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

SUNAT ANAK KETIKA BAYI, SUNNAH YANG DILUPAKAN

Orang arab panggil khitan, orang melayu pula sebut khatan atau sunat, orang-orang tua sebut 'masuk jawi'.

Ramai yang tak tahu, sunat meng'khatan'kan bayi pada hari ke-7.
...Continue ReadingCIRCUMSTANCES WHEN A BABY, A FORGOTTEN SUN

Arabs call khitan, Malays mention circumcision or circumcision, the old people say 'enter jawi'.

Many people don't know, circumcision will make baby circumcision on the 7. th day

Yes, apart from aqiqah, shaving hair, and giving name, circumcision also among the sunnah of his majesty SAW on the 7th day of birth.

Baby is suitable for circumcision as soon as birth to 4 months old. After that, it's quite difficult to be circumcised, because the baby is starting to lie down.

Sadly, many do not know or miss this sunnah circumcision. It's also a custom for the Malays to circumcise their son when they're late for children.

From Jabir bin ' Abdillah ra; that Rasulullah saw implemented Hasan and Husain's aqiqah and Husain and proceeded both on the sevent (HR; Thabrani and Baihaqi)

From Ibnu ' Abbas ra said,
′′ There are seven things that include the sunnah of the baby on the seventh day: Named, circumcised,...." (HR; Thabrani)

From Abu Ja ' far ra said,
′′ Fathimah carried out his son's aqiqah on the seventh day. He also shaved and shaved his hair as well as the silver as the weight of his hair." (HR; Ibn Abi Syaibah)

Alhamdulillah, Taqi & Zaki we circumcised their time 3 months.

We're a little late. But for some people they ask, why is it so early?

Among the reasons why many choose to miss the child's circumcision:
1. Don't know the circumcision between the sunnah of the 7th day and better be hastened.
2. Pity and worry, afraid that the baby is sick.
3. I haven't reached the heart to see the circumcision process and watch the baby cry
4. Want children to feel the experience of being circumcised.

Circumcision is sunnah. So it's a religious guide. Islam is not wrong, but Islam is rahmah's religion.

So, don't think about ' poor baby ', afraid that baby is sick and so on. Because Islam will not be wronged by its people. While in animals Islam teaches rahmah's nature, this is what happens to babies. So of course there's rahmah when we're circumcising our baby.

Among the advantages of circumcision as a baby:

1. Babies lack of pain, because baby skin is still soft. baby sleeps a lot. Just like us, if we sleep, all the pain will be gone.

2. Baby wounds heal fast, as early as 5-7 days.

3. Babies don't need to confinement. Even parents don't need to get tired of taking care of children's abst Because the food is only milk.

4. Babies are not blocked by the move. Because the baby's work is lying down and sleeping.

5. Babies won't be afraid. Because babies still have no fear. Different from children, they already know the meaning of fear.

6. Parents don't need to be tired of persuading their children so they agree to circumcise Because baby is ready to surrender to be circumcised.

7. Circumcised babies can avoid the disease. Some children who have not been circumcised will be affected by blind urine. So, finally the doctor recommended to be circumcised soon.

8. Parents are also not tired of taking care of babies after circumcision. Because the care is very easy.

Isn't this all proof of sunnah rahmah? Ease baby's affairs and ease parent s' affairs.

If mom or dad are afraid, maybe we can try not to watch the circumcision process. Let her baby nenda or uncle accompany her. Don't be because of our shortcomings, the sunnah has to be missed.

If the circumcision experience is sought,
Hmmm, there are many other experiences that the child can find. At least, you can record the circumcision process using your handphone. When you grow up, show back to the child.

It's here, the custom is changed to sunnah.
Don't be because according to our custom to leave sunnah.
Sunnah is more important.

You don't lose your child's circumcision
Actually, they will be very grateful because their parents chose to circumcise them early.

How many mothers regret that they didn't regret because they didn't circumcise their children when they were little.

