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That Magic Character Only French Translators Use

Posted By Adolfo Gómez-Urda Montijano and Laura Gutierrez, Sunday, September 17, 2017

That Magic Character Only French Translators Use

 

Automatic line-wrapping in video games is the source of numerous localization bugs that can only be seen by the Localization QA team. In the normal workflow, translators localize texts but don't have access to the game itself, so they have no visibility over the size of the text box where their translation will be displayed and what it will look like on the screen once integrated into the localized version of the game. If a translation doesn’t fit into one single line within the text box where it's used, it will be automatically split into different lines of text. Automatic line-splitting is an excellent and necessary feature, but it can introduce many localization bugs due to inappropriate line-wrapping or orphaned words.

There is one "magical" character that can help alleviate these issues, but translators are not often aware of its existence. We are of course talking about the non-breaking space (aka no-break space, non-breakable space, hard space, or fixed space), which can be typed by using the ALT+0160 key combination. Although it looks like a regular space when typed, it will behave as a very special space that will allow us to keep two or more different pieces of text together. French translators are the only ones who normally use them, due to a French punctuation rule that states that a space should be left before certain punctuation symbols, such as question marks, interrogation marks, colons, and semi-colons.

 

Automatic line-wrapping when a regular space is used instead of a non-breaking space


This character is very powerful and, if used properly by the translators, it can reduce dramatically the number of localization bugs found by LQA.

In order for translators to freely use this character, the development team should ensure it is properly supported by the game fonts. Most modern fonts support this character, but some development teams may create their own custom-fonts and omit this character or intentionally reduce the number of characters supported by the game to save memory. As a senior localization project manager, it is my responsibility to always analyze the game fonts to ensure they support all the necessary characters for all the supported languages. This character is always included in my analysis and, if not supported, I flag it as a necessary character for localization as important as any other accented character.

 

 

 Some examples of the correct usage on the non-breaking space in French.

Asking if the non-breaking space is supported should be one of the first questions translators ask developers as it will avoid lots of hassle and firefighting after LQA is done.

Here are some examples of translations where this space should be used instead of the normal space (of course, only if you are supposed to use a space to follow your language's punctuation rules):

  • In French, before the question/exclamation marks, colon, and semi-colon:

  • In German, before the ellipsis character: Warten auf Benachrichtigungen …

  • Between numeric values and units: 20 km, 30 MB, 100 %

  • Between a numeric value and the following word: 5 coins

  • Between the words "press", "hold", "tap", "swipe" and button variables: To continue, please press [START_BUTTON]

English is no different, of course, and it would be great if the development teams started to use this character more often when writing the English texts and dialogues, since this would force the translators to use it and benefit from it more often.

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IGDA LocSIG Newsletter - January/February 2017

Posted By Anthony D. Teixeira, Tuesday, March 7, 2017

IGDA LocSIG Newsletter - January/February 2017

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Interested in meeting fellow localization enthusiasts? We will be organizing two events related to the upcoming GDC. Follow the respective links for more details:

IGDA Localization SIG Meetup @ GDC 2017: An informal meetup with localization professionals

IGDA Localization SIG Round Table - GDC 2017: Join this round table to discuss localization, highlights and accomplishments of the group as well as plans for 2017 and beyond!

We hope to see you there!

LocJAM Japan and LocJAM 4 News
LocJAM Japan

A huge thank you to all 118 participants of LocJAM Japan.
For those who joined, you can download your free certificate here: http://locjam.org/cert

The jury was extremely impressed with the quality of both amateur and professional entries. The choice is difficult, but we're moving toward a verdict! Watch this space for the results, which should be announced within a few weeks.

LocJAM4

In the meantime, we're making progress with the preparation of LocJAM4.
-Translators will work in the same translation environment as LocJAM Japan (Tyrano Builder)
-Should happen sometime around April 15th-30th
-If you are an experienced translator and want to organize a local study group, please fill up this form before the end of February https://goo.gl/forms/wSss4b3qIwX5fsps1
-If you work for a localization company specialized in video games, please fill up this form before the end of February https://goo.gl/forms/k7PWIHG8x3fF0zk72
-If you like the contest and are in touch with any entity that could be interested (university, translator association, game magazine) please fill up this form before the end of February https://goo.gl/forms/dSZLpQiJuXW5tEKB3
Link Roundup
We have a bit of catch-up to do here after skipping the January newsletter (apologies!). A lot of good reads, from light topics to very technical ones.

Student Speak: Using MT for Game Localization - Giulia Mattoni, an Italian Translation Technology student from DCU talks about her experience using Machine Translation for evaluating player support content localization.

Funky Fantasy IV: a Machine-Translated Video Game Experiment - MT may be gradually improving, but it still has a long way to go, as illustrated here

The history of hit points

Story of Seasons: Trio of Towns - Localization Blog #2

Dark Conflict (EU) and Days Of Ruin (US) - An interesting comparison of both localizations

Square Enix on why Dragon Quest hasn’t been as popular as Final Fantasy in the west

Imagined Commodities: Video Game Localization and Mythologies of Cultural Difference - If you're in for a very interesting thesis

Interview: Localizing Yakuza with Scott Strichart

What Are These Japanese WarioWare Moves All About? - More great stuff from Clyde Mandelin

Localizing Video Games for Different Markets Is a Minefield

And to conclude, a list of links related to LocJAM Japan that you may find interesting ahead of LocJAM4: How to Localize the Package (the process will be the same for LocJAM4), the Kyoto Workshop Presentation, and a more technical article about internationalizing Ikinari Maou, LocJAM Japan's game, if you're curious about what goes into organizing a localization contest.                         

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IGDA LocSIG Newsletter - December 2016

Posted By Anthony D. Teixeira, Tuesday, March 7, 2017
IGDA Localization SIG

IGDA LocSIG Newsletter - December 2016

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LocJAM Japan is live! Special thanks to the IGDA Foundation for their support. Join us now and try to win a Famicom mini. More details on LocJAM's official website.

The game to translate is Ikinari Maou by Shintaro Ito.
Download the zip file and follow the readme.pdf instruction file within. For
more notes and tips, please visit our Facebook group
(https://www.facebook.com/groups/igdalocsig/) or our official chat
(http://pilgrim.io/ljjp) .

LocJAM Japan FAQ

How do I participate?


A translation pack will be published on the locjam.org website during the contest, which you must translate and send back as instructed in order to participate.
While most game jams are focused on speed, LocJAM provides about two weeks in order to cover only one day of translation work, so that anyone determined enough can participate, regardless of concurring work/study engagements
 

Who can participate?


Everyone is free to participate, without limitations with respect to age, nationality, place of residence, or professional status.. You must apply as a professional if: you have won LocJAM before, or you have a University Degree as a translator, or you have any other Degree plus two years of experience (~200.000 words translated or ~800.000 words reviewed) either professionally or as a volunteer, or you have five years of translation experience (~500.000 words translated or ~2.000.000 words reviewed) either professionally or as a volunteer.
Amounts for Japanese into English are doubled, so ~400,000 moji translated or ~1,600,000 moji reviewed and
~1,000,000 moji translated or ~4.000.000 moji reviewed.
 

Are groups allowed?


Yes, you are free to join forces with any number of translators. editors and supporters. However, eventual prizes will be awarded to only one member of the group.
 

Is it free of charge?


Yes, it’s entirely free and non-profit. All contest activities are managed by volunteers with material costs covered by yearly grants from the IGDA Foundation.
 

Why should I participate?


The focus is on providing visibility through the website and meetings. The general idea is to provide something that can help the career of translator without encouraging a cut-throat competition. This is a jam, the people you meet and the experience you acquire matter more than being in the winners list. In other words, the focus is squarely on the journey, not the destination.
 

What are the local study groups?


Study groups are local gatherings that independent volunteers organize around the world during the contest.

It’s not necessary to attend one in order to join the contest, but we recommend it: networking and discussing with fellow localizers is always useful.
Just remember: besides verifying the qualifications of the host and requiring that the event is free and no promotional, the contest organizers have no control over the study groups and no direct relationship with their host.

If you are organizing a local study group and would like to see it listed on this site, please write to info@locjam.org
 

What are the goals of the event?


LocJAM is a community event organized by the Localization Group of the International Game Developers Association.
As such, it matches its goal of acting as a focal point for the game localization community at large, gathering its different members and souls around a single game.
Creativity and collaboration are strongly encouraged and LocJAM administrators reserve the right to disqualify any contestant acting aggressively, maliciously or otherwise creating discomfort to the community in general.
 

What is your privacy policy?


The jury has no access to contact details and reviews entries in anonymous form.
At the end of the contest, contact details of the winners are published online (if desired).
Details of non-winning entries get removed and aren’t used for any purpose except further LocJAM announcements.
 

Why isn’t my language part of the contest?


