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Rethinking Game Localization as Rethinking Game Localization as Global Game Development Global Game Development
A special panel session sponsored by:
Presented by: Miguel Bernal, Roehampton UniversityHeather Chandler, Media Sunshine Inc.
Tom Edwards, Englobe Inc.Fabio Minazzi, Binari Sonori Srl
20 FEB. 2008, 10:30-11:30AM
AgendaAgenda
Introduction Localization as Core Game Development Translation and Translators Localizing Game Audio Content Culturalization & Geocultural
Issues Discussion/Q&A
The Game Industry’s Future is The Game Industry’s Future is GlobalGlobal PricewaterhouseCooper’s projections for 2007-2011
indicate a global gaming market worth $48.9B by 2011 (up from $37.5B in 2007).
U.S. sales will lag behind the world during the next 5 years, averaging 6.7% annual growth while Asia and EMEA will average about 10%.
Bottom Line: Future of revenue growth requires increasing one’s global exposure, which means implicitly localizing content as part of game development.
Integrating Localization is Integrating Localization is CriticalCritical Many developers realize that localization is a ‘no-
brainer’ aspect of game distribution, and they regularly localize into FIGS (French, Italian, German & Spanish), Japanese, Chinese and Korean.
Russian, Norwegian, Finnish, Danish, and Dutch are also becoming more popular.
Game revenue models always include global sales; the idea of releasing a major title without localization is unheard of (unless a very small studio).
Old Model: Produce for one market (North America), then localize it as much as possible.
New Model: Produce for the global market and plan your content and localization strategy from Day 1.
Localization as Core Game Localization as Core Game DevelopmentDevelopmentHeather ChandlerHeather ChandlerExecutive ProducerMedia Sunshine Inc.
Pre-Production Production Post-Production Release
Localization is usually viewed as post-production All the work is crammed in at the end Limits the potential of localized titles Makes simship a challenge
Current State of Game LocalizationCurrent State of Game Localization
30,000 words in-game text:•10,000 in-game words•20,000 words of dialog•All dialog subtitled on screen•30 art assets to localize
2,000 lines of recording VO:•12 major characters (100+ lines each)•20 minor characters•400 dubbed lines in cinematics
English to FIGS Xbox 360, PS3, and PC platforms
Sample GameSample Game
Translate 30,000 words:•20 days (single translator)
Casting 32 characters:•7 days (including time for approvals)
VO Recording for 2,000 lines/32 characters:•14 days (both recording and processing)
Asset Integration:•1 day (assumes no art assets to be integrated)
Estimated Production TimeEstimated Production Time
Linguistic testing:• 21 days (3 rounds testing/fixes)
Ratings Review:• Takes 3-4 weeks to secure ratings• Need 100% content
Production of one language/platform: 63 days Production of one language/3 platforms: 107 days 107 days x 4 languages = 428 person days This assumes BEST case scenario
Estimated Production TimeEstimated Production Time
Localization Friendly CodeDetermine Content Scope Define distribution Select vendorsReview content
w/vendors Content audit
Organize assetsComplete translationComplete VO recordingIntegrate assets Develop testing planCultural content review
Complete integration Linguistic testing and fixesReview tech requirementsFinal content check, all issues identified
Final approval on localizations Resolution of any remaining issues
Desired State of Game LocalizationDesired State of Game Localization
Pre-Production Production Post-Production Release
• End-to-end process• Starts in pre-production• Proactively plans for localizations• Plans for technical, process and content needs
Keys to LocalizationKeys to Localization
Technical•Localization-friendly code•Automation
Process•Scheduling•Asset management •Testing
Content•Political & Cultural sensitivity•Assume global audience•Ratings boards
Translation & TranslatorsTranslation & Translators
Miguel BernalMiguel BernalLecturer in Media Translation
Roehampton University [email protected]
↑Data ↑Tools = ↑↑Quality ↓↓TimeTranslation Translation (1/3)(1/3)
Translation Translation (2/3)(2/3) Creativity? Yes. Context + Co-text
US Translation
NEW_STRING113=Madws. NEW_STRING113= ???????