If something has been missed, it's okay. Continue to find the right time to circumcise your children. InsyaAllah it will be eased

Khitan has two times, mandatory time and sunnah time. The mandatory time is when the age of baligh, and the sunnah time is before. Ibnu Hajar the best time to do the circumcision is on the seventh day after birth and does not slow down the circumcision so that the time is mandatory unless there is a certain excuse or cause. (Fathul Bari 10/342).

Let's follow the sunnah :)

Thank God, the process of Taqi & Zaki circumcision is all made easy. I'm not awake either, live like normal days. Day 3 of our circumcision has gone on holiday in Terengganu.. hehe..

We are circumcised with Dr. Khairuddin at Taqwa clinic, Ipoh. Dr Khairuddin is very experienced. Her work is very thorough and neat.

Cost of only RM140 including medicine. It's pretty cheap than most normal places. If it's in KL Selangor area, we survey the price of about RM250- 400. That's what we do in Ipoh, save money! Hehe..

Time to circumcise the baby, Dr. Khairuddin shows the 'palat' that is inside the penis Taqi & Zaki, the doctor also said,

′′ Look, even the baby's palat has many like this, imagine if the 12-year-old is not circumcised anymore. Many have been accumulated in there ".

This is a piece of our experience. We were not able to follow the sunnah for Taqi & Zaki circumcision on the 7th day due to health and various matters. So we can only follow the sunnah to hurry to circumcise them.

Islam is very beautiful. There must be a lot of wisdom behind the sunnah circumcision when a baby.

Our children also look more macho and handsome when they're married 😎

Good morning..

Nur Shazareen
Mama to 2 macho heroes & a heroin ayuTranslated

"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…

[The Evolution of Religions in India]

In the early days, India had a great civilization. From 3000-2000 BC, Harappa and Mohenjodaro were the great civilizations there. The actual occupants of India who lived there were the Dravidia race. The Dravidia were the indigenous people who have lived in Harrapa which was located in Punjab and North Karachi around 3000-2000 BC [1].

Dravidia was known to believe in politheist that is believing in multiple Gods. This can be segregated into many for instance, God in fertility and God in prosperity [2]. According to Ernest Mackay in his book titled Early Indus Civilizations, most of the Indus worshipped animals such as crocodiles and elephants and trees like peepal [3]. Moreover, rituals such as slaughtering animals were held to be presented in front oftheir Gods. Apart from that, they found a man-made pool where a ritual called “Great Bath” was performed. The “Great Bath” was the holy bath ritual and this was found in Mohenjodaro. The purpose of this worship and ritual was to show their gratitude towards the Gods to receive blessing and prosperity upon them [4].

There is a famous theory interpreted as the change of the India social life structure in those days. This theory relates to Arya entering India. Around 1800-1000 BC, the Arya which was originated from Iran entered India. The word Arya means noble and they were noble race. Their facial features were fair skin with pointed nose and were famous for their art of war. The Dravidia were not good in war and therefore they were defeated by the Arya. Hence, the Dravidia people migrated to the South part of India [5]. The evidence of this war was proven by the archaeologist who performed the excavation in Harappa. They found lots of dead human skeleton which proves that the war happened between Arya and Dravidia and Arya defeated Dravidia. Apart from that, the Harappa city was demolished [6].

Introduction of Monotheism By Arya to India
In India, the structure of the religion was influenced by the Arya until Brahma was introduced or also known as Hindu today. Way before Arya entered India, they had their own belief and it was called Arya Dharma [7]. Dharma means ‘Way of Life’ and therefore Arya Dharma means ‘Arya Way of Life’[8]. The concept of Arya Dharma is that they believe in one God and this is referring to the monotheism [9]. Most of the westerner researchers claimed that Arya Dharma was influenced by the Zoroaster religion which was originated from Iran. This is because there are similarities in the Book of Veda and the Holy Book of Zoroaster that is the Gathas according to Mary Boyce in her research from the Zoroastrians: Their Religious Beliefs and Practices.

