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

Opening God-Made Doors with the Key of David

““To the angel of the assembly in Philadelphia write: “He who is holy, he who is true, he who has the key of David, he who opens and no one can shut, and who shuts and no one opens, says these things: “I know your works (behold, I have set before you an open door, which no one can shut), that you have a little power, and kept my word, and didn’t deny my name.” (Revelation‬ ‭3:7-8‬ ‭WEB‬‬)

King Nebuchadnezzar had a dream and he didn’t tell anyone the contents of the dream.

Despite the secrecy, Daniel was able to tell the king exactly what he dreamt, and interpret the meaning of the dream!

This miraculous occurrence can only be by God, for who can peer into a person’s mind to see what they dreamt?

“The king answered Daniel, whose name was Belteshazzar, Are you able to make known to me the dream which I have seen, and its interpretation? Daniel answered before the king, and said, The secret which the king has demanded can neither wise men, enchanters, magicians, nor soothsayers, show to the king; but there is a God in heaven who reveals secrets, and he has made known to the king Nebuchadnezzar what shall be in the latter days. Your dream, and the visions of your head on your bed, are these...The king answered to Daniel, and said, Of a truth your God is the God of gods, and the Lord of kings, and a revealer of secrets, since you have been able to reveal this secret.” (Daniel‬ ‭2:26-28, 47‬ ‭WEB‬‬)

Nebuchadnezzar’s dream was given to him by God. And only God could give Daniel knowledge about the contents of the dream and to understand the dream.

The dream was a door made by God, and the interpretation was a key from God, given to Daniel only.

Repeat this after me: Some locked doors have no man-made keys. Only the One who holds the Key of David can open them for me.

Jesus can make a door just for you, and place the key firmly in your hands.

Remember to ask Him, just like Daniel asked Him for the interpretation.

“Daniel went in, and desired of the king that he would appoint him a time, and he would show the king the interpretation. Then Daniel went to his house, and made the thing known to Hananiah, Mishael, and Azariah, his companions: that they would desire mercies of the God of heaven concerning this secret; that Daniel and his companions should not perish with the rest of the wise men of Babylon. Then was the secret revealed to Daniel in a vision of the night. Then Daniel blessed the God of heaven. Daniel answered, Blessed be the name of God forever and ever; for wisdom and might are his. He changes the times and the seasons; he removes kings, and sets up kings; he gives wisdom to the wise, and knowledge to those who have understanding; he reveals the deep and secret things; he knows what is in the darkness, and the light dwells with him. I thank you, and praise you, you God of my fathers, who have given me wisdom and might, and have now made known to me what we desired of you; for you have made known to us the king’s matter.” (Daniel‬ ‭2:16-23‬ ‭WEB‬‬)

When God changes the time and season, you need fresh wisdom, knowledge and understanding from Him to triumph in the new territory.

He removes wicked kings and sets up new ones that please Him. A change of time and season can mean a removal of enemies in your life and a promotion for you.

Believe and receive this: the Lord will place you in the right place at the right time, and give you the key to open and walk through that door for your breakthrough!

Do you like reading devotionals like this? My God Every Morning devotional archive on Patreon has more than 600 devotionals that I have written over these two years. At least 20 new devotionals are added every month. There is a message for every season of your life, so get access to it, bookmark the page, and enjoy the now-word you need in whatever situation: https://www.patreon.com/posts/23400861

"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…

ultra vires

【回覆選舉主任的追問】（Please scroll down for English version）

（選舉主任於11月28日下午四點的追問： https://goo.gl/unqfuP ）

我們剛才已經回覆選舉主任，內容如下。感謝法夢成員黃先生協助，大家可參考他的文章：

村代表唔係《基本法》第104條所列既公職喎！
https://bit.ly/2AuHXKD

全文：

「
袁先生:
就你於 2018 年 11 月 28 日來函，現謹覆如下:

█(一)鄉郊代表選舉主任無權提出與確保提名有效無關的問題

1. 我認為你並無權力提出與確保提名有效無關的問題。謹闡釋如 下‥

2. 《鄉郊代表選舉條例》第 24 條規定，「除非提名某人為鄉郊地 區的選舉的候選人的提名表格載有或附有一項由該人簽署的聲明，示明該人會擁護《基本法》和保證效忠香港特別行政區，否則該人不得 獲有效提名。」

