關於 if you know all of them are you in love and death meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

Abba God: The Best Father

Learning to be a father? You can’t really learn what is important from prenatal classes. Learn it from the Scriptures, through seeing how your heavenly Father, Abba God, is like.

“Sing to God! Sing praises to his name! Extol him who rides on the clouds: to Yah, his name! Rejoice before him! A father of the fatherless, and a defender of the widows, is God in his holy habitation.” (Psalms ‭68:4-5‬ ‭WEB‬)

Abba God is a true hero—a father to orphans and a defender of the widows. He who has perfect power protects those who are weak and vulnerable.

““Ask, and it will be given you. Seek, and you will find. Knock, and it will be opened for you. For everyone who asks receives. He who seeks finds. To him who knocks it will be opened. Or who is there among you, who, if his son asks him for bread, will give him a stone? Or if he asks for a fish, who will give him a serpent? If you then, being evil, know how to give good gifts to your children, how much more will your Father who is in heaven give good things to those who ask him!” (Matthew ‭7:7-11‬ ‭WEB‬)

Abba God is good to His children. He knows when to give them good things that they ask for.

“Every good gift and every perfect gift is from above, coming down from the Father of lights, with whom can be no variation, nor turning shadow.” (James ‭1:17‬ ‭WEB‬)

Abba God definitely does not give evil things. There is no evil in Him at all—He is fully good.

“and you have forgotten the exhortation which reasons with you as with children, “My son, don’t take lightly the chastening of the Lord, nor faint when you are reproved by him; For whom the Lord loves, he chastens, and scourges every son whom he receives.” It is for discipline that you endure. God deals with you as with children, for what son is there whom his father doesn’t discipline? But if you are without discipline, of which all have been made partakers, then are you illegitimate, and not children. Furthermore, we had the fathers of our flesh to chasten us, and we paid them respect. Shall we not much rather be in subjection to the Father of spirits, and live? For they indeed, for a few days, punished us as seemed good to them; but he for our profit, that we may be partakers of his holiness. All chastening seems for the present to be not joyous but grievous; yet afterward it yields the peaceful fruit of righteousness to those who have been exercised thereby.” (Hebrews ‭12:5-11‬ ‭WEB‬)

Abba God disciplines us out of love, so that we will profit from it. When emerge from the chastening process, we become partakers of His holiness, meaning we are set apart from every form of death (sickness, poverty, strife, depression, anger, addictions, etc).

“Be therefore imitators of God, as beloved children. Walk in love, even as Christ also loved you, and gave himself up for us, an offering and a sacrifice to God for a sweet-smelling fragrance.” (Ephesians ‭5:1-2‬ ‭WEB‬)

When we know that our God is good and He is love, we can imitate our Abba God as beloved children. We too can walk in love, towards our children, our spouse, and our fellow men. All this is made possible by having a good opinion of Abba God, which keeps us in a state of faith!

See God’s heart of love for you when you look at Jesus who is His exact representation. Through every one of the thirty seven recorded miracles that Jesus did, we can see Abba God’s heart of love and grace for us: https://bit.ly/messiahs-miracles

