"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about the game's creation, music, and design philosophies and we are taking this opportunity to combine both until-now unpublished interviews together.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…
同時也有2部Youtube影片,追蹤數超過93萬的網紅Bubzvlogz,也在其Youtube影片中提到,Hello Youtube Family! Here is another Ask Bubz episode. Thank you for sending in your questions. To ask me a question, tweet me with an #askbubz ...
best times to tweet 在 神谷 えりな Facebook 的最讚貼文
お久しぶりです。
仮面女子の猪狩ともかです。
この度は沢山の方々にご心配をお掛けしてしまい、大変申し訳ありません。
私は4/11(水)に強風で倒れた看板の下敷きになってしまうという事故に遭いました。
その日は強風でした。ニュースになるくらい日本の各地でとても強い風が吹いていたそうです。
私はいつものように歩道を歩いていました。
突然強い風が吹き、建物の大きな看板が倒れてくるのがわかりました。
看板があまりに大きすぎてとっさに避けることはできませんでした。
気付けば看板の下敷きになっていました。
出せる精一杯の声を振り絞って「助けて…!」と口にしました。
その時はとにかく苦しく、早く楽になりたいという思いでした。
それからすぐのことだったと思います。
通行人の方が看板を持ち上げてくださって、救急車に運ばれました。
後から聞いたお話では、看板は建物の敷地を飛び越え歩道全体に覆いかぶさっていた状況だったそうです。
それから緊急手術を受け、ICU(集中治療室)に入院しました。
その後、HCU(高度治療室)を経て現在は一般病棟に入院中です。
主に負った怪我は、
・瞼裂傷
・頭部挫創
・骨折(脚、肋骨、胸椎、腰椎)
そして、
・脊髄損傷
その影響で両下肢麻痺。
私は歩くことはもちろん、自分の力で脚を動かすことすらできなくなってしまいました。
治る可能性は極めて低く、
今後、車椅子での生活を余儀なくされました。
体調・怪我は徐々に良くなり、今は自立した車椅子生活を送れるよう毎日リハビリに励んでいます。
退院は今から約3ヶ月後の予定です。
ずっと心配してくださっている皆さんにまずは早く「私、大丈夫だよ!」って言いたくてもどかしい日々が続きました。
でも私自身、状況を把握・受け入れるのに相当な時間が掛かりました。
なんて伝えたらいいんだろう?
私も時間をかけて受け入れたのに、いきなり【脊髄損傷】という事実を文字にして伝えたとき、応援してくださっている皆さんに更に悲しい思いをさせてしまうんじゃないか…。
自分自身が受け入れることに時間がかかったこと、ファンの皆さんに何とお伝えしたらいいか分からなかったこと、そんなことを考えていると、なかなか文章にまとめることができず、ご報告が遅くなってしまいました。
ごめんなさい。
きっと私自身、これから両下肢麻痺と付き合っていく生活について、知らないことがまだ沢山あると思います。
主治医から私への説明は、
「脚の感覚が戻るのには個人差があるので何とも言えません。とにかくリハビリを頑張ってね。」
とのことでした。
脊髄損傷について無知な私は、
「数ヶ月で治るのかな?」
「復帰のステージは笑顔でファンの皆さんに会いたい!」
「また始球式をやらせて頂ける機会があったら次こそノーバウンドで!」
なんて、ベッドの上で考えていました。
私には【脚が動かない】という未来が見えていなかったんです。
手術から数日後、父と姉と話しました。
姉「治ったら一緒にメットライフドーム行こうね!」
父「お父さんは甲子園も一緒に行きたいな。」
私「また始球式があるとしたらそれまでに治るかな!?」
父「車椅子でも投げられるんじゃないかな?」
私「えー、嫌だよ。治して投げる!」
父「…まぁ今はリハビリを頑張ろう。」
精神科医とも色々お話をしました。
突然 脊髄損傷で脚が動かなくなった患者に対しては、主治医と共に精神科医もつくそうです。
きっと家族や事務所、病院の先生方は私がショックを受けないように細心の注意を払ってくれていたと思います。
周りの反応や発言でだんだんと自分が思っているのと違うと感じたのは、HCUに移ってからのことでした。
その日は母と兄が面会時に来ていました。
本当のことを知ったら私は深くショックを受けるかもしれない。
でも覚悟を決めて質問をしました。
私「脚は治らない可能性の方が高いの?」
母「……うん。」
私「私に隠してた?」
兄「今はまず生きていく為に体調を戻さないとだから。」
私「そっか。」
母「でも先生はリハビリを頑張れば奇跡的に脚が動くこともあるって言ってたよ。それを信じて頑張ろう。」
