#外帶外送是一門長期的生意
全國三級警戒延長至六月十四日,全國餐飲業一律外帶。
霎時間,餐廳的競爭者,從餐廳同儕,變成了調理食品、雲端廚房、家庭煮夫煮婦。
當然,餐廳原本就要和以上飲食選項競爭消費者的注意力與時間,然而,禁止內用,等於斬斷餐廳的主要命脈,也阻止「完全服務餐廳」(full-service restaurant)發揮其優勢— 創造現場體驗。一間餐廳的營收來源,假設原本有內用、外帶外送、外燴服務、活動包場,禁止內用與聚會,就只剩下外帶外送了,只能約莫涵蓋原本營收的二至三成,毛利還較低。
外帶外送,該不該做,該怎麼做?
#疫情迫使消費轉型
很多人早早跳下來做了,先做再說,拼現金流,銷庫存。一時之間也無法細想成本結構和持續性。根據美國舊金山「Golden Gate Restaurant Association」調查四百間餐廳的數據,舊金山餐廳在疫情初期,去年三月封城到去年五月之間,有六成業者外帶外送是虧錢在做。台灣業者的情況,很可能也是這樣。
也有人先按兵不動,熄燈休業。疫情存活率,比的是手骨粗,但手骨再粗,也會面臨消費轉型、人才流失的挑戰。我的意思是,這疫情不是一時半刻捱過去就行了。首先,病毒一旦進入社區,就很難走回頭路,看看鄰近的香港,即便目前屬於低風險,去年十一月初爆發的第四波疫情,也是到今年三月底、四月初才近尾聲,那是足足五個月;而即便高峰過去,也會有一段震盪期,每天都會有確診病例,只是看傳染鏈明不明確。
即便之後開放內用,應也會有梅花座、客容量限制等等規定,繼續箝制營收,與消費者出門吃飯的信心。
美國「國家餐廳協會」(National Restaurant Association)今年一月的統計資料顯示,53%的美國成年人將外帶外送視為「基本的生活方式」,並且有68%的受訪者表示,他們比疫情前更傾向消費外帶外送的食物;美國餐廳也回應以上需求,46%的家庭式餐廳或fine dining餐廳表示在去年三月至十二月之間增加了外送選項,casual dining和fast-casual餐廳的比例則是44%。即便美國正在推進疫苗施打,許多州解封,餐廳客流量回籠,外帶外送的趨勢也不會一夜逆轉。事實上,美國餐廳業者對於近在眼前的全面解封,仍然有疑慮,因為去年真的讓他們怕了,如果不小心再來一次封城怎麼辦?
正在重啟營業的美國餐廳,還遇到另一個問題:徵不到人。先前疫情的失業潮,逆轉成為人才荒,許多餐廳員工不願意回到餐飲業,或者因為領取政府補助而未回應徵才需求(但許多州正在收緊失業救濟)。對於重視服務、強調手藝的餐廳而言,解僱了團隊,很難再把一樣有才華、有默契的成員組回來。
#外帶外送是長期戰
這是一場長期戰;病毒進入台灣社區後,趨勢更明顯了。解方是疫苗,沒有錯,但我們都知道那要花一段時間,目前餐飲業的作戰持續到今年底,都是樂觀的。
餐廳經營者動起來,一方面回應消費趨勢;二方面保住團隊人才;三方面維繫供應鏈,食材生產者、進口商、酒商、餐具商等等等等,牽連範圍很廣。
尤其,對於重視手藝與服務的餐廳來說,與疫情搏鬥的困境,其實是一個「去廚師化」的過程。外帶外送、調理食品、雲端廚房,越能標準化越好,越有一致性越好,即便會減損個性與才華的光亮,只要送到消費者手中具備穩定的水準,最妥當。各位廚師們,你們不會不服氣嗎?
求生為先,很無奈地,外帶外送可能是眼下最直接的變現方式,如果要做,主廚與餐廳業主就要把外帶外送看成一門相對長期的生意。若著眼於調理食品,或也是做出更美味產品的契機。積極地想,這或許是正向循環的起點。
把外帶外送建制化,相當於,開一間新餐廳。聽起來頭大,但是,餐廳不能一直仰賴熟客的愛心與義氣。我說的是,沒有電子支付,只能現金面交或者轉帳;外帶自取流程不便,外送時間難以控制;餐點打包冷熱不分,失溫衰退;餐點本身禁不住運送。
這些都是痛點,都要解決,而一旦解決了,生意會更上層樓。
#第三方外送平台的替代方案?
