กลับมาคุยกันดีๆ เหมือนเดิม แค่ยังไม่ใช่ตอนนี้" และคำที่ผมจำได้แม่น "ไม่ต้องทำให้เป็นเรื่องใหญ่ คนในบ้านทะเลาะกันมันเป็นเรื่องปกติ"

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2
เมื่อวานได้ดู "น้อง-พี่-ที่รัก" โดยมิได้คาดหวังว่าหนังจะเน้นความสัมพันธ์ของพี่ชาย-น้องสาวขนาดนี้ แต่ยิ่งนั่งดูไปมากเท่าไรก็ยิ่งคิดถึงตัวเองและพี่สาวมากขึ้นเท่านั้น

ถามว่าหนังสนุกไหม ตอบว่า-มาก มีมุกให้หัวเราะเกลื่อนกลาดไปทั้งเรื่อง มุกส่วนใหญ่น่ารัก โดน และไม่กริบ น่าจะเพราะการแสดงที่แสนจะพลิ้วของซันนี่และญาญ่า โดยเฉพาะซันนี่ที่เล่นแบบลืมไปเลยว่าตัวเองหล่อ จากสเต็ปของฮิวจ์ แกรนท์ เรื่องนี้เขาได้ข้ามไปสู่สเต็ปของจิม แคร์รีย์เป็นที่เรียบร้อย แต่นั่นแหละ-หนังเรื่องนี้มีมากกว่าความสนุก และอยากชวนไปดูกันเยอะๆ ครับ

ที่คิดถึงตัวเองกับพี่สาวเพราะหนังแสดงให้เห็นถึง "ความต่าง" ระหว่างสองคนนี้แบบสุดขั้ว พี่ชายก็ไม่เอาไหนได้แบบสุดๆ ไร้ระเบียบ เละเทะ เรื่อยเจื้อย เอาตัวรอดด้วยความกะล่อนไปวันๆ ตรงข้ามกับน้องสาวที่เป๊ะ เรียนเก่ง การงานดี กีฬาเลิศ ชีวิตสองคนนี้เหมือนฟ้ากับเหว

ผมกับพี่สาวไม่ได้ต่างกันขนาดนี้ แต่ก็มีส่วนคล้าย ผมค่อนไปทางไร้ระเบียบ รักอิสระ ขณะที่พี่สาวเรียนเก่ง มีระเบียบกับชีวิต ซึ่งผมคิดว่าพี่น้องส่วนใหญ่มักจะมี "ความต่าง" ในแบบของตน

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3
มีคำพูดว่า "เพื่อนคือญาติที่เราเลือกได้เอง" กลับกันคือ "พี่น้องคือเพื่อนที่เราไม่ได้เลือก และเลือกไม่ได้" เกิดมาก็มีไอ้คนคนนี้อยู่ร่วมบ้านกับเราแล้ว ไม่ว่าจะเป็นยังไงเราก็ต้องใช้ชีวิตกับมันไปอีกหลายปี เผลอๆ ก็อาจจะทั้งชีวิต

เปลี่ยนคนก็ไม่ได้ เลิกคบหากันก็ไม่ได้

เชื่อเหลือเกินว่าบ่อยครั้งที่พี่หรือน้องจะคิดในใจว่า "ถ้ากูเปลี่ยนพี่น้องเป็นคนนั้นคนนี้ได้คงดี" แต่ประเด็นคือ-มึงเปลี่ยนไม่ได้ไงล่ะ

"พี่-น้อง" จึงเป็นความสัมพันธ์ประหลาด ไม่ได้เลือกคบกัน แต่ต้องทนกันไป ไม่ได้ชอบกันแต่ต้องอยู่กันไปแบบทู่ซี้ แล้วไอ้ความอยู่ด้วยกันนานนี่เองแหละที่สร้าง "ความผูกพัน" ขึ้นมา กระทั่งกลายเป็นความสัมพันธ์รสปะแล้ม คือ "ไม่ได้ชอบมึง แต่รักมึงนะ"

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4
ในครอบครัวที่พี่หรือน้องคนใดคนหนึ่งมีบุคลิกที่ชัดเจน สุดโต่งไปทางใดทางหนึ่ง อีกคนจะกลายเป็นด้านตรงข้ามกับคนนั้นไปเลย

พี่-น้องคือกระจกกลับด้านของกันและกัน (ส่วนหนึ่งเป็นเช่นนั้น)

