localization of software raises interesting questions about the level of expectation of customisation for a particular audience. For example, what should and should not be localised? How much of the representation of data or symbols should be customised for a locale? In games there is significant scope for the localiser to introduce customisation so that important elements are communicated to the target audience. Often the client will provide guidance on the level of customisation and the best approach to take. Games and business applications differ in a number of respects. Games must be engaging, as they are primarily entertainment applications, which are used for pleasure, as opposed to other business applications that are used for utility.

Some of the issues that translators have to deal with in games, as opposed to business applications, include the following:

• Wit and humour.
• Puns (text and visual).
• Made-up words.
• Cultural references.
• Storyline.
• Characters.

Translation

Within a game or e-learning application the translator may find that there are restrictions on the size of the text that can be displayed in a given area. That is, the size of real estate available to the translator is limited. There are a couple of approaches to dealing with this, such as:

• Making the point size of the text smaller.
• Increasing the available area.
• Shorter translation.

If the option of making the point size smaller is used, then care must be taken to ensure that the text is still readable. The option of increasing the size of the available area may not be technically possible. Developers should consider the use of scroll bars. Another option, and one not favoured by translators, is to shorten the translation to fit. This is a common requirement in business applications, but may not be a desirable option in games software. Shortening the translation could compromise its meaning and not be as desirable.

Free hand and creativity

Many games require a high degree of customisation in order to be suitable for localization. We find that material in some games does not easily map from one culture to another and the translator has to make changes. Humour may not generally translate from one culture to another. Examples of real issues include puns, which rely on the accidental properties of words, which may be similar in some way, but can be interpreted in completely different ways. Words that are homographs or homophones in English will most likely not be the same in any other language. Translators need to be given a free hand to make necessary changes. This type of approach is not strictly translation, but is often referred to as “transcreation”, which involves creativity and adaptation. However, this may also mean that graphics have to be adapted or re-created, which usually leads to higher costs, as it takes time and resources to create new graphics. Keep budget and schedule restrictions in mind; even if the client agrees to give the localization agency/translators free hand and grants them creativity. The client might not be aware that this can have a direct effect on their budget and/or schedule.

Translators must also be made aware of what is not appropriate to change. While some peripheral character names may change, the protagonist’s name or indeed the name of the game should be constant in all languages. This statement is made with the caveat that neither the game name nor any of the main characters should be offensive in any way. This allows the marketing effort to refer to the material in a consistent manner across all locales.

We suggest that a glossary of terms be created in advance of the localization. This allows the client to sign off on translations of important terms. It also helps keep a team of translators consistent in use of terminology.

As mentioned earlier, a game is different from other software applications, with the level of creativity applied in all of the collateral materials associated with a game. These are the characters, storylines, text, audio and video, and any printed materials. Translators need to provide material that is attractive to the gamer. It helps if the translator is a gamer also, who is familiar with the intended audience and the gamer culture. Translators of this material should know the intended audience’s expectations from the gaming experience. In addition, translations should be fluid and appropriate.

Cultural awareness

The area of cultural awareness in translation and localization of games was referred to earlier in this article. It can be a sensitive area, and getting it wrong can invite scrutiny from the authorities involved in the classification of games. Some of the particular minefields include; blood and gore, racial and religious references, and cultural references. Getting these areas wrong can severely impact on the sales or intended audience of the game. They are all things of which to be aware during either the creation stage of a game or when considering outsourcing the translation effort.