LocJAM is a free event run by a tiny group of volunteers.
The inclusion of further languages that have an established localization industry and can provide both a sizable audience and qualified jurors may be taken into consideration, but your active participation and support will be required.

This said, our games can be easily translated into a variety of languages, so if yours isn’t represented, feel free to participate anyway and share the results with the community. LocJAM will always support such efforts, even when we didn’t have the means to always provide an official jury for your language.
 

Why can’t we get feedback from the jurors? Why can’t I leave them notes?


While LocJAM strives to imitate professional translation project as much as possible, it’s impossible to recreate the one-to-one relationship between author and translator.

LocJAM is literally open to anyone, and providing clear, consistent and meaningful feedback to everyone would substantially turn it into an open translation course on the Internet.

As this would be way beyond our aims and resources, we kindly ask participants to work based on their best assumption and collaborate with the other participants in order to find the best solutions.

In any case, rest assured that any objective issue with the source text will be known by the jury and taken into consideration during the review process.
Link Roundup
Is localising games for India a smart move?

Mother 3 Translator Finds Cool New Way To Compare English And Japanese Scripts

The Civ VI page on Steam is tweaked in order to include relevant figures and magazine quotes for each country

Improving game localizations

Football Manager 2017 trashed on Steam by angry Chinese fans

“Eat Your Hamburgers, Apollo”: A Survey of Japanese Video Game Localization Methods and Challenges

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IGDA LocSIG Newsletter - November 2016

Posted By Anthony D. Teixeira, Sunday, November 20, 2016

IGDA LocSIG Newsletter - November 2016

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We are proud to officially announce LocJAM Japan! Everything you need to know about the event is right below:

From Friday, December 9th through Sunday, December 25th, anyone interested in translating a game from Japanese into English will have a chance to take part in the LocJAM Japan, the first local spinoff of the LocJAM game localization competition.

Spawned by the IGDA LocSIG, the Localization Special Interest Group of the International Game Developers Association and supported by the IGDA Foundation, the competition centers around the translation of a free and non-commercialgame available to anyone on the www.locjam.org website. All entries will be verified and judged by eight experienced localization specialists, with separate prizes in place for amateur and professional translators.

We are very proud of these past three editions of the LocJAM contest. With over 1,500 participants, they have shaped a lively community and even launched a few careers,” says Alain Dellepiane, chair of the IGDA LocSIG. “Now, LocJAM Japan will let us go on a more local scale while paving the road for an even greaterLocJAM4 international contest in 2017.

The competition is free and open to everyone, with the popular “NES Mini” console as a final prize -needless to say in its Japan-exclusive Famicom incarnation-. Backing the online contest, two study groups will be held in Tokyo and Kyoto, where candidates will be able to meet, network and help each other under the guidance of veteran game translators.

For more information on participating in the LocJAM Japan contest, visit http://www.locjam.org

For more details on LocJAM, including videos, photos and logos, visithttp://www.locjam.org/press_kit

Please help us spread the word. Here are a few materials that can help you with that

Interview with Valerio Starna (Riot Games)

Valerio Starna, Riot Games

Please tell us about yourself, your work in game localization and your initiatives about it.

My name isValerio Starna,and I am the European Localization & QA Manager at Riot Games. I have been at Riot a little over 4 years now, building and leading the team dedicated to the localization of League of Legends for Europe. Based in Dublin, we localize LOL into 9 EU languages. I have been in localization since 2007, and before that, I have been a freelance translator for 7 years.

Similar to many, what drove me to this industry in the first place is my love of games. From Monkey Island to WOW: Legion, I used to stay up all night playing the latest games; however, my favorites were RPGs and RTSs. Even now, I still try to pull an all-nighter to rank up or to finish one more quest, but boy do I pay the price the next morning!

Over the course of my career, I was lucky enough to work on both sides of the fence, as I spent a few years working for LSPs and just as many working with Publishers/Developers. I feel that my knowledge into the inner workings of both worlds allowed me to bring nuggets of value to my roles every time I switched side.

How is working for a language service provider and a developer different? Any advice you’d like to give to anyone willing to make a career in game localization?

In my experience, the main difference is the pace. Work at an LSP can be quite hectic, as usually a Localization PM will look after multiple clients and, depending on the complexity of the projects, can spend a lot of time trying to assemble the right team for the job. The pace at a developer is different. As you get closer to a patch day, the stream of activity increases tenfold, only to calm down again after the live date. Having said that, work on a live game such as League of Legends is seldom quiet. Every day we push out a lot of content through our web and social platforms, as well as the game itself, and everything goes through our Localization team. The one thing that both LSPs and Developers have in common though is that everything is urgent and needed yesterday.

I think that the key to be successful in this line of work is learning to default to trust. Whether you are an LSP talking to a client, or a developer collaborating up with a vendor on a project, trust needs to be extended from both sides if you want to be successful. The “perfect vendor” is a myth, it simply does not exist (sorry Sales folks). Only through trust and partnership can such a myth become a reality. At Riot, my team has to effectively build relationships with every different development group and vendors, to streamline localization. This is very important, because each language effectively has its own brand, its own in-jokes, with the localisation crafted to deliver the best player experience in that language. It's not a guide book handed down from Central, and then translated nine ways, and we can achieve our goal only through solid partnerships both inside and outside of Riot.

For anybody willing to start down this path, one piece of advice would be to do not take anything for granted, and always strive to build a rapport with your client/vendor. Make sure that anybody working on a project feels part of the team; be they internal or external to the company. That goes a long way towards ensuring lasting partnerships and personal success.

The tough question: League of Legends has been released in 2009. How do you manage to keep your team engaged with an ongoing project that has been on the market for over 7 years?

League of Legends never stays still! League is not a traditional boxed product, and it is everything surrounding it that creates the majority of localization work. This “other” content includes videos, songs, short stories and novellas, as well as dev blogs and announcements. It has increased year by year, both in quantity and quality, so we had to continuously step up our game in order to keep pace with the creative minds behind the game. As mentioned before, League players expect the game to have its own brand in their language, i.e. to resonate with them culturally and artistically. This is even truer for the “other” content, as a video or a song should draw you in no matter what language you speak. To accommodate this, we iterated on a structure of the team multiple times, going from a classic full-outsource model, to an in-house team, finally settling on a hybrid model… with a twist! Following the trends and trying to stay ahead of the curve definitely kept both my team and myself entertained. However, the secret sauce behind the engagement is still the same: my team loves video games. And League of Legends is always a truly fun ride.
 
Link Roundup
Quite a few interviews this month, together with interesting articles about the art and craft of game localization.

The importance of Localization Quality Assurance

Localizing a Unity Indie Game: The Hidden Costs

Sega, Ubisoft, Deep Silver, Gameforge: What’s New in Game Localization?

We Work With an Army of Translators, Says GameHouse Translation Manager

Interview: Localising DRAGON QUEST VII: Fragments of the Forgotten Past -
An interview with Oli Chance, who had kindly answered our questions about Ni No Kuni a few years ago

Japanese visual novel Steins;Gate 0 gets EU release date, new trailer - The game's localization lead discusses the complexity of adapting the story to the west

8 Top Internationalization Changes in iOS 10
 

 

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IGDA LocSIG Newsletter - October 2016

Posted By Anthony D. Teixeira, Monday, October 24, 2016
IGDA Localization SIG

IGDA LocSIG Newsletter - October 2016

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We are very excited to announce that the IGDA Foundation has accepted our grant for LocJAM Japan and LocJAM 4. Concretely, the funding will allow us to have a new website ready by the end of the year, and we are also preparing a couple of surprises for participants.

Thanks to Kathy Astromoff and Sheri Graner Ray at the foundation for making this possible and to all of you for making the contest so lively and interesting year after year!
Interview with Geraint Howells (Shloc)

Geraint Howells

(Note: This interview was conducted after Geraint's presentation at JAT’s PROJECT Kyoto 2015, "Playing for Laughs: Humour and Levity in Localisation", based on Shloc's experience with the localization of Ni No Kuni)

Hi Geraint! Could you quickly introduce yourself and tell us your personal experience and how you entered the localization arena?

Hello. My name is Geraint Howells. I’m a member of Shloc Ltd., a video game localisation team. I’m mainly involved in Japanese-English translation and related work. I started out as an in-house translator for Nintendo, and went freelance after a few years there. I became part of Shloc with some colleagues about...six years ago, and set up the Shloc Japan office in 2014.

During the conference you mentioned how having English speakers from different countries often led to debate. Could you provide a few examples and explain how they enrich translation?

The Japanese – English team at Shloc is made up of UK translators, so we naturally have a British view on things. As such, it’s always helpful to get input from English speakers from other parts of the world. Obviously, this helps us avoid making cultural faux pas, but it’s also often a great source of new ideas and inspirations.

