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

📌 10 CARA MENJADI WANITA MATANG.

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1. Kurang Bercakap Dan Lebih Mendengar.
...Continue Reading📌 10 WAYS TO BE A MATANG WOMAN.

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1. Less Talk And More Listening.

Mature women listen more than talk.

Naturally we are born with a pair of ears and only one mouth and tongue...

′′ A silent voice ′′ is sometimes stronger than when we speak.

And you may not notice, but the most silent person in a room is the most ′′ loud ′′ person and could be the most ′′ powerful ′′ person too!

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2. No Empty Talk.

Mature women don't talk empty. But prefer to talk about things that benefit. Talking about an intellectual title.

Don't have time to debate with people who disagree with their actions.

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3. Learn from mistakes.

Mature women will always learn from mistakes. They will not repeat the same mistakes in life.

Not afraid to admit self mistakes. It's even easy to apologize.

To be me today, I have also made many mistakes in life. Yet we need to forgive ourselves. Leaving the unnecessary thing. Make peace with the past. And move on ok!

Don't say...
′′ I shouldn't marry a young age.." (e. g). Because everything that happens will surely have a blessing.

We are not ourselves today without all mistakes in life! Thank you to our past.

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4. Is Easier To Forgive

A mature woman is a calmer person and easy to forgive. Nothing really matter in this world.

Keeping a grudge is so blurred. It's so unnecessary. You will be happier when you can easily forgive.

Be a woman who is not easy to get hurt ok!

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5. Not Forcing Love

Owh yes! Mature women will not force love. Not chasing unrequited love. Don't waste time hoping for people who don't repay their love.

You will know how true love feels when the person who truly loves you comes in life.

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6. You Receive Destiny With Open Heart

Whether the test that comes is small... As small as a headache or heavy as having to face a very painful breakup in life.

You are now more accepting the destiny you are going through and handling it with grace and understanding and calmness than ever before.

Confident that everything that happens with Allah's permission is the best ever. Although we may feel it's so hard to have to cry for so long!

Sad and sick is ordinary. However with maturity we will be able to clean the ′′ wound ′′ itself. Rise again without blaming anyone.

Not easy, but just keep going....

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7. Not Easy to Judge

Not judgemental, what else is worse, thought of others easily. Always see the good in everyone.

Mature women are very humble. No matter how great we are, never underestimate others. Because everything we have is just a loan.

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8. Would Rather Be Silent Than A Fight That Doesn't Lead To Goodness

Mature women will know that fighting for unnecessary things is useless. If there are no kind words, silence is better.

Don't listen to what you don't need to
Don't look at the unnecessary.
Don't talk unnecessary talk.

Do not react to negativity.

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9. Know That Happiness Is Not In Other People's Hands

Mature women will not wish others to be happy. Enough only Allah. Hoping for humans will bring disappointment.

The Tahzan
Do not be sad.

Strong mature women are the ones who often smile during the test. Always accept and have a heart.

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10. Praying 5 Time

Because mature women know, prayer is the key to happiness. Crying not to humans anymore. But only to Allah the One.

Mature women don't ask man. But kneeling and asking for Allah alone.

Credits: the imperfections
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The Foolish but Powerful Solution to your Problems

“For Christ sent me not to baptize, but to preach the Good News—not in wisdom of words, so that the cross of Christ wouldn’t be made void. For the word of the cross is foolishness to those who are dying, but to us who are saved it is the power of God. For it is written, “I will destroy the wisdom of the wise, I will bring the discernment of the discerning to nothing.” Where is the wise? Where is the scribe? Where is the lawyer of this world? Hasn’t God made foolish the wisdom of this world? For seeing that in the wisdom of God, the world through its wisdom didn’t know God, it was God’s good pleasure through the foolishness of the preaching to save those who believe. For Jews ask for signs, Greeks seek after wisdom, but we preach Christ crucified; a stumbling block to Jews, and foolishness to Greeks, but to those who are called, both Jews and Greeks, Christ is the power of God and the wisdom of God. Because the foolishness of God is wiser than men, and the weakness of God is stronger than men.” (1 Corinthians‬ ‭1:17-25‬ ‭WEB‬‬)

When we’re going through perilous troubles, the last thing we usually want to do is listen to preaching.