［翻轉視界 8］逃離禁錮之地：離開北韓我學會自由與憐憫
　
“If you don't know the words, that means you don't understand the concept, and therefore, you don't even realize that concept is even a possibility.” —— human rights activist Yeonmi Park。
　
「如果你不知道某些詞彙，那就意味著你並不了解某些概念，因此你也不會意識到，那些概念可以是一種可能。」——人權鬥士朴延美
　
對出逃前的她而言，自由與溫飽是很奢侈的理念，更無法了解「愛」的全貌。當我們無法得知世界發生了什麼，無法想像那超越自身認知的世界，我們便無法真正地同理他人。今天我想邀請大家，以不同的角度，重新感受自由、溫飽與愛的可貴。
　
★★★★★★★★★★★★
　
I was born in 1993 in the northern part of North Korea, in a town called Hyesan, which is on the border with China. I had loving parents and one older sister. Before I was even 10 years old, my father was sent to a labor camp for engaging in illegal trading. Now, by "illegal trading" -- he was selling clogs, sugar, rice and later copper to feed us. In 2007, my sister and I decided to escape. She was 16 years old, and I was 13 years old.
　
1. on the border with 鄰近邊界
2. labor camp 勞改營
3. illegal trading 非法的交易
　
１９９３年我出生在北韓的北部，一個名叫惠山的小鎮，鄰近中國邊界。我有愛我的父母與一位姐姐。在我１０歲大的時候，父親就被送去勞改營，因為他非法買賣一些東西。所謂的非法買賣，其實他是賣一些木鞋、糖、米，之後還賣了銅，只為了餵飽我們。２００７年，姐姐和我決定逃跑。她當時１６歲，而我１３歲。
　
★★★★★★★★★★★★
　
I need you to understand what the word "escape" means in the context of North Korea. We were all starving, and hunger means death in North Korea. So it was the only option for us. I didn't even understand the concept of escape, but I could see the lights from China at night, and I wondered if I go where the light is, I might be able to find a bowl of rice. It's not like we had a grand plan or maps. We did not know anything about what was going to happen. Imagine your apartment building caught fire. I mean, what would you do? Would you stay there to be burned, or would you jump off out of the window and see what happens? That's what we did. We jumped out of the house instead of the fire.
　
4. in the context of 在⋯⋯的情境中
5. concept 概念；觀念；思想
6. a grand plan 一個遠大的計畫
7. catch fire 著火
　
你們要知道，「逃跑」這兩字在北韓意味著什麼。我們天天挨餓，而飢餓在北韓意味著死亡。所以逃跑是我們唯一的選擇。我當時還不了解逃跑是什麼意思，但晚上我能看見中國那邊的燈光，我想著如果我能到有光的地方，也許就能找到一碗飯。我們沒有什麼遠大的計畫或地圖。我們完全不知道，接下來會發生什麼事。想像一下，你的公寓失火了，你會怎麼辦？你會坐以待斃，還是跳窗然後再看著辦？我們就是那樣。我們從大樓上跳了下來， 而不是等火燒上來。
　
★★★★★★★★★★★★
　
North Korea is unimaginable. It's very hard for me when people ask me what it feels like to live there. To be honest, I tell you: you can't even imagine it. The words in any language can't describe, because it's a totally different planet, as you cannot imagine your life on Mars right now. For example, the word "love" has only one meaning: love for the Dear Leader. There's no concept of romantic love in North Korea. And if you don't know the words, that means you don't understand the concept, and therefore, you don't even realize that concept is even a possibility.
　
8. unimaginable 無法想像
9. no concept of... 沒有⋯的概念
10. romantic love 浪漫愛
　
北韓是難以想像的。對我來說，要回答住在北韓是什麼感覺，非常困難。老實說，我可以告訴各位——你無從想像。沒有任何語言可以描述，因為那是個截然不同的星球，就像你現在無法想像自己在火星上的生活一樣。比如說，「愛」只有一個意思：愛偉大的領袖。在北韓沒有那種浪漫之愛的概念。如果你不知道某些詞彙，那就意味著你並不了解某些概念，因此你也不會意識到，那些概念可以是一種可能。
　
★★★★★★★★★★★★
　
Let me give you another example. Growing up in North Korea, we truly believed that our Dear Leader is an almighty god who can even read my thoughts. I was even afraid to think in North Korea. We are told that he's starving for us, and he's working tirelessly for us, and my heart just broke for him. When I escaped to South Korea, people told me that he was actually a dictator, he had cars, many, many resorts, and he had an ultraluxurious life. And then I remember looking at a picture of him, realizing for the first time that he is the largest guy in the picture. And it hit me. Finally, I realized he wasn't starving. But I was never able to see that before, until someone told me that he was fat.
　
11. an almighty god 一個全能的神
12. tirelessly 不屈不撓地；堅忍地
13. a dictator 獨裁者
14. it hit me 突然想到、意識到 
15. resort 度假地（此處係指北韓獨裁者有很多度假別墅）
16. ultraluxurious 極其奢華的
17. have a…life 過著⋯⋯的生活
　
讓我再舉一個例子。在北韓長大，我們真心相信我們偉大的領袖是全能的神，他甚至能看穿我在想什麼。我在北韓甚至不敢思考。我們聽說他為我們挨餓、不眠不休地為我們工作，而我為此感到心痛。我逃到南韓後，有人跟我說他其實是獨裁者，他有很多車、很多很多渡假別墅，他的生活極為奢華。我記得自己看著一張有他的照片，第一次意識到他是照片裡體型最大的那個。這件事讓我大受打擊。那時我才終於了解，他沒有挨餓。但我以前總無法看清這些，直到有人跟我說他很胖，我才恍然大悟。
　
★★★★★★★★★★★★
　
Really, someone had to teach me that he was fat. If you have never practiced critical thinking, then you simply see what you're told to see. The biggest question also people ask me is: "Why is there no revolution inside North Korea? Are we dumb? Why is there no revolution for 70 years of this oppression?" And I say: If you don't know you're a slave, if you don't know you're isolated or oppressed, how do you fight to be free? I mean, if you know you're isolated, that means you are not isolated. Not knowing is the true definition of isolation, and that's why I never knew I was isolated when I was in North Korea. I literally thought I was in the center of the universe.
　
18. critical thinking 批判性思考
19. revolution 革命
20. dumb 愚蠢的*
21. oppression 壓迫；壓制；欺壓
22. isolated and oppressed 與世隔絕的與被壓迫的
　
真的，要有人教我，他這樣叫做胖。如果你沒學過批判性思考，你看到的就只會是別人跟你說的。其他人對我提出的大哉問還有：「為何北韓沒有革命？我們傻嗎？為何歷經７０年的壓迫，卻沒人發動革命？」我回答：「如果你不知道自己是奴隸，不知道自己被與世隔絕、壓迫，你要如何為自由而戰？我的意思是，如果你知道自己被與世隔絕，那就表示你並非真的與世隔絕。與世隔絕的真正定義是無知，所以我從不知道，在北韓的我與世隔絕。我真的以為我們是宇宙的中心。

