CE MESSAGE CONTIENT DE LA MERDE DE WEEB ET S'ADRESSE PRINCIPALEMENT À MICH
Raisons pour jouer à Nier aux Tomates ASAP
https://www.youtube.com/watch?v=UWbzUANlUis
https://www.youtube.com/watch?v=hhDL3Q86ofY
https://www.youtube.com/watch?v=rL6r9Vy2TuE LE RONG WHOLE
You're very vocal about your love of drinking. Is that part of your creative process?
I mean certainly, I've always liked drinking a lot, but I remember when I was writing the previous games' scenarios and the stories for them, I noticed a [recurring theme] that all the stuff I had written when I was really out of it was actually the stuff that everyone really liked. And I thought, "Why the hell should that be?" It worked out. If I drink, I become a bit tipsy and a bit of a fool, and I lose my inhibitions. That kind of uninhibited story writing only comes out when I'm drinking, so I definitely try to drink a lot more whenever I'm writing now. It's very interesting; when I'm writing when I'm sober, it's like, "Ah yes, that's an interesting story, I'll write that, I'll put that there." But that's very different then when I've started drinking. I just start getting involved and having an emotional connection to the characters. I'll start crying and [I'm] like, "Wow, this is a really sad story!" So yeah, that's why I think it's better. Then I'll pass out, and wake up with tears down my face like, "Oh, I was writing a story." In the original Nier, there was the story of the wolf and the people with the masks. I remember crying along with the story as I was writing it while I was completely wasted.
Music has been an integral part of the series and a standout feature. How closely do you work with composer Keiichi Okabe to ensure that the music matches the vision for bringing areas and scenes to life?
It's almost like the game is a slave to the music in a lot of ways. The emotions that are created in the players themselves are [a result of the music] and the game just sort of follows along behind that. I'm not quite sure how it's done outside of Japan, but certainly in most Japanese games development, the music is probably done in the last 30 percent of the development cycle, right at the end. Nier [both Automata and the original] is very different [in that] the music was done in a very early stage, and then the rest of the game worked around that and was fitted into that. The way I ordered the music there is that I look on YouTube for music clips, and I'll get one and I'll paste it and send it over to [Mr. Okabe], and say, "Right, I want something like this; this kind of tempo, this kind of pace, and [then] there's 15 frames in here like at the 45 second mark that the bass turns up, so we're going to have to make it very high-tempo, very exciting, you've got to bring the pace up there." That's normally the kind of thing I send to him, and I think he really hates that. If you tried that with a regular composer and you made that kind of request, most of them would just turn around and say, "Alright then, you ask the guy that made that to make one for you!" But Mr. Okabe, you see, he quite likes money, so he'll do anything you ask him to. The theme on the overall Nier team, though, is if you'll give us money, we'll basically do whatever you want.
Bref j'ai bcp de plésir right nao avec le jeu pis j'espère que la fin va être super wow omg avec dé explosions pis que mon personnage préférer va mourir pour que je vienne chialer sur les résosocio 
