Translation in video games localisation dipinto vito

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My presentations about translation in video game localisation

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  • 1. Key Aspects of a Localisation Process: Translation in video gamelocalisation Dipinto Vito12096695

2. Some definitions of what is video game translationThe translators role and required skillsTranslation procedures and techniques used byvideo game translatorsCompensation technique in the Italian localisationof Far Cry 3Linguistic variation in the Italian localisation ofWord of WarcraftExperimental video game translation: Dear Easter 3. Video game Translation Video game translation is the process of modifying linguistically an existingvideo game to make it accessible, usable and culturally suitable to a targetlocale. The process of translation of video games concerns the sphere of culturallocalisation: that is the adaption of visuals, sound and scripts conceived in onelanguage by members of one community to another language and anotherculture The process can be considered as an adaption rather than a translation.Adaption is meant to recreate the Message, to give it the look and feel of theequivalent local product. Video game translation is performed by translators. Individuals who do not justtransfer words or sentences as unit of texts, but act as cultural mediators whoare responsible for successful cross-cultural communication and for the creationof functionally optimal target texts in target cultures. 4. The main priority of video gametranslators is to produce aversion that will allow theplayers to experience the gameas if it were originally developedin their own language and toprovide enjoyment equivalent tothat felt by the players of theoriginal versions(Magiron & OHagan 2006) 5. Controversial issues about videogame localisationVideo game localisation supports the role of Translation as domestication= THE TRANSALTED TEXT TO PASS FOR THE ORGINAL(Mangiron & OHagan 2006)Cultural localisation is about unsettling, recombination, hybridization, cutand mix(Di Marco 2007)Video game localisation creates neutral translations (Gutirez 2012) 6. Translators role and required skills The Translator shouldTranslators should beBe familiar with thebe able to deal with theaware of the software specific features ofdifferent kind of textage ratings. (Europe: screen translationtypes displayed in video PEGI; Unites States:(dubbing and subtitling) gamesESRB; Germany: USK)Mastering of naturaland idiomatic language.We really need this byThey should not today, can you do it translate word for faster? words! 7. Cultural awareness.Please be careful not toVideo games are packedbreak the variables with pop culture reference throughout the text , which can be challengingto localise! ARE YOU A FAN? SURE, I JUST WROTE AFANFIC, WOULD YOU LIKE Familiar with the globalTO READ IT? SURE, THATSpop culture.HOW YOU MAKE A GREAT TRANSLATION, ISNT IT?CREATIVITY 8. Tools Description Useful for:Translation MemoryFuzzy matchingReusing datasystems: SDL Trados,Reduce translation time,Wordfast, OmegaT etc. improves consistency andquality.Terminology management Extracting terminology Maintaining gamesystemsCreation of glossaries glossariesShared folders. Dropbox Storing Reference, SourceText, Work inProgress, finalised filesetc.Project managementTracking and managing Planning, scheduling etc.Software: Microsoft projectsProject, qdPM,Speech recognition tools: Dictation, text-to-speech Improves productivity,Dragon Naturallyand command input reduce translation,Speakingmistakes,Improve qualityApSIC XBenchQuality assurance toolTerminology search.Terminology check,Creation of translation 9. Translation procedures and techniques used byvideo game translators Linguistic variation (use of Compensations techniquesdialects, accents, idiolects usedto achieve a comic effect ) Borrowing Re-naming of key terminology Literal or word for wordand character names translation Contestualisation by addition (to Calquesmake clearer a concept to theplayer) Rewriting Recreation of play onwords, puns, jokes, rhymes andidioms 10. Compensation techniquein FAR CRY 3 English Source Text You see. The thing is, up there, you thought you had a chance way up in the fucking skies you thought you had your finger on the pussy trigger. But hermano, down here, down here? You hit the ground. Italian Target Tex Vedi, il fatto , lass credevi di avere una chance. L. Tra quelle nuvole di merda pensavi davvero di aver il dito sul grilleto. Ma hermano, quaggi..quaggi. Hail il culo per terra. FINGER ON THE PUSSY TRIGGER = The Play on words with sexual reference in the Italian language doesnt have an equivalent and its lost in translation. The translator, compensates for that lost by introducing in the following sentence an Italian expression: Hai il culo per terra = BT are on the ground. 