For example, a few creatures’ names [in Ni No Kuni] have been inspired by old Australian legends or folk stories. We wouldn’t have been known about these seams of gold if we didn’t have input from people from that area.

Still during the conference, you mentioned Astérix as an example of creativity with character naming. Do you find it useful to look at other fields like comics and movies for inspiration? What other titles and authors would you recommend to aspiring game translators

I do believe that Asterix is some kind of gold standard for localisation. I think it goes to show the rewards that can be reaped when localisers try and recreate the spirit of the original rather than its specifics. In fact, many European comics from that era had a similar creative spirit that I really like when it came to the localisation.

I don’t really have a specific list of recommendations, but I do think it’s really helpful to look outside the field of games. And indeed (when it comes to Japanese) outside the field of manga and anime, since these fields have very often been translated in a specific style, for a specific audience.

You also mentioned how Ni No Kuni was localized in close collaboration with the voice-over team. How did this affect the process? What kind of contribution did the actors make to your work?

I wouldn’t quite say that it was a close collaboration, but we were always open to suggestions and input from the voice artists and directors. This was especially true when an actor had better knowledge of a particular dialect than we did. As such, we tried to cast actors who naturally spoke the accents and dialects we were trying to recreate. This sometimes meant that we’d be told when we were using constructions or expressions that didn’t quite seem natural, and it would also mean that the actors could have an input if we needed to change a line (for length reasons, for example).

The tough question "I do get annoyed when I hear how hard localization is. (...) It is by far one of the easiest processes in game design. (...) (About) removing Japanese idioms and references westerners won't get..... I'm having a very hard time thinking of a game in the last few generations that actually did this an even a remotely significant level." It's quite common to see comments like these being posted online whenever localization is mentioned. If this comment came from the makers of a game you work on, what would your reaction be?

First of all, I’m not sure there are many people complaining that localisation is hard. It’s a craft, like anything else. It takes care and attention to do it properly, but it’s not a constant struggle. Otherwise it would be a miserable line of work.

I think that comments such as these are largely examples of sour grapes. If writing does not matter to you, it’s understandable that you would claim that it’s worth investing much time in. However, I really think that people would feel differently if they could see what they were missing out on.

Let’s take Ni No Kuni as an example. If we had translated the fairies’ dialogue straight, pretty much literally but of course “removing Japanese idioms and references western players won’t get”, then you would have had a situation where players of the original were laughing away and getting carried along with the silliness, while players of the translated version would have been plodding through screen after screen of joyless text. I think that’s doing the English-speaking audience a disservice, personally.
Link Roundup
Interview: Brian Gray on localizing Gotta Protectors

SMTIV: Faux Pas-calypse - Or how a string accidentally left untranslated can result in apologies from the developer

A Look At Untranslated Text In Video Game Localizations - A small compilation written after the above-mentioned story

An Interview With Mastiff: The Passion Behind Localization

Sword Art Online: Hollow Fragment – Death By Localization

Video: How Capcom localizes games like Monster Hunter

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IGDA LocSIG Newsletter - September 2016

Posted By Anthony D. Teixeira, Sunday, September 25, 2016

 

  IGDA Localization SIG

After its summer break, our newsletter is back for the few remaining months of the year, which we expect to be rich in events.

Our plans for LocJAM Japan are making good progress. The idea is to hold the contest in December, with details to be announced in November.

So far, we have a jury, a localization tool being finalized and a pretty good idea of what game we will share this time. As usual, keep an eye on our Facebook group for the latest updates.

For now, we hope you will enjoy our monthly interview and link roundup.

Becoming a game translator in Brazil: Interview with Paula Ianelli G. Luiz

Please tell us about yourself, your work in game localization and your initiatives about it.

My name is Paula Ianelli G. Luiz and I am a full-time translator and interpreter who translates from English and Spanish into Brazilian Portuguese. I have known I wanted to be a translator since high school, which led me to a 4-year all-day translation program in college.

However, what dates even further back is my love of games – my first ever console being a Master System Girl which I would not put down all day. So you can guess how thrilled I was when I finally got the opportunity to be a game localization professional. I was over the moon!

This market was still getting on its feet at the time, but it started to gain a lot of momentum a few months later and I found myself exactly where I wanted to be. I have since translated several AAA games across a set of different genres, including works such as Fallout 4, The Witcher 3, Far Cry 4, Far Cry 3 and ZombiU.

What kind of changes have you seen in localization practices since you started?

It has been a pleasure to witness how the game localization market is evolving in Brazil. We had a few brilliant titles translated back in the 90's, but that was eventually dropped after about a decade.

Then we saw a boom in that market seven years ago or so. When that happened, a few Brazilian translators had experience in this domain, but distributors and translation companies basically had to go on a hunt to find qualified, full-time professionals who know what gaming is about.

It took a few years for it to dawn on translators that this market had a lot of untapped potential. This has changed though. Now there is much more people interested in localizing games.

As we gained experience and improved our processes and techniques, we also witnessed another clear shift on the other side of this equation: our audience. Public perception has changed a lot, and our players now expect their games in Brazilian Portuguese, both in numbers and quality.

 

The tough question: what is your opinion about such changes? Which do you think are clearly positive and which others are utterly negative and why?

I love how players became more involved in the process. A simple Google search will show you dozens of comments on whether a specific game was successfully localized or not from the user's perspective.

That is gold to us, because it allows us to improve based on what really matters and it also works as a reminder that there is someone at the other end who will read what we decide to write. It is also great to watch them demand a proper translation when a certain work is not up to the standards – or even when a game has not been localized into Brazilian Portuguese.

Now, as I said, an increased demand has brought more translators to this market. This would not necessarily be a bad thing were these professionals qualified to deliver great work, but that is not always the case.

We now see a bunch of translation companies and professionals that do not really know what they are doing when localizing a game. Nobody benefits from that. Everyone has their own goals, but our aspiration as a market should be to produce the highest quality there is so players continue thoroughly enjoying these games.

We also need to up our quality game to encourage distributors to continue localizing these titles into Brazilian Portuguese. I am always upset when I play an incredible game and then find out it has not been translated, because something good should be accessible to everybody, regardless of their knowledge of English.

When we do get a chance to have an impact on the lives of so many audience members, we should make it count. We still have a long way to go, but it is inspiring to see some companies and translators really taking this opportunity to improve our standards as much as we can. I hope we all see more of that in the future

 

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Link Roundup
Here is our selection for the months of July-August. A short list, but various topics covered.

Japan Localization - An interesting article about localization for the Japanese market, with lots of concrete examples

Modern Military RPG Long Gone Days Requires Interpreters For Some Of Its NPCs

True tales from localization hell - More horror stories from our translator friends

The impact of localization on reviews - A study over 800,000 reviews from games available on the Google Play Store.

Localization on Unity: Adapting the Game Environment – Part 1 - A two-part article from the same blog as above, with practical advice for developers localizing their games in Unity

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IGDA LocSIG Newsletter & LocJAM3 Results - July 2016

Posted By Anthony D. Teixeira, Tuesday, July 19, 2016


 

Do you want to receive the newsletter directly in your mailbox?Register here!

IGDA LocSIG Newsletter - July 2016

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This month, we have two important announcements to make:

1. The LocJAM3 results have been announced on the official contest page! You will also find them in this email. Congratulations to all the winners!

2. As hinted during the past few weeks, we've been working on a new project and are now ready to make it official. LocJAM will have its first spin-off event: LocJAM Japan!

It will be a Japanese to English translation contest based on the Tyrano Builder visual novel editor.
Thanks to the kind support of its creator MK Shikemoku, we will have a full-fledged localization tool with advanced features from live preview to csv import/export!

We will provide more details about testing and contest dates as soon as we know them. In the meantime enjoy a few screenshots.

And of course, let us know if you have any questions and comments!

 


LocJAM3 Results

FRENCH

Game Audio Factory

Pro: Julie Henon (play)
It was really hard to choose! Very good translation, not literal. Good phrasing, use of words. Translated "1st floor" by "rez-de-chaussée" and not by "1er étage" like many others.

 

Amateur: Clémence Alcouffe - Amaury Doaré - Lucas Saïdi (play)
Very good translation, not literal, and not much mistakes. Non-breaking spaces and accented capital letters are here.

 

Special mention: Laura GOURDIN (play)
Translation of the game title is original. However, there are several mistakes (conjugation, missing accents, too many capital letters, missing non-breaking spaces, etc.).

La Marque Rose

Pro: Jean Nicolet (play)
Very accurate FR translations of both rules and maps, concisely written with special emphasis on readibility for game players and in a fluent style.

 

Amateur: Claire BOUDET (play)
FR localised versions of rules and maps are accurate, easy to understand for gamers and pleasant to read.