Your mind of flesh may be screaming something like this: “I got to do something about it. This is not the time to relax and listen about Jesus!”

However when you discern in the spirit, listening to the word about Jesus’ finished work at the cross is to key to accessing God’s saving power.

We have been programmed by the world that doing things is practical whereas listening to messages is an optional luxury.
The wisdom of the world is the opposite of God’s wisdom.

God says that if you want to access His wisdom and power, you must listen to preaching about “Christ crucified”.

Unbelievers and the devil may call you foolish for prioritizing the hearing of the Gospel, but God considers them foolish because you are doing the wisest thing in His eyes.

“When David and his men came to the city, behold, it was burned with fire; and their wives, their sons, and their daughters were taken captive. Then David and the people who were with him lifted up their voice and wept until they had no more power to weep. David’s two wives were taken captive, Ahinoam the Jezreelitess, and Abigail the wife of Nabal the Carmelite. David was greatly distressed; for the people spoke of stoning him, because the souls of all the people were grieved, every man for his sons and for his daughters; but David strengthened himself in Yahweh his God. David said to Abiathar the priest, the son of Ahimelech, “Please bring the ephod here to me.” Abiathar brought the ephod to David. David inquired of Yahweh, saying, “If I pursue after this troop, will I overtake them?” He answered him, “Pursue; for you will surely overtake them, and will without fail recover all.”” (1 Samuel‬ ‭30:3-8‬ ‭WEB‬‬)

David was facing great danger. The city he was in charge of was burned with fire, and the people of the city were all taken captive.
The men who were with David even spoke of stoning him.

In such an urgent situation, most of us would be tempted to react through the flesh instead of responding through the spirit.

But David had a revelation that he needed to seek the Lord’s counsel in everything he did.

He paused and inquired of Yahweh (Jesus). The Lord gave him divine wisdom saying that he should pursue and that he would recover all.

If you are facing a difficult situation today, I encourage you to receive messages about Jesus’ finished work at the cross, and also to seek His counsel first before acting—He will guide you through the Holy Spirit and provide you with a way out of your troubles!

In my new book “Messiah’s Miracles—The Power of Having Faith in Jesus Christ”, I expound on every one of Jesus’ 37 recorded miracles in the four gospels.

Each chapter is designed to ignite your faith and increase expectancy in your heart to receive miracles now.

I believe that as you see Jesus working miracles in the four gospels, unveiling God’s heart of love, goodness and mercy towards man, you will also receive faith to see miracles in every area of your life!
You will also be able to walk in the power of God when you expect to see the supernatural gifts in operation.

Testimonials for the book:

“One of my most trusted teachers has truly written a masterpiece. I can't put this book down.”
- Michael Clark, Highly Sought-After Preacher in USA

“Thank you, Milton for the anointed sharing of the 37 miracles of Jesus. Right from the 1st miracle, God dropped fresh revelations of His heart to me. It wasn't head knowledge that I experienced. I felt His personality, His loving heart's intents towards me. On top of that, there's also revelation of His healing power. Praise Jesus for transforming my heart and bringing me closer to Him through Milton's sharing.”
- Ann Tan, GEM patron from Singapore

Get the paperback (hardcopy) edition on Amazon:
https://www.amazon.com/dp/B0849Z3J7Y

Get the Kindle edition on Amazon:
https://www.amazon.com/Messiahs-Miracles-Power-Having-Christ-ebook/dp/B084C56QZQ

Get the digital eBook edition on my website:
https://www.miltongoh.net/store/p21/messiahs-miracles-the-power-of-having-faith-in-jesus-christ-milton-goh.html

#Jesus #MessiahsMiracles

"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…

This week, The Thirsty Sisters are back with their thoughts on the recent Population Census 2020 survey, where it was reported for women to be more educated than their male counterparts! Why are people on Facebook angry about this increase? Are women really smarter than men? ? We got Sylvia and Nina to react to all these—tune in to hear all about it!