ความที่อยู่ด้วยกันมานาน พี่น้องเป็นความสัมพันธ์ที่ "เปรียบเทียบ" กันโดยไม่ตั้งใจ แม้ปฏิเสธแต่ก็อดไม่ได้หรอกที่จะเปรียบเทียบ บางทีการเปรียบเทียบนี้อยู่ลึกจนเราไม่รู้ตัว แต่มันมีอิทธิพลต่อ "ความเป็นเรา" มหาศาล

หากพี่เป็นเด็กเรียน ตอนแรกน้องจะพยายามฮึดสู้ แต่ถ้าทำได้ไม่ดี น้องจะเฉไปเอาดีทางอื่นทันที เช่น กลายเป็นคนบ้ากีฬา บ้าศิลปะ เล่นเกม หรืออะไรสักอย่างที่ไม่เกี่ยวกับการเรียนในใบเกรด

หากพี่เจ้าระเบียบมากๆ น้องจะดื้อด้าน แหกกฎ หากน้องขยัน พี่อาจทำตัวกลับกันคือนั่งๆ นอนๆ สบายๆ หากน้องไปทางบุคลิกดี สำรวมเรียบร้อย พี่อาจหนีไปทางตลกโปกฮา และอื่นๆ อีกมากมาย ลองมองพี่น้องรอบตัวก็จะเห็น "กระจกกลับด้าน" เช่นนี้จำนวนไม่น้อย

เราต่างมีอิทธิพลต่อกันและกัน

พูดอีกอย่างคือ "เราต่างสร้างตัวตนของอีกคนขึ้นมา"

ซึ่งบ่อยครั้งไม่ได้สร้างให้อีกคนเหมือนเรา แต่กลับสร้างให้อีกคนแตกต่างจากเรา เพราะเขาต้องการ "หนี" ไปอีกทาง ไม่ให้ซ้ำทางพี่ ไม่ให้ทับทางน้อง

พี่-น้องจึงเป็นโจทย์แรกๆ ของชีวิตที่เราต้องเจอ โจทย์ที่ว่าเราจะ "เอาดี" แบบไหนบนเส้นทางตัวเอง หากสู้กับอีกคนหนึ่งบนทางเส้นนั้นไม่ได้ ยังเหลือทางไหนให้ไปอีก แล้วการหาทางออกเช่นนี้ซ้ำแล้วซ้ำเล่านี่เองที่หล่อหลอม "ตัวตน" ของเราขึ้นมาให้เป็นแบบที่เราเป็นตอนโตขึ้น

และการกลับด้านเช่นนี้เองที่ค่อยๆ สร้างความเป็น "คู่ตรงข้าม" ขึ้นมาในตัวเราสองคน ค่อยๆ ถ่างเราห่างจากกัน ค่อยๆ ทำให้เรามีโลกคนละใบ และเป็นไปได้ว่า--ค่อยๆ ทำให้เราเข้าใจกันและกันน้อยลงเรื่อยๆ

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มองไปที่พี่ เราจึงเห็นว่าเขาอยู่บนโลกอีกใบหนึ่ง เราเป็นมนุษย์คนละดาวที่ถูกเสก (หรือสาบ) ให้มาอยู่ในบ้านหลังเดียวกัน

โจทย์ที่สองที่คนมีพี่น้องค่อยๆ เรียนรู้ตั้งแต่ตอนเป็นวัยรุ่นไปจนถึงเป็นผู้ใหญ่ก็คือ แล้วเราจะอยู่ร่วมกับ "มนุษย์คนละดาว" อย่างไรให้มีความสุข การจะได้มาซึ่งคำตอบของโจทย์นี้ บางคนใช้เวลาทั้งชีวิต

ราวกับว่าเรามีพี่มีน้องที่ต่างกันก็เพื่อให้เราได้เรียนรู้ที่จะอยู่ร่วมกับคนที่แตกต่าง (มากน้อยก็ว่ากันไป) หนีไปไหนไม่ได้ ตัวอาจแยกจากกันบางเวลา แต่หัวใจมันผูกกันไปแล้ว