我原本經常使用第三方外送平台,這陣子我刻意不用,直接支持餐廳的外帶外送。身為消費者,我希望外帶外送的體驗可以更流暢,我會更樂意訂購。就像,以前總會想一週挑個幾餐去餐廳吃,現在的情境,就是轉成外帶外送。
此刻會讓我考慮是否選擇某家餐廳的外帶外送,有二大因素:付款方式、運送方式。最理想的狀況是,我可以線上付款,並有外送員直接將餐點送到我家門口,完全零接觸。
第三方外送平台直接解決這二個問題,但餐廳付出較大代價,二大主流UberEats、Food Panda的高額抽成(35%),尤其對成本結構以內用為主的業者造成傷害。有什麼替代方案?概括來說,只要抽成沒那麼高(例如20%以內),卻能同時提供訂購介面、金流服務、物流服務,對於餐飲業者就比較有吸引力。例如新加坡商線上訂餐系統「Oddle」,或者開闢外帶外送服務的「inline」,都是抽成較低的方案。
有沒有可能餐飲業者自己搞定第三方支付與物流呢?第三方支付如Line Pay、街口支付,手續費約莫2.3%,只有金流服務,沒有訂購介面、物流服務,餐廳老闆要自己斟酌;至於物流,Lalamove爆單的情況下,越來越難媒合司機,是否有可能將餐廳的閒置人力轉為物流服務?
外送平台的替代方案,是不是有可能用「合作社」的模式來經營?這是我看到的一個美國案例:「Loco Co-Op」,一個由餐飲業者自己經營的外送平台。他們的做法是,設立一定數量的股份,假設一股二千美元,餐廳業者可以來認購,分店數量越多的業者,可以認購更多股。想加入的業者也未必要認購股份成為投資人,也可以單純加入成為會員。一旦成立,其運作就和一般外送平台沒什麼二樣:由承攬司機負責運送,用平板來操作後台;消費者則是下載app來訂購餐點。雖然期初仍要向使用服務的業者抽成15%,但希望隨著規模擴大而能降低抽成。
和一般外送平台不一樣的地方是,這外送平台的盈餘,會分配給各該投資人,也就是餐廳老闆自己;若有剩餘,也會以回扣的方式,依照餐廳業績,發放給非投資人的餐廳會員。
合作社的外送模式,是否有可能讓幾個相熟的餐廳老闆自己就組織起來呢?
又或者,政府能積極介入?高雄市政府「高雄好家載—防疫互助經濟」紓困方案,讓閒置的計程車投入外送,就是很好的作法。根據自由時報5月29日的報導,此方案「整合餐飲業、點餐平台與一卡通,由14家計程車隊擔綱外送,民眾只要點餐滿499元,高市府就補貼85元基本車資,讓運將將美食送到家,預計下週上路。」
#問題定義了生意
最後,想與大家分享一段很棒的話。
美國餐飲大亨、創辦Shake Shack漢堡、Union Square Cafe的Danny Meyer,在NPR的podcast節目《How I Built This》中,提到他的外祖父、也是一位成功企業家給他的建議:
「別再抱怨問題;問題定義了生意。生意做得好的人,不是那些問題最少的人,而是那些善於解決問題、享受其過程,並和優秀的同僚一起面對的人。」
("Stop complaining about problems; problems are the definition of business. The people who do best in business aren’t the ones with the least problems, but are the ones who solve their problems better and have more fun doing it with better people.”)
與大家共勉。
(圖為Wildwood與Tart Taipei的外送餐點:牛排沙拉、酥脆中卷、貓耳朵麵、炙烤玉米、焦糖布蕾塔、班蘭咖椰塔、草莓香草塔。)
同時也有6部Youtube影片,追蹤數超過40萬的網紅糖餃子Sweet Dumpling,也在其Youtube影片中提到,Hello friends! Today we're going to share with you how to make lemon bars with buttery crust and smooth citrus filling. They are so good. Lemon is t...
