Seorang Suami Menemui Sebuah Diari Arwah Isterinya Dan Hampir Pitam Selepas Membaca Kandungan Diari Tersebut Kerana Rupanya Arwah Isterinya Itu Sudah Banyak Kali...
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Apa yang nak aku tuliskan ini, jadikan lah sebagai pengajaran buat semua lelaki di luar sana yang bergelar suami. Kisah ini mungkin menyayat hati bagi yang masih ada ‘hati’.
Hari ni genap 67 hari arwah isteri aku meninggl. Dan selama 67 hari ini juga aku tak henti henti menangis di atas pemergian isteri yang paling aku sayang. Bukan aku tak redha, cuma aku rasa seperti tak lepas.
Seperti ada sesuatu yg belum selesai antara kami. Dan malam ini, aku terjaga bukan kerana tangisan baby yg minta disusukan, tapi kerana seakan terdengar dengar tangisan arwah. Allahu..aku tak kuat.
Aku dah berkahwin selama lebih kurg 3 tahun setengah dengan isteri. Kami kahwin muda. Seawal usia aku 20, dan isteri 19. Di awal perkahwinan, semuanya indah belaka. Aku sgt mencintai isteri sehingga langsung tak boleh berjauhan dengan nya.
Sampai kadang kadang bila kena oustation, aku menangis rindukan dia pada waktu malam (aku bekerja di company milik family, dan dia belajar di ipts dekat dgn rumah) . Pergi ke mana saja, aku akan bawa dia bersama. Hatta keluar isi minyak atau beli top up pun dia akan merengek nak ikut. Isteri aku mmg manja org nya dan type of overly attached wife. Tapi aku tak rimas, malah aku suka.
Kami memang sangat rapat. Tambahan pula kami bercinta lepas nikah. We explore everything together. Bila dia cuti sem, aku akan bawa dia berjalan mana dia nak pergi. Isteri aku cantik orgnya. Bukan aku puji sebab dia isteri aku, tetapi sebab semua orang pun cakap perkara sama.
Bila keluar, kalau isteri aku melaram mesti ada je mata yang duk pandang pandang. Memang aku sakit hati, tapi aku pujuk diri dengan cakap takpelah, dia milik aku skrg. Lagipun aku tahu isteri aku mmg jenis sangat tidak melayan.
Bercakap dengan lelaki pun kurang. Dulu masa nak pikat hati dia pun ambil masa berbulan baru dapat kenal. Dia seorang yang sopan, dan menutup aurat dengan sempurna.
Dari awal kahwin, sehingga hampir setahun, aku rasa sangat senang dengan arwah. Kalau boleh, aku nak ada dekat dengan dia je 24jam. Bila ada kerja luar, aku akan settlekan cepat dan berkejar nak balik rumah.
Namun bila masa berlalu, tanpa aku sedar aku makin banyak berubah. Tanpa aku sedar, arwah makan hati dalam diam. Aku makin jauh dengan dia. Aku sibuk dengan kerja luar, sehingga aku rasa seronok berada di luar berbanding di rumah bersama isteri. Kadang kadang, aku cari je apa yang boleh aku settlekan di luar rumah sebab aku bosan stay dekat rumah.
Sepanjang perkahwinan, mmg aku langsung tak pernah keluar kalau bukan bersama arwah. Apa lagi nak lepak malam malam dengan kawan lama. Sampai laa suatu masa aku join macam macam club kereta dan motor.
Makin banyak alasan aku nak jumpa kawan itu dan kawan ini. Mula mula arwah diam , lama lama dia mula merungut yang dia bosan di rumah kesorangan. Tapi aku tak peduli pun. Kadang kadang dia menangis sebab kecil hati dengan aku. Tapi setiap kali dia menangis bila bergaduh atau berkecil hati, aku tak pernah pedulikan dia. Sedar sedar dia dah tertidur dengan air mata kat pipi.
Ye, aku tahu aku suami yg jahat. Aku biasakan dia dengan layanan seperti seorang puteri, kemudian aku ragut semuanya . Dari seorang suami yang cukup lembut, aku berubah menjadi seperti seekor singa bila bergaduh.
Aku akan ignore dia. Aku akan cakap kasar kasar dengan dia. Tangan aku mula pandai sentuh badan dia (itu kalau dia yg mulakan dulu). Sampai kadang kadang aku rasa mcm jodoh aku dengan dia dah takde.