Link to The Straits Times article: https://str.sg/34Sk
Link to the Facebook post: https://www.facebook.com/129011692114/posts/10157967528802115/?d=n

00:00 Intro
01:39 Topic of the day
03:18 Key statistics from the article
04:23 'Its a women problem'
06:27 Why we are having less children
11:00 How women balance work and family
13:30 Coping with your own and your child's issues
15:19 Are we ready to have children?
18:32 The new vs old mindset on single parenthood
21:34 Supporting women regardless of their decisions
22:50 Women are getting harder to get along with?!
26:42 Men have to pay on dates?
29:58 Not taking these comments at face value
32:46 Conclusion

Sylvia and Nina are not your typical influencers; they give it to you raw and real! Join them as they quench their never-ending thirst for wisdom, trends, success and men.

They explore hot and pressing issues you never thought you needed to know in this extremely in-depth podcast. Sisters, brothers and everyone in between or beyond; jump in and be thirsty!

*Disclaimers*
The legal age for sex in Singapore is 18. While being comfortable with your bodies is a must, please protect yourselves by using protection ?
https://singaporelegaladvice.com/law-articles/legal-age-for-sex-in-singapore/

Our views in this podcast include only our own experiences as heterosexual women in Singapore, we respect everyone’s views regardless of genders, gender identities and sexual orientations.

Follow The Thirsty Sisters on Apple Podcasts, Spotify and Instagram!
https://podcasts.apple.com/sg/podcast/the-thirsty-sisters/id1509379792
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https://open.spotify.com/show/5yx8txjfb7dMkosumEv6lQ?si=5Ew1dv6wRlCayZ0TQfo-Ug

Featuring:
Sylvia - https://www.instagram.com/sylsylnoc
Nina - https://www.instagram.com/ninatsf

Brand collaborations/features:
sales@noc.com.sg

The Thirsty Sisters TEAM
Co-Founders: Sylvia Chan | Nina Tan
Executive Producer: Sylvia Chan
Crew/Editors: Jade Liew | Winston Tay
Motion Graphics Designers: Bryan Seah | Kher Chyn
Sound Engineers: Nah Yu En | Mabel Leong
Digital Strategist: Winston Tay

ส่องสายการผลิตและประกอบ Mercedes-Benz EQA 2021-2022 เมอร์เซเดส เบนซ์ อีคิวเอ รถเอสยูวีไฟฟ้ารุ่นเริ่มต้น และมีขนาดเล็กที่สุดของบริษัท

Electric athlete in the successful format of the GLA:

EQA is the name of the new entry-level model to the all-electric world of Mercedes-EQ vehicles. The dynamic design of its SUV body is an indicator of the driving enjoyment to be found on board. Offering an excellent compromise between performance, costs and time to market, the EQA is the first all-electric member of the compact car vehicle from Mercedes-Benz. A close relation of the GLA, it delivers all the thrilling characteristics of that vehicle, combined in this case with an efficient electric power train. Prices in Germany start at 47,540.50 euros[1].

Efficient driving pleasure:

The EQA is being launched as the EQA 250 (combined electrical consumption: 15.7 kWh/100 km; combined CO2 emissions: 0 g/km) with 140 kW and a range according to NEDC of 486 kilometres[2][3][4]. Further variants to meet specific customer requirements will follow. These will include on the one hand a series of even more athletic all-wheel-drive models with an additional electric powertrain (eATS) and an output of 200 kW or more, and on the other hand a version with a range of more than 500 kilometres (WLTP)4. Mercedes-EQ sees the key to a bigger range not in ever-larger batteries, but in systematic improvement in the efficiency of all vehicle components.

