Game localization : translating for the global digital entertainment industry

Game localization : translating for the global digital entertainment industry /

Video games are part of the growing digital entertainment industry for which game localization has become pivotal in serving international markets. As well as addressing the practical needs of the industry to facilitate translator and localizer training, this book seeks to conceptualize game localiz...

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Bibliographic Details
Online Access: Full text (MCPHS users only)
Other Authors: O'Hagan, Minako, 1959- (Editor)
Format: Electronic eBook
Language:English
Published: Amsterdam : John Benjamins Publishing Company, 2013
Series:Benjamins translation library ; v. 106.
Subjects:
Multimedia systems > Research.
Audio-visual equipment > Technological innovations.
Translating and interpreting > Technological innovations.
Video games > Programming.
Video games > Design.
Video games industry > Technological innovations.
Local Note:ProQuest Ebook Central
Table of Contents:
  • Machine generated contents note: About this book
  • Aim and structure of the book
  • Target readers
  • Conventions used in this book
  • Glossary
  • Prologue
  • Introduction
  • Rationale
  • Context
  • overview of translation studies research trajectories in game localization
  • General trends in game localization research
  • Key research areas
  • Approach
  • ch. 1 video game and translation
  • Introduction
  • 1.1. historical sketch of video game localization
  • 1.1.1. Early days: Before the mid-1980s
  • 1.1.2. Growth phase: The mid-1980s to mid-1990s
  • 1.1.3. Development phase: The mid- to late 1990s
  • 1.1.4. Maturing phase: Early 2000 to 2005
  • 1.1.5. Advancing phase: 2005 to the present
  • 1.2. Video games: Domain, terminology and characteristics
  • 1.2.1. Key terminology: Video game vs. Computer Game
  • 1.2.2. Defining a video game
  • 1.2.3. Game genres
  • 1.2.4. Video games as transmedia
  • 1.2.5. Video game theory: Narrative theory versus play theory
  • 1.3. structure of the video game industry
  • ch. 2 localization paradigm: Localization versus translation
  • Introduction
  • 2.1. Software localization defined by practice: Internationalization
  • 2.2. New dimensions of localization
  • 2.2.1. Cultural representations and adaptation required in software localization
  • 2.2.2. Localization facilitated by technology
  • 2.3. Localization in Translation Studies
  • 2.4. Game localization or game translation?
  • 2.5. absence of agency in localization speak
  • ch. 3 Game localization: A practical dimension
  • Introduction
  • 3.1. Video games and GILT: Localization-friendly game development
  • 3.2. Game localization models
  • 3.2.1. Outsourcing model
  • 3.2.2. In-house model
  • 3.3. Game assets requiring localization
  • 3.3.1. In-game text
  • 3.3.2. Art assets
  • 3.3.3. Audio and cinematic assets
  • 3.3.4. Printed materials
  • 3.4. localization process
  • 3.4.1. Pre-localization
  • 3.4.2. Translation
  • 3.4.3. Editing
  • 3.4.4. Recording
  • 3.4.5. Post-localization
  • 3.4.6. Submission of release candidate version
  • 3.4.7. Production and distribution
  • 3.4.8. Game localization scenario
  • 3.5. Levels of localization
  • 3.6. Tools used in game translation
  • ch. 4 Translating video games: New vistas for transcreation
  • Introduction
  • 4.1. Game text taxonomy and text function
  • 4.1.1. Game text: Play and narrative dimensions
  • 4.1.2. Game text taxonomy and translation
  • 4.2. Translation strategies applied in game localization
  • 4.2.1. Translation strategies for pragmatic translation problems
  • 4.2.2. Translation strategies for interlingual translation problems
  • 4.3. brief case study of Square Enix
  • 4.3.1. Overview
  • 4.3.2. Examples of innovation and appropriation of translation
  • 4.4. translator as a creative agent: Game localization as transcreation
  • 4.4.1. Internal knowledge versus external knowledge as professional norms versus expectancy norms
  • 4.4.2. Translator's agency and transcreation
  • ch. 5 Cultural contexts of game production: Patronage and rewriting in the digital age
  • Introduction
  • 5.1. Video games as cultural products
  • 5.1.1. Game culture: Japan versus the US
  • 5.1.2. Cultural content in games and cultural localization
  • 5.2. Cultural adjustments
  • 5.2.1. Mandatory requirements for change
  • 5.2.2. Market-driven adjustments: Market relevance and preferences
  • 5.3. Culture of game production: Power game
  • 5.4. Game localization as rewriting
  • ch. 6 Pedagogical issues in training game localizers
  • Introduction
  • 6.1. Game localization as an emerging professional translation activity
  • 6.2. Training future game localizers
  • 6.2.1. Game localizers' competence
  • 6.2.2. Course design
  • 6.2.3. Assessment
  • 6.3. Teaching materials and human resources
  • 6.3.1. eCoLoMedia game localization course
  • 6.4. Pedagogy in game localization: A vocational or an academic focus?
  • ch. 7 Game localization research in Translation Studies
  • Introduction
  • 7.1. Game localization and accessibility research
  • 7.1.1. Game accessibility and accessibility barriers in video games
  • 7.1.2. Benefits of game accessibility
  • 7.1.3. Research on game accessibility
  • 7.2. Game localization and fan studies: Fans as co-creators
  • 7.2.1. Fan culture represented in the form of fan work
  • 7.2.2. Fan translation: Translation hacking and crowdsourcing
  • 7.2.3. Fan translator expertise versus professional expertise
  • 7.3. new research direction in Translation Studies: User-focused empirical research
  • 7.3.1. Player experience studies
  • 7.3.2. Natural language interaction through AI, chatbot, and speech recognition
  • Conclusion
  • Game localization, game translation or game transcreation?
  • Translation quality and users
  • Localization directionality and regional variations of language
  • International game design and internationalization
  • Technology applications and the future of game localization
  • Postgraduate courses in game localization in Spain.

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