《選舉程序(鄉郊代表選舉)規例》第 7(3)條則規定，為了「令[選 舉]主任信納 ... 提名是有效的」，「選舉主任可要求獲提名為候選人的人提供提名表格沒有涵蓋而該主任認為需要的資料」。

3. 區慶祥法官在「陳浩天案」處理過《立法會條例》及 《選舉管 理委員會(選舉程序)(立法會)規例》下的類似條文。即使退一萬步，假設區慶祥在該案中所陳述的法律屬正確(即選舉主任擁有調查候選人 政治信念的權力，而這並無違反人權)，「陳浩天案」中有關立法會選 舉的邏輯，亦不可能同樣適用於鄉郊代表選舉。

區慶祥法官考慮過他所認為的立法歷史後(包括籌委會 1996 及1997 年區生認為對立法會選舉方式具約束力的決定)，將《立法會條 例》第 40(1)(b)(i)條解讀為是為了執行《基本法》第 104 條而訂立， 所以裁定選舉主任在該條下有權調查候選人實質上是否真誠擁護《基 本法》及效忠中華人民共和國香港特別行政區。

但鄉郊代表並非《基本法》第 104 條中列出的'high office holders of the HKSAR'(「陳浩天案」判詞第 42 段;即「行政長官、主要官員、行政會議成員、立法會議員、各級法院法官和其他司法人員」)。即使是人大常委會 2016 年 11 月 7 日通過對《基本法》第 104 條的解釋， 亦僅指「[第 104 條]規定的宣誓 ... 是參選或者出任該條所列公職的 法定要求和條件。」

4. 再者，立法會在訂立《村代表選舉條例》(2014 年改稱《鄉郊代表選舉條例》)時，完全並無如訂立《立法會條例》時般，考慮或 討論過當中第 24 條下有關聲明規定的內容，背後更無任何有約束力 的決定，要求村代表/鄉郊代表須擁護《基本法》及效忠中華人民共 和國香港特別行政區。

反而時任民政事務局局長何志平 2002 年在動議二讀《村代表選舉條例草案》時清晰地指出，「本條例草案的目的，是為村代表選舉 制定法律條文，以確保選舉公開、公平和公正，並符合《 香港人權法案條例》和《性別歧視條例》的要求」(2002 年 10 月 9 日立法會 會議過程正式紀錄頁 64)。

5. 無論如何，即使區慶祥法官亦須承認，任何有關的聲明規定， 必須從選舉、被選權等基本權利的背景下理解(「陳浩天案」判詞第 80 段)。在缺乏類似所謂立法歷史和《基本法》條文的支持下，實在 難以接受《村代表選舉條例》/《鄉郊代表選舉條例》第 24 條具有 跟《立法會條例》第 40(1)(b)(i)條一樣的效力(假設第 24 條本身是合 憲的話)。

法律上，選舉主任只可為了相關賦權條文的目的行使其法定權力:

'Statutory power conferred for public purposes is conferred as it were upon trust, not absolutely - that is to say, it can validly be used only in the right and proper way which Parliament when conferring it is presumed to have intended . . .'
- Porter v Magill [2002] 2 AC 357 at para 19 per Lord Bingham quoting

Wade and Forsyth.

(亦可參考 Wong Kam Yuen v Commissioner for Television and Entertainment Licensing [2003] 2 HKC 21 (HKCFI) at para 21 per Hartmann J.)

在這方面，《選舉程序(鄉郊代表選舉)規例》第 7(3)條的目的，是確保提名屬有效。如果《鄉郊代表選舉條例》第 24 條在正確的理解 下，並無強制候選人實質上證明自己擁護《基本法》和保證效忠中華 人民共和國香港特別行政區，亦即提名的有效性，並不依賴候選人的 實質政治信念，《規例》第 7(3)條自然就不可能賦權選舉主任作出與 此有關的提問，否則他或她行事的目的，就是法律並無授權、亦無預 見(假設《立法會條例》具此效果)的政治審查，而非確保提名的有 效性。