Natural Vs Artificial Languages:戦士はドラゴンを 殺さ ない
The warrior will not kill the dragonEl/La guerrero/a no matará al [a+el] dragón/ a
la dragona
Immersion and Variables:{GH_ADJ} {GH_NOUN} {GH_VERB}
{GH_VENUE} Great performance electrifies The Palace
Translation Translation (3/3)(3/3)
Trained in audiovisual translation. Aptitude for creative and technical writing. CAT trained.
Build in l10n toolkits compatible with CAT tools thatallow translators to correct text directly.
Translators and testersTranslators and testers
Secure serverSecure server
Localizing Game AudioLocalizing Game Audio
Fabio MinazziFabio MinazziLocalization Manager
Binari Sonori [email protected]
Contents of presentationContents of presentation Overview of the audio localization process The central role of the script in the
localization process
Development Team
Audio Studio
CoordinationInt’l Pre-Production Int’l Post-Production QA
In-country Audio Production Unit
In-country Audio Production Unit
In-country Audio Production Unit
Country 1
Country 2
Country n
Centralized
Global audio production chain
The audio localization processThe audio localization process
Localization script affects all phases, all loc team
People . Phases involving Script
International Project
Manager
Audio Resources
Coordinator
Assets Manager
Text Engineer In-Country Studio Team
Master Sound Engineer
Project Analysis X X X XInternational Casting XAssets Precheck XScript Adaptation XPreproduction: prepare Script for recording X X
Preproduction: InternationalAudio rec session setup
X
Studio Briefing X XHandoff for recording X XActor Booking and Recording XAs-recorded Script generation XHandback from studios X XAudio Postproduction XQA - Proof listeningAudio Amends X X
SCRIPT
The Localization script: fundamentalsThe Localization script: fundamentals Localization script is not the Production script Localization script must contain a minimal
set of critical information for localizationLine ID A/V File Name Scene Dub Type Cast Dialogue AD: Instructions for recitation945 BV_0701 Battle
EventLip-Synch Soldier E Hmph. I wonder how long
your chivalry will last!Battle voice so it will be said during transition to battle sequence.
509 BV_0601 Battle Event
Lip-Synch Jansen Oh, man, this is getting real old, real quick!
Jansen is referring to the hoards of soldiers that are attacking them consistently. The tone should be of, 48 RT_005_2_a A Wild Soldier A Aargh! AD Injured soldiers. Noise of groaning and coughing
49 RT_005_2_b A Wild Soldier B Really, you two are walking miracles!
More amazment in her tone. E.g. Really, you two are…..
Layout: One line = one sentence by one character Different information => separate columns
Information to be extracted Information to be extracted from the Localization scriptfrom the Localization script
Cast + text Amount of actors required Type of dubbing + text Amount of studio time Scene + text Organization of sessions Number of files Amount of audio post time Ref. to media files Completeness of assets
Managing script updatesManaging script updates
Carefully track original studio changes Handoff for loc consistent script and A/V assets
ScenarioOriginal audio production: 10 to 50 actorsFIGS localization=> 40 – 200 actors
What happens when script is updated?…
Impact of script changesImpact of script changes… the audio localization resets 1 Project Analysis
2 International Casting3 Assets Precheck4 Script Adaptation
5 Preproduction: prepare Script for recording
6 Preproduction: Int'lAudio resession setup
7 Studio Briefing8 Handoff for recording
9 Actor Booking and Recording
10 As-recorded Script generation
11 Handback from studios12 Audio Postproduction13 QA - Proof listening14 Audio Amends
15Script Conversion to delivery format
Re-check A/V assets vs text Re-count amounts Re-evaluate effort Re-prepare the rec script Re-handoff to studio Re-schedule actors …
UPD
ATE
Conclusions on Audio LocalizationConclusions on Audio Localization The localization script is not only a tool for actors
to speak, it’s a main production document
Creating and maintaining the localization script is a critical activity in global game development
Benefits of good script management: Save money Save turnaround time Speed-up decision making Focus audio loc team on creative goals
Content Culturalization & Content Culturalization & Geocultural IssuesGeocultural Issues
Tom EdwardsTom EdwardsPrincipal Consultant
Englobe [email protected]
Why Culturalize Game Content?Why Culturalize Game Content? Culturalization is a step further beyond localization to
take a deeper look into a game’s content choices and gauging their viability in a multicultural marketplace.
Culturalization helps gamers potentially engage the game’s content at a deeper, more meaningful level.