 

GERMAN

Altagram GmbH

Pro: Dominik Langer (play)
This entry was a blast to read. The style really fit the story and type of game and the instructions were well translated and therefore clear. The participant managed to create some witty translations that would make us smile and even though the text was not easy to work with he/she found some good solutions for the most tricky parts. Though there were still some minor issues, we found this to be our favorite entry in the PRO category.

 

Amateur: Dominik Hellfritzsch (play)
The style of this translation was overall very clear and fluent, which is important for this kind of manual text. The humorous parts were translated in a creative way and not too close to the English source. Due to the fact that only some minor issues could be found throughout the text, this is our favorite entry.

 

Special mention: Kai Wommelsdorf (play)
This entry came in as our second best. The translator used a fitting style and tackled most of the not always clear manual instructions in a good and creative way. Since this entry contained more mistakes than our winning one it wouldn't rank first but definitely deserves a special mention.

GlobaLoc GmbH

Pro: Daniel Polhaus (play)
It’s obvious that the translator has not only put a lot of effort into the translation itself but that he or she has also invested a lot of time familiarizing themselves with the source at hand. The rules and mechanics of the game were understood perfectly which resulted in a manual that was easy to read yet linguistically spot-on. Furthermore, the translation contained very few mistakes and the sentence structure was excellent. Overall it has been a pleasure reading it.

 

Amateur: Kai Wommelsdorf (play)
The translation was comprised of all the essential elements of a good translation: apart from some minor mistakes, there was great clarity of language, all terms were used correctly and appropriately, and the translator wholly and successfully conveyed the original source text into an accurate game manual with great readability.

 

Special mention: Andreas Huber (play)
In the amateur group, this stood out as a very good translation. Apart from some minor spelling and comma mistakes, the text is fluent, creative, and catchy. However, due do the fact that the formatting of the source text was not respected and that the introduction to the game was missing in the translated manual, this could not be elected as first-place material. However, we encourage the translator to keep up the great work and continue to improve his/her skills. The result is very promising and we would be thrilled to see more work from them in the future.

Native Prime

Pro: Dominik Langer (play)
This was a very good entry. There were almost no issues with spelling (only the choice of hyphenation in a few cases was questionable but still acceptable), and grammar as well as punctuation were also fine. The style was easy to read and fluent, the explanations well and clearly written. A few details could've been better, such as a translation of the title page. The same applies to the image subtitles in the manual and the floor names in the maps. Those details aside, the translator did a really good job :)

 

Amateur: Gianna Brucksch (play)
It was the one with the least grammar, spelling and punctuation errors, contained mostly correct translation and was good to read.

 

Special mention: Tabea Keller (play)
In my opinion, this was actually the best entry in the professional category. The translator provided great quality in spelling, grammar and punctuation, followed the recommended Duden spelling, has a very clear and precise style while maintaining creativity, and -- above all -- took care of all the details (title page background translated, image subtitles translated even in the manual etc.). However, while the translator maintained the general page layout, parts of the text layout were changed in such a manner that they were easier to understand and provided a better overview of the mechanics discussed in those paragraphs. Also, the use of a dice image instead of text is a nice touch. Unfortunately, the instructions said "ensure that [...] the original layout is maintained!". Due to this and the fact that, were this a regular job instead of a competition, clients often don't want the original layout to be changed (even if it is an improvement like in this case), I could not choose this entry as the winner (despite the advantages of above layout changes in the manual and the maps!)

Synthesis Deutschland GmbH

Pro: Tanja Braun (play)
Terminology is chosen remarkably well (one of the very few entries to use a word for "decoy" that captures the essence of the thing), captures the feeling of the setting and feels like it was written in the target language. Cover page translated as well (with the help of a text box insert). Reads very fluent and natural. Formatting replicated perfectly.


Amateur: Jacqueline Dörr (play)
Reads fluently, terminology is chosen well, sentence structure feels natural.

 

ITALIAN

Binari Sonori

Pro: Matteo di Franza (play)
- Very nice style, readable and clean.
- A very good job content-wise, no translation errors have been detected.
- The candidate seems to know board game jargon and linguistic conventions very well.
- The candidate adjusted some sections of the manual improving content and layout whenever the source was not 100% clear (see the "snowmobile" section)
- All guidelines and publishing mistakes were taken into account.
- Images were manipulated to include graphic adaptation of the translation. Also, some pictures have been further enhanced (see the "sight cone" one).
- puns have been nicely localized and perfectly fit the context.

 

Amateur: Giuseppe Nasti (play)
- a nice and smooth translation, almost PRO level. No content mistakes have been flagged and style is pretty much what you would expect from a game manual.
- You can see the candidate tried not to replicate the English syntax, and this is notable since manuals usually have a "schematic" structure that naturally brings you to a 1:1 translation of the text. And this is definitely a PRO approach to translation.
- Common and well-known Italian terminology related to boardgames was correctly used throughout the text.
- Used a brilliant solution to improve a clumsy section in the English text - see the "differenziale di potenza psichica" value.
- Localized the names on counters.

 

Special mention: Valeria Rontini (play)
Completely revised the structure and layout of contents, actually making the contents more understandable. Translation though could be improved.

Native Prime Italy

Pro: Federica Gaeta (play)
Zero mistakes, fluent and elegant Italian. Bonus points for localizing the graphic elements both in the manual and maps.

 

Amateur: Martina Ercoli and Matteo Lupetti (play)
Zero mistakes, technically precise, good language skills. Bonus points for localizing the graphic elements both in the manual and maps.

 

Special mention: Taurino Daniele (play)
It would have been the same level as the winner, if not for a couple minor discrepancies, and the choice to localize everything BUT the game title.

Synthesis

Pro: Federica Gaeta (play)
Nice translation: smooth, clear, precise, coherent. Good graphic work, perfect floors conversion into Italian, and a good solution in changing the room numbers too.

 

Amateur: Taurino Daniele (play)
Good translation, with an adequate level of coherence. Smooth, clear and creative when necessary. Good graphic work to integrate the translation in a nice way.

 

Special mention: Valeria Rontini (play)
This entry was very creative in interpreting the text, reworking it for the sake of clarity. The final result is nice to read and extremely easy to understand.

 

JAPANESE

Keywords International

Pro: Mieko Fukushima (play)
Very witty as well as accurate. Almost no mistranslation. English puns that usually do not make sense in Japanese are well handled. The fact that “statue” is translated as 生垣像 (hedge animal) indicates the translator knows the story this game was based upon very well.

 

Amateur: Ken Miyashita (play)
Very well researched, very few mistranslations.

Pole To Win Co., Ltd.

Pro: Mista (play)
No reason provided

 

Amateur: Keigo Yonemura (play)
No reason provided

 

PORTUGUESE (Brazil)

Keywords International

Pro: Gabriel Ninô (play)
The professional who submitted this entry proved to have experience, using game terminology where appropriate, clarifying game mechanics, and improving the text with very interesting translation solutions. Their language skills allowed for a fluid, natural text, more attuned with good communication goals required by the industry.

 

Amateur: Fernando Junqueira Franco (play)
This entry showed above-average translation quality, very good language skills, insightful solutions, and attention to detail. Despite a possible lack of experience, this amateur applicant exhibited knowledge of game-related terminology in Portuguese and keen awareness to detect/correct problems in the source-text.

 

Special mention: Luiz Fernando Alves (play)
Although this entry’s translation quality was good overall, this translator provided a very interesting solution to a joke made by the author of the game. They earned this special mention because very few applicants provided good translations to this problem—in fact, most simply ignored it.

 


Locsmiths

Pro: Luiz Fernando Alves (play)
Very high quality delivered, and many well thought translations, gave this one enough edge to stand out from the rest. Not only was all very accurate and polished, it also showed out of the box thinking. Congratulations!

 

Amateur: César Augusto do Nascimento (play)
Strong overall performance. Good and polished text, many nods to culturalization, especially in names and titles, clear instructions and an exceptional effort in the maps and token sheets. Albeit the presence of some issues, none of them were unexpected at the amateur level. Congratulations!

 

Special mention: Diogo Teixeira (play)
Another very high quality entry, very well polished, very consistent, that just misses the first place in tiny details, where the winner entry was simply more inspired. Congratulations!

Synthesis

Pro: Bruno Spinosa Tiussi (play)
No grammatical issues whatsoever, consistent and fluid language. They constantly simplified some texts during the translation so as to make the reading easier for the players and the end result is great.

 

Amateur: Felipe Souza (play)
We could find one typo in Brazilian Portuguese in this entry (a missing accent), but overall the style was great and the contestant seemed so excited about the game that he/she even translated the words in the cover for the game (which ended up looking amazing).