Kami kerap bertengkar. Dan kebanyakannya berpunca dari sikap dia yang terlalu kuat cemburu. Tapi itu dulu, masa dia hidup. Bila dia dah pergi, baru aku sedar. Dia bukannya cemburu buta tetapi dia mahu aku jadi suami yg soleh. Dia mahukan yg terbaik untuk dunia dan akhirat aku. Allah, berdosanya aku.
Aku mengaku, aku memang susah nak jaga mata. Bila keluar berdua, dan ada perempuan cantik yg melintas depan kami mesti mata aku akan terpesona tgk kecantikan perempuan tu. Padahal isteri aku ada kat sebelah. Dan isteri aku pun sangat cantik.
Tapi aku tak pernah sedar semua tu. Bagi aku biasa lah tu lelaki mmg suka tgk perempuan cantik. Aku tak tahu yang isteri aku sedih dengan sikap aku tu. Arwah selalu tegur. Tapi aku buat tak tahu je. Sampai satu masa arwah dah tak tegur lagi, mungkin dia dah penat dengan perkara sama. Aku memang tak tahu bersyukur. Aku tak pernah rasa cukup dgn apa yg aku adaa. Sedangkan arwah dah cukup segalanya
To be honest, aku juga sukar jaga mata dari pandang perkara haram. Kadang kadang aku terlajak layan video prno. Tapi arwah tak pernah tahu. Sampai la satu hari masa dia mengandung 3 bulan, aku kantoi. Masa tu dia sedih sgt, sampai dapat migrain dan kena admit ward sebab pre eclampsia .
Aku risau sgt pasal baby masa tu. Dan it was the last time aku tgk mende keji tu. Aku dah bersumpah pada diri sendiri yg aku takkan tonton lagi umpan syaitan tu. Aku tak tahu kenapa, isteri aku halal untuk aku datangi bila bila masa tetapi pelacur di website itu juga yg aku nak tengok. Sedangkan t
Sedangkan tbuh isteri lebih cantik dari semua tu. Aku hina. Aku memang pendosa
Mulai hari tu, aku tengok isteri rajin bangun solat malam. Aku tahu, dia mengadu kepada Allah perihal aku. Aku tahu, dia bangun untuk doakan kebaikan bagi aku. Itupun semua aku tahu lepas dia dah pergi. Lepas dia dah meninggl. Lepas dah terlewat semua nya.
Seminggu lepas dia meninggl, aku kemas luggage pakaian dia. Dan aku terjumpa satu buku tebal. Aku ingatkan buku nota study dia. Rupanya dalam tu penuh catatan diari dia dari mula kahwin dengan aku sampai la hari terakhir sebelum di admit ward untuk give birth.
Aku baca semua. Air mata aku tumpas. Akurasa masa tu aku nak pergi gali semulaa kubur arwah aku nak peluk dia, aku nak cium dia, aku nak minta maaf aku nak minta ampun. Aku banyak dosa dengan dia.
“Abang, kenapa abg tengok semua tu. Sayang kan ada kalau abg berhajat? Mungkin sayang tak mengiurkan macam pelakon pelakon dlm video lcah tu. Syg minta maaf kalau syg tak pandai layan abg, sampai abg cari kepuasan melalui cara tu.
Ya allah, kau berilah hidayah pada suami aku. Abang, semoga Allah pelihara abang dari pandangan haram ye. Moga hati dan iman abg kuat ye. Takpe, syg tolong doakan abang setiap malam dan di setiap sujud syg. ”
” Cemburunya tengok abg duk pandang pandang perempuan tu tadi. Mmg la cantik. Tapi syg dah usaha habis baik nk bagi cantik jugakk bila keluar dgn abg
Sehelai demi sehelai lembaran tu aku belek. Dari sekecil kecil hingga ke sebesar besar hal dia ceritakan semua dalam buku tu. Baru skrg aku sedar , aku kurang beri perhatian pada dia selama ni. Dan ada satu luahan dalam buku tu ingatkan aku pada satu detik masa awal kehamilan arwah.
“Abang abang! Rasaa ni baby gerakk la! Aku emmm emm je. Mata asyik duk hadap hp. Bosan dgr dia merengek, aku alih tangan letak atas perut dia. Tapi mata masih lekat di skrin telefon. Dan segala kesedihan tu dia luahkan dalam buku tu. Memang aku dengar dia menangis malam tu tapi aku tak peduli pun. Mmg aku tak pernah nak pujuk kalau dia menangis. Apatah lagi nak tanya kenapa. Allahu.. kejam nya aku. Aku tak pernah peduli apa dia rasa.