Another source claims that Arya Dharma was influenced by the Abraham or Ibrahim from Mesopotamia. Prof Uthaya Naidu mentioned in his book titled “Bible of Aryan Invasions: Aryan Invasions & Genocide of Negroes, Semites & Mongols The Bible of Aryan Invasions” that in between 1500 BC and 800 BC there were 4 attacks following by the Aryan entering India. The 4 attacks were called:
1. Arya Rigvedic (1500 BC)
2. Aryan II (1400 BC)
3. Ras Arya Krishnaite (1200 BC)
4. Ras Arya Mahabharata (900-800 BC)

The first invasion which is known as Arya Rigvedic was the major attack caused by Arya to India and fought with Dravidia which was the first people to attack the civilization in Indus river. It resulted in Dravidia was defeated and were expelled to South India. In the following century which was known as the second entry of Arya to India it was known as Indo-Arya civilization. The Arya conquered two main parts in India: Punjab and Doab [10]. After the entrance of Aryan II to India, the Book of Veda was written in Sanskrit as the main language. This is because the Aryan II spread their belief and religion to India. The belief and religion that was brought to India by Arya was influenced by monotheism.
They worshipped a God named Brahman. Apart from that, they also believed in multiple Gods that represents world such as Pretivi as the God of Earth, Surya as the God of Sun, Vayu as the God of Wind, Varuna as the God of Ocean and Agni as the God of Fire [11]. Although the names of the Gods had only existed after the writing of Book of Veda, the spiritual belief towards the Gods were there way before that [12].

Vedic Era
When Aryan started to migrate to India, the mixture of the culture and religion occurred and therefore this was how the Book of Veda was written around 1400 to 1000 BC. It was known as the Vedic Era [13]. The Book of Rig Veda, Sama Veda, Yajur Veda and Athraya Veda were written based on the mixture of Arya theology and Dravidia. Moreover, they had also written another Holy book which was called Upanishads. The content of Books of Veda and Upanishads were combined and called as the Holy Book of Sruti was revealed [14].

Veda was originally called as Brahma religion and the language of this religion was called the Sanskrit. The believers mastered this language [15]. Originally, the Sanskrit was mastered by the Aryan only. But after mastering the language, the people were slowly not interested to master the language anymore. Hence, the mixture of the Sanskrit language with the language used by Dravidia, came in the new languages such as the Kannada, Telugu and Malayali. These new languages were originated from the ancient language of Proto Dravida which was mixed from the halt of the usage of the Sanskrit by the Brahmin [16].

This is because the Brahmin or the priests of the Brahmin were originally from the Arya clan and therefore, they were responsible to teach the Indians in Sanskrit language [17].

The Birth of Non-Caste Religion in India
In the 7th Century BC, the Brahmin had introduced the caste system that is the hierarchical system [18]. This hierarchical system consisting of religionist, rulers (government), companies and those people who followed the religion. In 600 BC, a ruler for the Jainism religion came into picture and was known as Vardhmana or Mahavira. This religion did not practice the caste system like the Brahma did. The language used in Jainism was Prakrit but this religion was only practiced inside India. No sign of development of this religion outside India.

After a few years later, around 563 BC, the Siddharta Gautama Buddha was born. He introduced his religion which was called Buddha without the caste system. He used Pali as the langugage to convey the religion. He had so many students under him and this made the Buddhism to be spread world wide. When these two religions (Jainism and Buddhism) were developing, the Vedic or the Brahma was slowly degenerating.

The Introduction to the writing of Holy Book of Smriti
As the time, culture and geography changed, the Sanskrit language had diminished. But the effort was still there to make sure that the Sanskrit language preserved. Wendy Doniger mentioned in her book titled The Hindus: An Alternative History that a new wave existed which had historical and saga elements and these books are Mahabhrata and Ramayana. The writing of these scriptures started in 300 BC-200 C and some historians claimed that the writing of the two books started in 400 BC [19].

