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

PRESS RELEASE BY DR ZAKIR NAIK.

“My praise of Malaysian Govt’s fair treatment of minorities has been twisted to politicize me and create racial disharmony; it will not succeed”, says Dr Zakir Naik.

Putra Jaya, Aug 13, 2019 – Renowned Islamic preacher Dr Zakir Naik has hit back at allegations that he was creating religious disharmony among Malaysians, by alleging that his detractors were wrongly quoting him out of context with a view to politicise and malign him. Dr. Naik also added that he had actually praised Malaysia for its genuinely Islamic way of treating Hindu minorities and in upholding their rights, something that the Indian government had failed to do with its minorities.

Dr Zakir Naik was responding to questions following a series of three lectures spanning over three days, organised by the Kelantan State Government. Dr Naik spoke extensively on the topics of ‘Qur’aan - The Path to Happiness’, ‘Misconceptions about Islam’ and ‘Islamophobia’. The third event was held at the Sultan Muhammad IV Stadium in Kota Bharu city of Malaysia and saw a record attendance of 100,000 men, women and children from across the state. It received a massive response from the people who stayed back till the early hours of the morning.

In an humbling moment on 9th August, Dr Zakir Naik was also conferred the Daa’ee Ummah award, the highest religious award of Kelantan by Ustaz Dato Ahmad Yakob, the Chief Minister of Kelantan.

Said Dr Naik, “The allegations reported in the media are mischievous and designed to not only politicize me but also create religious disharmony within the community. Recordings of my talks will reveal that the reality is the opposite of what is being alleged. After my lecture on “Misconceptions about Islaam”, I was asked a specific question from the audience on the ongoing Kashmir issue and the plight of Muslims in India. In my reply I actually praised Malaysia and its government for the way it has been treating its Hindu minorities and for giving them their due rights, something that the Indian government has failed to do with Muslim minorities in India."

"On the charges against me by the Modi government, my stance was very categorical. I found it unfair that a certain group of Hindus in Malaysia seemed to trust the Modi government more than the Interpol, or the Indian courts, or the Malaysian government itself. My praise of the Malaysian government for its Islamic and fair treatment of Hindu minorities is being twisted and misquoted to suit political gains and create communal rifts.”

According to Dr Naik, the event’s scale and success did not go down well with the groups that do not like him. “The event audience that constituted mainly Muslim men and women as well as media persons did not find anything wrong in all the eight hours of my three lectures and Question and Answer Sessions. However, it took more than three days for my detractors to create an issue out of nothing. Any attempts to create a communal rift is unfair towards the people of Malaysia and I’m sure, In Sha Allah, that these attempts will fail,” added Dr. Naik.

*Dr Zakir Naik explains his stance in detail in a statement below –*

"After my speech on 9th August at Sultan Muhammad IV Stadium in Kota Bharu, there were very positive reports in the media for the next two days. The media also mentioned that I had supported Tun Mahathir. This could not be digested by a certain clique of politically-motivated hate-mongers within the country. It seems that these people scanned my lectures in a desperate attempt to pick out something blameworthy and vilify me. Having found nothing they could use against me, they resorted to dishonest schemes. Since yesterday, the 12th of August, there has been a campaign in the media against me. The allegations are based on out-of-context statements, deliberate misquotations and even complete fabrications intended to malign me for political agendas.

They alleged, “Naik recently compared the Hindus in Malaysia to the Muslims in India and said that the former enjoyed more than 100% rights in Malaysia compared to Muslims in India. He further said that it was unfortunate that Hindus in Malaysia, despite the benefits, are more loyal to the Indian Prime Minister Narendra Modi than to Tun Dr Mahathir.” Then they went on to say that I am creating racial and religious disharmony and communal hatred.

Firstly, I never said the above in my speech. There was a question posed to me after my second talk in Kelantan on 8th August regarding the Indian government deleting Article 370 from its constitution and its atrocities in Kashmir. The questioner also asked how the Malaysians and brothers in Islam should react.