Banyak yg aku baca dalam diari arwah. Patut laa dia dapat pre eclampsia (high blood prssure during pregnancy) . Padahal umur baru setahun jagung dan ini first baby. Rupanya banyak yg dia stress dan fikir pasal aku. Selama ni tanpa aku sedar, dia byk hide semua post di fb yg nengandungi unsur tak baik atau gmbr perempuan seksi. Betapa dia nak jaga dan nak bantu aku jadi baik.
Jahatnya aku. Memang aku tak pernah ada perempuan lain. Tapi aku seksa perasaan dan emosi dia. Dari apa yg aku baca, dia seolah menjadi sgt paranoid, memikirkan apa yg aku lihat di hp berkait dengan perempuan sksi, perempuan lain, atau tidak. Aku tak salahkan dia. Ini semua salah aku. Aku tak pernah fikir perasaan dia. Aku anggap semua remeh, semua kecil. Sedangkan dia menanggung derita yg besar.
Aku ingat lagi beberapa hari sebelum dia admit ward utk bersalin. Sewaktu dia nak turun beli makanan, dia sempat bergurau. Abang, rindu laa nak dengar abang ckp “awak jalan elok2 tau. Kalau ada org kacau, jerit nama abg kuat2”. Mmg dulu aku sangat lembut dan romantik dgn dia. Tapi aku xtahu mana semua tu pergi. Bukan arwah tak pernah cakap yg dia rindu aku yang dulu. Tapi aku tak pernah peduli.
Sekarang, semua dah takde. Yang tinggal hanya kenangan. Kenangan yang tak boleh mengembalikan apa apa. Dan arwah tinggalkan aku bersama zuriat kami. Nur amsya imani. Wajah iras sangat dengan arwah. Setiap kali aku pandang wajah anak syurga ini, setiap kali tu wajah arwah terbayang di mata. Allah..macam mana aku nak lalui hari hari mendatang.
Sungguh, aku sunyi. Dan sekarang baru aku faham erti sunyi yg isteri aku cakapkan selama ni bila stay dekat rumah sorang diri. Patut laa selama ni dia tak pernah tidur, dan tunggu aku balik walaupun tengah malam. Rupanya dia tak dapat tidur bila aku takde kat sblh
Aku dah hilang segalanya. Aku dah hilang isteri solehah yg sentiasa doakan kebaikan aku. aku dah hilang isteri yg selama ni jadi penguat aku. Abang rinduu nak naik motor dengan awak, sayang.. mcm awal kahwin dulu.
Pukul 1 pagi awak ajak round taman. Abang rinduu nak gurau dengan awak. Balik laa sayangg.. abg janji abg tak keluar dengan kawan dah. Abang janji abang tak hadap hp 24jam dah. Abang janji abg xpandang perempuan lain dah. Abang janji :(.
Menangis lah air mata darah pun. Arwah takkan kembali. Aku takde apa nak pesan banyak banyak. Tapi ambil laa kisah aku sebagai pengajaran. Tolong laa ambil sebagai pengajaran. Jangan sampai semua terlambat, baru kau nak menyesal. Aku menyesal. Menyesal. Menyesal.
A husband found a diary of his late wife and almost swoon after reading his diary content because apparently his late wife has many times...
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What I want to write about, make it a lesson for all the men out there who are called husbands. This story may be heartbreaking for those who still have 'heart'.
Today is only 67 days my late wife left. And for the past 67 days I haven't stopped crying over the passing of the wife that I love most. It's not that I don't accept it, it's just that I
It seems like there is something unfinished between us. And tonight, I'm awake not because of the baby's cry that asked to be breastfeed, but because it's like hearing the cry of the late Allahu.. I'm not strong.
I've been married for more than 3 years and a half to my wife. We married young. As early as I was 20, and wife 19. At the beginning of marriage, everything was beautiful. I love my wife so much that she can't be far from her.
Until sometimes when I get oustation, I cry missing him at night (I work in the family's company, and he's studying in IPTS near home). Go anywhere, I'll take her along. Hatta comes out of oil or even buy top up he will cry to follow. My wife is really spoiled by her person and type of overly attached wife. But I'm not crazy, but I like it.
We are very close. Plus we love after marriage. We explore everything together. When he's a semester holiday, I'll take him to walk where he wants to go. My wife is beautiful. I don't praise because she's my wife, but because everyone says the same.
When it comes out, if my wife dresses up there must be eyes that are looking at. I'm really hurt, but I persuade myself by saying it's okay, he's mine now. After all, I know that my wife is very kind of not entertaining.
Talking to a man is also lacking. In the past, when he was about to catch his heart, he took months to get to know him. He's a polite person, and cover his body perfectly.
