This adaptation to the standards of other countries covers far more than simply translation of language. There are different areas, such as linguistic, cultural, hardware and software, legal differences, graphics identity and music. Globalization refers to general Eastern/Western variations, while localization refers to several regional sub-divisions within the globalization.
Tasks and challenges
The major types of localization are as follows.
- Linguistic and cultural: the translation of language and cultural references maintaining the feel of the game but making it more appealing for the receiving locale.
- Hardware and software: for example the change between PAL and NTSC, re-mapping of hotkeys, gameplay modifications.
- Legal: age ratings may differ depending on the country of release. They are controlled by national or international bodies like PEGI (for Europe), ESRB (for US and Canada), OFLC (for Australia), or CERO (for Japan).
- Graphics and music: Some games may exhibit different characters, or the same ones with a slightly different appearance in order to facilitate players identification with their avatar. Music may also vary according to national trends or the preferences of major fan communities.
As the international demand for
video games rises, successful titles depend on their adaptation to various
cultures and languages in a slightly different way from other audiovisual
creations such as films. These products tap into a very emotional activity
within society: “play”. It is “play” that first bonds us to our own culture and
history, to what we see as normal, fun, appropriate, or funny. Semiotics play a great part on this
adaptation since the function of signs and symbols in natural languages can be significantly
different from one culture to another, differences that extend from the syntactic layer of communication, to the semantic and the pragmatic one. Some of these disparities may be so small they are easily
adaptable, but many other can be notably distinct or even contradictory, so
translators may have a challenging task ahead because their input might require
the alteration of the actual game in some cases.
Video games, unlike any other entertainment
products, aim at motivating and challenging players at their own level and pace. They do this by various
means, for example, a customisable avatar, an adjustable difficulty level, and
a relative freedom of movement and interaction within the virtual world. The
country and language of destination may also affect the game itself (Bernal
2006), especially when dealing with violence, historical events, foul language, or sex, since different cultures are more sensitive than
others to these matters. But there is also what Sutton-Smith (1997:99) calls ‘counterludic
identity’, which means that sometimes the country importing the game refuses
to play them the way the exporting one does, putting more emphasis on their own
way of playing. As a result, the same game released simultaneously in the United States, France, Germany, China,
and Japan for example, might show
different features to adjust to fans’ expectations, as well as the various
cultural and legal frameworks.
When games are more story- than action-driven, culturalising
them can be challenging because of all the premises the designers are taking for granted in the
development of the plot. Asian gamers seem to prefer more childlike
characters, while Western countries might emphasize adult features.
An example of the changes that are likely to happen during localization is Fatal
Frame (known in Japan as Zero and known in Europe as Project
Zero) (Tecmo 2001). In the original Japanese version the female protagonist, Miku, was a frightened
seventeen year old girl looking for her brother Mafuyu who disappeared after
entering a haunted mansion.
In the US and European versions Miku is nineteen, has
Western features, and is not wearing the original Japanese
school uniform. Unfortunately, developers did not think necessary to change
her brother’s appearance, so when players do find Mafuyu at the end of the game
they do not seem to be blood-related.
A similar thing happens
with the depiction of blood, and real historical events; many things have to be
readjusted to fit the country’s tolerance and taste in order not to hurt sensibilities.
This is probably one of the reasons why so many games take place in imaginary
worlds. This customisation effort draws on the knowledge of geopolitical strategists, like Kate Edwards from Englobe. During the 2006 Game
Developers Conference in California she explained the importance of being
culturally aware when internationalising games in a presentation called “Fun vs.
Offensive: Balancing the ‘Cultural Edge’ of Content for Global Games” (Edwards
2006). Both developers and publishers want to please their clients. Gamers are not particularly interested in
where the game comes from, or who created it any more than someone buying a new
car or DVD player. A product for mass consumption only keeps the branding features of the trademark; all the other characteristics might be
subject to customisation due to the need to appeal to the local market.
Therefore the translation will be in some cases an actual recreation, or, to put
it in the words of Mangiron & O’Hagan (2006), a ‘transcreation’, where
translators will be expected to produce a text with the right ‘feel’ for the
target market. It is important for translators to be aware of the logic behind
this. Video games are a software product, and as such, they will have
manuals and instructions, as well
as interactive menus and help
files. This will call for technical translation. On the other hand, we will also find
narration and dialogue closer to literary texts or film scripts where a more
creative translation would be expected. However, unlike most forms of
translation, video games can adapt or even change the original script, as long
as it is in the search of enhanced fun and playability of the target culture. We
can only find a parallel of this type of practice in the translation of
children’s literature where
professionals often adapt or alter the original text to improve children’s
understanding and enjoyment of the book.
SCEE David Reeves, has stated that
the main reason that Europe is often affected by significant content delays is
because of language localization. He stated "the problem is that there isn't
enough incentive for developers to work on multiple language translations during
development. Hence, Europeans suffer delays and may never see a particular
title". He also commented on why the UK and Ireland which are English speaking
countries, also experience the same delays as those in continental Europe with
many different languages despite little or no modification. He stated "With
PlayStation Store we could probably go in the UK almost day and date. But then
what are the Germans and the French going to say to me? That I'm Anglo-centric"
indicating that the reason that these countries also must wait is to avoid
criticism from other large European gaming countries such as Germany and France.[1]
Further articles on localisation:
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