My reply lasted more than 24 minutes and towards the end I said, “What’s happening in India? In India we Muslims are a minority, according to the government 14.5%, Muslims say we are about 20–25%, but even if we agree 14.5%, here the non-Muslims—the Hindus—are 6.3% to 6.4%. The Hindus in Malaysia get 100 times more rights than the Muslims in India. Good Alhamdulillah, I am not saying take away their rights. Good, this is what Muslims should do. They are half the percentage, numbers-wise very less, half the percentage of India where Muslims are, yet the rights they get here is hundred times more than what India gives rights to minorities. So much so that they support the Prime Minister of India but not the Prime Minister of Malaysia, Masha Allah. The PM of India wants me, the PM of Malaysia does not want injustice to be done to me. The Hindu Malaysians, most of them support the PM of India. There is no evidence against me in the Malaysian police. Interpol says no evidence, they are believing more in India, they are more Indian than the Indians themselves. And yet they are enjoying Alhamdulillah. At least the Muslims should get their rights.”

I did not say Hindus in Malaysia get 100% more rights than Muslims in India but I said, “Hindus in Malaysia get 100 times more rights than Muslims in India,” which is 10,000% and not 100%. I did not stop there but went further to say, “Good Alhamdulillah, I am not saying take away their rights. GOOD, THIS IS WHAT MUSLIMS SHOULD DO.” I applauded the Malaysian government as well as the Muslims in Malaysia and asked them to continue to treat the Hindu minorities justly, as instructed in Islam. I never said that Muslims in Malaysia should retaliate against the Hindus in Malaysia because of how Muslims in India are being persecuted. They are being forced to say “Jai Sri Ram”, and if they do not say it many are being lynched in public. Many Muslims are being killed for allegations of eating beef, etc. More than 36 Muslims were lynched and killed in public in the last two years, etc. Yet, as I reiterated, none of this justifies the mistreatment of another people elsewhere in the world. In fact, I said Malaysia should continue to follow Islamic teachings and be good and just to the Hindu minority. I have also said many times in my speeches and Q&A sessions that Muslims should always be good to non-Muslims even if they ill-treat us. “Nor can goodness and Evil be equal. Repel (Evil) with what is better: then will the one whom between you and him was hatred become as though he was a devoted friend.” (Al Qur’aan 41:34)

Secondly I never made a general statement as claimed by them that, “It was unfortunate that Hindus in Malaysia, despite the benefits, are more loyal to the Indian Prime Minister Narendra Modi than to Tun Dr Mahathir.” What I said was in context of my own case—that some Hindu groups opted to support the Modi government in its extradition request despite there being no evidence against me, and despite the fact that the Interpol, the Indian court and Malaysian government have rejected the false accusations directed at me.

It should be blindingly obvious to anybody who looks at the situation with a fair mind, that I am being deliberately misrepresented. These politically-motivated people misquoted me with the intention of getting me arrested. But no just court of law, including the Malaysian court, will ever agree with their accusations. Rather, it is these people who should be taken to task for creating racial disharmony and hatred between two religious communities in the multicultural nation of Malaysia."

[End of statement]

"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…

Very well said
https://facebook.com/story.php?story_fbid=1556442621110141&id=145482782206139

This is an open letter to Liui / Liui Aquino.

I write to you as a fellow member of our international community, with the hope of sharing with you some wisdom regarding dispute handling, professionalism and how to properly raise awareness.
You recently started a series of ongoing posts to condemn and expose the negative conduct, character and moral compass of a cosplayer you insist to keep anonymous.
Since you’re not willing to say the name, I will. You are talking about Japanese cosplayer Reika.

When I saw your posts on my feed, I was disappointed, heartbroken and embarrassed. I was disappointed not by you speaking out against someone or the fact that that someone is my friend, but the way you have chosen to do so in such a wildly unprofessional manner. I was heartbroken to see the reveal of your vindictive character under the happy-go-lucky symbol of positivity that your fans know and love you for being, and by how you have used it to manipulate your most loyal fans. I was embarrassed that our cosplay community, which is already commonly known enough for being dramatic, now has another smear on its reputation.

I've known Reika since 2011. Since then we’ve attended events as fellow casual attendees, featured guests, competition judges, etc.
While all of my experiences with her have been great, she is, like you and me, human – flawed and emotional, susceptible to becoming tired, busy or annoyed, and inevitably going to have likes and dislikes for things and for people. So I can only speak for myself and I won’t even pretend to doubt that she’s capable of making someone feel awful. I’m not here to defend her character or deny your anguish. After all, you are human too and it’s completely acceptable for you to have feelings.

What is not acceptable is the manipulative hate mongering aggression with which you’ve addressed your issues with. Your posts opened by promoting 1.“awareness”, 2. “facts”, 3. “positivity” and being "healthy", and 4. “stay(ing) away from drama”. Yet, your post does exactly zero of those things. You stated that you’re “willing to put (your) reputation on the line and “expose” her, while doing neither.