ไม่ชอบมัน แต่รักมัน

นี่คือแบบฝึกหัดความสัมพันธ์ในแบบที่ "คู่รัก" มอบให้ไม่ได้ เพราะความสัมพันธ์แบบคู่รักนั้นพร้อมจะ "บอกเลิก" กันได้เมื่อถึงจุดที่ทนไม่ไหว แต่พี่น้องจะไม่ยอมให้ความสัมพันธ์ไปถึงจุดนั้น เพราะเราต่างรู้กันว่าเราไม่มีวันเลิกเป็นพี่เป็นน้องกัน หรือหากต้องเลิกเป็นจริงๆ มันคงเป็นเรื่องที่น่าเศร้าที่สุดเรื่องหนึ่งในชีวิต เป็นแผลเป็นที่เหลือบไปเห็นทีไรก็เจ็บแปลบขึ้นมาทุกครั้ง

เราจึงประคับประคอง "ความต่าง" ด้วยทุกวิถีทางที่คิดออก

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6
เช่นนี้แล้ว การเป็นพี่น้องจึงไม่ใช่ความสนุกสวยงามแบบภาพฝัน ซึ่งหนังเรื่องนี้ก็ดีเหลือเกินที่ไม่ตอกย้ำภาพฝันนั้น หากมันคือการ "ทำงาน" แบบหนึ่ง เป็นการทำงานทางด้านจิตใจที่จะยอมรับและยอมรักคนที่แตกต่างจากเราได้ด้วยหัวใจ มิใช่ด้วยการตัดสินพิพากษาเขาด้วยมาตรฐานส่วนตัว

เราจะรักพี่หรือน้องเราได้ก็ต่อเมื่อเราไป "ยืนในรองเท้าของเขา" สวมรองเท้าเขา มองชีวิตจากมุมของเขา เงื่อนไขของเขา ประสบการณ์ที่หล่อหลอมมาของเขา แล้วจึงจะเข้าใจว่าทำไมเขาเป็นแบบนั้น ทำไมเขาคิดเช่นนั้น แล้วเราอาจต้องประหลาดใจด้วยซ้ำว่า ที่เขาเป็นแบบนั้น ส่วนหนึ่งก็เพราะเราเป็นแบบนี้

ความเข้าใจจะเกิดขึ้นเมื่อหมั่นสลับรองเท้ากันใส่ หมั่นแลกจุดยืนของกันและกัน แล้วเราจะไม่ตัดสินการกระทำของพี่หรือน้องด้วยจุดยืนของเราฝ่ายเดียว (เหมือนที่ "พี่ชัช" ในเรื่องตัดสินการช่วยเหลือของน้องสาวด้วยมุมมองของตัวเองในวันแต่งงาน)

พี่น้องเปิดโอกาสให้เรา "แลกรองเท้า" กันบ่อยกว่าความสัมพันธ์แบบอื่น ที่พร้อมจะให้อภัยน้อยกว่า

หลายครั้งผมคิดว่า ของขวัญมีค่าที่สุดที่พี่น้องจะมอบให้แก่กันไม่ใช่ข้าวของเลอเลิศอันใดเลย หากคือการให้อภัยกันด้วยหัวใจที่ไม่ติดค้าง อ้าแขนออกแล้วบอกว่า "ฉันโอเคกับความเป็นแก" แม้ในใจเราอาจอยากให้เขาเปลี่ยนแปลงไปในทางที่เราคิดว่าน่าจะดีกว่าที่เป็นอยู่ แต่นั่นอาจเป็นเพียงการตัดสินจากมาตรฐานส่วนตัวก็เป็นได้ การโอบกอดในสิ่งที่เขาเป็นนั้นอาจมีค่ามากกว่าการพยายามหยิบยื่นสิ่งที่ (เราคิดว่า) ดีให้แก่เขาด้วยซ้ำไป

...

7
ผมชอบที่หนังไม่ได้จบที่การเปลี่ยนแปลง "ตัวตน" ของพี่หรือน้อง ทั้งสองยังเป็นแบบที่ตัวเองเป็น คนเราไม่ได้เปลี่ยนกันง่ายๆ

พี่น้องในเรื่องไม่ได้เปลี่ยน "ตัวตน" หากเข้าใจมากขึ้นว่าเราควรเป็นพี่น้องกันด้วยความรู้สึกแบบไหน

เปลี่ยนจากการแบกรับน้ำหนักของการเปรียบเทียบ จับจ้องแต่ความต่าง ก่นด่าในสิ่งที่อีกฝ่ายเป็น ให้กลายเป็นความปรารถนาดีต่อกัน