私は歌も踊りも特別上手くはないけど、ステージに立ってライブをして楽しんでくださる皆さんの笑顔を見ると、またそれで自分が笑顔になって…
ファンの皆さんのおかげで“アイドルの猪狩ともか”でいることができる。
そんな時間が大好きです。
だからもちろん
【ステージ復帰】を目指していました。
でもこの事実を知って…
“歌って踊らなくなる時 = 卒業”
としか考えたことがなかった私は、踊れない猪狩ともかを想像することができなくて。
そんな状態の私に需要はあるのか。
いったい何ができるのか。
絶望しました。
事故に遭うまでこの先ずっと普通に歩けると思っていたし、踊れると思っていました。
急に脚が自由に動かせない、自分のものじゃなくなったような感覚になると思ってもいませんでした。
でも不思議と
“仮面女子としての活動を辞める”
という考えに至ったことは1度もありませんでした。
今後どうしたいか考えたときに
“車椅子の猪狩ともか”としての活動を
自然と想像している自分がいました。
そう思わせてくれたのは
支えてくれる周りの全ての人でした。
「車椅子に乗っていたって人を幸せにしたり喜ばせたり、誰かの希望になることは出来るよ。」
「ともちゃんは人を楽しませる、幸せにすることのできる子だから、どんな形であってもそれを続けてくれたら嬉しい。」
という家族の言葉。
「車椅子に乗って色んな場所行こうね!いっぱい遊ぼう!おばあちゃんになっても!!」
という友達からの言葉。
「その明るさで周りのリハビリ頑張っている皆さんのことも明るくしてください。みんなの光になってください。」
という先生の言葉。
「スタッフ全員、猪狩ともかと共にずっと活動していくって気持ちでいるよ。猪狩のやりたいことを叶えたいから何でも言ってね。」
という事務所からの言葉。
「どれだけ時間がかかっても待ってるから。いつでも戻ってこれるようにライブ盛り上げてステージ守るからね!」
というメンバーからの言葉。
そしてファンの皆さん。
劇場で黄色サイリウムや横断幕を掲げてくれて、回復祈願をしてくれたこと。
心を込めて千羽鶴(1209羽)を折ってくれたこと。
皆さんが一羽一羽心を込めて折ってくださったのと同じように、私もベッドの上で一羽一羽数えました。
#いがともちゃんがんばれ
という応援ツイートも見れる限り読ませて頂きました。
きっとハッシュタグがついていなくても心配や応援してくださる声が、たくさんあったと思います。
お手紙もたくさん受け取りました。
皆さんの温かさに何度も救われました。
夜にひとりで不安になったとき、皆さんの言葉が本当に救いでした。
皆さんの気持ちは確実に私に届いています。
心からありがとうございます。
私が大切な節目によく言う言葉、
【希望の光になりたい。】
こうなってしまった今もこの気持ちは変わりません。
脚が動かなくなっても、車椅子に乗りながらやりたいことはたくさんあります。
仮面女子の曲を作詞したいです。
ラジオや講演、司会など、お話する仕事をしたいです。
生きている限り埼玉西武ライオンズの応援をし続けていきたい、野球のお仕事をしたいです。
今回の事故を自分自身のために残すため、手記を本にしたいです。
挙げればキリがありません。
今までとは方向性は変わるけど、何かを発信していきたいという気持ちは何ひとつ変わりません。
そして最終的にはやっぱり、これは“神様の存在”とか“奇跡”という言葉になってしまいますが、脚が元通り動くようになって【アイドルとしてステージで踊りたい】です。
幸せなことに、待ってくれている人たちがたくさんいます。
このことが私の最大の励みになっています。
時間はかかるかもしれません。
元通りは無理かもしれません。
でも必ず笑顔で「久しぶり!」って元気な姿で皆さんに会いたいです。
事故があったあの日、まさか自分がこんな目に合うとは思っていなかったです。
家族も友達も、事務所のスタッフも、メンバーも、ファンの皆さんも、誰も思っていなかったでしょう。
あの日、たまたまあの時間に歩道を歩き、たまたま私が大きな看板の前を差し掛かったときに特別強い風が吹き、看板の下敷きになりました。
もし、看板の前に到着する前に、靴ヒモがほどけて直していたり、誰かから電話が鳴って歩みを止めてお話したり、喉が乾いて自動販売機で飲み物を買ったり、わずか数秒でも手前で何かをしていたら私は事故には遭っていませんでした。
もし、なんてことはないのは分かっているけれど、色んな偶然が重なって私の両脚は動かなくなってしまいました。
でも、命が助かりました。
目撃者のお話によると現場は酷い状況で、命が助かっただけでも有難い状況だったそうです。
私は生きています。
このことだけは何にも代えることのできない神様からのプレゼントだと思っています。
その分試練も与えられたけど、きっと越えられない試練は与えないはず。
よく、ドラマや映画で「明日何があるか分からない、今を大切にしよう。」という言葉を聞きます。
今までその言葉を大切にしてきたつもりではあったけど、改めて本当にその通りだと思います。
だからこれからどんなことがあっても、
向日葵のように上を向いて楽しくて幸せな人生を歩んでいく。
そして毎日を丁寧に大切に生きていきたい。
私は前を向いています。
もう心配しないでね。
これからも猪狩ともかを見守ってください。
そして一緒に歩んでいければ嬉しいです。