From the beginning of marriage, until almost a year, I feel so happy with the late. If possible, I would like to be close to him for 24 hours. When there's an outdoor job, I'll settle fast and chase to go home.
But when time passes by, without me realizing I change more. Without me realizing, the spirit eats the heart in silence. I'm getting far away from him. I'm busy with outdoor work, until I feel good to be out there rather than home with my wife. Sometimes, I'm just looking for something that I can settle outside the house because I'm bored staying at home.
Throughout the marriage, I will never go out if not with the deceased. What else to hang out at night with old friends. Until one time I joined like a car and motor club.
More excuses for me to meet that friend and friend. At first the late was quiet, long time ago he started complaining that he was bored at home alone. But I don't care. Sometimes she cries because she's small with me. But everytime she cries when she fights or gets discouraged, I never cared about her. Realized that he fell asleep with tears on the cheek.
Yes, I know I'm a bad husband. I used to do her with service like a princess, then I snatched all of them. From a gentle husband, I turned into a lion when fighting.
I will ignore him. I'd be rude to him. My hands are starting to touch his body (that's if he started it first). Until sometimes I feel like my partner with him is gone.
We fight a lot. And most of them are caused by his attitude that is too jealous. But that was the time he lived. When he's gone, then I'll realize. He's not jealous but he wants me to be a good husband. He wants the best for my world and my afterlife. Allah, I am sinning.
I confess, I am hard to keep my eyes open. When both of you come out, and there's a beautiful woman who passes in front of us, my eyes will be amazed by the beauty of the Even though my wife is beside me. And my wife is very beautiful too.
But I never realized all that. For me it's normal that men like to look at beautiful women. I didn't know that my wife was saddened by my attitude. The late always greets. But I just don't know. Until one time the deceased hasn't told me anymore, maybe he's tired of the same thing. I don't know how to be grateful. I have never felt enough with what I have. While the deceased is enough
To be honest, I'm also hard to keep my eyes from looking at illegal things. Sometimes I watch the video too much. But the spirit never knew. Until one day when she was pregnant for 3 months, I was caught. At that time he was so sad, until he got migraine and got admitted to the ward because of pre eclampsia.
I was so worried about the baby at that time. And it was the last time I saw that cruel thing. I swear to myself that I won't watch the devil's bait anymore. I don't know why, my wife is halal for me to come to me anytime but the prostitute on the website is also what I want to see. Whereas t
While the wife is prettier than all that. I am despicable. I am indeed a sinner
From the other day, I saw the wife awake at night prayer. I know, he complains to Allah about me. I know, he woke up to pray for me for the goodness. That's all I knew after he was gone. After he left. After all it's too late.
A week ago she left, I cleaned her clothes luggage. And I found a thick book. I thought it was his study notebook. Apparently the diary is full of notes from starting to marry me until the last day before admitted to the ward to give birth.
I read all. My tears are broken. I feel that time I want to dig back the grave of my late I want to hug him, I want to kiss him, I want to apologize. I have sinned with him.
′′ Brother, why do you look at all that. Love is there if you wish? Maybe it's a pity that you don't like the actress in the video of the crazy video I'm sorry if I don't know how to treat me, until I find satisfaction through that way.
Ya Allah, please give guidance to my husband. Brother, may Allah protect you from illegal opinion. May my heart and faith be strong okay. It's okay, dear, please pray for me every night and every kneel dear. ′′ ′′
′′ It's jealous looking at brother looking at that woman just now. It's really beautiful. But unfortunately I've tried it and it's better to make it beautiful when I'm out with
One piece by one piece I turn into the sheet. From as small to small as big as he says everything in the book. Now I'm aware, I haven't paid attention to him all this time. And there's one expression in the book that reminds me of the early moment of the late pregnancy.
′′ Brother brother! I think this is a baby! Me emmm emm je. Eyes keep on facing hp. Tired of hearing him whining, I put my hand on his stomach. But the eyes are still stuck on the phone screen. And all the sadness he expressed in the book. I heard him crying that night but I don't care. I never wanted to persuade him if he cried. What else to ask why. Allahu.. I'm so cruel. I never cared what she felt.
I read a lot in the late diary. No wonder he got pre eclampsia (high blood pressure during pregnancy). Even though it's only a year of corn and this is the first baby. Apparently he's stressed out and thought about me. All this while without me realizing it, he hid all the posts on Facebook that contain bad elements or sexy women's pictures. How much he wants to take care of and help me be good.
I am evil. I never had another woman. But I torture her feelings and emotions. From what I read, she seems to be very paranoid, thinking of what I saw on her phone related to women, other women, or not. I don't blame her. This is all my fault. I never thought about her feelings. I take everything trivial, all small. While he suffered a big suffering.