故此，我認為你並無權力提出與確保提名有效無關的問題。

█(二)回應提問(a):你認為我沒有正面回答你的問題，我並不同意你的說法，因為你的問題帶着錯誤的假設。你的問題假設「自決前 途」只能為一個特定機制，因此才有所謂主張香港獨立是否其中一個 「選項」的錯誤設想。然而，正如我昨日的回覆所指，「我提倡或支 持推動《基本法》和政制的民主化改革，包括但不限於修改《基本法》 158 及 159 條，作為中共封殺真普選後，港人自決前途的目標」;與 此同時，我沒有主張「香港獨立」。

█(三)回應提問(b):你在今日的回信中指「並沒有要求你就其他人的行為或主張表達意見」，不過，提問(b)的意思正是要求任何人若 希望成為鄉郊代表選舉候選人，不單自己不可主張港獨，也要明確地 反對甚至禁止其他參選人有相關主張。我認為這個要求違反《基本法》 及《香港人權法案條例》對言論自由的保障，亦顯然超出《鄉郊代表 選舉條例》對參選人的要求。

請你儘快就我於 2018 年 11 月 22 日提交的提名表格、11 月 27 日的回覆及上述的答覆，決定我的提名是否有效。若你需要其他的補充資料，請以電郵聯絡我。我就你的查詢保留一切權利。

2018 年 11 月 28 日
二零一九年鄉郊一般選舉
元崗新村選舉參選人
朱凱廸
」

【Reply to More Questions from Returning Officer】

Mr. Yuen,

I hereby reply to your letter dated 28 November:

█(1) Returning Officer of Rural Representative Election has no power to make any inquiries not made with a view to ensuring the validity of nomination

1. I consider that you have no power to make any inquiries insofar as they are not made with a view to ensuring the validity of my nomination. My reasons are as follows.

2. Section 24 of the Rural Representative Election Ordinance provides that “[a] person is not validly nominated as a candidate for an election for a Rural Area unless the nomination form includes or is accompanied by a declaration, signed by the person, to the effect that the person will uphold the Basic Law and pledge allegiance to the Hong Kong Special Administrative Region.”

On the other hand, section 7(3) of the Electoral Procedure (Rural Representative Election) Regulation provides that, “in order [for the Returning Officer] to be satisfied … as to the validity of the nomination”, “[t]he Returning Officer may require a person who is nominated as a candidate to furnish such information which is not covered by the nomination form as that Officer considers necessary”.

3. In Chan Ho Tin v Lo Ying Ki Alan [2018] 2 HKLRD 7, Mr Justice Thomas Au Hing-cheung (“Au J”) considered similar provisions in the Legislative Council Ordinance and the Electoral Affairs Commission (Electoral Procedure) (Legislative Council) Regulation. Even assuming, for the sake of argument, that the law as stated by Au J in that case were correct (namely that a Returning Officer has the power to inquire into the political beliefs of a candidate, without violating human rights), it is clear that the reasoning as applied in the case of Chan Ho Tin, which relates solely to Legislative Council elections, cannot be extended by analogy to Rural Representative Elections.

Having considered what he thought to be the legislative history (including two Resolutions passed by the Preparatory Committee for the Hong Kong Special Administrative Region in 1996 and 1997 respectively which Au J believed to be binding), Au J interpreted section 40(1)(b)(i) of the Legislative Council Ordinance as having been enacted for the purpose of implementing Article 104 of the Basic Law, and decided on that basis that the Returning Officer had under that section the power to inquire whether a candidate, as a matter of substance, genuinely upholds the Basic Law and pledges allegiance to the Hong Kong Special Administrative Region of the People’s Republic of China.

The important distinction, however, is that rural representatives are not those “high office holders of the HKSAR” listed in Article 104 of the Basic Law (Chan Ho Tin at para 42; namely “the Chief Executive, principal officials, members of the Executive Council and of the Legislative Council, judges of the courts at all levels and other members of the judiciary”). Even the Standing Committee of the National People’s Congress, in its Interpretation of Article 104 of the Basic Law adopted on 7 November 2016, merely states that ‘the legal requirements and preconditions [contained in Article 104 are] for standing for election in respect of or taking up the public office specified in the Article.’