*dumb: https://bit.ly/3fG5XOk
　
★★★★★★★★★★★★
　
So here is my idea worth spreading: a lot of people think humans inherently know what is right and wrong, the difference between justice and injustice, what we deserve and we don't deserve. I tell them: BS. Everything, everything must be taught, including compassion. If I see someone dying on the street right now, I will do anything to save that person. But when I was in North Korea, I saw people dying and dead on the streets. I felt nothing. Not because I'm a psychopath, but because I never learned the concept of compassion. Only, I felt compassion, empathy and sympathy in my heart after I learned the word "compassion" and the concept, and I feel them now.
　
23. inherently 與生俱來地
24. justice and injustice 正義與不義
25. psychopath 精神病患者
26. compassion, empathy and sympathy 憐憫、同理與同情*
　
我覺得值得分享的想法是：很多人以為，人類生來就能分辨是非對錯，懂得正義與邪惡的差別，我們值得被怎樣對待。我跟他們說：放屁。所有的事，所有的事都得經過教導，包含憐憫。如果我現在看見有人在路邊奄奄一息，我會不顧一切來救他。但我在北韓的時候，會眼睜睜看著有人橫死街頭，卻沒有任何感覺。並非因為我是心理病態，而是我從未學過憐憫的概念。只有在我的內心感受到憐憫、同理與同情，我才學會「憐憫」一詞與其概念，而如今我已能感受到這些。
　
*compassion: a strong feeling of sympathy and sadness for the suffering or bad luck of others and a wish to help them

empathy: the ability to share someone else's feelings or experiences by imagining what it would be like to be in that person's situation