 

Mentions: Elisa Oliveira Camara (play)
This contestant offered an amazing performance, and the only thing that made us decide against it for the best overall was the fact that the chosen winner pasted the pictures with translated text from the excel file onto the Word document (in page 2), thus achieving an end result where almost every bit of text in the Word document was translated, which would help the players' understanding and improve factors such as consistency the cleanliness of the formatting and design.

 

PORTUGUESE (Europe)

Locsmiths

Best overall: Gustavo Silva (play)
Not only was a really good effort to localize the full content, including the title, characters, etc, was also the most polished of all candidates, showing real dedication and attention to detail. Congratulations!

 

Special mention: Sofia Vale (play)
This was the most creative entry and the one with the strongest effort to culturalize the game. However, had many polishing issues (typos, spacings, misspellings), that prevented it from winning.

 

RUSSIAN

Janus Worldwide

Pro: Dmitri Sobotsinski (play)
Good quality. Respect to Shining

 

Amateur: Vadim Zaytsev (play)
Good quality, mistake free translation

 

 

Special mention: Julia Miroshnychenko (play)
Nicely reworked cover

Levsha

Pro: Anastasia Stazhilo-Alekseeva (play)
Incredibly smooth phrasing, at times clarifying what could be confusing with a direct translation, nice term choices. The final choice wasn't easy, but though this translation somewhat lacks wit and has a few loose explanations, it's the best text out there.

 

Amateur: Marina Davydova (play)
Mostly accurate and mostly well-phrased. The least amount of issues marked, and given this is an amateur translation, very solid job overall.

 

 

Special mention: Dmitri Sobotsinski (play)
One of the best-phrased translations, unfortunately corrupted by a couple mistakes. But the author displayed a high level of game-design thought and attention.

Logrus Games

Pro: Olga Melnikova (play)
The work of this participant fulfills the majority of the criteria set forth. The translation in general was creatively competent, the text style was maintained, and the cover and title sheets were translated. Unfortunately, there are punctuation errors, with not always, in our opinion, well chosen vocabulary.

 

Amateur: Maria Rodionova (play)
The work of the participant meets the maximum number of criteria. The translation in general was creatively competent, the text style was maintained, and the poems' title text was translated. Unfortunately, there were syntax errors.

 

Special mention: Marina Ilyinykh (play)
A creative approach to translation, artistic translation of the title page, with a good translation of the name of the game. Shortcomings - tsya / tsya, Open locked door / Close the open door.

 

SPANISH (Europe)

KITETEAM SPAIN

Pro: Judith Bachiller (play)
Localization at its best: from user manual cover to character names, the game was brilliantly adapted to the Spanish culture.

 

Amateur: Carolina Rodríguez Martín (play)
Solid, accurate translation.

 

Special mention: Almudena Segura Checa (play)
The wittiest user manual we've read in a while!

 

NATIVE PRIME SPAIN

Pro: Almudena Segura Checa (play)
We chose this translation because of the style. It's a professional translation that keeps the tone and style of the original. It reads fluently and it was really fun to evaluate.

 

Amateur: Tomás Costal (play)
We liked the professionalism of the entry, the style of the text and the decisions taken by the candidate.

 

Special mention: Raquel Castaño Clariana (play)
It was tough to decide between this and the winner. This was also a great entry, but we had to make a decision and the winner had some edge over this entry. Keep up the good work!

SYNTHESIS IBERIA

Pro: Almudena Segura Checa (play)
It is a very creative translation, but accurate and fluent at the same time. The contestant localized the maps changing the floor numbers, something very few candidates did (kudos!). Good grammar and style too.

 

Amateur: Carolina Rodríguez Martín (play)
The translation and the structure of the text are clear and there are no spelling mistakes. There were some mistranslations, but overall it was the best candidate!

 

Special mention: Judith Bachiller (play)
That cover had a lot of work! The phantom names are also very creative. The translation is fluent and sounds natural in Spanish.

 

SPANISH (Latin America)

KITETEAM MEXICO

Pro: Luciano Di Lorenzo (play)
Instead of a mention, we've got to go for an ex-aequo here. Both entries were solid enough (consistent, accurate and flawless in spelling) to deserve the top spot.

 

Amateur: Lucio Nicolás Alcaide (play)
Good effort. Even if not error-free, it shows potential.

 

Special mention: Juan Guillermo Beiner (play)
See above.

SYNTHESIS IBERIA

Pro: Juan Guillermo Beiner (play)
Excellent translation skills and overall style. Everything was perfectly clear, easy to read and free from grammar or spelling mistakes. Awesome job!

 

Amateur: Lucio Nicolás Alcaide (play)
Although it contains very few spelling and grammar mistakes, these were minor. The translation is quite clear and it has a very good style. This was not an easy task, especially for an amateur translator and this participant did a very good job. Well done!

 

Special mention: Andrés Sotelo Soria (play)
This entry contains a few inconsistencies and minor spelling issues, but this participant did an excellent job. The quality of the translation is quite good and even has a sense of humor. Keep up the good work!

 

 

THANK YOU FOR PLAYING!
Link Roundup
- (Almost) Made in Brazil: Going Mobile & Embracing Fully-Localized Code for Each New Territory

- Interview with Zero Time Dilemma Translator, Andy Chiang

- Interview with Former Square Enix Translator Tom Slattery

- Tokyo Mirage Sessions #FE Developers On Adapting To The West And Its Localization

- Game Localization Bibliography

- Ace Attorney's Creators Talk the New Title and Localization

- Image: "Here's how much text was in a game I localized back in the day with a small army of others... It was Dragon Quest VII."

- Fun fact: Capcom had to find a clever way to hide the number 7 both inside "Biohazard" and its western title "Resident Evil"

- The Exciting Ups And Painful Downs Of Game Localization

- XSEED Localization General Blog #1

- Video Game Translators Are on Your Side, So Stop Hating on Them

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IGDA LocSIG Newsletter - June 2016

Posted By Anthony D. Teixeira, Thursday, June 23, 2016


 

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IGDA Localization SIG

IGDA LocSIG Newsletter - June 2016

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While May probably seemed to be a calm month for the LocSIG, a lot is actually happening behind the scenes.

As we are waiting for LocJAM3's results, which should be announced in July, our plans for future events are on the right track.

We already have a good idea of what we want to do for LocJAM4, and we are making very promising progress with another surprise that should materialize towards the end of the year.

Watch this space for updates!
Audio Interview With Carme Mangirón Hevia

 

Audio interview with Carme Mangirón Hevia, former Japanese to Spanish localizer, chair of the Master in Audio Visual Translation at the University of Barcelona and co-author of "Introduction to Video Game Localization: Translating for the Global Digital Entertainment Industry."
Link Roundup
This month's selection is somewhat smaller than usual, but covers various topics, from sales data to controversies.

XSEED Localization General Blog #1 - XSEED strikes again with this article about getting started in the localization industry

Nintendo is renaming Pikachu in one of its largest markets, and Hong Kongers are not happy - While the issue reaches way beyond the game localization industry, what was arguably the first localization-related demonstration was too big of an event not to mention

Sales data and localization (Sergei Klimov) - A rare chance to see the impact of localization on game sales. A lot of fascinating data to explore

On pop-culture references and localization - From our Facebook group

Localizing your game into Spanish, which Spanish do you choose? - An interview with veteran (European, Argentinian, Mexican) Spanish translators

Podcast: 'Censorship' And Localization - A lot has already been said about that issue, but you can always catch up with this podcast from Kotaku

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IGDA LocSIG Newsletter - May 2016

Posted By Anthony D. Teixeira, Saturday, May 14, 2016


 

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IGDA Localization SIG

IGDA LocSIG Newsletter - May 2016

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April was another busy month with several localization events. The LocSIG was represented at the LocWorld game localization round table with two current committee members + a former one moderating the discussions.