Automatic anticipatory driving:

Navigation with Electric Intelligence calculates as a matter of course the route that will get you to your destination fastest, taking into account charging times, thus taking the stress out of route planning for the driver. On the basis of continual range simulations, the system makes allowance for any necessary charging stops as well as for numerous other factors, such as the topography and the weather. It is also able to react dynamically to changes, for instance in the traffic situation or personal driving style.

Convenient charging and payment:

With Mercedes me Charge, customers have access to what is currently the world's biggest charging network: this currently comprises more than 450,000 AC and DC charging points across 31 countries. Mercedes me Charge allows customers convenient use of the charging stations of various providers, even when travelling abroad. By registering just once, they can benefit from an integrated payment function with a simple billing process.

Green Charging:

Mercedes me Charge enables customers to charge at more than 175,000 public charging points throughout Europe; Mercedes-Benz ensures a subsequent offset with green power.

Jill Vidal 衛詩最新英文單曲《I Can See (feat. San E) 》– 上一首大熱單曲《被滿足的愛 (feat. San E) 》英文版
韓國最紅Rapper San E 再度力撐
BRAND NEW MUSIC製作 Rhymer親自監製
專程前往首爾錄音 & 混音

歌曲於各音樂平台已經同步上架：
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Music Video by Jill performing I Can See (feat. San E)

曲：LISHBEATS / XEPY
詞：Jude / Robin Ch’I / Gareth Chan
編：LISHBEATS
監：Rhymer

I took a chance, took a shot
You think I’m fine but I’m not
I must confess I’m gettin’ so so sick of your words with lies
Do you know, do you know what’s killing me inside

I should’ve learnt to let go
I’m better off on my own
But tables turn and now I’m so so lost inside of you
It’s all that I could ever do

Remember when we had
The whole world in our hands
Was it your fault, was it my fault?
I know the answer deep in my heart

I can see (in your eyes) you don't love me
Why pretend (in your heart) that you need me
I’ve been holding my breath too long
Time to say goodbye, time to say goodbye, I know it feels right

I can see (in your eyes) you don't love me
Why hold on (why hold on) you’ve already gone
You push me away just so you’ll come back
Just hope you know that one day I won’t react

Pretending everything’s fine
When I’m so empty inside
I must confess I’m getting so so blinded by your touch
Never knew, never knew that it would mean so much

And time won’t heal cause I will just keep asking why (oh why)
Don’t get me wrong, don’t wanna push you to reply (yeah)
Here I go again, Here I go again
Hope you feel the same, going insane

I can see (in your eyes) you don't love me
Why pretend (in your heart) that you need me
I’ve been holding my breath too long
Time to say goodbye, time to say goodbye, I know it feels right

I can see (in your eyes) you don't love me
Why hold on (why hold on) you’ve already gone
You push me away just so you’ll come back
Just hope you know that one day I won’t react

San E:
It's not like I don't love you
Somehow my fear is just bigger
I know it sound ridiculous but I have to deliver
This relation this type of situation never been
Almost feel like a kid locked out of heaven waiting for key

Yes I'm a coward you so right dats the fact
Say it loud as you want if it makes you feel better girl
Maybe one of them can explain what I'm dealing what is killing me
I tell you one more time
It's not like i don't love you

I can see (in your eyes) you don't love me
Tell me please (from your heart) you don’t need me
Should’ve left when I had the chance
Time to say goodbye, time to say goodbye, I know it feels right

Can’t you see (in your eyes) you don’t need me
Don’t hold on (don’t hold on) I’m already gone
You push me away just so you’ll come back
Just hope you know that I’m not here to stay

Connect with Jill
Facebook: https://www.facebook.com/JillVidalOfficial/
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Website: http://www.warnermusic.com.hk