この先もずっと、よろしくお願いします。
It's been a long time.
It's also a masked girl igari.
I'm very sorry for worrying about so many people this time.
I was in an accident on 4/11 (Wed) that it was going to be the bottom of the sign that fell down with a strong wind.
It was a strong wind that day. It seems that there was a very strong wind in various places in Japan in the news.
I was walking on the sidewalk as usual.
I see that suddenly the strong wind blows, and the big sign of the building is falling down.
The sign was too big, so I couldn't avoid it quickly.
It was on the bottom of the restorative sign.
I said, " help me... with the best voice I can get.
At that time it was painful and I wanted to make it easier.
And I think it was right away.
A passerby was transported to an ambulance to lift up the sign.
From later on, it seems that the sign was covered in the whole sidewalk of the building.
Then I got an emergency surgery and I was hospitalized for ICU (Intensive Care room).
After that, I'm currently hospitalized in the general ward after the hcu (Advanced Treatment room).
The injury of the Lord is the one who is the one
Eyelid laceration
The head of the head
Fracture (legs, ribs, thoracic spine, lumbar vertebrae)
And then
Spinal damage
Due to the influence, both lower limb paralysis.
I couldn't even move my legs with my own power to walk.
The possibility of being cured is extremely low,
In the future, I have been forced to live in a wheelchair.
Health injuries gradually get better, and now I'm encouraging rehab to send an independent wheelchair life.
Discharge is about 3 months from now.
To all of you who have been worried about me, I wanted to say " I'm okay!" the days have continued.
But myself, it took a lot of time to figure out the situation.
What should I tell you?
I also accepted it in time, but when I told the fact that it was suddenly [spinal damage.... I'm going to make you feel even more sad....
I didn't know what to say to all my fans that I had time to accept it, and when I thought about it, I couldn't put it together in the writing, and I was late to report it. Yes.
I'm sorry.
I'm sure there's still a lot of things I don't know about the life that I'm going to get together with my lower limb paralysis.