sympathy: (an expression of) understanding and care for someone else's suffering
　
★★★★★★★★★★★★
　
Now I live in the United States as a free person.
　
現在我以自由人的身分住在美國。
　
★★★★★★★★★★★★
　
And recently, the leader of the free country, our President Trump, met with my former god. And he decided human rights is not important enough to include in his agendas, and he did not talk about it. And it scares me. We live in a world right now where a dictator can be praised for executing his uncle, for killing his half brother, killing thousands of North Koreans. And that was worthy of praise. And also it made me think: perhaps we all need to be taught something new about freedom now. Freedom is fragile. I don't want to alarm you, but it is. It only took three generations to make North Korea into George Orwell's "1984." It took only three generations. If we don't fight for human rights for the people who are oppressed right now who don't have a voice, as free people here, who will fight for us when we are not free? Machines? Animals? I don't know.
　
27. agenda 議程
28. be praised for 因⋯⋯獲得讚揚
29. execute (v.) 處決
30. worthy of sth 適合某物或具有某物的特徵
31. fragile 脆弱
　
最近，自由國度的領袖，我們的川普總統，和我以前的神會面。他認定，人權沒那麼重要，不需排進議程中，所以對此他隻字不提。這嚇壞我了。我們竟身在一個獨裁者處決伯父還能獲得讚揚的世界裡，他殺害同父異母的哥哥、殺害成千上萬的北韓人民，竟還能得到讚揚。這不禁使我開始思考，也許我們現在都要學習自由的新涵義。自由很脆弱。我不想嚇你，但事實如此。短短三個世代，就讓北韓淪為喬治．歐威爾筆下的《１９８４》。只花了三個世代。如果我們不為人權而戰，不為受壓迫、不為無法發聲的人而戰，當身為自由人的我們不自由時，誰還願意為我們而戰？機器嗎？動物嗎？我不知道。
　
★★★★★★★★★★★★
　
I think it's wonderful that we care about climate change, animal rights, gender equality, all of these things. The fact that we care about animals' rights, that means that's how beautiful our heart is, that we care about someone who cannot speak for themselves. And North Koreans right now cannot speak for themselves. They don't have internet in the 21st century. We don't have electricity, and it is the darkest place on earth right now. Now I want to say something to my fellow North Koreans who are living in that darkness. They might not believe this, but I want to tell them that an alternative life is possible. Be free.
　
32. speak for oneself 為某人發聲
33. alternative life 另一種生活
　
我覺得我們能關心氣候變遷、動物權益、性別平等諸如此類之事，真的很美好。因為，我們關心動物權益，就代表了我們的心地有多善良，也代表我們關心無法為自己發聲的對象。北韓人民現在無法為自己發聲。身處２１世紀的他們，沒有網路可用。我們沒有電，那裡是當今地球上最暗的地方。現在我想告訴那些生活在北韓黑暗中的同胞。也許他們不會相信我，但我想告訴他們，生命仍有其他可能——意即自由的生活。
　
★★★★★★★★★★★★
　
From my experience, literally anything is possible. I was bought, I was sold as a slave. But now I'm here, and that is why I believe in miracles. The one thing that I learned from history is that nothing is forever in this world. And that is why we have every reason to be hopeful. Thank you.
　
34. slave 奴隸
35. miracle 奇蹟
　
就我的經驗，真的什麼事都有可能發生。我被人買走，賣給別人當奴隸。但我現在在這裡，這也就是為什麼我相信奇蹟。我從歷史上學到的一件事，就是世上沒有什麼是永恆的。而這也是我們無論如何都能懷有希望的原因。謝謝大家。
　
資訊出處：https://bit.ly/32p5HiK
　
圖片出處：https://bit.ly/32n2zEe
　
★★★★★★★★★★★★
　
如何增進同理心：https://bit.ly/34qSKnC
　
#ChangingPerspectives
#翻轉視界

★★★★★★★★★★★★

翻轉視界系列文章: https://bit.ly/3fPvKUs

"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…