關於 stake meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

How Taiwan can boost your startup in unexpected ways

Taiwan attractions have become an open secret in terms of its location, low operating expenses, and affordable top tier IT talent.

Startups (not limited to Taiwanese) may receive initial funding up to US$650,000 followed by US$3.3 million in subsequent rounds, from government’s new direct investment program.

“Taiwan’s National Development Fund (NDF) may now invest up to NT$20 million in any new startup versus a prior ceiling of NT$5 million, thereby emphasizing an equity stake rather than a grant that must be repaid.”

“The program has also been expanded to US$66 million. As of now, 57 companies have received a total of around US$25 million in funding, meaning US$40 million remains available.”

Entrepreneur visa program that was introduced in 2015, just made it easier for international founders to come to Taiwan.

“Employment Gold Card” as well as tax and retirement benefits for foreign professionals.

Last, AppWorks, the region’s largest startup accelerator and founder community would love to help the startups to land in Taiwan.

AppWorks is now accepting applications for our next AI/blockchain only batch. Be sure to apply before the final deadline of December 16, 2019 >>> http://bit.ly/2XXfWqh

To read more >> https://e27.co/emerging-funding-opportunities-in-taiwan-20191122/?fbclid=IwAR2cDczVa-fbd-xW5sgbZcFk9Ga4-Ptfzo-XGm31I0j17BpLziX6JBQjM5s

By Izza Lin,
Recruiting Master

"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about the game's creation, music, and design philosophies and we are taking this opportunity to combine both until-now unpublished interviews together.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…

Ideologies just got mixed into doctrinal basis ...

For my friends who are interested in the Evangelical Theological Society, please take a look at this important message from past president Stan Gundry, who, like me, is vitally interested in the continuing health of the Society. He has given me permission to copy it here.

WHENCE AND WHITHER ETS?
An Open Letter to the Members of ETS
Stanley N. Gundry
President of the Evangelical Theological Society, 1978