My Doctor's explanation of me,
" I can't say it because there is individual difference in the sense of legs to return. Good luck with your rehab anyway."
That's what I was talking about.
I'm ignorant about spinal damage,
" I wonder if it will heal in a few months?"
" the stage of return is a smile and I miss you all my fans!"
" if you have a chance to be able to do the first pitch again, next is the no bound!"
What a thought on the bed.
I didn't see the future that [legs don't move]
A few days after the surgery, I talked to my father and sister.
Sister: " Let's go metlife dome together when it's healed!"
Father: " Dad wants to go with koshien too."
Me: " if there is another pitch ceremony, will it be cured by then!?"
Father: " I wonder if I can throw a wheelchair?"
Me: " eh, I hate it. Heal and throw!"
Father "... well now let's do our rehab."
I talked about a lot of things with psychiatrist.
It seems that there will also be a psychiatrist with a doctor for a patient who has suddenly lost his legs with spinal damage.
I bet the family, office, and hospital teachers paid close attention to me not to be shocked.
It's been a long time since I moved to hcu that I felt different from what I think about the reactions and remarks around me.
My mother and brother came to see me on that day.
I may be deeply shocked if I know the truth.
But I was prepared and asked a question.
Me: " legs are more likely not to be cured?"
Mother "...... yeah."
Me: " I hid it?"
Brother: " now I have to get back to life."
Me: " oh yeah."
Mother: " but the teacher said that if you go to rehab, you can miraculously move your legs. Let's do our best to believe it."
I don't even sing and dance special, but when I see everyone's smile that I'm going to stand on stage and enjoy it, I'm going to have a smile again...
Thanks to all the fans, I can be "idol igari"
I love time like that.
So of course
I was aiming for [stage return]
But know this fact...
"when you sing and don't dance = Graduation"
I've only thought about it, and I can't even imagine igari who can't dance.
Is there a demand for me in such a state?
What the hell can I do?
I'm desperate.
I thought I was going to be able to walk in a normal way until I was in an accident, and I thought I'd dance.
I can't move my legs freely, I never thought I'd feel like my own.
But wonder
"quitting activities as a masked girl"
I've never been to the idea of 1 degrees.
When you think about what to do in the future
Activities as "Wheelchair Igari"
I had myself that I imagine nature.
That made me think so
It was all the people around you who supported me.
" when you're in a wheelchair, you can make people happy or happy, and you can be someone's hope."
" I would be happy if you continue to do it in any form, because you are a child who can make you happy and happy."
The Word of the family.
" Let's go in a wheelchair and go all kinds of places! Let's play a lot! Even when I become an grandma!!"
A word from a friend.
" please light up all of you who are working hard on the rehabilitation around you with its brightness. Be the light of everyone."
The Word of the teacher.
" I feel like I'm going to work all the time with the whole staff, igari. Say anything you want igari to do."
Words from the office.
" I'm waiting for how long it takes. I'll make a live show and protect the stage so I can come back anytime!"
A word from a member.
And all the fans.
What a prayer and prayer for holding yellow thanos and banner at the theater.
It's been a long time since I've been in the middle of a paper cranes.
Just as you all broke with one feather, I also counted one feather on the bed.
#いがともちゃんがんばれ
I was able to read it as long as I can see the cheering tweet.
I think there was a lot of voices that were worried and cheering on me even if I didn't have a hashtag.
I received a lot of letters.
I've been saved by your warmth many times.
When I was anxious at night, everyone's words were truly saved.
Everyone's feelings are definitely delivered to me.
Thank you very much from the heart.
Words that I often say to a milestone that is important,
[I want to be the light of hope.]
This feeling doesn't change even now.
There's a lot of things I want to do while riding a wheelchair even if my legs aren't moving.
I'd like to write a song of a masked girl.
I want to do a job to talk about radio, lecture, emcee, etc.
I want to keep supporting saitama seibu lions as long as I live, I want to do a baseball job.
I want to book a note to leave this accident for myself.