11. Linguistic variation in Word of Warcraft 12. Word of Warcraft (in a nutshell) Company: Blizzard Entertainment (USA) MMORPG The player impersonates a character Stratified word: race and creatures Idea of progression often through missions Lots of interactions between users WoW the most successfulof all times 12 millions of subscribers in March of 2011 and Guiness Record! The game has been fully localised into different languages andlocale: German; French, Spanish, Russian, Korean, bothTraditional and Simplified Chinese and recently into Italian. 13. What is a linguistic variation? Its the introduction in the target text of language depending on geographical, socialcultural and/or historical conditions (Gutirez 2012) Choice of words Linguistic structures Accents Dialects Idiolects (a variety of language that is unique to a person) 14. The localisation of games races into Italian: The Neaples ConnectionRaces in WOWEnglish Version Italian localicationHumans of Glineas London accent Standard ItalianLanguageDwarves Scottish accent Standard ItalianLanguageTrollsJamaican accent Neapolitan dialect Troll The savages trolls of Azeroth are infamous for their cruelity, dark mysticism, and seething hatred for all other races 15. ReceptionThe solution to use Neapolitan dialect has been criticised by many players in theofficial forum of WoW Neapolitan dialect introduces un undesirable comic effect The Neapolitan accent is judged by game players as out of context It contributes to break the suspension of disbelief Some players complained about the absence of other dialects. Why not makedwarves speak with a dialect from North of Italy? For example Milanese dialect(spoken in Milan and the surrounding area) It contributed to some generate among players some form of racism It reinforced existing stereotypes about people from Naples: criminal, cruel,corrupted, immoral, deplorable 16. What does this teach us? Before reproducing any linguistic variation in the targetlocale, translators should research any possible implicationand effect. Translators should act as geopolitical strategists andsuggest the best solution to developers. In Video games accents, dialects and idiolects act as ajarring link to reality (real word) The solution is to remove the accent altogether, usingstandard language NEUTRALISATION 17. Italian LocalisationExperimental video game = Experimental translation 18. The reception The Italian players didnt like the translation Many players say that its a bad translation. It doesnt make easy to follow. Very hard tounderstand. 19. A bad work? Not at all! The translation is extremely careful andclearly the translator had to work hard during theprocess of creation. But, it feels artificial and disjointed. 20. ConclusionIn video game localisation, translators have the freedom to makeany change they want. Translators can choose to create domesticated translations, that rely on fluent strategies (standard translation / easytranslation. Extensive use of adaption and rewriting. Translators can choose to create hybrid translations, trying tomaintain some flavor of the foreign culture Translators can choose to create non standard translations, bydeviating from the norm (the standard) (Community translation) 21. ReferencesArsludica.org (2012). Lo strano caso della traduzione in Italiano di Dear Esther. [Online] Accessed: 29 November 2012). Available at:http://arsludica.org/2012/02/27/lo-strano-caso-della-traduzione-in-italiano-di-dear-esther/Costales, A.F. (2011). Adapting humor in video game localization. Multilingual. Volume 22, Issue 6. pp. 33-35Dellepiane, A. (2012). Podcast: Videogame Localization special feature on Outcast.it. [Online] Accessed: 27 November 2012). Available at:http://localization.it/podcast-videogame-localization-special-on-outcast-it/Dellepiane, A (2012). (not so) Funny accents, the case of Jamaican in the Italian Videogame Translations . [Online] Accessed: 27 November 2012).Available at: http://localization.it/not-so-funny-accents-the-case-of-jamaican-in-italian-videogame-translations/Bernal-Merino, M. (2007) .Challenges in the translation of video games. Revista tradumtica. Numero 5: Localizacio de videojocs. [Online] Accessed: 26November 2012). Available at: http://www.fti.uab.es/tradumatica/revista/num5/articles/02/02art.htmBernal-Merino, M. (2008). Where terminology meets literature. Multilingual. Volume 19 Issue 7. pp.42-44Chandler, H. (2005). The Game Localization Handbook. Massachusetts: Charles River Media.Crosignani, S. (2008). Preserving the spell in games localization. Multilingual. Volume 19 Issue 7. pp. 78-41Dellepiane, A. (2012). Writing for game translators: Dear Esther, the (ghost) in the (game) machine. . [Online] Accessed: 29 November 2012). Available at:http://localization.it/writing-for-game-translators-dear-esther-the-ghost-in-the-game-machine/Di Marco, F. (2007). Cultural Localization: Orientation and Disorientation in Japanese Video Games. Revista tradumtica. Numero 5: Localizacio devideojocs. [Online] Accessed: 26 November 2012). Available at: http://www.fti.uab.es/tradumatica/revista/num5/articles/06/06art.htmMangiron, C. & OHagan, M. (2006) Game Localization: unleashing imagination with