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least square line 在 ลงทุนแมน Facebook 的精選貼文
สรุปภาพรวม เศรษฐกิจ ภาคอีสาน /โดย ลงทุนแมน
ภาคตะวันออกเฉียงเหนือ หรือ “ภาคอีสาน”
เป็นภูมิภาคที่มีพื้นที่ใหญ่ที่สุดในประเทศไทย
และเป็นภูมิภาคที่มีจำนวนประชากรมากที่สุดของประเทศ
เลยทำให้ภาคอีสาน เป็นภูมิภาคที่สำคัญที่สุด ภูมิภาคหนึ่งของประเทศไทย
...Continue ReadingSummary of Northeastern Economy / Investment Man
North East or ′′ Northeast ′′
The region with the largest area in Thailand.
And the most populous region of the country
That's why the Northeastern region is the most important region of Thailand.
But did you know that the Northeastern region has GDP proportion of less than 10 % of GDP Thailand..
What about today's economic overview of the Northeastern region?
Investment man will tell you about it.
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Helping to update the situation in video article formats
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First let's get to know the Northeastern region first.
Northeast or Northeast
There are over 168,854 square kilometers.
It's about 1 in 3 of Thailand's area.
Which if we compare the northeastern region to country.
Will be 200 times bigger than Singapore
Currently, the Northeastern region has an estimated population of 22 million people.
Almost 1 in 3 of the population of Thailand.
Just the northeastern region of Thailand, one sector has the same population as Cambodia and Laos all over the country.
Enough is like this if we look in terms of size, area and population.
I will see that the Northeastern region is important to Thailand.
Over the past ten years.
Economy of the Northeastern region has high expansion compared to other regions.
Rising the proportion of poor people in the Northeastern region quickly.
And also the economic structures of the Northeastern region start to change.
From farming farming, farming, it's changed to more economic outside the farming sector.
However, even the economy of the Northeastern region
There will be continued growth in the past.
But the economic value of this place still has low proportion.
Compared to Thailand's economic value.
In 2561, consolidated product value for provinces in the Northeastern region.
Aka GPP (Gross Provincial Product) is worth 1.5 trillion baht.
The value in this part is not 10 % of the GDP of Thailand's GDP, the whole country is around 17 trillion baht.
While the average per capita income of the Northeastern population is 84,000 baht per year, the least in the 6 regions of Thailand. Interesting is this number is less than the average income per capita. The population of Laos is 85,000 baht per year. ..
And compared to the average income per capita, the Thai population equals 236,000 baht.
You will see that the average income per capita population is less than the average income per capita. The Thai population is almost 3 times more.
One more interesting thing is
Even the most populous region
But it's a sector that has physician proportion to very small population, compared to Thailand's average.
population proportion to 1 doctors in 2561
Thailand has a population of 1,868 people per 1 doctors.
The Northeastern region has a proportion of population of 2,725 people per 1 doctors.
In terms of tourism sector
Even in the Northeastern region, there are many landmark attractions.
Not much money to make from travel
In 2562, the Northeastern region has 100,000 million Baht tourism income, which is proportionate to only 3 % of Thailand's tourism income.
Another interesting story is
The wealth of the Northeastern people is in 4 provinces which are called ′′ Big Four of Isan
Which consists of
1. Nakhon Ratchasima has an economic size of 296,000 million baht
2. Khon Kaen has economic size equal to 211,200 million Baht.
3. Ubon Ratchathani. Economic size is equal to 124,200 million Baht
4. Udon Thani has an economic size of 111,600 million baht.
I will see that 4 provinces are coming.
There is a combined economic value of over 743,000 million Baht.
Or nearly 50 % of the economic value of the Northeastern region.
Prosperity in the Northeastern region that clusters just a few provinces
cause the problem that follows is
Labor from the province in the northeastern region.
Must travel to work in 4 such wealthy provinces.
And some may move into a job in Bangkok for a better life opportunity.
When this happens, it makes the economy in the overview of the Northeastern region not driven to spread to each area as well.
From what you say, we will see.
Northeastern region has many advantages.