I still remember a few days before he admitted to the ward to give birth. When he wanted to go down to buy food, he had time to joke around. Brother, I miss listening to my brother say ′′ you walk well. If someone disturbs me, shout out my name loudly ". I was so soft and romantic with him. But I don't know where all that went. It's not the spirit that he misses the old me. But I never cared.
Now, everything is gone. All that is left is memories. Memories that can't bring back anything. And the spirit left me with our children. Nur Amsya Imani. The face is very similar to the spirit. Every time I look at the face of this heavenly child, every time the face of the deceased is imagined in the eyes Allah.. how am I going through the coming days.
Really, I'm quiet. And now I only understand the meaning of silence that my wife has been talking about all this while staying at home alone. No wonder he hasn't slept yet, and wait for me to come back even though it's midnight. Apparently he can't sleep when I'm not beside me
I lost everything. I have lost my solehah wife who always pray for my goodness. I've lost my wife who has been my booster all this time. I miss riding a motorbike with you, dear.. like I got married early.
At 1 am you invite me to round the park. I miss joking with you. Come back dear.. I promise I won't be with my friends anymore. I promise I won't face my phone for 24 hours. I promise that I don't look at other women anymore. I promise :(.
Crying tears of blood. The spirit will never return. I don't want to order a lot. But take my story as a teaching. Please take it as a teaching. Don't let it be late, then you regret it. I'm sorry. I am sorry. I am sorry.Translated
同時也有2部Youtube影片,追蹤數超過16萬的網紅崎山蒼志,也在其Youtube影片中提到,◎New Digital Single [嘘じゃない] ( English Title : "Believe" ) 【Listen&DL】https://soushi.lnk.to/3gDs3bWS 崎山蒼志 - [嘘じゃない ("Bilieve")] Music Video 7/31(土)18...
take me anywhere meaning 在 Roundfinger Facebook 的最讚貼文
ประภาส ชลศรานนท์ ที่ผมแอบมอง
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จำไม่ได้ว่าผมหยิบหนังสือ "เพลงเขียนคน ดนตรีเขียนโลก" มาจากหิ้งหนังสือของห้องสมุดแห่งไหนในจุฬาฯ แต่จำได้แม่นว่า นี่คือหนังสือเล่มหนึ่งที่เติมสารประกอบสำคัญเข้ามาในสมอง และหล่อหลอมให้เกิดความคิดแบบหนึ่งขึ้นในหัว กระทั่งวันนี้ความคิดนั้นยังคงอวลอยู่ไม่ไปไหน
...Continue ReadingPrapha sachon saranon that I sneak peek at
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I don't remember which library I picked up "music writing" from which library in chula, but I remember this is a book that added an important compound into my brain and forged. One thought in my head until today, that thought is still going anywhere.
The idea that is " many more
Along with the feeling that our little hands can write the world.
I have been listening to "Chaliang" since elementary school. Milk hasn't set (now). I still). I understand. When I was in University, the band disband disband has left just a story on the wood sheet for me. A lot of music never old. Those are written from the end of brother chik's pen - prapha chon Sara non
Reading this book makes you see the idea behind each song, and even more you see the author.
For me, whether brother chik wrote a song, wrote a book or made a movie, all he tried to do is ask people to try to look at the corner with more than just the corner.
See the world and your heart will be expansive.
Many more (many more that we don't know. We see it. Just in case we haven't seen it yet), Hibiscus Tree and blind (blind, but the mind is still bonded beauty), if there are only two of us in this world (time I'm hungry. Two of us will eat sticky rice with chicken noodles. Who to buy), it's up to who (it's up to who sees it, who can hear it, who decides), calm down bro (where are you going to fight with? I don't have time. Search for mind) etc.
Many songs of the lyrics are annoying. Such as when a lot of love songs say, " there are only us in this world brother chik asked me. Who will you want to eat noodles, who do you buy from? During a loud song If you don't love me, tell me. Tell me a word. " brother chik also wrote a song. Calm down. Where are you going? Let's see.
Khun Prapha Somchai cuddle will see the world in the drone corner. It's flying up to see the wide picture and spread out that there may be a corner that we forget to look at. The world could be something else.
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"many more" in the meaning of brother chik doesn't eat just one thing. There are hundreds of thousands of possible sources, but it also means looking at everyone. Everything is equally important. Equally beautiful. Not comparing to take it to take the beams, but look beautiful. Of that person then pull out that potential to create value
" Classic, don't insult jazz
Jazz don't watch clan pop
Pop, don't mind the country.