This time around was known as the Wiracarita where a big epic war occurred between Arjuna, Krishna (Mahabhrata) and Sri Rama (Ramayana). In Mahabhrata, it consists of stories that relates to the existence of multiple Gods that led to the development of the Book of Purana [20]. The writing and the development of this Book was meant to maintain the usage of Sanskrit language among the Aryan people in India.
During 300 BC till 500 C was the time of new development in Brahma. It was known as Puranic time where the writing of the other scriptures began besides the Book of Sruti (Veda and Upanishads) in order to be used in Brahma [21]. The writing of the other Holy Book besides Sruti was known as the writing of Smriti. Among the Holy Books that were written during this time comprising Books of Sutra Dharma, Shastras, Mahabhrata, Ramayana, Bhagavad Gita, Pura and others.

During Puranic time, the construction of the statue of Greece or Hellenism had started to enter India and influenced the Brahma. Apart from that, Dravidia was the main religion that introduced polytheism and it also reflect in the writings of the holy books and Purana story-line. In the early history, the Brahma was not known as worshipperof multiple Gods (polytheism). They only believed in one God. Around 1500 BC to 300 BC (Vedic), no signs of holy statues found and worshipped by the people during that time.

Why the era of Vedic do not have statue?
In the era of vedic (1500 SM- 500 SM), there were no idol or image of God worshipped by the people during that time. It is due to the law which forbid to create idols in the image of God as stated in the book of Veda and Upanishads (Sruti). Furthermore, the book Veda and Upanishads should be their reference. Following verse shows the prohibition of worshipping idols:
1) “na tasya pratima asti
“God do not have any image.” (Yajurveda 32:3)

2) “shudhama poapvidham”
“God do not have established body and it is pure.” (Yajurveda 40:8)

3) “Andhatama pravishanti ye asambhuti mupaste”
“Those worshipper of nature (air, water, fire or soil) will enter darkness and even goes in deeper for those who worship idols.(Yajurveda 40:9)

Even during this era, the characteristics of monotheism of God was emphasized in the Rig Veda and Upanishads.
1) “Ekam sadvipra bahudhaavadanti
“God is one and intelligent people praise God with various name” ( Rigveda book 1: hymn 164 verse 46)

2) “Ekam eva advityam Brahman”[22]
“God is one, there is no two” (Chandogya Upanishad chapter 6 hymn 2 verse 1)
Moreover, there are many verses similar to it but the religion started to grow with the additional Holy Book in year of 300 SM. It is known as the wave writing of the Smriti Book which gave an impact towards Brahma religion till the story of God’s and King’s that rapidly persuaded by own verse interpretations. It can be seen in the book of Mahabhrata and the book of Purana. The book of Purana contained many parts which well known as Mahapurana which divided into 18 books such as;
a) Brahmapurana, b) Padmapurana, c) Visnupurana, d) Bhagavatapurana, e) Naradapurana, f) Markandeypurana, g) Agnipurana, h) Bhavisyapurana, i) Brahmavaiavartapurana, j) Lingapurana, k) Varahapurana, l) Skandapurana, m) Kurmapurana, n) Matsyapurana, o) Garudapurana, dan p) Brahmandapurana.
This book was gathered within a long duration and known as the written period of Puranic. [23] There were mixed and additional information with regards to the question of God in Brahma religion happened in this era. It started from this era which the doctrine of pantheism and polytheism started to expand and grow within the Brahma adherent. The doctrine which believed that everything are able to provide benefits which constituted the elements of God (pantheism), worshipping idols and make God more than one which align with the incarnation of God. It undergo through creature body with various types (avatar) and henotheism.

New command of inventing Idols
The book Purana encourage the Hindu adherent to invent idols. There are text in the book Matsya Purana which explained about it and located under the topic of Arsetektur (base on the reference of I Wayan Maswinara.