It was a fantastic opportunity to exchange ideas on various topics with people covering the whole localization chain, from devs to agencies, translators, tool representatives, localization producers and more. Such events are definitely worth attending if you want to get a better understanding of the industry and if you are curious about what goes on behind the scenes.
Projects from Hell: Interview with Loek van Kooten and Rolf Klischewski
 
Hi Loek! Could you tell us more about you and your "Project from hell"?
My name is Loek van Kooten, and I'm a Japanese/English-Dutch translator hailing from the Netherlands. I've been playing games daily since I was 10, varying from first-person shooters like Quake to MMORPG's like EverQuest. I do this at least 2 hours a day, to make sure I stay up-to-date about new developments in the ever-changing gaming world.
I was frustrated by the fact that so many Dutch games were terribly localized by people who had no clue about gaming terminology, and I gave up my full-time translation career to dedicate all my time to giving Dutch gamers what they deserved: well-localized games that read like an original.
To make a very long story short: the Project from Hell was basically a project from one of my direct clients, a very famous Japanese game developer, which linguistical logic was as translator-unfriendly as you can imagine, making it virtually impossible to automate any part of the translation process. Examples of issues I faced were hard enters in the middle of lines, insane length restrictions, words with invisible tags around them that still had to be implemented in the translation, and constant changes in the text that were being made in non-synchronous builds. Then there were several parties in between, like a translation agency, a licensor and a "proofreader", whose only goal was to make my life as hard as possible without generating any added value.
The only reason why I accepted the project was the fact that I wanted to put it on my resume afterwards, as it was one of the biggest titles ever sold in The Netherlands. After countless hurdles, I was able to process this monstrous text in my favorite CAT tool, after learning PHP and programming several utilities myself that took care of the conversion from and to the format from hell.
That's the short story. You can read the full story at http://www.loekalization.com/projectfromhell.html
Based on your experience, which are the most obvious steps for avoiding a similar "Project from hell"?
From a translator's perspective? Getting enough projects under your belt so that you won't ever need to accept a project like this.
But you probably want to hear the client's perspective. It's almost impossible to avoid all pitfalls beforehand, as the formats in which game texts are stored and handled have not been standardized at all and every developer is trying to reinvent the wheel. That said, having all developers touching in-game text read the Best Practices for Game Localization guide by the IGDA Game Localization SIG is a very good start to avoid the most frequent and obvious issues.
On the other hand, which are the hurdles that a game localization will inevitably face and how can they be minimized?
As game development is still very much an ad hoc process, even in standardized development cycles there will still be issues that come as an afterthought. Most game developers cannot predict that female Japanese and male Japanese are two different languages for example, and that for a Japanese translator, it's very important to know whether the speaker is a male or a female. So chances are that somewhere halfway the project, a developer will need to add an extra column in that Excel file stating whether the speaker is male or female, after the Japanese translator in question has confronted them with this.
Even for something as simple as using singular and plural forms for in-game items, you will need to accommodate to more than two possible plurals per noun for languages like Slovenian. These languages use dual numbers: special plurals for when the number of counted objects is precisely two. In this particular case, chances are that somewhere halfway the project a programmer will need to add extra logic to the engine to make sure this phenomenon is taken into account.
Now, imagine things like this happening for almost every language you localize to, and you will understand that no one can foresee everything, not even the translators themselves: you're in the middle of a project, encounter a certain string with a brilliant idea or workaround from a developer... and then it dawns upon you: nope, this is not going to work in my language.
I therefore think it's crucial to have short and quick communication lines that lead directly from the translators to the developers and back, so that the translators and developers can communicate about these issues and work out ad hoc solutions on the fly. Most translation agencies acting as a middle man, however try to obfuscate this communication as much as possible, because they want to protect their carefully built up translator networks. This results in a less than optimal product.
"The majority of consumers and publishers have overly high standards. Just release the games region free and give us dodgy translation patches and we'll all be good. Who even needs marketing, instruction manuals, certification from local ratings and copyrights boards, or support for the local voice talent and game stores?" If this comment was made about a game you worked on, what would your reaction be?
I would tell the player that such developer would be a thief of his own wallet. In Holland alone, localizing a game to Dutch increases your market share by 40%. I'm not making that up, it's all been researched. But this is a free world: if I can't convince people that localizing their game is a good idea, then in the end the market will convince them, or another developer with more success will. Of course this also depends on the genre of the game: obviously an FPS depends far less on text than a mobile RTS aiming at teenagers.
That said, all too often the invisible translators (most of them aren't even mentioned in the game's credits) are the perfect scapegoat for anything that goes wrong. If the price of a game is higher in a certain region: blame localization. If the development is behind schedule: blame localization. If a translation is wrong because the developers refused to provide any context: blame localization. Yes, there are terrible translators out there. But translators are not the root of *all* evil.
Players should become very skeptical as soon as developers start blaming localization for anything: there were rumors about the Dutch version of Banjo & Kazooie being 20 Euros more expensive than the English version because the game had to be localized to Dutch, while the localization costs were lower than 4000 Euros. So if you believe that story, you'll also need to believe that only 4000/20=200 people in Holland and Belgium ever bought this game. This while even niche titles like Valkyria Chronicles sell thousands of copies in Holland and Belgium alone.
**********************
Hi Rolf, how are you? Could you share a few words about yourself?
My name is Rolf Klischewski and I translate video games from English into German. I grew up with video games, literally starting with a Pong knock off and a black & white TV, moving on to a typically German career from Commodore 64 to Commodore Amiga to PC. As scary as it may be, I have a profound interest in linguistics and the way language seems to be getting in the way of program code. So, working “in games” was pretty much an obvious choice.
Could you tell us more about your "Project from Hell"?
“Age of Pirates –Caribbean Tales”. The game is a textbook example of how a programmer’s fascination with variables can turn any game (or software) into an untranslatable mess. “Age of Pirates” uses a highly complicated system of variables to generate sentences, a binary house of cards that (barely) works in Russian.
Here’s a sample:
Governor Reinaer Dret asked me to take a man called Andries Clenen from St. Kitts and transfer him to St. Martin. If I make it in 14 days (before January 22 1640) I'll have 756 Gold to take to the tavern.
Anything in bold type is a variable. So, under the hood (and to translators) it looks like this:
<Title> <Name> asked me to take a man called <Name2> from <Colony> and transfer him to <Colony2>. If I make it in <Time> (before <period>) I'll have <Money> to take to the tavern.
In theory, this is great. It’s a good structure. You have dedicated databases or arrays for things like first names, surnames, and locations and you generate dates and so forth automatically, depending on the context.
Things escalate rather quickly as soon as you try to make this work in other languages. Languages with articles, for example. Like German, or even easy-peasy English. Let’s use two different locations in our example:
Governor Reinaer Dret asked me to take a man called Andries Clenen from Barbados and transfer him to the Bahamas. If I make it in 14 days (before January 22 1640) I'll have 756 Gold to take to the tavern.
As you can see, “the Bahamas” are a group of islands, so they need to go with an article. Or the entire sentence sounds like uncle Bob doing his worst Russian accent, and we don’t want that in a game about Caribbean Tales.
But we can’t just make that article part of the variable’s proper value, because we might also want to use it as a button text or a label for a map. So, we’ll need The Bahamas and the Bahamas, depending on the context. And so the programmer had to implement a context check in the text engine, something he, surprisingly, was not all that keen on in Beta.
But then, you know, German prepositions and cases happened. Because if we are talking about getting from a location to a destination, both their cases depend on the preposition preceding them. And that could be either Dative or Accusative. So we ended up with something like this:
{if there is a preposition in front of <Colony> AND <Colony> starts with an article, then check which case the preposition requires and print it}
{if <Colony2> is a passenger destination AND <Colony2> starts with an article, use the preposition “zu” OR “auf” AND the appropriate case for <Colony2>’s article and print them}
And that’s just one aspect of the German localization, the tip of the iceberg in the Caribbean. And we were supposed to deliver five languages.
Based on your experience, which are the most obvious steps for avoiding a "Project from hell" like this?
Actually, I’m quite into this sort of problem. After all, it’s nothing but applied computer linguistics, which is what I studied and (partially) made my MA in. To me, the real problems were:
  • a chronic lack of time (and money)
  • largely uncooperative developers who had many other things on their minds (they were in Beta, mind you, code freeze and all)
  • seemingly insurmountable linguistic (and cultural) obstacles
Basically, it was impossible to communicate the changes required, because the developers either didn’t see the problem or had no time for open heart surgery at that stage of their project. Most of them were already working on a sequel.
To avoid such a situation you need developers with at least a basic understanding of foreign languages, and they need to consider localization right at the start of development. That way they could decide for themselves whether they want to walk the extra mile and create a variable system that works with many different languages or simply store all possible versions of all sentences as proper strings, limiting the use of variables to numbers.
On the other hand, which are the hurdles that a game localization will inevitably face and how can they be minimized?
Languages are complex beasts, and it remains to be seen whether we will ever see a text engine or translation tool that can deal with every aspect of every language. If you ask me, my money’s on the languages.
It’s always easy for us as translators to blame disasters on “clueless developers”. But to them, it’s a no-win situation. Over the past few decades players have been demanding more and more immersive and highly personalized game experiences, and game developers delivered more and more complex entertainment products that bear little resemblance to any other media.
But working on the “bleeding edge” also means working with makeshift solutions. If we as players want unlimited freedom of choice, we will have to live with the system behind that. And we will have to live with the fact that technology will quite likely stay ahead of linguistics.
Miracles of technology like VR or AR should not fool us into believing that those machines creating virtual worlds right in front of our eyes can do the same with our native languages. There are limits, and it’s our job as highly specialized linguists to both challenge them and create an awareness for them.
Link Roundup
Here is our monthly selection of game localization links. Once again, we have a good mix of articles, videos and discussions from our Facebook group. Why not join the discussion?