1. AWARENESS: To raise awareness, you must be specific and purposeful.
I'm aware that you’ve made your issue public because you have no options of resolving this matter privately or through event staff. But by going public, you inevitably reach people who have no knowledge of what’s going on. So it was important for your post to be specific, clean and free of insults and rhetoric.

In your post, comments and follow up posts, you’re so adamant about not naming Reika that you’re “BEGGING (EVERYONE) NOT TO DROP ANY NAMES IN THE COMMENTS IF YOU WANT TO GUESS THE NAME”. You didn’t expose anyone; you made people guess. You purposely made your information open to assumption. While your “clues” might be obvious enough, your ambiguity has consequences. People will guess wrong, leading to misdirected hate and worry.

You raised confusion, not awareness.

Despite your declaration, you're in fact not “willing to gamble (your) reputation and expose (her) by all means”. You’re not interested in being “respectful to (Reika’s) career” by not saying her name - it was an easy enough guess. You’re interested in firing the first shot as the victim and instigating a witch hunt built on assumption without having to be accountable. It’s a very underhanded and cowardly look from someone of your position.

2. Presenting FACTS when raising awareness: WHAT? WHO? WHY? WHEN? WHERE? HOW?

- WHAT is the problem? – Eg. Talents with bad attitude
- WHO do people need to be wary of? – Eg. Reika
- WHY do you think this? – Eg. She said or did or represented something that was offensive. [INSERT ACTION, QUOTE and CONTEXT that justifies this.]
- WHEN and WHERE did this happen? – Eg. [INSERT TIME] we worked together at [INSERT EVENT].
- HOW does this affect you and people similar to you, and HOW can things be made right? – Eg. It makes you feel [INSERT FEELING]. I would feel better if [INSERT WHAT YOU WANT THEM TO DO].

You can’t claim to be factual when your post written in the form of an episodic internet series with names like “CHAPTER 1: Juicy Blind Item”. You can’t claim to be “not just personal opinions” when your post are riddled with mockery like “SHE HAS NO SOUL”, taunting like “you picked the wrong fight ma’am” and general hearsay accusations that give no detail like “how do I know? Because I heard...”
You definitely shouldn’t be offering to give “proper advice how to handle this kind of situation” like an “elder brother” if reacting like an undisciplined child is your answer.

3. POSITIVITY and HEALTH: Promoting positivity in a healthy community means bringing people up to your level – not to knocking someone down.

It’s embarrassing to see you trying to be an ambassador for positivity and “praying to God for peace” while slinging threats like “I WILL BURN YOU TO ASHES, BITCH” throughout your posts, and even saying “YOU WILL HATE HER MORE when you see the next story!!! Grrrrrr hahahahaha” when replying to comments.
It’s hypocritical of you to claim to be acting on behalf of the community when you mock Reika fans within your community by calling them “elitist” while flaunting your fans as the “cool, funny, SMART” people.
You must realise that, with the size of your following, you have loyal fans who stick by you, trust and support you no matter what. It’s your duty to them to be transparent and professional and not manipulate their trust. Many of your supporters expressed unconditional support for you. Some have even accepted your words as the absolute truth and expressed hate for Reika from reading your posts. Why? They have faith in you. You've shamelessly abused their trust.

Your post and comments are telling of your intentions. You don’t want peace. You want more hate.
That’s not healthy or positive... for you, your fans or the community.

4. STAYING OUT OF DRAMA: saying it doesn’t mean you’re doing it.
How can you claim not to want drama when your posts are written in the form of an episodic web series, with sensational titles like “CHAPTER 1: Juicy Blind Item”, and attention grabbing introductions like “you want REAL cosplay drama?” and sign outs like “Chapter 2, 3, 4 are coming soon”?
You are, by definition, creating drama.

In life there are many things we can’t control and just as many things we can control. We can’t control how people treat us, what they think of us, or how that makes us feel. But we can can control how we treat others, how we look at ourselves and what we do with our feelings.

You can’t make Reika like you or treat you in the way that you feel good. But you are in control of how you act upon it.
There are two ways you can combat bad attitude:
1. Fight back with equally bad attitude
2. Snuff it out by encouraging good attitude
I can’t help but think that you acted in pure frustrated retaliation.
It’s been hard to see you reveal yourself in this way. The global cosplay community is in continuous struggle to maintain a positive, fun and (for some people) professional environment. With your post, it feels like we’ve lost a star.