“There are idols that must be placed inside the temple. The idol of God Visnu need to be designed with four hands and eight hands. If the design consist of 8 hands, the hand, we must hold the Sankha (Skin of a shell), gada, arrow and lotus. Left hand need to hold the arc, Padma, and a cakra. If they invent only four hands, gada and Padma consist in my right hand while cakra and sankha will be on left hand. Visnu will be pictured by standing on the early. Garuda the king of bird will move around it. Then, Garuda will be at the right leg of Visnu. Idols of Laksmi Goddess will be on the left side of Visnu idols and Laksmi idols need to hold the Lotus flower. The good idols will be created by gold, silver, copper, jewelry, stone, wood and a mix of metal. The size of Gods and Goddess has to be true.”[25]

Same goes to other Gods. Purana has outlined the picture and image of their God until the idols needs to be created. For example, the face and structure of Siva has been outlined in the Purana:
”Idol of Lord Siva need to be created using a loose long hair and need to put a moon on the forehead. The idols need to describe Siva at the age of 16 years old. Siva need to wear clothes which created by animal fur and has snake necklace on his neck. The ear will be attach with peacock fur. If the stick need to be attached, it has to be on the left side. Furthermore, Siva ride on a cow which the idols have two hands and if the idols of Siva is made in situation of dancing, the idols need to consist of 10 hands. Moreover, if the idols is meant to show Lord Siva destroying the Tripura, the idols need to have 16 hands.”[26]
The book of Purana explained the story about the requirement of designing the Idols. It shows the development which do not belongs to the actual teaching of Veda. Even Siva did not mention in the earliest book such as Veda and Upanishads. [27] In the Era in which is the rising of second Hindu religion which there were many additional doctrine of the Veda teaching.
In the era of Puranic, the religion of Hindu was influenced by polytheism. Besides, the development and expanding of worshipping the idols at temples happened. After that, the religion of Brahma started to extinct. During the rulings time of Asoka in India, under the empire of Maurya. King Asoka declared the Buddhism as their official religion. In year 269-232 SM. King Asoka emphasized on the language usage of Pali in order to spread the religion of Buddha. [28]

At the ruling time of Asoka, the development and preaching of Hinduism in India was stunted due to expanding of Buddhism religion rapidly towards the east. After a while, Brahma religion gain new opportunity when the empire of Gupta took over the ruling dominantly in India.

During this era, the usage of Sanskrit language was revived and indicates Hinduism religion as an official religion. Moreover, during the rising of Gupta empire (320 M- 500 M) shows the development of Hinduism traditions which is to create few flow that focuses towards the Lords inside the community. For example, Vaishnavisme ( focused on Vishnu), Shaivisme ( focused on Siva ) and Shaktisme ( focused on head of Goddess). That’s the reason why the Hindu temple was influenced by God from Siva, Vishnu and Devi family. There was no temples focus on Brahma result to different types of Brahma which rarely spoken by the Hindu followers.[29]

Based on Wendy Doniger books entitle The Hindus, the written of Smriti book was successfully completed and gathered during the Gupta empire and was made as reference for Hindu followers. The books of Purana was made as an important reference of the infrastructure of idols inside the temples. The image of Gods inside the temples was majoritydesigned according to the book of Purana.[30] Therefore, the practice of Hinduism in this era are mostly influenced with the development of Puranic and Gupta empire.

Discussion about the Hinduism name.
The word Hindu or Hinduism was not found in any holy book of Hinduism even the word was been newly introduced.[31] Based on Pundit Jawahar LaI Nehru inside the book, Discovery of India, the word Hindu was firstly used by the Persian which refers to the Indus River. They called it as Hindus.[32]

After that, the word Hindu was used by an author from British in the year of 1830. It refers to the teachings and religion professed by the community overthere. Polemic occurred among the scholars in India towards the name of religion professed by the Hindu follower. They embraced the Veda scriptures. They enjoyed with the name Vedanta which means a person who followed the Veda scripture. There is also other name such as Sanatana Dharma which means the eternal truth (natural law). They are also synonym with Brahma religion while the word Hindu do not agree whole among their scholar. Moreover, the word was expand and become a specific name towards the religion embraced by a group of people who follow the Veda scriptures and culture of India.