ใช่, ปรารถนาดีต่อกัน--เราอาจมีกันและกันเพื่อเรียนรู้สิ่งนี้

เราสามารถปรารถนาดีต่อกันได้โดยไม่ต้องถูกใจอีกฝ่ายไปเสียทุกเรื่อง และถ้าเราปรารถนาดีต่อเขา อยากเห็นเขามีความสุข เราอาจต้องยอมบางอย่าง เราอาจไม่จำเป็นต้องพยายามเปลี่ยนแปลงเขา เราเพียงดำเนินชีวิตข้างกันด้วยหัวใจที่เปี่ยมความคาดหวังให้อีกคนหนึ่งมีความสุขที่สุด

นี่คือบทเรียนเรื่อง "ความปรารถนาดีอย่างถูกวิธี" ที่พี่น้องสอนเรา

สิ่งที่พี่ชัชพูดกับหลาน (ลูกชายของน้องสาว) ในตอนท้ายเรื่องว่า "เป็นพี่แล้วนะ รักน้องให้มากๆ นะ" นั้นมีความหมายลึกซึ้งเมื่อตัวเขาเองได้ผ่านรอยปริแยกแห่งความสัมพันธ์ของพี่น้องมาแล้ว

"รักน้อง" นั้นแน่นอนอยู่แล้ว แต่ "รักยังไง" ต่างหากที่เราต้องใช้เวลาเนิ่นนานกว่าจะเรียนรู้

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8
หลังจากนั้นไม่กี่วัน พี่สาวก็ซื้อกับข้าวอร่อยๆ มาฝากป๊า แล้วทั้งครอบครัวก็นั่งล้อมวงกินข้าวพูดคุยกันตามปกติ

บ้านเรากลับมาเป็นปกติอีกครั้ง แต่จะว่าไปก็น่าถามถึงความหมายของคำว่า "ปกติ" มันอาจเป็นแบบที่พี่สาวหรือแจ้ของผมบอกไว้ก็เป็นได้ว่า การทะเลาะกันก็เป็นเรื่องปกติอย่างหนึ่งของคนในบ้าน

เราอาจทะเลาะกันเพื่อเรียนรู้วิธีที่จะอยู่ด้วยกัน ให้เราค่อยๆ สอบผ่านวิชา "ความปรารถนาดีอย่างถูกวิธี" ไปทีละขั้น เหมือนกันกับความสัมพันธ์ระหว่างผมกับพี่สาว ทุกวันนี้เราก็ยังเป็นมนุษย์คนละดาวซึ่งถูกเสก/สาบให้มาอยู่ในบ้านหลังเดียวกัน ไม่ได้ลงรอยไปเสียทั้งหมด แต่ยืนยันได้ว่าเรารักกันเสมอ

นี่คือสิ่งที่พี่สาวคนละดาวสอนผมโดยที่เธอไม่ได้พูด แต่ความสัมพันธ์บนความต่างอันยาวนานบอกใบ้ความลับของชีวิตบางอย่างกับผมว่า "การที่เราจะรักใครสักคน เราไม่จำเป็นต้องชอบทั้งหมดที่เขาเป็น"

ซึ่งความลับนี้อาจไม่ได้ใช้ได้เฉพาะกับ "พี่-น้อง" เท่านั้น

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9
ผมกับพี่เคยมีช่วงเวลาที่เราห่างจากกันและหยุดพูดคุยกันไป แต่แล้ววันหนึ่งเราก็กลับมาคุยกันอีกครั้ง

ความสัมพันธ์ของพี่น้องบางคู่ไม่หวานหอมหรอกครับ ใครที่มีความสัมพันธ์ราบเรียบกับพี่น้องก็นับว่าโชคดี แต่ผมเองก็คิดว่าตัวเองโชคดีอีกแบบหนึ่ง

ผมได้รู้จักความรักที่มีรสขม และผมก็เชื่อว่าพี่สาวของผมก็ได้ลิ้มรสนั้นจากความรักระหว่างเราเช่นกัน

ถ้าต่างกันขนาดนี้แล้วเรายังรักกันได้ ถึงวันหนึ่งบทเรียนนี้น่าจะแผ่ขยายพื้นที่หัวใจให้เรารักคนที่แตกต่างที่ต้องพบเจอในชีวิตได้อีกมากมายนัก

นี่อาจเป็นเหตุผลที่เราถูกเสกให้อยู่ในบ้านหลังเดียวกันมาตั้งแต่เด็ก

ผมรู้ดีว่าพี่รักผม และผมก็รักพี่ เราไม่ได้ชอบทั้งหมดที่อีกคนเป็น แต่เราค่อยๆ เรียนรู้ที่จะยอมรับในสิ่งที่เราไม่ชอบนั้น