There is no got.
The direction is changing until now, but the feeling that I want to send something is not changed.
And in the end, this is the word " God's presence " and " miracle but the legs are moving back, and I want to dance on stage as an idol.
Happiness, there are a lot of people who are waiting for you.
This is my biggest encouragement.
It may take some time.
You may not be able to get back to it.
But I'm sure to smile, " it's been a while!" I want to see you all in a good way.
That day when there was an accident, I didn't think I'd ever see this.
No family, no friends, no office staff, no members, no fans, no one would have thought.
On that day, I happened to walk on the sidewalk at that time, and it happened to be a special strong wind when I was in front of the big sign, and it turned out to be a sign of the sign.
If the shoe pimp is untied and fixed before I arrive before the sign, someone calls me to stop walking and talk, thirsty and buy drinks on vending machines, just a few seconds I wasn't in an accident if I was doing something in front of me.
I know it's not a thing, but there's a lot of coincidences, and my legs aren't moving.
But my life was helpful.
According to the witnesses, the site was a terrible situation, and it seems that it was a good situation to be able to save life.
I'm alive.
I think this is a present from God who can't replace anything.
I was given a test, but I'm sure I won't give you a test that can't be crossed.
I often hear the word " I don't know what tomorrow is tomorrow, I will take care of it."
I was going to take care of the word until now, but I think it's really true.
So no matter what it is from now on,
Looking up like a sunflower and walking in a fun and happy life.
And I want to live every day carefully and cherish.
I'm looking forward.
Don't worry about it anymore.
From now on, please watch over igari too.
And I would be happy if I could walk with you.
Thank you very much for your continued support.Translated
best times to tweet 在 Ryohei Kato 加藤凌平 Facebook 的最佳貼文
Translations of Ryohei's, Tanaka's & Shirai's tweets that were posted after the Worlds 2014 Men's Team finals.
You need to read this post (http://tinyurl.com/k7lypjt) first for all of their tweets to make sense.
[7-8 Oct, Ryohei's Tweets]
"今日の試合で航平さんの団体戦への思いの強さと背負ってきたものが少しわかった気がする。初代表のロンドンのときは2番でも嬉しくてニコニコしてたな俺。 今回は同じ2番でも全然違う。航平さんはこれをずっと味わってきたんだよな…辛すぎる。だからこれで腐らず航平さんのためにも来年頑張ります!!"
"Through today's competition, I learned a little about how strongly (Uchimura) Kohei-san feels about team competition and the weight he carries (with the desire to win). When we placed 2nd in London (2012 Olympics), the me who was a national representative for the first time was just happy. Today we have achieved the same 2nd place but it feels completely different. Kohei-san has felt this so many times...really tough. For Kohei's sake as well, I will not feel down and do my very best next year!!"
(T/N: This one was really hard to translate, could seem to find the correct words to explain their frustration/disappointment)
"今日は応援ありがとうございました!! 試合後とインタビューのときは抜け殻のようになってたみたいで…心配かけました。すみません。笑 次の僕の出番は11日の種目別床と、12日の種目別平行棒です。最後まで応援よろしくお願いします!!!"
"Thank you very much for all your support today!! During the interview after the competition I appeared really down...I caused worry. I'm sorry. -laugh- My next appearances will be at the Floor event finals on the 11th and Parallel Bars event finals on the 12th. Thank you for you support until the end!!!"