Conclusion
The original teaching of Veda and Upanishads is emphasized on the concept of monotheism. The concept of God and Goddess was changed whilst entering the era when smriti is written. After that, it developed and expanded through the introduction of types of worshipping according to the classes of their Gods such as Siva, Vishnu and Dewi. It continued till the era which the Hinduism owns the history and faced the up and down phased in a long duration. It also includes the Modern era which consist of few figures such as Ram Mohan Roy, Sri Ramakrishna, Swami Vivekananda, Mahatma Gandhi and many more that contribute the innovation of ideas towards this teaching.

Key Note:
__________________________________
[1] Before the existent of Dravidia group, theearliest group are as such Negrito and Ausroloid. Dravidia group is a group that developed the big civilization in India and they ruled the place before the coming of Arya group.
[2]Ibid,pg45
[3] Refer to Ernest Mackay, (1948). Early Indus Civilizations, Luzac & Company LTD, London,hlm52-76
[4] Refer to Esa Khalid & Mohd Azhar Abd Hamid, (2005). Beberapa Aspek Tamadun Melayu, India, China dan Jepun, Universiti Teknologi Malaysia, Johor,pg 341/ Refer Professor Gavin Flood, (2009). History of Hindusim - www.bbc.co.uk-religions Hinduism- Discussion about the Gods of Hindu also got controversy which is discovering the Proto Siva idols which worshipped by the Dravidia people. The polemic still discussed among the teologent.
[5] That’s the reason why North of India and South of India have significant differences. They were known as Tamil community in South of India and were known as Hindustan community in North of India. The differences not only the face and genetics but the differences in terms of speech, thinking and beliefs.
[6] Refer to Rasamandala Das, (-). The Illustrated Encylopedia of Hinduism, Lorenz Books, Armadillo, page 20-21 / Refer Sihombing,(1962). India: Sejarah dan kebudayaan, Bandung: SumurBandung,no.12.
[7] Flood, Gavin D. (1996). An Introduction to Hinduism, Cambridge University Press, pg 3
[8] Refer to Hiltebeitel, Alf (2007). artikel Hinduism. Edited by Joseph Kitagawa, "The Religious Traditions of Asia: Religion, History, and Culture, RoutledgeCurzon Tylor & Francis Group,London, pg3-6
[9] Mohd Rosmizi Abd Rahman dan rakan-rakan, (2012). Agama-Agama Di Dunia, USIM,NegeriSembilan, pg 37
[10] Refer to Drs. I Ketut Wiana, M. Ag, (2013). Pokok-Pokok Ajaran Hindu, PT Paramita Surabaya, pg 6
[11] Refer to Muhammad Alexander, (2011). Yakjuj & Makjuj 5 Gelombang Pembawa Bencana, PTS, Selangor, pg 311
[12] Interesting discussion by Prof. Uthaya Naidu have a view which the Gods inside Veda was the name of the leaders of Arya Nation when they entered India. One of it is Indra which was known as Lord of Wind. Refer to text Veda which are Rig Veda VIII, 87: 6, Rig Veda IX 73: 5, Rig Veda VI 130: 8, Rig Veda VII 12: 4, it is a text indicates the story of Indra fighting against the black community or known as Dravidia and Koloria during the conquer of India. [13] Refer to Singh, Upinder (2008). A History of Ancient and Early Medieval India: From the Stone Age to the 12th Century, pg 185/ Refer Drs. I Ketut Wiana, M. Ag, (2002). Pokok-Pokok Ajaran Hindu, Penerbitan Paramita Surabaya, Surabaya, Indonesia, pg 6-7/ Refer Abu Su’ud, (1988). Memahami Sejarah Bangsa-Bangsa Asia Selatan, Jakarta: Departemen Pendidikan dan Kebudayaan Derektorat Jenderal Pendidikan Tinggi, no 46
[14] Lihat Rasamandala Das, (-). The Illustrated Encylopedia of Hinduism, Lorenz Books, Armadillo, pg 23.