The whole matter of labour more than other regions
There are areas adjacent to neighbouring countries in Laos and Cambodia that are suitable for regional trade and border investment.
A major problem right now
How to make the northeastern economy grow even more.
And how to make Northeastern people a thoroughly better living.
At the end, if the Northeastern region has a better economy, it will make the whole Thailand economy better, according to direct and indirect..
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References
-https://en.wikipedia.org/wiki/Isan
-https://en.wikipedia.org/wiki/Thailand
-https://www.nesdc.go.th/ewt_dl_link.php?nid=5628&filename=gross_regional
-https://www.car.chula.ac.th/display7.php?bib=b2156772
-https://www.creativethailand.org/article/thinktank/32362/th#the-new-isan
-http://social.nesdc.go.th/SocialStat/StatReport_FullScreen.aspx?reportid=304&template=1R2C&yeartype=M&subcatid=18
-https://mots.go.th/more_news_new.php?cid=411Translated
least square line 在 半瓶醋 Facebook 的最讚貼文
"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…
least square line 在 糖餃子Sweet Dumpling Youtube 的最佳解答
Hello friends! Today we're going to share with you how to make lemon bars with buttery crust and smooth citrus filling. They are so good.
Lemon is the most popular fruit in the world. It can make everything better. Lemon wedges and slices are often served with seafood and as a garnish for a drink. Lemon juice can be used raw in drinks, dishes, and desserts in recipes, like lemon bar.
This recipe is pretty simple, the flavor of crust and lemon filling is so yummy and so balanced. In this video we’re showing you step by step. If you are a fan of lemon, this lemon bar recipe is a MUST-TRY! So take some fresh lemons, yellow or green are both OK. Just bake it. :)
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How to make lemon bars
☞ Baking pan size:18x18x5 cm
✎ Ingredients
📍 crust
all-purpose flour 120g
powdered sugar 40g
frozen unsalted butter 90g, cut into small cubes
salt 1g
📍 lemon filling
medium size egg 2
granulated sugar 160g
fresh lemon juice 80g
all-purpose flour 50g
✎ Instructions
1. Butter the pan, and line the bottom and sides with parchment paper.
2. Sieve the flour and powdered sugar, then add them and cold butter and salt to the food processor. Pulse the mixture until you have a crumb like mixture.
3. Place crumb dough in a baking pan and use fingers or any tools to flatten into the prepared pan.
4. Preheat the oven to 170°C, bake for 20 minutes or until the edges are lightly browned.
5. While baking, In another mixing bowl, beat together 2 eggs and granulated sugar until combined.
6. Sieve the flour into the bowl until mixed well.
7. Pour the fresh lemon juice and whisk until all combined.
8. Once the crust is done. Pour lemon filling mixture into the prepared crust directly out of the oven. Return to the oven and bake for 10 minutes. (170°C), then cover the pan with foil and bake for an additional 10 minutes.
9. Once baked, Let cool completely on a wire rack. Then fridge for at least one hour.
10. Before serving, cut the outer edge off of each side, dust with powdered sugar and cut into bar shape or square shape as you like.
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Chapter:
00:00 opening
00:30 Ingredients
01:16 set up baking pan
02:27 how to make pastry crust
05:07 how to make lemon filling
09:27 cutting and deco
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#LemonBars
#lemontart
least square line 在 MosoGourmet 妄想グルメ Youtube 的最佳解答
We made a cake by placing kiwis on a baking tray, pouring batter over them and baking. This cake is self-decorating!
This is part of the "Fruit Cross-Section Moe" series.... wait did that series every exist?
*Recipe*
1. Spread an oven sheet in a 30cm square baking tray and lightly plaster with oil.
2. Line up the cut kiwis.
3. Mix 40g of salad oil with 50g of milk.
4. Mix 50g of cake flour and 25g of skim milk together, put in the fruits and mix.
5. Make a hard meringue by putting 55g of granulated sugar and 5 eggs while beating.
6. Divide number 5 some times and put it in number 4.
Make sure to mix the first meringue firmly. At the same time, mix it softly so as not to erase the foam afterward.
7. Pour number 6 into number 2 and make it flat.
8. Reduce the temperature of the 170°C preheated oven to 190°C and bake for 15 minutes. Because the oven at my house has large and uneven baking, I moved it a few times.
