NieR will be returning for a periodic stint at the Square Enix Cafe in both Akihabara and the newly opened location in Osaka! The period of this collaboration will be from January 27 until March 2. Reservations open at 10am on January 17, so be sure to get your reservations in quickly! [ Click here to make a reservation. ]
The cafe in Akihabara will feature decorations and other goodies from Replicant / Gestalt, whereas the Osaka location will feature .
▲ A look at the SQEX Cafe in Akihabara.
▲ The SQEX Cafe in Osaka featuring .
※ Please note that the above images of the cafe designs featuring and are mere templates for how the cafes will look. They are not actual photographs of the cafes as they look right now.
This time, there will be trading coasters available exclusively at either the Tokyo or Osaka location.
▲ Random coasters available at the Akihabara cafe in Tokyo.
▲ Random coasters available at the Umeda cafe in Osaka.
<< This is an early release of the translation. >> If there are any typos or other mistakes,
these will be corrected in the next day or so.
Thanks for your understanding!
<YoRHa Musical Ver.1.2>
－Today (January 4th) is the first meeting for the “YoRHa Musical Ver.1.2”, but as for actual practices…
Matsuda: Practices will start from tomorrow (January 5th). We plan on working on making the play over the course of the next month.
－After this meeting once everyone has had their first look at the script, do you ask the cast what they think about it?
Yoko: No… because I didn’t finish it until early this morning!
Matsuda: I got his E-mail around 2:30 this morning and finished reading it around 6am. (haha)
－I understand there’s usually not much time to cover the play, but for the playwright to finish the script just before the first meeting…
Matsuda: It’s not all that unusual. Just, the play this time around is on a much larger scale… (voice trails off)
Yoko: SoRRy for making you wait!
－So, you’re comment in the end of the year issue of Famitsu, where you said “I haven’t finished writing the script,” you weren’t joking… Since the “YoRHa Musical” is essentially the third run of the stage play, I assume that the fundamental story will remain untouched, but are there any details that have changed?
Yoko: For the previous plays, I wrote the original manuscript but Asakusa Kaoru write the script, but this time I took Asakusa’s script and made some edits to it to make it more my style. I ended up taking out a couple characters and creating a new character that Maria Yuriko will be playing.
－A new character!? Judging from her name, it seems like she’s a member of the Resistance.
Matsuda: Definitely watch out for that. As I read the script, by removing some of the characters, I think the relationship between characters is much clearer and more fleshed-out… I think it’s been improved a lot.
Yoko: The previous versions of the play were set up to be “Girls Theater” where a lot of young girls perform, but this time around, that wasn’t necessary any longer, so it wasn’t necessary to actively aim for a large cast. I think the number of cast members is appropriate this time.
－Matsuda-san, you worked with Yoko on the previous “YoRHa Stage Play” and “Thou Shalt Not Die –Zero–”, but what was your first impression on the “YoRHa Stage Play”?
Matsuda: I remember being really shocked at the setting that required the girls to wear blindfolds. I was like, “they’re going to be blindfolded on stage!?” (haha)
Yoko: At the meeting he asked me, “Can’t we have them remove the blindfold sometime at some point?” and I was like, “Okay, I guess we can have them take it off somewhere in the middle.”
Matsuda: (haha) But I’m glad No2 ***** **** *** at the end. Not only that, but when I saw the release of the game, I was really impressed how well it connects with the play.
Yoko: I’m glad this concept connected so well with the game. That’s because I’m good at figuring out how things can fit together as though that was the plan all along.
－From a director’s standpoint, what do you think about Yoko’s world view?
Matsuda: The setting and details are so finely detailed, I think it makes my job as director much easier. He sets it up in such a logical way that I can just think, “This is like this, and therefore this needs to be like this.” It’s at these moments that I really think this is the foundation of the “World of Yoko”.
－What do you think when you watch Matsuda-san’s directing?
Yoko: During the process of developing a game, I do a lot of directing, but I think Matsuda-san has an amazing talent of utilizing rhythm and the precise timing of sound. Because we work in the same industry I can appreciate his amazing attention to detail. Even with the new musical drama, I was quite surprised with how much of a professional director he is, how he’s able to pick certain songs and incorporate them into the play.
－Is there anything that you feel like you really put your heart into directing this play?