I won’t tell you to control or suppress your emotions; you are human after all, like said before.
But please. Reflect before you react. Be kind to others. Your actions speak louder than your words. The people are not stupid or blind. They will notice.

I hope you can find the peace and resolution you are looking for.

- AmenoKitarou (A.K. Wirru)

等了四个月，你们的愿望终于实现了！当上@Ryan Sylvia 老板娘Sylvia的工具人会发生什么悲惨事件？

如果这个视频有8000赞，我们下一集就做4个人的工具人！任您挑选！
8000 likes and we will do a 4 person slaves for the next episode!

如果你喜欢衰哥霉人的视频，请大家按讚和分享！
https://www.youtube.com/channel/UCrfQP9z0XHbDEQ2uonZcwxw?sub_confirmation=1

?记得跟随我们！
Facebook - https://www.facebook.com/sugarmelonshow
Instagram - https://www.instagram.com/sugarmelonshow
Tiktok - https://www.tiktok.com/@sugarmelonshow


?衰哥霉人
梓杰 - https://www.instagram.com/raozijie
彦维小二 - https://www.instagram.com/yanweixiaoer
Nina - https://www.instagram.com/ninatsf
Sylvia - https://www.instagram.com/sylsylnoc

---
? 任何合作邀約/商业咨询, 請直接聯繫：
sales@noc.com.sg (cc bella@noc.com.sg, virus@noc.com.sg )

Disclaimer: This video was recorded prior to the implementation of additional restrictions in Phase 2 (Heightened Alert). All precautionary measures were taken during the production.*

#sugarmelon #衰哥霉人 #一日工具人

MY PERFECT MASON JAR: https://amzn.to/3uLz6iX
Red Vacuum: https://amzn.to/3bK69eC
Hide Your Information Roller: https://amzn.to/3uEuB9U
Nespresso Vertuo Plus Matte Black - https://amzn.to/3upXneh
Nespresso Frother - https://amzn.to/2NsaISU
Nespresso Pods Organizing Drawers - https://amzn.to/3aPLQgB
French Vanilla Torani Syrup - https://amzn.to/37I5Lfu
Syrup Bottle Pumps - https://amzn.to/3aO4rcK

⚡️ SHOP MY MERCH: https://shopkimthai.com ⚡️
⚡️ SHOP MY MERCH: https://shopkimthai.com ⚡️
⚡️ SHOP MY MERCH: https://shopkimthai.com ⚡️

? Partnerships and Sponsorships: nikki@expandentertainment.co
? Instagram: https://www.instagram.com/kkimthai
? Subscribe to my Food Channel: https://www.youtube.com/channel/UC5zak5tqTE3JJFtiIpXyOnA

? H I F R I E N D S
Welcome to my channel, where we do things all beauty, fashion and lifestyle! Here, you'll find makeup tutorials, lookbooks, my favorite beauty products and also a glimpse into my life! I love sharing as much as I can with all my wonderful subscribers. My online family and I like to keep this platform positive and uplifting. We hope you'll join us!

Federal Trade Commission: This video is not sponsored.

? Music by Zachary Friederich - Loddy Da (Instrumental) - https://thmatc.co/?l=69F49CC4
? Music by Zachary Friederich - Loddy Da (Instrumental) via @hellothematic

チャンネル登録・高評価を宜しくお願いします。
Please subscribe and give me a like!

――――― アドバタイズ / Advertisement ―――――

?...チャンネルメンバー登録 / Register as a Channel Member

https://www.youtube.com/c/youjiman/join
このチャンネルがお気に召しましたら / If you like my channel

――――― 日本語 ―――――

?‍♂️...ご挨拶

初めまして。ヨージと言います。
アメリカに住んでいる純日本人です。
日本語と英語が話せます。


?...配信について

気分や参加人数に合わせて主にレギュラーマッチかリーグマッチかサーモンランかレーティングプラベをやります。

リーグマッチやサーモンランの交代制度に関してはこちらの指示にお従い下さい。
レーティングプラベについては下記を参照にして下さい。


?...レーティングプラベについて

謎の専用ツールを使ってステージやルール、チーム分けを行うプラベです。

* 初参加の方にはチャットで質問をしますのでお答え下さい。
* 人数が多い場合は交代制にします。数回負けると交代になります。チャンネルメンバーの方は交代頻度が減少します。
* ゲーム内の名前の後ろに「†DRYH」を付けている方は、ぼくが観戦している時にカメラに映します。
3連以上キルなどの好プレーはインスタントリプレイとして保存・再生します。