Victor Ireland of GAIJINWORKS Talks Localization - A very complete interview with one of the legends of our industry. Lots of topics covered and fascinating stories

Translation and Localization: How Idea Factory International Finds a Balance

Adventures in Game Localization ? Talk & Play #18

Star Ocean 5's Producer on Localization Challenges and the Future of Console JRPGs

The Game Translator'fs Toolkit, Or How to Boost Your Productivity - Presented during the LocWorld game localization round table, a few useful software/utilities for translators

What's In a Name ? SMTIV: Final and Localizing a Name - A short but interesting article about game title localization

Hyperdimension Neptunia Editor Nick Doerr Talks Localization

Ys VI: The Ark of Napishtim - Localization Blog #2 - More localization insights from XSEED Games

Localizing Video Games for Different Markets Is a Minefield

Group discussion font size adaptation based on content length

Another discussion on localization of attack names for fighting games

The Father of Modern Localization - On Ted Woolsey's work at Square, and how he influenced the industry

 

</strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);"> </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Name></strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);"> asked me to take a man called </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Name2> </strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);">from </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Colony></strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);"> and transfer him to </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Colony2></strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);">. If I make it in </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Time></strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);"> (before </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><period></strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);">) I'll have </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Money></strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);"> to take to the tavern.</span></div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">In theory, this is great. It’s a good structure. You have dedicated databases or arrays for things like first names, surnames, and locations and you generate dates and so forth automatically, depending on the context.</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">Things escalate rather quickly as soon as you try to make this work in other languages. Languages with articles, for example. Like German, or even easy-peasy English. Let’s use two different locations in our example:</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;"><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);">Governor Reinaer Dret asked me to take a man called Andries Clenen from </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);">Barbados</strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);"> and transfer him to </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);">the Bahamas</strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);">. If I make it in 14 days (before January 22 1640) I'll have 756 Gold to take to the tavern.</span></div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">As you can see, “the Bahamas” are a group of islands, so they need to go with an article. Or the entire sentence sounds like uncle Bob doing his worst Russian accent, and we don’t want that in a game about Caribbean Tales.</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">But we can’t just make that article part of the variable’s proper value, because we might also want to use it as a button text or a label for a map. So, we’ll need <strong class="_5yi-">The Bahamas</strong> and <strong class="_5yi-">the Bahamas</strong>, depending on the context. And so the programmer had to implement a context check in the text engine, something he, surprisingly, was not all that keen on in Beta.</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">But then, you know, German prepositions and cases happened. Because if we are talking about getting from a location to a destination, both their cases depend on the preposition preceding them. And that could be either Dative or Accusative. So we ended up with something like this:</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;"><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);">{if there is a preposition in front of </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Colony></strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);"> AND </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Colony> </strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);">starts with an article, then check which case the preposition requires and print it}</span></div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;"><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);">{if </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Colony2></strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);"> is a passenger destination AND </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Colony2> </strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);">starts with an article, use the preposition “zu” OR “auf” AND the appropriate case for </span><strong class="_19ij _5yi-" style="padding: 4px; background-color: rgb(246, 247, 248);"><Colony2></strong><span class="_19ij" style="padding: 4px; background-color: rgb(246, 247, 248);">’s article and print them}</span></div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">And that’s just one aspect of the German localization, the tip of the iceberg in the Caribbean. And we were supposed to deliver five languages.</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;"></div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;"><strong class="_5yi-">Based on your experience, which are the most obvious steps for avoiding a "Project from hell" like this?</strong></div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">Actually, I’m quite into this sort of problem. After all, it’s nothing but applied computer linguistics, which is what I studied and (partially) made my MA in. To me, the real problems were:</div> <ul class="_5a_q _5yj1" dir="ltr" style="color: rgb(20, 24, 35); width: 676px; margin: 0px auto 32px; padding: 0px 0px 0px 14px; list-style-type: none;"> <li class="_2cuy _509q _2vxa" style="width: auto; margin: 0px auto 12px; list-style-type: disc; text-align: left;">a chronic lack of time (and money)</li> <li class="_2cuy _509q _2vxa" style="width: auto; margin: 0px auto 12px; list-style-type: disc; text-align: left;">largely uncooperative developers who had many other things on their minds (they were in Beta, mind you, code freeze and all)</li> <li class="_2cuy _509q _2vxa" style="width: auto; margin: 0px auto 12px; list-style-type: disc; text-align: left;">seemingly insurmountable linguistic (and cultural) obstacles</li> </ul> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">Basically, it was impossible to communicate the changes required, because the developers either didn’t see the problem or had no time for open heart surgery at that stage of their project. Most of them were already working on a sequel.</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">To avoid such a situation you need developers with at least a basic understanding of foreign languages, and they need to consider localization right at the start of development. That way they could decide for themselves whether they want to walk the extra mile and create a variable system that works with many different languages or simply store all possible versions of all sentences as proper strings, limiting the use of variables to numbers.</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;"><strong class="_5yi-">On the other hand, which are the hurdles that a game localization will inevitably face and how can they be minimized?</strong></div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">Languages are complex beasts, and it remains to be seen whether we will ever see a text engine or translation tool that can deal with every aspect of every language. If you ask me, my money’s on the languages.</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">It’s always easy for us as translators to blame disasters on “clueless developers”. But to them, it’s a no-win situation. Over the past few decades players have been demanding more and more immersive and highly personalized game experiences, and game developers delivered more and more complex entertainment products that bear little resemblance to any other media.</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">But working on the “bleeding edge” also means working with makeshift solutions. If we as players want unlimited freedom of choice, we will have to live with the system behind that. And we will have to live with the fact that technology will quite likely stay ahead of linguistics.</div> <div class="_2cuy _3dgx _2vxa" style="color: rgb(20, 24, 35); px; margin-right: auto; margin-bottom: 28px; margin-left: auto; text-align: left;">Miracles of technology like VR or AR should not fool us into believing that those machines creating virtual worlds right in front of our eyes can do the same with our native languages. There are limits, and it’s our job as highly specialized linguists to both challenge them and create an awareness for them.</div> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> <table class="mcnBoxedTextBlock" border="0" cellpadding="0" cellspacing="0" width="100%"> <tbody class="mcnBoxedTextBlockOuter"> <tr> <td class="mcnBoxedTextBlockInner" valign="top" style="text-align: left;"> <table class="mcnBoxedTextContentContainer" border="0" cellpadding="0" cellspacing="0" width="100%" align="left"> <tbody> <tr> <td style="padding: 9px 18px; text-align: left;"> <table class="mcnTextContentContainer" border="0" cellpadding="18" cellspacing="0" width="100%" style="background-color: rgb(223, 58, 58);"> <tbody> <tr> <td class="mcnTextContent" valign="top" style="color: rgb(242, 242, 242); text-align: center;"> Link Roundup </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> <table class="mcnTextBlock" border="0" cellpadding="0" cellspacing="0" width="100%"> <tbody class="mcnTextBlockOuter"> <tr> <td class="mcnTextBlockInner" valign="top" style="padding-top: 9px; text-align: left;"> <table class="mcnTextContentContainer" border="0" cellpadding="0" cellspacing="0" width="100%" align="left"> <tbody> <tr> <td class="mcnTextContent" valign="top" style="color: rgb(32, 32, 32); padding: 0px 18px 9px; text-align: left;"> Here is our monthly selection of game localization links. Once again, we have a good mix of articles, videos and discussions from our <a href="https://www.facebook.com/groups/igdalocsig/" target="_blank" style="color: rgb(43, 170, 223);">Facebook group</a>. Why not join the discussion?<br> <br> <a href="http://operationrainfall.com/2016/02/29/victor-ireland-gaijinworks-talks-localization-summon-night-5-punching-puppets-part-one/" target="_blank" style="color: rgb(43, 170, 223);">Victor Ireland of GAIJINWORKS Talks Localization</a> - A very complete interview with one of the legends of our industry. Lots of topics covered and fascinating stories<br> <br> <a href="http://operationrainfall.com/2016/04/11/translation-idea-factory-international/" target="_blank" style="color: rgb(43, 170, 223);">Translation and Localization: How Idea Factory International Finds a Balance</a><br> <br> <a href="https://www.youtube.com/watch?v=jA70Ruauu1M" target="_blank" style="color: rgb(43, 170, 223);">Adventures in Game Localization ? Talk & Play #18</a><br> <br> <a href="http://www.gamespot.com/articles/star-ocean-5s-producer-on-localization-challenges-/1100-6438661/" target="_blank" style="color: rgb(43, 170, 223);">Star Ocean 5's Producer on Localization Challenges and the Future of Console JRPGs</a><br> <br> <a href="http://www.at-it-translator.com/the-game-translators-toolkit-or-how-to-boost-your-productivity/" target="_blank" style="color: rgb(43, 170, 223);">The Game Translator'fs Toolkit, Or How to Boost Your Productivity</a> - Presented during the LocWorld game localization round table, a few useful software/utilities for translators<br> <br> <a href="http://atlus.com/whats-in-a-name-smtiv-final-and-localizing-a-name/" target="_blank" style="color: rgb(43, 170, 223);">What's In a Name ? SMTIV: Final and Localizing a Name</a> - A short but interesting article about game title localization<br> <br> <a href="http://www.siliconera.com/2016/04/18/hyperdimension-neptunia-editor-nick-doerr-talks-localization/" target="_blank" style="color: rgb(43, 170, 223);">Hyperdimension Neptunia Editor Nick Doerr Talks Localization</a><br> <br> <a href="http://xseedgames.tumblr.com/post/116671009335/ys-vi-the-ark-of-napishtim-localization-blog-2" target="_blank" style="color: rgb(43, 170, 223);">Ys VI: The Ark of Napishtim - Localization Blog #2</a> - More localization insights from XSEED Games<br> <br> <a href="http://motherboard.vice.com/read/localizing-video-games-for-different-markets-is-a-minefield" target="_blank" style="color: rgb(43, 170, 223);">Localizing Video Games for Different Markets Is a Minefield</a><br> <br> <a href="https://www.facebook.com/groups/igdalocsig/permalink/10154167393996248/" target="_blank" style="color: rgb(43, 170, 223);">Group discussion font size adaptation based on content length</a><br> <br> <a href="https://www.facebook.com/groups/igdalocsig/permalink/10154159623716248/" target="_blank" style="color: rgb(43, 170, 223);">Another discussion on localization of attack names for fighting games</a><br> <br> <a href="https://www.youtube.com/watch?v=I59wwevx4C0" target="_blank" style="color: rgb(43, 170, 223);">The Father of Modern Localization</a> - On Ted Woolsey's work at Square, and how he influenced the industry</td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> <center><br> </center>