Don't be sulking with doctor lam.
Doctor Lam, don't think more than classic. It's high "
This is a message on the screen in the concert. The song makes me think of what brother chik told me in this book. "people are like fingers. It's not equal but fingers too and have different duties" is a teacher's speech. Teaching kids in the young movie of piak posters.
To this day, the " finger is not equal " has been interpreted and wittalion. But in the meaning that I understand that brother chik wants to press, the " difference " rather than " inequality " is thumb is different from Index Finger and pinky and brother chik says " you could be a pinky finger which is more important than the index finger in some things read and think that our round fingers are valuable in our way.
"Tao" which sees the value of the nature of things like this. Often seen in the work of brother chik.
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Mr. Prapha is not a big person. If there are two sides, brother chik will not stand on one side. Maybe because of the eyes that sees the beauty of each thing, each mind and an open view. I don't believe that anyone is all right. Or all wrong. Everything is good or bad.
Most importantly, this kind of thought resilience is believed that the people or the extreme thoughts we see are not eternal, but it can always change. The Extreme can also be adjusted, divided, exchange. New ingredients in themselves.
Once I had an opportunity to sit and talk with brother chik. Then we went to consult about making tv show. Our team is interested in a program that focuses on content. Easy, I want to pass knowledge to the audience. When I tell you the pattern and content to you. Listen to the brother ask, " is knowledge necessary that it must not be fun stop thinking and continue asking " is entertainment necessary to be ridiculous "
Just these two questions expand our view. We can see a new area that there is still space in the middle that combines what we thought were irrelevant. Different Worlds. and if we could, we could, we wouldn't cut off any kind of value.
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That's another feature of brother chik that I secretly look at. This guy doesn't teach straight away, doesn't comment, but he likes to ask questions. Let the partner to consider it himself. This technique is used in writing as well.
The question that brother chik throws at can make us think " can it be something else " or " can it really see one way
This kind of conversation is like a kind adult who doesn't block. It doesn't draw the line what it should be. But let us choose by ourselves. This is how to tease you think with the question that khun prapha can use this kind of weapon. Praew praew praw praw praw praw The more and more.
If anyone has worked with brother chik, maybe it feels why I came up with this idea! I'm really good! But in fact, we can think because we are triggered by his brother's questions, but we will feel good because no one has ordered us to do that. We make our own decisions.
So it's not just creative work, but the way of working is also creative.
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The Picture of brother chik that I remember when I was looking at the idol in the conference room is a picture of a playful executive like a little boy who had the big one who had the power to make any decision.
I saw his brother spinning pen, drawing a picture, and poke him out while everyone was meeting seriously thinking about it.
Good ideas often come up during our relaxing time -- I've heard many good thinking people say that. Many people say that if we don't lose our children, we will always keep the potential to imagine and creative.
Photo of Mr. Prapha in the conference room for me like a playful kid.
Another picture that I remember is in the conference room and dining table of the group who often meet each other. Brother Chik will tease the scared by putting a glass of water. The Edge of the table. It seems to fall to test if that person can endure enough. That person keeps moving deep. Mr. Prapha will laugh and says, " can't you stand it? Can't you stand this kind of thing
A Writer, a creative thinker that we have been following for a long time. Admired and thought that he would be quiet. But when he met the real one, he became a playful little boy, fast talking, Pear, praw and questioning. A very fun conversation.
...
6
If I would write about "the" from the eyes that I would have written many pages of paper because I have been looking at brother chik since the work behind my thoughts to read every interview that I saw until I had a chance to meet on the occasion. I'm always looking at verbs, symptoms and thoughts of brother chik. Teacher's Melody.
Finally, brother chik is not crazy. People may see the work, but they don't have to see his own. We know the song. Scream and laugh with brothers and musicians. We love the program of work. Point or many other creative works caused by this brother's mind, but often we don't even know or don't even think there is him behind it.
This is another thing that brother chik taught me. We can make a change or create something without letting people see us. in some cases, it's more powerful than having better cuddle results.
We have seen Mr. Prapha through some work, but I believe there are many pieces of this sharp and round anchor that we didn't know was his work.
The fit of being seen is something that brother chik manages to learn and nan cuddle baht.
Prapha Chon Saranon is a teacher with many lessons to sneak peek and learn.
Thank you brother chik for being an inspiration, an open thought perspective. He ignites the dream of writing books and giving "many more" tips in my heart since I was in teenagers through your work.
Congratulations to brother chik for the National Artist Award in performing arts as the creator of International Thai entertainment and music event this year.
