Sega And Atlus Tease New RPG Announcement For Tokyo Game Show. 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. Nier: Automata Game of the YoRHa Edition releases on February 26 for PlayStation 4 and PC.
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. Yoko: Similar, but I actually wanted to go for something funny, or shockingly stupid.
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Takahisa Taura has been credited on games developed by the following companies: Platinum Games Inc., Nintendo SPD and Toylogic Inc.. This does not imply employment by these companies. Takahisa Taura was credited on a game as early as 2009 and as recently as …
Talking To Yoko Taro, PlatinumGames' Takahisa Taura, And ...
Taura originally pitched the sequel to NieR:Gestalt, with a prologue in post WCS Tokyo, same time as NieR starts. Yoko Taro thought that would be too hard to do, Tokyo being too recognizable, but now thinks PG could do it. The trope of flowers throughout Yoko Taro's games has an unrevealed secret behind it.
Jun 12, · Takahisa Taura Follow @pg_taura Since joining PlatinumGames, Takahisa Taura has worked on MadWorld, Anarchy Reigns, Metal Gear Rising: Revengeance, The Wonderful and The Legend of Korra as a game designer. He specializes in designing gameplay actions for both player and enemy characters. As senior game designer, Taura played a major role in.
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: Ahh, yeah. There's no reason! We weren't trying to hide A2 or mislead anyone, it just happened to work out that way. 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. 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? Taura: The development team went to Square Enix and said "Please let us use him in our game! 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. So we had PlatinumGames' CEO Sato-san appear in the fight as well.
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? 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. 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.
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.
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.
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!
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 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. 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. 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? 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. 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?
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? 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.
Taura: You could make the headline of your article "Yoko Taro Saved PlatinumGames" and that's definitely true. 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. 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.
Okabe is also known for his work on both Nier titles , Drakengard 3, Tekken, and contributing some tracks to Super Smash Bros. 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. 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?
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.
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. 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. Filmography by Job Trailers and Videos. Share this page:. Related News Astral Chain Review 26 August We Got This Covered Astral Chain: Trailer and Release Date 14 February Den of Geek See all related articles ».
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Nier: Automata's Yoko Taro and Takahisa Taura on ...
Apr 01, 2018 · Takahisa Taura: At Platinum, we’ve really never created games with an RPG element to them. We’ve been creating a lot of action games, but not RPGs. We did feel a lot of pressure to create a ...
Sep 15, · Surely many of you will know him for his involvement as director of Astral Chain. Well, now he has confirmed that he is working on a new project. These have been his words from Atsushi Inaba, head of PlatinumGames, informing about it: Inaba-san, in our last talk you said that the best director was Takahisa Taura of Astral Chain and suggested. Jan 01, · 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 us 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 Estimated Reading Time: 8 mins. The latest tweets from @PG_taura.
As part of a Famitsu interview featuring Astral Chain director Takahisa Taura, supervisor Hideki Kamiya, and Yoko Taro from Square Enix, there was discussion about all three developers being the type to include a lot of variety in their games. Takahisa Taura was given his first shot at directing a game with Astral Takahisa Taura.
Taura spoke about the distress he experienced while developing Astral Chain in a previous issue of Famitsuwhich also featured supervisor Hideki Kamiya from PlatinumGames and Yoko Taro from Square Enix. Astral Chain has the type of hardcore action that PlatinumGames fans are accustomed to. Astral Chain supervisor Hideki Kamiya and director Takahisa Taura spoke about the Switch title in a recent of Famitsu. Yoko revealed some of his wild, Takahisa Taura impressions of Astral Chain and where he thought the story to go.
The discussion also includes Japanese game director and scenario writer Yoko Taro. Naturally, the conversation Takahisa Taura strange and fascinating very Takahisa Taura. Famitsu recently Sarah Jane Ceylon Latex an Grosser Busen Porno with Astral Chain director Takahisa Taura and supervisor Hideki Kamiya.
Taura knew that directing was a tough and lonely endeavor, but it was even tougher and lonelier than he Chatiw Ban. Since it was a new IP, it was hard to define what was right and wrong to do, so he tried out a lot of ideas during production.
Astral Chain is finally here. The game Takahisa Taura directed by Takahisa Taura, who made his debut in that role for this project. You can read his full Takahisa Taura below. This week, Japanese magazine Famitsu published a new Astral Chain interview with director Takahisa Taura, supervisor Hideki Kamiya, and producer Eijiro Nishimura.
The game has been a long time coming, as they worked on the plans since before development on NieR: Automata started. To complete the entire project, it Takahisa Taura a long time — somewhere around five years. As part of that, director Takahisa Taura has started sharing insights on the creation of the action game. PlatinumGames has Takahisa Taura a new Astral Chain developer Takahisa Taura with director Takahisa Taura Taura and character designer Masakazu Katsura.
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