(T/N: When the final results flashed on the scoreboard Team Japan looked so heartbroken, and Ryohei in particular couldn't contain his disappointment and frustration - it really showed. He just sat on the floor for a good few minutes. He looked really crestfallen in his interview with the Japanese media right after, so guess he received many messages, heh)
"「日本の体操が1番だったよ」という多くのメッセージや他国のコーチ、選手からの声を頂いて少し心が楽になり救われました。ありがとうございます(^^)♪ それでは、おやすみなさい。"
"The many messages from the voices of other countries' coaches and athletes that 'Team Japan's gymnastics were #1' have comforted my heart. Thank you very much(^^)♪ So now, good night。"
(T/N: Ryohei tweeted that at about 5/6am Nanning time today even though the competition concluded around 10pm last night :o)
[7 Oct, Shirai Kenzo's tweet]
"言いたいことはいっぱいです。でも負けは負け。ぼくがラインオーバーを片足で収めてても同じ結果だったと思います。18演技しっかりそろってたし反省もし たくないくらいやりきった。あの歓声の中後半失敗が少なかった中国も強かった。あと決勝は2つ。出れることに感謝。0.1はゆかで取り返す。"
"There are so many things I want to say. But a defeat is a defeat. Even if I had not stepped out of bounds (on Floor), I feel like the result would have been the same. We did our best on all 18 routines and we don't want to have any regrets. Even with the loud cheering, China was strong enough to minimise their mistakes in the second half of the competition. (I have) 2 more finals coming up. Grateful that I am in them. I will get back that 0.1 in the Floor finals.
(T/N: Shirai had a 0.300 OOB penalty on Floor. He mentions 18 routines as each team performed a total of 18 routines at the team final.)
[7-8 Oct, Tanaka Yusuke's tweets]
"ふつふつと込み上げる思い。 選手は、練習してきたことを披露してそれ相応の評価を貰いたい。ただそれだけ。 審判は、選手が披露した演技に対してそれ相応の評価をする。ただそれだけ。 シンプルなはず。 そこに、開催国だから。とか、雰囲気が。とか、 プラスαなんかいらないんだよ。"
"My thoughts are flowing (continuously). Athletes, they show what they have practiced and hope to be evaluated accordingly. Just like that. Judges, they evaluate according to the athletes' performances. Just like that. It should be simple. And then, because it is the host country, because of the atmosphere. A+ (routines) were not needed (to get the Gold)."
"中国は強かった。0.1でも負けは負け。自分が取り損ねた部分もある。 とりあえず気持ちを切り替えて、正当な採点をしてくれることを祈って、個人総合と種目別平行棒を頑張ります。 応援よろしくお願いします。"
"China was strong. Losing (the Gold) by 0.1 is still losing. There is also my own mistake. For now by changing my emotions/mood and praying for fair/legitimate scoring, I will do my best at the Individual All-Around and Parallel Bars event finals. Thank you very much for your support."
Translation credits to Jardena@facebook.com/kato.ryohei.fanpage
Photo credits to Ryohei's personal Twitter account and Aflo Sport.
best times to tweet 在 Bubzvlogz Youtube 的最佳貼文
Hello Youtube Family!
Here is another Ask Bubz episode. Thank you for sending in your questions. To ask me a question, tweet me with an #askbubz
The real question is, what is that piece of fluff on my hair?
Your questions:
1. Do you button a shirt from top to bottom or from bottom to top?
2. Has Isaac accidentally peed on you and Tim yet?
3. What's your best advice for going through high school?
4. Why did you move to Hong Kong, & what is stopping you from going back to the UK now?
5. Favourite thing to do when you get alone time?
6. What's your favorite part of being a mom?
7. How are you always so happy and comedic in all those vlogs?
8. What language do you and Tim speak to Isaac the most?
10. Please repeat (5 times) the following tongue twisters: - Red lorry, yellow lorry. - Six stick shifts stuck shut.
11. Are u gonna watch 50 shades of grey
12. Whats your most awkward moment while meeting a fan?
13. If you could have dinner with any three people (excluding your family), whom would you choose?
14. Explain tim in 3 words
15. What advice would you give to someone starting first year of university?
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best times to tweet 在 mapleLIFE Youtube 的最讚貼文
We went to UNA Pizza & Wine Calgary today with my brother and my Cousins. If you are in the Calgary area, I really recommend this place. Out of all the restaurants I showed you this is the best restaurant so far. I really suggest you save your money from a few times of going to cheap take out Pizza and to try this place. You will be converted and will be happy. Also, we gotta surprise for you too. You have to watch to the end to find out. Hope you guys enjoy.