The following resolutions were adopted in the last business session of the 2015 national meeting of the Evangelical Theological Society:
(1) We affirm that all persons are created in the image and likeness of God and thus possess inherent dignity and worth.
(2) We affirm that marriage is the covenantal union of one man and one woman, for life.
(3) We affirm that Scripture teaches that sexual intimacy is reserved for marriage as defined above. This excludes all other forms of sexual intimacy.
(4) We affirm that God created men and women, imbued with the distinct traits of manhood and womanhood, and that each is an unchangeable gift of God that constitutes personal identity.
In the immediate aftermath of this business session, many ETS members were deeply troubled that any ETS members would vote against these resolutions. The post-ETS blogs of a few ETS members and the comments of their followers expressed dismay that anyone who claims to be evangelical and subscribes to the Doctrinal Basis of the Society would cast a negative vote.
But there was also a significant minority that opposed and voted against these resolutions. These members were troubled that such resolutions would be introduced, that they were not ruled out of order or at least tabled, and that they were passed by a significant majority of those present and voting. I was among the minority that voted “Nay.”
Why? It is a question that deserves to be answered because I am convinced that the future of ETS depends on our repudiation of what happened in that session and that ETS members must realize that resolutions of this nature are not consistent with the nature of the Society. In fact, the issue at stake is whether or not ETS will remain committed to the original purpose for which ETS was formed. I have not taken even an informal poll of others who voted against the resolutions, but I have discussed the matter with enough members to give me confidence that many members agree that the future of ETS is at stake.
My history within ETS uniquely qualifies me to address the concerns these resolutions raise. I have been immersed in the culture and affairs of ETS since my student days in the 1950s and 1960s. I knew on a first-name basis many of the first-generation ETS members. I was taught by some of them. I have been a full member of the Society since about 1968. I have attended most national meetings since 1970, and in the 1970s I was an active participant in the Midwestern section of ETS, serving also as president of that section and on its leadership committee. Then in 1978 I served as the national president of ETS and planned the program for the 30th Annual Meeting of ETS in collaboration with Dr. Kenneth Kantzer, followed by serving the allotted time on the ETS Executive Committee. Relevant to the concerns at hand, my first-hand knowledge of the workings of ETS and its Constitution, most especially the Purpose and Doctrinal Basis of the Society as stated in the Constitution, and my acquaintance with many of the founders and first-generation members of ETS give me insight into their intentions in forming the Society.
So why did I vote against the resolutions? Because the resolutions went beyond the Doctrinal Basis of the Society and were inconsistent with the clearly stated Purpose of ETS. But I run ahead of myself and it is a bit more complicated than that. So let me start at the beginning, the resolutions themselves.
First, it is unfortunate that the resolutions were presented at the last business meeting and then discussed and voted on as a group. My understanding is that those responsible for the agenda did not anticipate that the resolutions would be controversial and so they were scheduled to be considered in the last business session. This was not inconsistent as such with the ETS Constitution or Bylaws, but in a case like this, members should have had advance warning of the nature of the resolutions and ample opportunity to discuss them among themselves and on the floor of the business meeting. Further, many members had already left the conference or were absent for other reasons. Thus, members could not deliberately consider in advance whether or not voting on such resolutions was even consistent with the Purpose of ETS; and, given the time constraints of the program, there was not sufficient time to debate the merits of the individual resolutions and to vote up or down on each one.
The resolutions were so poorly stated that they needed such careful consideration. For instance, the second resolution ignored the question of biblical grounds for divorce and remarriage. And given the diversity of views on divorce and remarriage within ETS, is this really a question on which ETS should be taking a position even in the form of a resolution? What about the third resolution? Viewed superficially, who could possibly object to that resolution? But looked at more closely, “sexual intimacy” and “all other forms of sexual intimacy” are squishy descriptors. Are they intended to refer to physical sexual intimacy, and if so, are holding hands, kissing, or hugging forbidden? My fundamentalist and separatist father would have thought so, but what about the membership of ETS? Would we have a consensus on that question?
And what about the fourth resolution affirming “distinct traits of manhood and womanhood”? While I suspect all members of ETS (even those of us who self-identify as biblical egalitarians) believe that men and women in many respects are complementary to one another, many of us also believe that the terms “manhood” and “womanhood” are reifications of socially and culturally conditioned patterns of behavior more than they are descriptors of biblically supported male and female characteristics. Rather than being biblically supported, the terms tend to refer to stereotypical lists of alleged gender characteristics to which men and women are expected to conform. Even self-avowed complementarians have no consensus on what constitutes “manhood and womanhood,” so why would a scholarly society like ETS that includes both complementarians and egalitarians even take such a resolution seriously?
So I return to the opening statement of this first point—scheduling the resolutions for consideration as a group at the second business meeting without prior notice meant there was not adequate time to consider and debate the merits and wording of the resolutions and it made it impossible to carefully consider whether or not voting on such resolutions was even consistent with the Purpose of ETS.
Second, this broader issue needs to be considered by the Society. Is it even appropriate for resolutions to be introduced, debated, and voted on that go beyond the Doctrinal Basis and officially stated Purpose of the Society? I believe the answer is a clear and unequivocal “No!” Members tend to forget that ETS was never intended to have a doctrinal statement to which members had to subscribe. We have a “Doctrinal Basis,” one that originally had one affirmation: The Bible alone, and the Bible in its entirety, is the Word of God written and is therefore inerrant in the autographs. Years later, the Trinitarian statement was added to the Doctrinal Basis out of concern that anti-Trinitarians such as Jehovah’s Witnesses might successfully claim membership in ETS. But even with that addition, it remains a Doctrinal Basis, not a doctrinal statement. Some members seem not to understand and/or remember the significance of the fact that we function as a scholarly society with a Doctrinal Basis. But even many who remember that we have a Doctrinal Basis all too easily and sloppily refer to it using the phrases “doctrinal basis” and “doctrinal statement” interchangeably, suggesting they do not really understand (or perhaps accept) the significance of the distinction. But this distinction is at the very heart and Purpose of ETS. A bit of historical context will be useful here.
