PDF - The Game Localization Handbook. Part of the New Foundations of Game Development Series! As games become more popular in international markets. Keywords: video game localization, game translation, mobile devices, smartphones, tablets, game Video game localization and mobile app localization are amid an era of glory. More video pdf/02/portal7.info>. Page The Game Localization Handbook (Second edition). ePub | *DOC | audiobook | ebooks | Download PDF google | the game localization handbook ebook pdf and epub | the game localization handbook.
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PDF | In response to the growing research interest in game localization within and also outside Translation Studies, this book aims to inform readers about this . field, all members of the IGDA Game Localization SIG. The aim .. [Note: Contributed by Kate Edwards; these points are excerpted from her handbook on game. The game localization handbook / Heather Maxwell Chandler, Stephanie Charles River Media, - Game development series (Charles River Media (Firm).
In parallel, the video game industry gains today million dollars and this will be increasing more as the number of gamers enhances. The study also touched on other universities in this regard. Before the analysis, the study offers some information about the definition of the game localization, some of its features and its reflections on the related courses. In addition, aspects such as the translation competence which would-be translators must develop and tools used in the process so as to make student translators familiar with this new type of translation and to raise their awareness are also included. On the translation of video games. The Journal of Specialized Translation", pp.
In the US and European versions Miku is nineteen, has Western features, and is not wearing the original Japanese school uniform.
Unfortunately, developers did not think necessary to change her brother's appearance, so when players do find Mafuyu at the end of the game they do not seem to be blood-related. A similar thing happens with the depiction of blood, and real historical events; many things have to be readjusted to fit the country's tolerance and taste in order not to hurt sensibilities.
This is probably one of the reasons why so many games take place in imaginary worlds. This customisation effort draws on the knowledge of geopolitical strategists , like Kate Edwards from Englobe. During the Game Developers Conference in California she explained the importance of being culturally aware when internationalising games in a presentation called "Fun vs.
Both developers and publishers want to please their clients. Gamers are not particularly interested in where the game comes from, or who created it any more than someone downloading a new car or DVD player. A product for mass consumption only keeps the branding features of the trademark ; all the other characteristics might be subject to customisation due to the need to appeal to the local market.
It is important for translators to be aware of the logic behind this. Video games are a software product, and as such, they will have manuals and instructions , as well as interactive menus and help files. This will call for technical translation. On the other hand, we will also find narration and dialogue closer to literary texts or film scripts where a more creative translation would be expected.
However, unlike most forms of translation, video games can adapt or even change the original script, as long as it is in the search of enhanced fun and playability of the target culture.
We can only find a parallel of this type of practice in the translation of children's literature where professionals often adapt or alter the original text to improve children's understanding and enjoyment of the book.
SCEE David Reeves, has stated that the main reason that Europe is often affected by significant content delays is because of language localization. He stated "the problem is that there isn't enough incentive for developers to work on multiple language translations during development.
Hence, Europeans suffer delays and may never see a particular title". He also commented on why the UK and Ireland which are English speaking countries, also experience the same delays as those in continental Europe with many different languages despite little or no modification.
But then what are the Germans and the French going to say to me? That I'm Anglo-centric" indicating that the reason that these countries also must wait is to avoid criticism from other large European gaming countries such as Germany and France. However, games are still sometimes released with controversial or insensitive material, which can lead to controversy or recall of the product.
Additionally, Taiwan was shown to be a territory of Japan, as was accurate for the time period. However, these inclusions were considered harmful to China's territorial integrity, so the game was forbidden from being legally imported.
The localization of Football Manager was similarly banned because Tibet, Taiwan, Hong Kong, and China were all treated as separate teams, putting them on equal footing. All these programs have one thing in common: information and commands are readily available at the click of a button. The interactive element of computer programs has serious consequences for translators because it means that access to texts and information is random , i.
An arbitrary sequence of events does not allow for linear texts and contextual information, therefore, translators lose two of the most important sources needed in the decision making process: co-text and context.
When the program is still unfinished or no localization kit has been prepared, some information is still available, although difficult to obtain, from similar manuals, the localization manager, or the actual technical team responsible for the software. Esselink is probably one of the best references for the localization of utility software and web pages.