9. After baking, cover the oven sheet, then turn it over and let it cool.
10. Put 20g of sugar in 200ml of fresh cream and whip it.
11. Cut number 9 into 4 equal parts
12. Coat number 10.
13. Let it cool in the refrigerator for at least one hour.
14. Heat up a knife with warm water, wipe away the moisture and cut the four sides.
15. It's ready!
The fork passes through this moist and smooth fruit cake. Because of the moisture that comes out of the kiwi, the dough becomes loose, so please bake it for as long as you can. In our home, we have too many eggs in the freezer. It is tasty, easy and useful if you need to get rid of your eggs!
いきなり天板にキウイフルーツを置いて、生地を流し込み焼いたケーキ作りました。デコいらずなところが気に入っています。
フルーツの断面はきれいだな、という断面萌えシリーズです。(そんなシリーズあったかな?)
*レシピ*
1.30センチのスクエア天板にオーブンシートを敷き、薄くサラダ油を塗る
2.切ったキウイフルーツを並べる。
3.サラダ油 40gに牛乳 50gを入れ混ぜる。
4.薄力粉 50gとスキムミルク 25gを合わせてフルイ入れ混ぜる。
5.卵白 5個分をグラニュー糖 55gを入れながら泡立て、かたいメレンゲを作る。
6.5を数回に分け4に入れる。
1回目のメレンゲはしっかりと混ぜ込む。後は泡を消さないようにふんわり混ぜる。
7.2にに6を流し入れ平らにする。
8.190度に予熱したオーブンを170度に温度を下げ、15分焼く。我が家のオーブンは焼きムラが大きいので途中前後を入れ替えました。
9.焼きあがったらオーブンシートを被せ ひっくり返しそのまま冷ます。
10.生クリーム 200mlに砂糖 20gを入れ泡立てる。
11.9を4等分に切る。
12.10を塗り重ねる。
13.冷蔵庫で1時間以上冷やす。
14.お湯で温めたナイフの水分を拭き取り、四方を切り落とす。
15.できあがり。
しっとりしていて、スッとフォークが通るフルーツケーキです。キウイフルーツから水分が出て生地が緩くなるので焼成は少し長めにしてください。我が家では余った卵白を冷凍庫で保存してあります。おいしくて手軽。卵白消費に役立つケーキです。
#kiwifruit #cake #recipe
least square line 在 MosoGourmet 妄想グルメ Youtube 的最佳解答
#Giant #Banana #Cake
We made a large banana roll cake in the shape of a banana using one sheet of roll cake sponge. It is to be made and eaten with gusto while thinking, "Is this a banana omelet, or a banana roll cake? Maybe it's a little too homely?"
*Recipe*
1. Line a 25-inch square pan with parchment paper, and spread on a thin coat of vegetable oil.
2. Separate the egg yolks and egg whites of 4 eggs.
3. Whip egg whites with an electric beater until white and foamy.
4. Add 65g of granulated sugar and continue beating until stiff peaks are formed.
5. Add the egg yolks one at a time to 4, and continue mixing. Reduce speed to low at the last minute to allow froth to settle.
6. Set aside 30g from 5.
7. Add yellow food coloring to the remainder. (13 drops of yellow)
8. Add green coloring to 6. (3 drops of green and a little bit of Wilton moss green)
9. Sift 45g of cake flour into the yellow mix, and 5g into the green one. Switch to a rubber spatula, and fold gently but thoroughly until there are no visible lumps.
10. Pour the green-colored batter into the two ends of 1, and fill the center with the yellow-colored batter. Ensure that batter is evenly distributed.
11. Drop pan on counter top to remove large air bubbles, and bake in an oven preheated to 200°C for 7 minutes and 30 seconds.
12. Once cake is baked, drop pan on counter top to prevent shrinking.
13. Lay a large sheet of parchment paper on top, and turn upside down.
14. Slowly remove the sheet of parchment paper.
15. Cover with parchment paper or something similar so that the cake does not dry out, and leave to cool.
16. Dissolve 10g of granulated sugar in 20g of boiling water. Once this mixture has cooled, add in half a tablespoon of Kirschwasser. Your simple syrup is now ready.