ผมอยากชวนพี่ไปดูหนังเรื่องนี้ แต่ก็รู้ดีว่ามันคงจะดูแปลกๆ ยังไงก็เถอะ ผมเชื่อว่าถ้าพี่ได้ดูเค้าจะคิดถึงผม ฉากที่พี่น้องกอดกันตอนท้ายเรื่องคงแทนความรู้สึกระหว่างเราได้ดี

ระยะห่างระหว่างเรานั้นห่างกันมาก ขณะเดียวกันก็ใกล้ชิดกันมาก

จะมีความสัมพันธ์แบบไหนสอนเราได้เช่นนี้อีก

อย่าเชื่อว่าความรักจะมีแต่รสหวาน และอย่าเชื่อว่าความรักที่ไม่หวานนั้นไม่สวยงาม

มันสวยงามอีกแบบหนึ่ง

ก็เหมือนพี่หรือน้องของเรานั่นแหละ-เขาสวยงามในแบบเขา

และสิ่งที่เราควรทำที่สุดคือโอบกอดความสวยงามนั้น

#น้องพี่ที่รัก
#BrotherOfTheYear
Sister-Brother-Baby:
Love each other doesn't mean we have to like each other all.
(write to some content in the film)
---
1
One time dad and sister (which I call jae) got into an argument. I tried to say something to two sides. Good night. I'm angry. All the reason. What my sister said back is " you don't have to mess with me. They live together. For decades, it will fade. We will come back to talk well as usual. Just not now " and the words I remember " no need to make a big deal. People in the house fight is normal "

...

2
Yesterday, I watched "Brother-Brother-darling" without expecting the movie to focus on brother-sister relationship like this. But the more I sit and watch, the more I think about myself and my sister.

If you ask if the movie is fun. I say - there are jokes to laugh at. Most of them are cute and not grip. It should be because of sunny and yaya, especially sunny playing forgetful. Let's say he's handsome from this hugh grant step. He has already crossed to Jim Carrie's steps, but that's it - this movie is more than fun and I want to invite you to watch a lot.

I miss myself and my sister because the movie shows the difference " between these two extreme. My brother can't want to go anywhere. No mess. Keep going to survive with the day. The perfect sister. Good at studying, good job. Great Sports. These two lives are like sky and abyss.

Me and my sister are not this different, but there is a similar part of me. I am quite unorganized, free love while my sister is good at studying, organized with life, which I think most brothers always have "different" in their own way

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3
There is a word that "friends are relatives that we can choose they are" brothers are friends that we didn't choose and can't choose I was born, there is this person in our house with us. No matter what, we have to live with it. Many more years, maybe my whole life.

I can't change people. I can't stop being in relationship.

I believe that I often think in my heart, "if I could change this person, it would be good" but the point is - you can't change.

" Brother-sister " is a strange relationship. We don't choose to be together, but we have to endure each other. We don't like each other, but we have to live together for a long time that created " Bond " until it becomes a relationship. And it's " I don't like you but I love you

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4
In a family where one brother or brother has a super clear personality. The other will become the opposite side of that person.

Brother-sister is a mirror back to each other's side (part of them)

Being together for a long time. Brothers is a relationship that " Compare " unintentionally. Even in denial, we can't help but compare. Sometimes this comparison is so deep that we don't realize, but it influences " US "

If you were a student, at first, you would try to fight. But if you didn't do well, you would go to get good things right away, such as becoming crazy, Sports, crazy, art, game or something that is not about studying in grade card.

If your brother is very organized, you will be stubborn and break the rules. If you are diligent, you may act back. Sit and sleep comfortably. If you go to a good personality, you may run away from the funny way. Funny way, and more. Let's see brothers around. I will see a few "mirrors" like this.

We all influence each other.

Another saying is " we all create one another's identity

I often don't create another person like us, but it makes another person different from us because he wants to "run away" the other way, not to repeat the way. I won't let you over the way.

Brother-sister is the first problem of our life that we have to find. What kind of "we will" do on our path. If we can't fight with another person on the road, there is still any way to go. Finding a solution like this over and over again. The handsome one who we are " to be the way we were when we were growing up.

And this kind of turning back that slowly creates the "opposite couple" in the two of us slowly spread us apart. Slowly makes us a different world and it's possible that -- slowly makes us understand each other less.