When ETS was formed in 1949, evangelical biblical and theological scholarship was just beginning to emerge from its decline in the dark days of the modernist-fundamentalist debate and the loss of so many mainline denominations and associated colleges, seminaries, and missionary agencies to the takeover of these institutions by theological liberals. For at least fifteen or twenty years, fundamentalists and evangelicals at the local church and grassroots level had a profound suspicion of serious biblical and theological scholarship. But in the mid and late 1940s, this began to change as scholars who were willing to self-identify as fundamentalists (in the classic meaning of that term) and/or evangelical began to find each other, come together, and realize that in spite of all that divided them, they held one thing in common—the Bible and the Bible alone in its entirety is God’s Word written, it speaks truthfully on whatever it intends to say and teach, and hence it is the only rule for Christian faith and practice. Eventually in 1949 many of the fundamentalist and evangelical scholars who shared this conviction agreed there was a need for a scholarly society where members shared the same basis on which conservative scholarship and research should be discussed and debated. On that Doctrinal Basis, they formed the Evangelical Theological Society.
It is easy to forget, or perhaps many ETS members do not know, how deep and sometimes rancorous the divisions were that otherwise separated these same scholars. These divisions ranged from matters of church polity to biblical hermeneutics to the various loci of systematic theology. In fact, dispensational and amillennial theologians were accustomed to trading charges that the hermeneutical methods and theological systems of the other undermined the authority of Scripture. Scholars who practiced secondary separation risked their reputations if they joined with other evangelical scholars who practiced only primary separation or who were inclusivists. At least four of the ETS presidents in the first twenty years of the society would have been sympathetic to what is now known as biblical egalitarianism, a matter over which ETS members today have profound disagreements. Yet these scholars came together in ETS as did Pentecostals and cessationists, believer-immersionists and paedo-sprinklers, Arminians and Wesleyans and Reformed and Lutheran, as well as those who held to congregational, or presbyterial, or episcopal church polity.
A quick scan of the listing of ETS presidents over the past sixty-seven years and the institutions they represented makes the same point. Schools represented range from Wycliffe College, to Dallas Theological Seminary, to Southern Baptist Theological Seminary, to Trinity Evangelical Divinity School, to Liberty Baptist Theological Seminary, to Moody Bible Institute. The theological spectrum represented by ETS presidents is also quite remarkable. As I look at the list I can identify at least twelve presidents associated with one of five or six varieties of Presbyterian and Reformed communions, thirteen who were dispensationalists, five who were covenant premillennialists, one Pentecostal, three Wesleyans, and twelve sympathetic with biblical egalitarianism.
Throughout its history, ETS has been a demonstration of the Purpose for which ETS was formed: The Purpose of the Society shall be to foster conservative biblical scholarship by providing a medium for the oral exchange and written expression of thought and research in the general field of the theological disciplines as centered in the Scriptures.
So I return to the opening question and statement of my second point—“Is it even appropriate for resolutions to be introduced, debated, and voted on that go beyond the Doctrinal Basis and officially stated Purpose of the Society?” I believe the answer is a clear and unequivocal “No!” Why? Because such resolutions are inconsistent with the Purpose of ETS and the reason why we have a Doctrinal Basis and not a doctrinal statement.
Third, the introduction and passage of the four-fold resolution package and the internet conversations following the 67th Annual Meeting are symptomatic of the desire of some ETS members to move the Society in the direction of precise, doctrinal, and interpretive clarity and definition, ideally in the form of a doctrinal statement and other “position statements.” I am trained not only as a theologian but as a church historian; consequently I am inclined to be skeptical of conspiracy theories unless there is compelling evidence. Nevertheless, based on the evidence, some of us are now wondering if there is a conspiracy within ETS to:
1) ease out biblical egalitarians,
2) exclude women from the leadership of ETS,
3) let qualified women scholars know they are not part of “the old boys network,”
4) shut down discussion of contentious ethical and theological issues,
5) marginalize those who do not come out on the “right side” of those issues,
6) “pack” the nominating committee so as to get their compatriots in the positions of leadership,
7) question the evangelical and inerrantist bona fides of those who ask hard questions and come up with answers that most of us are not persuaded by, and
8) propose and pass a poorly framed set of four resolutions that makes the Society sound more like the Family Research Council or the Council on Biblical Manhood and Womanhood than the intentionally diverse “medium for the oral and written expressions of thought and research in the general field of the theological disciplines as centered in the Scriptures” as stated in the ETS Purpose statement.
Lest I be misunderstood, I do believe that theological boundaries are important within the church and its institutions, and as an evangelical Protestant, I believe it is appropriate for churches and parachurch organizations to draw those boundary lines, based on their understanding of Scripture. But ETS is not a church and it was formed to serve a clearly defined purpose. It is significant that it takes an 80% majority vote to amend only three things in the ETS constitution—the Doctrinal Basis, the Society’s Purpose, and the requirement for an 80% majority to amend the first two items. The founders of our Society could hardly have made it clearer that they regarded the Purpose and Doctrinal Basis of ETS to be essential to the organization they were creating.
Why is it important to guard the integrity of the original Purpose and Basis of ETS? I will answer with another question. What better forum is there for collegial discussion and debate of complementarianism and egalitarianism, open theism and classical theism and all points in between, eschatology, the “new perspective” on Paul, and yes, even the question of whether same-sex “marriages” can be defended biblically, than a forum where we have agreed to appeal to the sole source of authority for Christian faith and practice, the Bible, God’s Word written?
Copyright © 2016 by Stanley N. Gundry. Used by permission. All rights reserved.