17. Mix 10g of sugar into 100g of fresh cream and whip until stiff peaks are formed. (Fresh cream with 45% milk fat content is recommended as it would be easier to whip into shape)
18. Slice off the edges of 15 with a diagonal cut.
19. Dab the syrup created in 16 onto the cake.
20. Spread the cake with fresh cream from 17.
21. Lay out the bananas in a row. Select bananas that are thicker. Rolling will be easier if you make incisions at the parts where the curve is tight. After this, you will want to curve the cake so that it looks like a banana, so ensure that there is a decent gap between the bananas.
22. Lift cake along with parchment paper and roll the cake up inside the parchment paper.
23. Give the parchment paper at the bottom of the banana a twist, crush the top and tie securely with a ribbon-like strip. Wrap with plastic wrap, and create a curve, paying attention to the orientation of the bananas inside when cinching.
24. Chill in the refrigerator for at least an hour.
25. Gently remove the wrapping. Your cake is ready.
26. This cake can be eaten whole as it is, but maybe it's better to divide and serve it in slices. As the surface of this cake will be sticky, wetting your fingers beforehand will make handling easier. Since this was created on a whim, there may be parts of this cake that are shoddy or far-fetched. Sorry about that!
ロールケーキのスポンジをそのまんま1枚使って、バナナの形をした大きなバナナオムレットを作りました。
「これ バナナオムレットなのかしら?それともバナナロールケーキなのかしら?ちょっと不細工かしら?」とか思いながら勢いで作り、食べるのだ。
*レシピ*
1.25センチのスクエア型にオーブンシートを敷き、サラダ油を薄く塗る。
2.卵 4個を卵白と卵黄に分ける。
3.卵白のみを泡だて器で全体が白くなるまでザッと泡立てる。
4.グラニュー糖 65gを加え混ぜる。角が立つまでしっかりと泡立てる。
5.4に3の卵黄を1個ずつ加え、さらに混ぜる。最後の1分は低速で混ぜ泡を落ち着かせる。
6.5から30g取り分ける。
7.残り食用色素で黄色に着色する。(黄 13滴)
8.6を緑色に着色する。(緑3滴とウィルトンのモスグリーンを少々)
9.黄色に薄力粉 45g、緑に薄力粉 5gをふるい入れ、ゴムべらに持ち替え、粉っぽさがやっと消えるくらいまでサックリと混ぜる。
10.1の両端に緑生地を流し入れ、真ん中に黄色生地を流し入れ、平らにする。
11.台に落として大きな気泡を抜き、200度に予熱したオーブンで7分30秒焼く。
12.焼きあがったら、台に落として縮みを防ぐ。
13.大きめのオーブンシートをかぶせ、裏返す。
14.オーブンシートをゆっくりと剥がす。
15.乾かないようにオーブンシートなどをかけ、冷ましておく。
16.グラニュー糖 10gに沸騰したお湯 20gを入れ溶かし混ぜる。冷めたら キルシュワッサー 大さじ 1/2を加え混ぜる。簡単シロップのできあがりです。
17.生クリーム 100gに砂糖 10gを加え、かたくに泡立てておく。(生クリームは乳脂肪分が45%以上のものが、かたく泡立ち巻きやすいのでオススメです。)
18.15の巻き終わり部分を斜めに切り落とす。
19.16のシロップを打つ。
20.17の生クリームを塗る。
21.バナナを並べる。バナナは太めの物を選び、カーブがきつい部分で切ると巻きやすい。このあと、バナナらしくなるようにカーブをつけたいので、ほどよい隙間を作って並べる。
22.オーブンシートごと持ち上げて巻き込む。
23.バナナの下部分はオーブンシートをねじり、上部分は潰してリボン状のもので巻いて固定する。ラップで包み、中のバナナの向きに気をつけ結び、カーブをつける。
24.冷蔵庫で1時間以上冷やす。
25.包みを丁寧に外す。できあがり。
26.そのまま丸かぶりしてもいいけど、やっぱり切り分けて食べようか。ケーキの表面がベタつくので指を湿らせてから扱うと良い。パッと思いついて作ったので、ところどころ雑で強引。申し訳ない!