Matsuda: With the previous plays, “” didn’t exist at the time, but now since the game’s been released, I think the fans will have a better understanding of the play’s world and it will be important for us to draw out the fine details from the game. The impact of live music
Yoko: Not solely drawing from the game, but also accentuating the strong points of a stage performance, I think if we can do that, it’d be great; I would be really grateful. For example, there are certain costume designs that look better on stage, so we needed to change the designs from the game a little bit. I think the costume designs look really great for the play.
Okabe: Costumes were even made for the musical performers; Emi was pleased very much. For the music concert, we discussed what sort of clothing would be appropriate and each individual prepared their own attire for the concert, but this time for the musical, the costumes are all taken care of, so everybody’s really excited.
Matsuda: The cast and Yoko were all at the auditions, so I think this new cast is much closer to his original vision for the characters.
Yoko: Last time, I think the young women we casted felt synonymous with the characters, but this time, we’ve added many people who have their own careers, so I think the play will be much more complete with its slightly different direction. I’m personally very excited to see the differences between the new and old versions of the play.
－This time since the play is called a “Musical” with live music, I think it will be different from the past concert. Can you tell us anything on this front?
Okabe:The concert “Memory of Dolls” in 2017 included a live recitation drama, but this time the recitation has become a full-fledged theater performance, so I think that will take the spotlight. The play is just now taking shape, but I think the final result will be forged through trial and error.
－So, the general flow is drama―>live performance―>drama?
Matsuda: That’s right. The live performances a sort of scene change, choosing specific songs that reflect the feelings of the character.
Yoko: There won’t only be live performances but also BGM music that will play from time to time.
Okabe: I think the live performances will greatly enhance the excitement of pivotal moments.
－Yoko-san, was it your wish to make a musical out of this?
Yoko: No, the capacity of the auditorium is much larger than last time, so Matsuda-san said, “I’d like to get our value’s worth,” and so the word “musical” came out of that discussion.
－Then this didn’t originally start out as a musical?
Yoko: No. The concert seemed to be extremely popular, so now I get the feeling that Famitsu wants to fill the remaining seats with a misleading article along the lines of “we want to experience the emotion of the concert one more time!”
－Then I dare to make the headlines! (haha) I believe there are still A seats available. Have you already decided which songs will be performed?
Matsuda: We made the final decision at the last meeting.
－Do you have any plan to perform songs that weren’t included in the last concert?
Okabe: I think there’s quite a few.
－There were a couple songs made specifically for the previous “YoRHa” stage plays.
Okabe: Yes, there are two songs that were used in the previous two plays, “Normandy” and “Quadalcanal”, but this time we plan on arranging them for the musical.
－That’s very exciting. Yoko-san, I asked about your desire to make a stage play, but what is it that attracts you to stage performances?
Yoko: With games, we can control everything, but stage performances are live so we can’t necessarily control everything about it. I really like how the whole thing feels as though it’s alive.
－Lastly, let’s hear some enthusiasm for up-coming performances!
Okabe: When I saw last year’s concert along with the live recitation dramas, I felt like it exceeded my expectations. I’m really looking forward to the musical, as I’m sure it will also be beyond my imagination. I’ll be doing my best to put on a great show for all those who can attend!
Yoko: I finally finished writing the script, so thinking about all I’ll have to do now is maybe some minor edits here and there has me feeling quite relieved. If it sounds interesting to you, please come to the show.
Matsuda: I would like to invite you to come and experience the stage version of YoRHa that combines live musical performances with acting and dance routines as well as exciting fighting scenes. I hope to see you there.
<YoRHa Boys Ver.1.0>
Story Summary Automatic Infantry Android, YoRHa M Squad, an all-male model squadron, was created on a test case basis. The boys trained in a place resembling a school setting. The story begins with the enrollment of the second term students including the main character, No9. New students get acquainted to school life with the aid of their senior models. But then, those who harbor doubts about the YoRHa squad appear…
－How did the “YoRHa Musical Ver.1.2” reading go yesterday?