?...フレンドコード

SW-3516-9899-0870
* フレンド申請を送ったら”必ず”Switchで使っているお名前を教えて下さい！
* フレンド枠には上限があるため、たまに整理します。名前が変わって誰か分からない方は整理対象になりやすいです。次やる時にまた送って下さい。


?...パスワード

3745
* チャットには書かないで下さい。


?...ルール

* 暴言・煽りはそっちの自由。だが、裁くのはこっちの自由だ。
* 人数合わせが必要なリグマやプラベを抜けたい時は、事前報告（1試合前）をお願いします。
* 回線落ちなどで他人に迷惑を掛けたら謝りましょう！幼稚園で習いましたよね。
* 英語圏リスナーさんのチャットの翻訳は受け付けておりません。
例外として、伝える必要がある内容だと判断した場合は自発的に翻訳します。
* 不良ではないのでタイマンはしません。大人なのでかくれんぼもしません。


?...禁止事項

ここに書かれていないことでも一度注意されたら辞めてもらえると助かります。

* 放置や意図的な回線切断
* 裏部屋の作成・やり取り
* 他プレイヤーに対する指示・文句
* 自分や他人の個人情報の開示
* 個人的なネガティブな話
* リスナー同士の他人が混ざれない会話
* 似た・同じ内容の発言の繰り返し
* 宣伝・売名行為
* その他公序良俗に反する発言


?…コマンド

カッコの中のコマンドをチャットに打つとNightbotが反応します。

「eng」
半角スペースを追加して日本語文を入力すると英語に翻訳されます。
例：「eng こんにちは」→「Hello」

「:_hmm」（スタンプ：チャンネル全メンバーのみ）
本音を暴かれます。

「:_ohno:」（スタンプ：チャンネル全メンバーのみ）
敗因を教えてくれます。

「:_unaru:」（スタンプ：チャンネル全メンバーのみ）
インスタントリプレイが再生されます。

「!ローリング」（Proメンバーのみ）
回れます。


それでは、健闘を祈る❗️

――――― English ―――――

?‍♂️...Greeting

Hello my name is Youji. I'm a Japanese American that lives in the U.S. I can speak Japanese and English. Nice to meet you.


?...About Stream

I’ll play regular, league, salmon run but I mostly play private battles. What game mode I do mainly depends on time or how many people are able to play.

Please follow my instructions when we play league or salmon run. Please read below about the Private Battle rating system.


?...About Private Battle Rating

It’s special private battles that using a tool to decide rules, stages and teams.

* I'll ask you a question on the chat if this is the first time you are playing this.
* If there are many players, We’ll taking turns to spectate or leave. You can stay longer if you are a channel member!
* If you put “†DRYH” after your in-game name, I’ll put you into my camera when I spectate.


?...My Friend Code

SW-3516-9899-0870
* If you sent a friend request, you MUST tell me your in game name!
* I’ll delete you if I don’t recognize you because you changed your in game name. Please send it again next time.


?...Password

3745
* Do not type this password on the chat.


?...Rules

* You will be punished if you choose to disrespecting others or squidbagging.
* I want you to tell me in advance (1 game ahead) when you want to leave from my league or private battle.
* If you annoy others (eg. disconnect on purpose), you should have the decency to apologize. I assume that is a basic manner you already learned in kindergarten.


?... Warnings

Please be mindful of your actions. Even if it’s not listed on here I warned you.

* Go AFK or disconnect on purpose
* Boss people around or tell others what to do
* Reveal you or someone else's personal information
* Talk about your personal negative stories
* Talk to other viewers about personal topics that no one else can understand or relate to
* Posting the same or similar messages over and over
* Advertising
* Any other inappropriate talking


?…Commands

You may use these commands inside “” to have Nightbot to react you. The same command can be used only once in 5 seconds.

“jpn”
It gonna translate English sentence to Japanese
e.g.: “jpn Hello” → “こんにちは”

“!japan”
It tells you the local time in Japan.

“!quote”
Try it then you'll know.


Have a good time and best of luck❗️

――――――――――

#NintendoSwitch#スプラトゥーン2#Splatoon2#視聴者参加型#Playingwithviewers
Support the stream: https://streamlabs.com/youjiman