4. Further, unlike when enacting the Legislative Council Ordinance, the Legislative Council in enacting the Village Representative Election Ordinance (renamed in 2014 the Rural Representative Election Ordinance) never discussed nor gave any consideration whatsoever to the content of the requirement of declarations, still less to binding resolution of any sort which would compel Village Representatives (now Rural Representatives) to uphold the Basic Law and pledge allegiance to the Hong Kong Special Administrative Region of the People’s Republic of China.

What the then Secretary for Home Affairs, Patrick Ho Chi-ping, did clearly pointed out, in moving the Second Reading of the Village Representative Election Bill in 2002, is that “[t]he purpose of the Bill is to bring Village Representative (VR) elections under a statutory framework in order to ensure that they are conducted in an open, fair and honest manner and that they are consistent with the Hong Kong Bill of Rights Ordinance and the Sex Discrimination Ordinance” (Legislative Council, Official Record of Proceedings (9 October 2002) at p 90)

5. In any event, even Au J has had to concede that any relevant requirement of declarations “must be viewed against the involvement of the fundamental election right” (Chan Ho Tin at para 80). Here, in the absence of similar so-called legislative history or Basic Law provisions in support, it is difficult to accept that section 24 of the Village Representative Election Ordinance (now the Rural Representative Election Ordinance) is intended to have the same effect as section 40(1)(b)(i) of the Legislative Council Ordinance (on the assumption that section 24 were not unconstitutional).

In law, the Returning Officer may only exercise her statutory powers for the public purpose for which the powers were conferred:

'Statutory power conferred for public purposes is conferred as it were upon trust, not absolutely - that is to say, it can validly be used only in the right and proper way which Parliament when conferring it is presumed to have intended . . .'

- Porter v Magill [2002] 2 AC 357 at para 19 per Lord Bingham quoting Wade and Forsyth.

(See also Wong Kam Yuen v Commissioner for Television and Entertainment Licensing [2003] 2 HKC 21 (HKCFI) at para 21 per Hartmann J.)

In this regard, the object of section 7(3) of the Electoral Procedure (Rural Representative Election) Regulation is to ensure that a candidate’s nomination is valid. If, properly construed, section 24 of the Rural Representative Election Ordinance does not have the effect of compelling candidates to prove, as a matter of substance, that they uphold the Basic Law and pledge allegiance to the Hong Kong Special Administrative Region of the People’s Republic of China, then the validity of the nomination does not turn on the substantive political beliefs of the candidate. Section 7(3) of the Regulation, in turn, logically cannot have empowered the Returning Officer to make inquiries in this connection, for otherwise the Officer would be acting for the purpose of political screening, which is neither authorised nor envisaged by law (assuming that the Legislative Council Ordinance does, by contrast, have this effect), rather than of ensuring the validity of the nomination.

Accordingly, it is my considered view that you have no power to make any inquiries insofar as they are not made with a view to ensuring the validity of my nomination.

█(2) In answer to question (a): you take the view that I have not directly answered your question, but I do not agree, because your said question carries mistaken assumptions. Your question assumes "self-determination" can only take the form of one designated mechanism, and hence the mistaken hypothesis on whether Hong Kong independence constitute an "option" for such mechanism. However, as stated in my reply yesterday, "I advocate or support moving for democratic reform of the Basic Law and the political system, including but not limited to amending articles 158 and 159 of the Basic Law, as a goal for the Hong Kong people in determining their own future after the Communist Party of China banned genuine universal suffrage"; at the same time, I do not advocate for "Hong Kong independence".

█(3) In answer to question (b): You stated in your reply today "did not require (me) to express opinion on other people's actions or propositions", but the meaning of question (b) is precisely a requirement on anyone, if they wish to become eligible as a candidate for Rural Representative elections, not only to not advocate for Hong Kong independence themselves, but must also clearly oppose or prohibit other nominees in having related propositions. I am of the view that this requirement violates the protections on freedom of speech under the Basic law and the Hong Kong Bill of Rights Ordinance, and clearly exceeds the requirements imposed by the Rural Representative Election Ordinance on persons nominated as a candidate.

Please confirm as soon as possible the validity of my nomination based on my nomination form submitted on 22 November 2018 and my replies to your questions dated 27 November 2018. Should you require other supplemental information, please contact me via email. I reserve all my rights in relation to your inquiry.