Yoko: Yesterday, at the script reading, I think I could grasp the atmosphere and got a better feel of each character’s personality. I realized that there were some parts to the story that required additional scenes, so I’ve got more work to do. On the other hand, I actually wrote too much for the “YoRHa Boys” stage play and had to cut out a lot… It was like a game that didn’t have a definite length, so I could keep on writing freely without really thinking about it. But a stage play needs to be a certain length, so it was hard to get used to that. I always write like crazy.
－Is it normal for plays to be about 2 hours long?
Tani: There are shows that are 2 hours long, but I think people’s general attention span is somewhere between an hour and 40-45 minutes.
－The “YoRHa Boys” stage play is directed by Tani-san. Yoko-san, what is your impression of his direction from what you’ve seen?
Yoko: Tani-san is also a playwright, so I watched some of the DVDs of plays he worked on and everything had a dark story. There was a story about mental illness, the story of a kidnapped person, a story about trauma and inner psychology, like… really surprisingly dark material.
Yoko: Plus, there is absolutely no salvation from beginning to end, like hellish proportions. (haha) I really wonder if he can direct a poppy play like “YoRHa Boys”.
－I find it hard to believe that “YoRHa Boys” will be ‘poppy’… As far as a story that has no salvation, I think Yoko-san is notorious that sort of thing. (haha)
Yoko: For the most part, my work has its base in commercial entertainment, whereas Tani-san’s work is “real”. It’s really sick. (haha) If you compare “YoRHa Boys” with some of Tani-san’s other work, you’d think the story’s rather bright and bubbly. It’s like playing.
Tani: No, no no, it’s not. (haha)
－Have you completed the script for “YoRHa Boys”? I heard you just finished the musical script yesterday, so…
Tani: What!? Yesterday? (haha)
Yoko: I finished writing “YoRHa Boys” at the end of the year!
－Tani-san, I assume you’ve been able to read the script. What is your impression?
Tani: It was really good. Especially halfway through, I found myself thoroughly engrossed in it. The ending is quite to my liking; I read it excitedly while on the train.
Yoko: This time I’m depicting a sort of prequel that connects with the game, but in terms of the “YoRHa Musical”, I feel like the content in this stage play pairs well with the musical. I was actually thinking about using the same script as the musical and just gender bending all the characters, but I thought it would be better to do something original, so I thought up something new. Merely, the theme and the frame of the stories are similar, so please look forward to picking out the differences.
－So, there’s something extra we can enjoy if we go see both of the plays? Hearing that, does it make you more curious about the “YoRHa Musical”?
Tani: The “YoRHa Boys” stage play has its own color, so I’m not all that concerned about the musical.
－What about the music in “YoRHa Boys”?
Yoko: Unlike the musical, Okabe-san doesn’t need to do anything, so he’s just hanging out. He didn’t even need to be here today.
Okabe: I didn’t hear about the meeting today until yesterday; he was like, “Can you come tomorrow?” (haha) I guess that’s about how it’s done. (haha)
－Then is Tani-san choosing what songs to use?
Okabe: Yes, that’s right. I believe we’re focusing on music from “”. However, there are many quietand scaled themes from “” so we may use more songs from “Drakengard” if a scene requires something more ferocious.
Yoko: Regarding the music, nothing has been decided yet, so I believe Okabe-san’s going to double check the themes that Tani-san assigns to various scenes.
Okabe: I heard that we’re going to use the two theme songs from the musical, “Normandy” and “Guadalcanal”, but even that hasn’t been finalized yet. (haha) At the script reading yesterday for the musical, it became apparent that we really needed to include those two themes, so we may decide something similar at the reading for “YoRHa Boys” as well.
－I think a lot of “NieR” fans are excited about this play since it’s a completely original work, but could you tease a little something about it?
Okabe: Hardly anything about it has been decided yet, so there’s not much I can say. (haha) So, can I talk about something a little off-topic? Yoko-san and I have known each other for a long time, and ever since those bygone days, he’s continually said things like “handsome people must die”. More recently, with “”, Taura is a good-looking guy. Tani-san is young and good-looking as well. And of course the cast of “YoRHa Boys” are all good-looking, so with this play, I’ve come to realize that Yoko-san has a strange way of drawing good-looking people closer to him, contrary to his own thoughts. (haha)
Yoko: Once “YoRHa Boys” wraps, I think all the good-looking guys, including Tani-san, should succumb to instant death.