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IGDA LocSIG Newsletter - April 2016

Posted By Anthony D. Teixeira, Thursday, April 14, 2016

IGDA LocSIG Newsletter - April 2016

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Do you want to receive the newsletter directly in your mailbox? Register here!

The LocJAM3 is over! We hope you enjoyed this year's edition. Many thanks to the 391 participants who submitted their translations for the longer-than-usual text. We are as impatient as you are to get the results!

In the meantime, feel free ask for a participation certificate here if it can be of any help.

If you are curious about what went on during the contest, the official thread of the LocJAM3 is still available on Facebook, with all questions and remarks.

For now, we hope you will enjoy this month's interview and link roundup!
Interview with Cristina Anselmi, Localization Manager at Aeria Games & Entertainment

Please tell us a few words about yourself. What path led you to Aeria Games?

Translation has always been my passion. I still remember when I was a kid, buying the CDs of my favorite bands and translating the lyrics, to be able to sing along and know the meaning of my favorite songs. I was lucky enough to get the chance to study languages and to travel a lot, so I got to know different aspects of translation and I fell in love with localization during my Erasmus in Gent, Belgium.

I realized that we are surrounded by localization, in every single aspect of our life, and that this is one the most powerful means to connect people. I immediately decided I wanted to be part of it. I tried to focus more and more on this, getting started as a freelance translator till I got the chance to be part of Aeria Games as a translator, where I could combine my passion for translation with the one for video games.

As I started, I immediately realized that was exactly what I wanted to do and since there was not so much content to translate in Italian, my mother tongue, I started handling projects and I've never stopped for the past three years, improving the game experience of millions of players, working on plenty of content updates and new games.

Aeria Games recently moved from having one L10n department in US and one in Europe to a centralized L10n in Berlin. What are the main reasons for this choice?

This is a direct consequence of the acquisition of Aeria Games by one of the major German TV networks, ProSieben Sat.1, that's why everything had to be centralized in the Berlin office, including localization. Because of this, we went through a big migration process, having to take up the localization of content into American English and Latin American languages (Spanish and Brazilian Portuguese), together with the translation from the original Asian content.

It was not an easy process, but we managed to complete it, also thanks to the help of the localization team of the former American office, being able to create new language teams and migrating all the translation memories and contents of all our games. This made our Berlin team grow from about 15 members up to about 30 in very short amount of time, not considering the big pool of more than a hundred freelancers.

Nowadays we are taking care of localizing content in 12 languages, including the initial translation from the Asian languages. Having everything centralized, we managed to improve quality of the localization and reduce inconsistencies considerably, as communication among the translators is much easier, being sitting in the same room. Moreover, the Asian teams are always very helpful dealing with developers, creating a stable bridge between our team and them. In this way we have a fast track for information, thanks to which we can be consistent and precise.

The line-up of Aeria includes trading card games like Immortalis. With graphics-rich contents, localizing these titles requires a synchronized effort between the production team, engineering, art and localization departments. Can you shed some light on the localization process of this genre of games?

The process for this kind of game is still work in progress, as we're learning a lot while doing, especially with a lot of new titles which will be completely reskinned, that's why the collaboration among departments is fundamental.

The localization department is the one having the first eye on the files, most of the time taking care of the extraction itself, together with the engineering team. This process is usually very long and delicate, as dealing with Asian external developers means, most of the time, dealing with the consequences of a total lack of internationalization and us having to do it afterwards, that's why the key role in this process is given to the localization engineer.

In the meantime, the translation teams, the production team, the artists and the game designers get together on a daily basis to share feedback on the investigation of the game and find out as much information as possible, to be able to fully localize it in the fastest and best way possible.
After the extraction is made and the content has been detected, we get a proper brief by the production team, together with all mockups of UIs and art components possible and start the localization, being always in contact with the artist to work closely together and achieve the most consistent and best result possible, creating a new-looking game.

“No oddities should be present to disturb the interactive game experience, and this is the reason why game localisers are granted quasi absolute freedom to modify, omit, and even add any elements which they deem necessary to bring the game closer to the players and to convey the original feel of gameplay. And, in so doing, the traditional concept of fidelity to the original is discarded. In game localisation, transcreation, rather than just translation, takes place.” Do you agree? If not, why?

I cannot agree with this statement more. Localization itself is much more than translation, as not only do we translate, but we adapt the content as much as possible to the locale target culture we work for, especially in the gaming industry.

One video game is no more just one, but it becomes so different according to the language version it is localized into, that it can be considered a completely new product. It is as if we created two, three, as many different games as the target cultures and even though the mechanics are the same, the language, the terminology, the tone and the style are so different depending on the version, that I would consider it as a totally new game, to guarantee the players the best and the most customized experience possible, to make sure they enjoy.

Therefore a translator is a real artist. He is not just a linguistic facilitator anymore, but he needs to be an anthropologist, knowing what's going on in his culture and how it's evolving, he needs to be a sociologist, being able to spot the latest trends and adapt the text accordingly, he needs to be a linguistic expert, of course, and last but not least, he needs to be a good writer, using as much creativity as possible to involve and engage the player, so that his text is so appealing that can make the game even more successful.

Game Localization Interview With Aeria Games

Link Roundup
The LocJAM has once again been a very good source of fresh content in different formats. You will find a small selection here, together with other articles, videos and discussions on various topics.

On game localization & local communities feat Sheila Gomes - Our very own Sheila in an informal discussion about game localization and community management, definitely worth watching for young translators

How Ubisoft Localized The Division - "We had more than 850 people involved in the whole localization process."

9 Tips on Localizing Audio - Another quality article on audio localization

How to translate a game for the LocJAM - A good introduction to the LocJAM and game localization in general

Keeping Monster Hunter out of 'Meme Country' on the way to stateside success - Based on Andrew Alfonso's presentation at the GDC

Localizing pays off… in some places - A unique chance to see correlation between localization and piracy/sales numbers. This is just one particular example, of course, but the data is still fascinating

Free Fan Translations Really Leave Everyone Worse Off - Another opinion article on a controversial topic. Good arguments, regardless of your position on the issue

Trillion: God of Destruction Interview – The Marketing and Localization of a Niche Game - Interesting discussion and rare insight into localized marketing

Introduction to the game localization process through the LocJAM - Based on the LocJAM3 Kyoto workshop presentation (slides included). By Anthony Teixeira, freelance French translator

LocJAM3 Barcelona Workshop - More slides, courtesy of Carme Mangiron Hevia

LocJAM3 - Las Palmas Workshop - A workshop video this time, from Jennifer Vela

Challenges of localizing typing game - Or what happens when language is part of the gameplay

Confessions of a game translator: 12 actual reasons why some game translations suck - The title says it all

A discussion about asset localization, or rather whether they should always be localized or not

Another discussion on our Facebook group, this time about the localization of what "most players never see"

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