I really want to tell brother chik that "music writing music"
At least one of me is the productivity from your song.
With love and thanks
Ehhh (round finger)Translated
take me anywhere meaning 在 半瓶醋 Facebook 的最佳貼文
"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…
take me anywhere meaning 在 崎山蒼志 Youtube 的最佳解答
◎New Digital Single [嘘じゃない] ( English Title : "Believe" )
【Listen&DL】https://soushi.lnk.to/3gDs3bWS
崎山蒼志 - [嘘じゃない ("Bilieve")] Music Video
7/31(土)18:00 プレミア公開!
TVアニメ「僕のヒーローアカデミア」第5期(2クール目)エンディングテーマ
“"My Hero Academia” Season 5 Second Ending Theme Song
毎週土曜夕方5:30 読売テレビ・日本テレビ系全国29局ネット(※一部地域を除く)
#僕のヒーローアカデミア #週刊少年ジャンプ
http://heroaca.com
【嘘じゃない Special Site | "Believe" Special Site】
https://www.sonymusic.co.jp/Music/Info/sakiyamasoushi/usojyanai/
【嘘じゃない(Anime Size Lyric ver.)】
https://www.youtube.com/watch?v=EZ-crtDkHJc
【『僕のヒーローアカデミア』TVアニメ5期第2クールノンクレジットエンディングムービー】
https://www.youtube.com/watch?v=UNfXxvS8ZjA
****************
-Cast-
崎山蒼志
haru
-Staff-
Director: 大喜多正毅
Camera: 安田光
Camera Assistant: 高橋慶太
Light: 杉山泰則
Light Assistant: 鈴木裕介, 水足萌香
Hair&Make-up: 根本亜沙美
Stylist: 釘宮一彰 (崎山蒼志)
Textile Monster: NATSUKI HANYU (haru)
Casting: Oi-Chan
Production Manager: 池田飛鳥, 師田悠三
Driver: 鈴木令, 生田潤一郎, 古橋広美
Producer: 梅田知子
****************
9月22日(水) 「崎山蒼志「嘘じゃない」Release One-Man Live」
開場:東京・EX THEATER ROPPONGI
出演:崎山蒼志
時間:<開場>18:00 / <開演> 19:00
料金:前売り…4,500円 当日…5,000円(ドリンク代別)
その他チケットの先行予約ならびに一般発売情報は下記オフィシャルHPをチェック。
https://sakiyamasoushi.com/live/
<問い合わせ>
HOT STUFF PROMOTION 03-5720-9999
****************
◎Digital Single [逆行 | Gyakkou]
【Listen】https://soushi.lnk.to/rYhw3ZAY
【MV】https://www.youtube.com/watch?v=aFR7TjHtG7s
◎Major Debut Album [find fuse in youth]
【CD】 https://soushi.lnk.to/OSiXhsx4
【AL LISTEN】 https://soushi.lnk.to/find_fuse_in_youth_YC
【[Samidare] MV】 https://www.youtube.com/watch?v=8jjswrh3agE
【[Heaven] MV】 https://www.youtube.com/watch?v=_czo_mif1-4
【[Undulation] MV】 https://www.youtube.com/watch?v=qgS9eZM_ABM
【[そのままどこか] MV】 https://www.youtube.com/watch?v=axhqitECl1Y
【[花火] MV】 https://www.youtube.com/watch?v=fcOzyWb1gKE
・HP https://sakiyamasoushi.com/
・Twitter https://twitter.com/soushiclub
・Instagram https://www.instagram.com/soush.i_sakiyama/
・TikTok https://www.tiktok.com/@sakiyamasoushi_official?