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5
Look at my brother, I see that he is on another planet. We are human beings who are made (or) to be in the same house.

The second problem that people have siblings slowly learn from teenagers to mature. How can we live with "different stars" to be happy to get the answer to this problem. Some people spend their whole life.

As if we have different brothers, so that we can learn to live with different people (no matter how much we say). We can't go anywhere. We may be separated for some time, but our hearts are tied.

Don't like it but love it

This is the kind of relationship training that " couples " can't give because couples are ready to " break up " when it comes to the point where they can't stand it, but brothers won't let the relationship reach that point because we both know that we will never stop being brother. Sister or if you have to stop being, it would be the saddest thing in life. It's a scar that I see it, it hurts every time.

So we support "the difference" in every way we can figure out.

...

6
Like this, being a sibling is not a fun, beautiful dream. This movie is so good not to remind that dream. If it is to "work" a mental work to accept and love someone who is different from us with the heart. Not by judgement, judge him by personal standards.

We can only love my brother or brother when we go to "Stand in his shoes" wearing shoes. He looks at life from his angle. His condition. His handsome experience, then you will understand why he is like that. Why he thinks so. We may even be surprised that he is because we are.

Understanding will happen when switching shoes to exchange each other's stand and we will not judge the actions of brother or brother by one side. (like "brother chor cuddle hours" in judging sister's help with their own perspective in Wedding day)

Brothers open the opportunity for us to "exchange shoes" more often than other relationships that are less ready to forgive.

Many times, I think that the most valuable gift that brothers will give to each other, not a great thing. If it is to forgive each other with a heart that doesn't owe each other with open arms and say "I'm okay with you" even in our hearts, we may want him to change. In a way we think it's better than we are, but that may be just judging by personal standards. Embracing who he is is more valuable than trying to give him what (we think) is good.

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7
I like that the movie doesn't end at changing "who" of both of you or sisters. It's still the way they are. People don't change easily.

Brothers and sisters don't change "who they are" if you understand what kind of feelings we should be brothers.

Change from carrying the weight of comparison, but the difference, cursing what the other is to be best wishes for each other.

Yes, wish for each other -- we may have each other to learn this

We can wish to be good to each other without liking the other. and if we wish to be good for him happy, we may have to give up something. We may not have to try to change him. We just live beside each other with a heart. Expectation for one another to be the happiest

This is the lesson about "best wishes" that brothers teach us.

What brother chor cuddle said to the grandchild (sister's son) at the end, "I am a brother now. I love you very much" is a deep meaning when he has passed the cremation of brothers relationship.

" love you " is for sure, but " how to love " is what we take a long time to learn.

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8
After a few days, my sister bought some delicious rice for dad. Then the whole family sat around the band, eating and talking as usual.

Our house is back to normal again, but it's nice to ask about the meaning of " normal it may be the way my sister or jae said. Fighting is normal for people in the house.

We may fight to learn how to be together. Let us gradually pass the "best wishes" class. Same step by step with the relationship between me and my sister. Nowadays we are still human beings who are made / scalmed / scalmed in the same house. Not all the marks, but I can confirm that we always love each other.

This is what a different star sister taught me without saying, but a long relationship. Hints some secrets of life to me, "to love someone, we don't have to like all that they are"

This secret may not only be used with "Brother-sister"

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9
My brother and I used to have a time when we were apart and stopped talking to each other. But then one day we came back to talk again.

Some brothers relationship is not sweet and fragrant. Anyone who has a smooth relationship with brothers is lucky. But I think I am lucky.

I have known bitter love, and I believe my sister also tasted it from our love.

If it's this different, we can still love each other until one day. This lesson should spread our heart space to love many different people who have to meet in life.

Maybe this is why we were conjured in the same house since we were young.

I know that you love me, and I love you. I don't like all that the other person is, but we slowly learn to accept what we don't like.

I want to invite you to watch this movie, but I know that it will look strange. I believe that if you watch it, they will miss me. The scene where brothers hug each other at the end, the story will replace our feelings.

The distance between us is so far apart, meanwhile, very close.

What kind of relationship can teach us like this?

Don't believe that love is only sweet and don't believe that love is not sweet.

It's beautiful in another way.

Just like our brother or brother - he is beautiful in his way.

And all we should do is embrace that beauty

#น้องพี่ที่รัก
#BrotherOfTheYearTranslated