Unfortunately, the localization software industry has not been able to create a GUI graphical user interface localization tool for translators to use with video games, like the ones used in the translation of utility software and web pages. These programs like Catalyst and Passolo allow users to work directly but safely with the game code , generating a visual representation of the final product, which means that translators can see exactly what the end result will look like and adjust the text or the interface to suit the space available as well as the general look.
Linguistic assets will be utilised in a variety of ways at different times throughout the creation, development, and launch of the game, mainly: the game itself, which has a variety of texts in multiple formats, the official web site of the game, promotional articles, game patches and updates. Textual types and file formats[ edit ] Within these products there are different textual types, each of which has its own characteristics and purpose.
Because we are dealing with a multimedia product, the challenges translators have to face are also multimedia.
Within the same project they have to deal with a wide variety of issues like reproducing the oral quality of dialogue in writing, lip-synching for dubbing , space and time constraints for subtitling , number of characters for subtitle, UI, etc.
The following paragraphs are an attempt to classify the several textual types that accompany the standard PC video game: Manual [ edit ] Written form. May be a Pagemaker or a Word format Although it always has some attractive and engaging creative writing, partly promotional partly literary , most of the manual would normally be filled with didactic texts when telling players the instructions to be followed to fully enjoy the game.
Manuals would also include technical texts with the appropriate hardware and software specifications to be able to run the game application.
In addition players will always find corporative and legal texts, informing users of their rights and responsibilities attached to the acquisition of an entertainment software product. Packaging [ edit ] Written form. Pagemaker or Word format Like manuals, game boxes and packaging present a mixture of textual types, the difference being the space provided, limited not only by the size of it but also by images of the game, logos of the companies involved and legal labelling requirements.
It mixes an alluring promotional text, together with concise technical information and legal notices. Readme file[ edit ] Written form.
It is used to inform users of all the last-minute adjustments and how to make sure that the product runs smoothly, as well as to correct mistakes and typos in the printed material, such as manual and packaging.
It is mainly a technical text. Official website[ edit ] Written form. HTML or Java format It mixes a promotional text with a journalistic one, but it will also have technical details like minimum requirements, etc. A lot of the information offered through the official web will be similar to the one that was shipped with the game.
But websites tend to include previews and reviews of the product, notice boards , customer support and downloadable files to fix specific problems, or patches with new language versions, as well as screenshots , concept art , thematic screen savers , merchandising , and fan blogs. Dialogue for dubbing [ edit ] Spoken form. There will be a separate sound file per utterance.
Written scripts will normally be in spreadsheets or Word tables. Speech delivered by game characters where registers , accents , and idiosyncrasies have to be conveyed into other languages. Sometimes an extra column is included to add inflection comments for the dubbing director. A part of the dubbing script may include atmospheric utterances also in a spoken form. These characters may have little or no relevance to the plot, but their inclusion and to the immersion of the player in the virtual world.
No synchronisation is normally required, but orality has to be maintained. Dialogue for subtitling [ edit ] Written form. Spreadsheets and tables are preferred for this although subtitles might be hard-coded in order to synchronize them with video and animations.
Still, we believe it's worth mentioning this valuable and comprehensive reference work. In our day to day work, we often find that things would be so much easier if developpers had better understanding of the problems faced by translators during game localizaton. Translators often work without context, without game design docs, and without any information on where their translated texts will end up in a game.
And all this with tight deadlines, of course ;-. Professional localizers have become very proficient at overcoming these limitations, but game localization would be far more efficient if developpers and publishers took localization needs into consideration earlier in the design process.
This book deals with all the complexities of game localization and explains best practises, pitfalls, common problems and solutions. Sounds like a win-win situation to me. All these games had stronger social and online features than ever before and they kept us quite busy last year. We love working on these major titles every year, but were also happy to work on some fantastic new games such as EA Create, online games for Facebook, Hyves and other social networks, and many great download games for PlayStation Network.
Apart from these creative projects, we've been working on a few technically challenging business projects, such as step-by-step instruction modules for advanced mobile phone features. This combination of creativity and technical know-how is what keeps us ticking!