Allen Iverson squared up, hit a 3-pointer and raised his arms to the air, having thwarted Golden State's final charge. There was no downplaying the importance of this win that put the Denver Nuggets in control of the race for the final playoff spot in the Western Conference.

The win moved Denver (48-31) a full game ahead of the Warriors in the race for eighth place in the West with only three games remaining. The Nuggets also control the tiebreaker, meaning they can clinch their fifth straight playoff berth by winning two of their final three games.

Golden State (47-32) probably will need to win its final three games and hope Denver loses twice to avoid the distinction of being the winningest team ever to miss the NBA playoffs. Houston won 45 games in 2000-01.

"They're in the catbird seat right now," Warriors coach Don Nelson said. "We've got a big problem as far as making the playoffs at this particular time. We're going to need a lot of luck and probably have to win out."

The Nuggets erased the early deficit by scoring 19 straight points in the second quarter and built the lead up from there, putting the back-to-back losses to Sacramento and Seattle from last weekend behind them.

"It was a must win for us. We came up with that attitude," said Anthony, who had 25 points, including a 3-pointer that made it 104-90 with 7:52 to go. "It was 'win or go home' in our minds."

The lead grew to 17 before the Warriors mounted one last run, scoring nine straight points to cut it to 107-99 on Kelenna Azubuike's 3-pointer with just over 4 minutes remaining.

Golden State had two chances to cut into the lead more before Iverson's jumper got the lead back to 10. Iverson then hit the 3-pointer that made it 112-101 with 2:06 to go, icing the most important game of the season.

"AI likes to take that 3, that dagger 3," coach George Karl said. "We were kind of caught in the quandary of should we try to score or run clock. That 3 ended the quandary. It got us over that hump where we didn't have to be scared to death of them making that 3."

Both teams talked about how this game had a playoff feel to it. The yellow "We Believe" placards that were prevalent during the Warriors' playoff run a year ago were taped to each seat. But the Warriors have not been playing with the same energy down the stretch this season as they did during their memorable playoff run a year ago.

They have lost nine of the past 16 games in a lackluster finish to their best season in 14 years. Golden State committed an uncharacteristically high 18 turnovers, missed nine of 24 free throws and got poor shooting nights from Stephen Jackson and Baron Davis.

Davis had a triple-double with 20 points, 11 assists and 10 rebounds, but shot only 9-for-25. Jackson had 18 points on 5-for-17 shooting. Monta Ellis led the way with 29 points and Al Harrington added 20.

"We've got a job to do, we've still got games," Jackson said. "We can't sit and dwell on this game because we lost. Definitely, everybody's upset, but at the same time we can't do anything about it. We've got to get ready to play the next game."

The notoriously slow-starting Warriors had their best opening quarter in months, taking a 37-22 lead after one for their best start since leading Cleveland by 16 after one back on Dec. 23. That advantage was quickly erased when the Iverson and Smith found their stroke and the Warriors struggled against Denver's zone early in the second.

"All I know is zones change offenses," Karl said. "When teams zone us, I'm not sure it works but it makes us play different. It makes us play in a way we aren't 100 percent comfortable."

It had a similar effect on the Warriors, who missed their first eight shots of the quarter. Iverson had nine points and Smith scored eight in the big run that gave Denver a 43-38 lead.

Game notes
Golden State F Brandan Wright and Denver F Nene missed the game with groin injuries. ... Davis has three triple-doubles this season. ... The Warriors have not won back-to-back games since taking three in a row March 7-12.
Iverson scored 33 points, J.R. Smith added 24 off the bench and the Nuggets overcame a 16-point deficit in the first quarter to win their playoff showdown with the Warriors 114-105 Thursday night.

"Everybody knew what was at stake," Iverson said. "It's easy for players to say it's just another game. But everybody knows it wasn't just another game. It was a game that both teams felt they had to have."