－That’s extreme. (haha) I bet the cast members who read this interview will be shocked. (haha)
Yoko: If this is included in the article, I think the person who writes this is a bit crazy, too.
－If you say so, I think it’s probably accurate. (haha) Can you give a brief comment that we can use in this article?
Yoko: I think it’s symbolic that the world of YoRHa begins with a stage play, continues on in the game and the recitation dramas, and finally ends with yet another stage play. I’m honestly very happy.
－Finally, Tani-san, if you could please cleanly conclude the discussion.
Tani: I’m Tani, and I will die. (haha) While treating the world view very carefully, perhaps you could say there’s meaning in my participation as director? I think Yoko-san will make some edits if I go a little too far, so I will challenge myself until the very end. Just like the characters in the play, I, too, will struggle and suffer, even cough up blood as I try best to make this a great play. The rest of the cast and staff have such overwhelming skill, I want to follow their lead. Thanks a lot.
－During your introduction at the first meeting, you said you wanted to make a play that doesn’t lie. What did you mean by that?
Tani: Stage plays are fiction, essentially a lie, so I have this theory that if I tell an additional lie, it’s all over. Do not lie in that world view; everything you show must be the truth. For the stage, I think only if you go to this length, the audience will come to see the show. I hope that “YoRHa Boys” will be such a play.
▲ (Left to Right) Tani Aoto, Yoko Taro, Okabe Keiichi, Saito Yosuke
<A message from Saito Yosuke>
Although, he normally doesn’t come out and say “I want to do that!”, all through the development of, Yoko-san was constantly talking about how much he wants to do a stage play. Now that his dream is coming true, I think it will certainly be interesting. I’m thoroughly looking forward to it, too, since a major theme deals so much with humanity even though our characters are androids. So, to everyone who comes to the show or watches it on NicoNico, I hope you will pay close attention to the great actors and the unique characters they play. For the musical, it’s pretty rare to get the chance to hear a live performance from Okabe’s group helmed by “Okabe of the World”. It would be great if you could come see the show with the feeling as though this might be your last chance.
I recently got both of the headphones that are currently available from claw machines in various arcades. I have little patience to play those games, so I cheated and got these off of Yahoo auctions. I’m lazy that way. orz
So, anyway, here’s a quick look!!
The Emil headphones have angelic script on the headband. Notice that they’re using some non-angelic text as well (there is no corresponding angelic symbol for every letter of the alphabet, so some letters have no symbol and thus is displayed as a mere box).
Similarly, the YoRHa headphones have a stylish boarder down the center.
One thing to keep in mind if you’re interested in getting ahold of these headphones…
The quality isn’t all that great, which is to be expected. Simply wearing them feels a little awkward, like they don’t quite lay flat against your ears properly. I can imagine that wearing them for any prolonged period would get pretty uncomfortable. The sound is okay but not great. You may need to play around with your treble/bass settings since the treble sounds higher than normal. Also, I’m worried about the part of the cord that plugs into your audio device for the Emil set (the YoRHa one seems okay), but it already sounds like it’s getting that usual short that cuts out the sound when you touch the cord just right. I’m hoping it won’t completely die for a while yet, but who knows… I may only use these for special occasions, just to keep them in relatively good condition.
Yoko Taro and Yosuke Saito participated in a live interview with Furukawa Mirin on Twitch tonight in which they dropped several photo teasers of the recent costume photo shoot. Vocalist Kawano Marina from DearStage and the Music Concert was also present during the interview.
Here’s a quick look at the few photos they shared…
▲ No2 (aka A2)
▲ The original No2? Notice that this photo is part of the YoRHa Boys photoshoot. Given the cast list, it seems as though this stage play will *not* be all-boys only, but there will also be some female actors involved as well.
October 24, saw the release of the second novel from the series. Here’s the quick look at the book!
(Please note that I don’t intend on translating the novel in depth. The most I can do right now is write brief summaries and notes.)