[15] It is a need to emphasis that Arya Nation did not embraced Hinduism but they brought a new teaching gained by Indo-Arya, according to Prof, Norman Brown inside the Book, Pakistan and Western Asia. The culture of Arya was closer to Zoroaster Avesta holy scriptures which teach oneness of God. Meanwhile Hinduism is a result of syncretism with the culture of others after long time they stayed till the existent of Hinduism today.
[16] Refer to Soegiri DS, (2008). Arus Filsafat, PT Ultimus, Bandung, Indonesia, hlm 244, It is due to the group of Aryan that wants the community to use the Sanskrit language as their medium communication while in earliest phase they used Sanskrit language as a foreign language which do not used by the Dravidia tribes.
[17] Refer to Arnold Toynbee (2004). Sejarah Umat Manusia, Pustaka Pelajar, Yogyakarta, pg 189-192.
[18] Eventhough the arguments that Kasta or Varna was introduced in Rig Veda books: 90: 11-12 but the meaning does not refer to some part of the community which built one body. The complicated Kast system was covered with religion which started to develop in the era of 8 SM.
[19] Refer Wendy Doniger, (2009). The Hindus: An Alternative History, Penguin Books, USA, pg 214-230. There are few opinions was written in the year 400 SM such as Molloy, Michael (2008). Experiencing the World's Religions. pg 87 dan Brockington, J. (1998). The Sanskrit Epics, Leiden pg 26 and Van Buitenen; The Mahabharata, Jilid. 1; The Book of the Beginning. Introduction.
[20] Refer Ananda K. Coomarasmawy & Sister Nivedita, (2016). Myths Of The Hindus And Buddhists, Dover Publications, New York, pg 4-10.
[21] Furthermore, they faced downturn era in between the duration of Puranic.
[22] Max Muller translated: “In the beginning,’my dear,’ my dear,’there was that only which is (τὸ ὄν), one only, without a second. Others say, in the beginning there was that only which is not (τὸ μὴ ὄν), one only, without a second; and from that which is not, that which is was born.”
[23] Differences occurred among the Indologist regards to the date of Purana firstly written. Based on Wendy Doniger also did research about the age of the Purana scriptures written and they identified it was around 250 M-1000 M. It started with Matsya Purana and Markandey Purana around 250 M and end with Linga Purana around 1000 M.
[24] Avatar was an incarnation or the birth of God in a form of human such as Lord Visnu. Lord Visnu came down to the earth through incarnation and become Sri Rama, Krishna and Buddha.
[25] Refer to I Wayan Maswinara, (2002). Matsya Purana, PT Paramita, Surabaya, pg 88-89.
[26] Ibid pg 89
[27] Siva’s name was not found in the Veda and Upanishads scriptures. It was introduced in the era of Puranic. Their scholars have an opinion about the character of Siva inside the Veda which is Rudra. Refer to Stephen Knapp (2010). Avatars, Gods and Goddesses of Vedic Culture,hlm4.
[28] Refer to Azharudin Mohd Dali, (2004). Tamadun India, Dewan Bahasa Dan Pustaka, KualaLumpur,hlm93-94
[29] Refer to Professor Gavin Flood, (2009). History of Hindusim - www.bbc.co.uk-religions Hinduism: Safe to say that there wasn’t a Brahma Temple
[30] Refer to Wendy Doniger, (2009). The Hindus: An Alternative History, Penguin Books, USA, pg 370-405
[31] Refer to James Hansting and others (-) Encyclopedia of Religion and Ethics, Jilid 6 pg 699
[32] Inside Zend Avesta scriptures, the usage word of Hapta-Hendu refers to India. Refer to Zend Avesta, Vendidad: Fargard 1. 8

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- Petite Cosmetics Unstoppable Lashes https://petitecosmetics.com/collections/natural-light-collection/products/unstoppable
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