****************
■嘘じゃない
Words & Music: 崎山蒼志
Arrange: Naoki Itai, モチヅキヤスノリ
Acoustic Guitar: 崎山蒼志
Piano: モチヅキヤスノリ
Bass: 北村雄太
Drums: 坂本暁良
Electric Guitar: サトウカツシロ
Strings: MIZ, 三國茉莉, 館泉礼一, 渡邉雅弦
Programming & All other Instruments: Naoki Itai
Recorded & Mixed by 村上宣之
Vocal Recorded by 渥美隆三
息をして触れてきた優しさが
いつの日か 蓄えた優しさになる
一人を越えて 君と繋がれたなら
瞬きの間に 二度とない千を見るよ
誰かが伝う 意味のない と
捨てられた 悲しみに
湛えられた炎を見ろよ
嘘じゃないよ
嘘じゃない
これからの未来は
何処へでも
繋がれる気がしてるの
悪夢の根源に
居た君を いつか必ず
救い出すから
救い出せるから
擦りきれた心と闇の中へ
今綻んだ関係を辿る途中で
枯れ果てたと感じてた記憶も
枯れちゃいない
そう微かに気づいたのさ
空がほら 広がってく
余計なものも 愛しく
泣けるほどに 痛ましいさ
笑顔を突き立てよう
これからの未来は
何処にでも
繋がれる気がしてるの
悪夢の根源に
居た君を いつか必ず
救い出すから
揺らぎあるものの為に
生きてきたんじゃないし
でもこの振動は
私を確かに 呼んでる
嘘じゃない
嘘じゃない
歪みある世界に立っている
心崩れ落ちる音
溢さぬよう 何度も作ったダムも忘れはしないよ
これからの未来は
何処へでも
繋がれる気がしてるの
悪夢の根源に
居た君を いつか必ず
救い出すから
救い出せるから
■"Believe" - Lyric
The pieces of warmth I've breathed and touched
will someday be amassed
If my path goes beyond alone and leads to you
I will see the vast scenery of a lifetime while I blink
Someone says it has no meaning
and throws away the sorrow
Look at the fire within it
Take my word
Take my word
The future from now
I feel that
my path can link to anywhere
The root of nightmare
where you have been, I promise that someday
I will get you out of there
I can get you out of there
Into the rusty mind and darkness
I trace back the frayed ties now, and
the memories I thought I have exhausted
are still there
I subtly knew
Look, the sky is stretching out
Even the frills seem so dear
and wrenching to make me cry
I will thrust a smile
The future from now
I feel that
it can lead to anywhere
The root of nightmare
where you have been, I promise that someday
I will get you out of there
The flickering things
are not what I have lived for
But this vibration
is indeed calling me
Take my word
Take my word
Standing on a distorted world
I hear the heart falling apart
I've made dams many times to keep it together
The future from now
I feel that
it can lead to anywhere
The root of nightmare
where you have been, I promise that someday
I will get you out of there
I can get you out of there
#崎山蒼志 #嘘じゃない #Usojanai #Believe #ヒロアカ #heroaca_a
take me anywhere meaning 在 bubzbeauty Youtube 的最佳貼文
Hey everyone,
This is a very different type of video. I recently took up painting again and some of you requested a Speed Painting video so here it is. Sit back, enjoy the music and paint with little Bubz.
This is my 3rd painting lesson with Tim Gagnon. He is a fellow Youtuber and amazing artist. I found him a week ago and have been OBSESSED with his painting techniques. His passion inspires me so much and I'm learning so much from him right now.
I'm currently taking the Misty Forests lessons from his website http://www.timgagnonstudio.com/lessons
You guys can check out his Youtube Channel: http://www.youtube.com/Gagnonstudio
I'm sharing his channel and website because I'm learning so much from him and sharing the joy. I'm not paid by this or anything. I just think he's great and deserves to be known more. I know a lot of you guys are aspiring artists out there and I know Tim would teach amazing things to you all like I did.
For 2012, I decided to take up painting for one of my resolutions. I loved painting as a child. I was obsessed with art because I can go anywhere through my drawings. It freed me because it allowed me to escape from the busy World.
As I get older, I really realize that the simplest things make me happiest. Sometimes, I feel like the World moves too fast for me. Almost 8 years after High School, I plucked up courage to paint again. Painting somehow slows down time for me because it allows me to be 100% focused on the painting.
You guys can read my diary post
http://bubzbeauty.com/diary/235-painting-with-passion-again.html
for my painting story. I hope it also inspires you guys to go back to your passions. I know we can become occupied with life but really, this has given me back lots of meaning in my life again. I don't think people realize how short life really is so do all the things you want to do that inspires you while you can. Make the most out of it.
I'm still learning from Tim right now (You guys should see his original painting of the one I did lol, it's like...breathtaking!!!). It will be a while for me to be as skillful (or if not, half as skillful) as he is. But one day, I would love to give away one of my paintings to you guys as a gesture. If I ever hit 1 million subscribers- that would be such a special thing to do.
Some of you mentioned I can auction a painting and put the money to charity. That's a great idea but it makes me nervous. It'll be a fun and good cause and I'll work hard practicing for that day.
Ps. Music "Path of Wind" orchestra version from my fav Studio Ghibli anime "Totoro". Nostalgic!! and also "From the Inside out" instrumental from Hillsong.
Have a great day,
Much love, Bubz xx
Check out the Bubzbeauty Official Website. I update tons of beauty, fashion and hair related articles almost daily.
http://www.bubzbeauty.com
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