◾️A Short Story
▶︎ Table of Contents:
● The Fire of Prometheus, by Yoko Taro – p.3-30
● YoRHa Ver.1.05＊, by Eishima Jun – p.31-158
● The Memory Cage, by Eishima Jun – p.159-188
● Bunker, by Eishima Jun – p.189-206 ● Little Flowers, by Yoko Taro – p.207-220
●The Great Sea of Tranquility, by Eishima Jun – p.221-248 ● The Memory Thorn, by Eishima Jun – p.249-276
● Emil’s Memory＊, by Eishima Jun – p.277-318
＊ YoRHa Ver.1.05: A Few Notes ● The novelization of the YoRHa stage play looks pretty accurate from the original script. Many of the lines of dialogue are exactly the same; it just has additional narration in between. It is split into sections that are all designated by a precise timestamp like this: 【1208/8:05】
● It appears like they entirely cut out No2’s line where she mentions her “false memories” of living on a peaceful farm with her grandmother… Hmm…
I was mistaken about this→ I just had another look at the book and found the line where No2 remembers her past. Here’s my translation of the few lines that address this:
“But me… I only have the memory of a bullied child,” Gerbera sighed.
Compared to Gerbera, No2 thought her false memories were rather pleasant.
There lie the memory of living in the country with her grandmother. It was a warm, peaceful memory. Ever since her parents died young, she lived together with her grandmother, just the two of them. She “remembered” working on the fields everyday, feeling the earth running through her hands, even the scent of the grass.
With this passage, thankfully, my initial speculation about a Kaine/No2 connection might still be possible.
● There’s a new narration from No2’s perspective after the No4 detonates in the server room. It is…beyond emotional. Maybe it’s because it’s the first bit of new material from the play’s script that’s got me wrapped up again, but… As No2 crawls out of the rubble, saved by a miracle, she hears the voices of her fallen comrades: No4, No16, and No21. They all give her a little encouragement to keep living. The last portion of the chapter shows Pod saying “Good morning” to A2 in the desert…
＊ Emil’s Memories: A Few Notes ● This is pretty much Ending Y… It ends with Emil screaming the same lines he says during his last fight… but it ends with him being reunited with three of his most beloved people… <3 …prepare the tissues…
▲ Cover – Long After Androids Dream of the Glory of Mankind, Magical Experimental Weapons Continue Rolling
▲ The Fire of Prometheus
▲ YoRHa Ver.1.05
▲ (Left) The Memory Cage, (Right) YoRHa Ver.1.05
▲ Orbital Base Station “Bunker” – Observation Diary
Auditions to become a Bio-machineon stage or other extra Resistance roles in the plays has been opened to *all* ages. So, if you’re currently in Japan and are free to participate, send in your application before 6PM on Friday!
▶︎ Auditions are for both the “YoRHa Ver.1.2” musical and the “YoRHa Boys Ver.1.0” stage play.
We’re getting more and more news on cast members for the up-coming “YoRHa Boys” stage play, so I will keep editing this post to add in the new information. Here’s the cast list that we know of thus far:
No4 is not a Scanner, but rather a Sniper. This unit type was originally used on the old DearStage web site in which No12, portrayed by Ichikura Yuna, was listed as a Sniper. This could have been an “transitional” designation between Gunners and Pods.
It was just revealed that Ishikawa Yui, the voice actress of 2B in , will portray No2 on stage in the new updated musical YoRHa Ver1.2. She also wrote a little bit about this on her personal blog here.
I honestly don’t know how to feel about this. To me, I began my love of this series from the original stage plays back in 2014… and the one person that carried that emotion for me was Endo Ruka… so if she will “suddenly” be replaced…
But then again, for those who only knew of this story after playing , I can understand how this was a must. I’m certainly not saying that Ishikawa *cannot* perform this role as well as Endo, but… it’s just a very curious situation I feel like I’m in now. It’s hard to even explain.
I know Ishikawa will do an awesome job, I’m just a little bit sad that Endo won’t return (maybe she’ll play Seed!?). I’m also worried about the other “returning” characters: No4, No16, and No21. I loved the original cast so much, it’s really, really difficult to accept anyone else in those roles. That’s really what I mean by all of this. The original actresses created the characters in my mind…and it feels really odd should anyone else be put in their shoes. 😛
Don’t worry; I’ll get over it. lol
I still hope that Matsukawa Takanori will at least get a role in the YoRHa Boys stage play. He had a relatively minor role in Yoko Taro’s stage play “Thou Shalt Not Die”, and as a Yoko fan himself, it would be really awesome to see him as one of the Scanners. I can entirely see him as 4S. <3