Primary Goal: Protect the game developer’s (and industry’s) image and revenue stream and allow local customers to simply enjoy a “fun” game.
Additional Goals: Minimize/Eliminate local market backlash events. Build customer loyalty and trust in your content. Expand revenue potential by increasing appeal across cultural
boundaries. Catch issues that are NOT covered by the ESRB, PEGI, CERO and
other review agencies. Review yourself, or else expect potential sanctions by
government(s) – including your own.
Audio containing chanted verses from the Islamic Qur’an was mistakenly included in the game.
Why Culturalize Game Content?Why Culturalize Game Content?Because of religious issues like in Kakuto Chojin in 2003
The game reached international locales via the gray market.
Local governments and consumers vocally protested and criticized after discovering the content.
The game clearly crossed over a line of acceptability and required a global recall.
This event had strong parallels to other events (e.g., the Danish political cartoons of Mohammed in 2005).
Learn More about Geocultural IssuesLearn More about Geocultural Issues
Tom’s lecture entitled:“Self-Censoring Potential Content Risks for Global Audiences: Why, How and When” Time: Thursday, 12:00-1:00pm Place: Room 2002, West Hall
Concluding ThoughtsConcluding Thoughts
Process, Translation, Audio and Geocultural Issues are just 4 aspects of a broader and more complex localization task.
As the game market becomes increasingly global, game design and development must likewise become global is order to succeed.
Get involved! Continue the conversation at the IGDA Localization SIG Meeting (tomorrow at 8am, Room 114, North Hall).
Thank you for attending!Thank you for attending!
Questions or Comments?Questions or Comments?
Contact Information: Miguel: [email protected]: [email protected]: [email protected]: [email protected]
Bibliography &Bibliography &Recommended ReadingRecommended ReadingBernal-Merino, M. 2006. “On the Translation of Video Games”. Jostrans, The Journal of Specialised
Translation, Issue 6: 22-36. www.jostrans.org/issue06/art_bernal.php ------2007. “Challenges in the translation of video games”, Tradumàtica, issue 5. Universitat
Autònoma de Barcelona: online. www.fti.uab.es/tradumatica/revista/num5/articles/02/02art.htm
Bortoli, M & Minazzi, F. 2006. “Localizing media-rich interactive content”, Multilingual, volume 17, issue 83 www.multilingual.com
Chandler, H. 2005. The Game Localization Handbook. Massachusetts: Charles River Media.DePalma, D. 2006. “Quantifying the return on localization investement”, in K. Dunne (ed.)
Perspectives on Localization. Amsterdam/Philadelphia: John Benjamins.Díaz-Montón, D. 2007. “It’s a funny game”, The Linguist. Volume 46, number 3: 6-9.Di Marco, F. 2007. “Cultural Localization: Orientation and Disorientation in Japanese Video
Games”, Tradumàtica, issue 5, Universitat Autònoma de Barcelona: online. www.fti.uab.es/tradumatica/revista/num5/articles/06/06art.htm
Edwards, T. 2007. “Geocultural literacy, part 1”, Multilingual, volume 18, issue 90: 29-31. www.multilingual.com
-----2006. “Navigating the ‘Geocultural Edge’ of Game Content”, Multilingual, volume 17, issue 80: 29-31. www.multilingual.com
Finegan, P. 2006. “Games: quality, localization and the world market”, Multilingual, volume 17, issue 84: 56-61.
Heimburg, E. Sept. 2003. “Localizing MMORPGS”. Gamasutra, onlinewww.gamasutra.com/resource_guide/20030916/heimburg_pfv.htm Kehoe, B. & Hickey, D. 2006. “Games Localisation”, Localisation Focus, March 2006, 27-29.Mangiron, C. & O’Hagan, M. 2006. “Game Localisation: unleashing imagination with ‘restricted’
translation”. The Journal of Specialised Translation 6: 10-21. www.jostrans.org/issue06/art_ohagan.php
Mandel, R. 2000. “Unravelling the mysteries of game localization”. Online www.avault.com/articles/getarticle.asp?name=local&page=1
Sioli, F., Minazzi, F. & Ballista, A. 2007. “Audio Localization for Language Service Providers”, Getting Started: Localization Guide, supplement to Multilingual, volume 18, issue 91: 18-23, online. www.multilingual.com/downloads/printSupp91.pdf