While the main focus of this study is not on the translation of videogames or even on the process of translating texts in the field of e-sports, but on the ways in which translation students deal with the translation of a demanding special field text. Nevertheless, it is important to look at previous research concerning the topic of video game translation in order to see how video games are translated and what kinds of translation strategies are employed by translators working on translating them.
Continuing on the previous topic of LSP translation from the viewpoint of video game translation is Pettini (2016: 62–64), who writes on the topic of translating what she refers to as “multimedia interactive entertainment software”, or what is more commonly known as video games. She notes that while videogames have a considerably shorter history than entertainment forms like poetry or theater, the industry of videogames has grown to become more lucrative than music or films. Indeed, according to Webb (2019), the global video
games industry totaled 119 billion dollars in revenue in 2018. Pettini (2016: 62) notes that, even though most video games are produced in the United States and Japan, the global spread of video games has been made possible through localization. She notes that the main source languages of localization are indeed English and Japanese. Touching specifically on the topic of game translation, Pettini notes that the term “video game” refers to an incredibly diverse field of games with differing genres. She also notes that games are multi-textual in the sense that they include, among others, dialogue, manuals and legal documents that also need to be translated.
Also talking about the nature of video games is Costales (2012) who begins with a brief history of the evolution of videogames. He recounts the process of videogames developing from very simple 2D shapes into the movie-like multimodal experiences we know today.
Similar to O’Hagan (2013), Costales notes that most modern games now employ spoken dialogue recorder by professional actors, which means that translators working on video games now have to deal with not only text but also voice and sometimes animation in terms of lip-syncing. Costales makes a point that O’Hagan missed, which is that most games also offer intralingual subtitling meaning subtitles in the same language as the game’s spoken language, which further increases the workload of the translators. Like O’Hagan Costales also touches on the subject of culture-specific content restrictions using the blood and gore restrictions imposed on games localized for sale in the German market.
Continuing on a different aspect of video game translation, Pettini (2016) focuses on the relationship between game translation and terminology. This is very similar to the way Faber (2012) approached the topic of the relationship between specialized translation and terminology. Pettini (2016: 66–67) begins with the notion that the translation of terminology specific to the platform of videogames is one of the most important areas of connection between game translation and terminology. She also notes that terminology is especially important in video game titles that have a multi-part series that has created its own set of terms within its story. This can be seen especially well in video games in the sci-fi or fantasy genres that have created whole worlds filled with unique terminology that needs to be translated to maintain the player’s immersion. She states that correct terminology is particularly significant when translating simulation games, where the proper translation of
subject field specific terms for the sake of upholding immersion becomes so important that it mirrors that of special language translation. The importance of terminology makes translation tools like glossaries and translation memories become paramount to maintaining consistency in all stages of the process of translating a video game.
O’Hagan (2013: 19) regards video game translation as a specialized translation sub-domain and continues by stating that game localization refers to:
all the many and varied processes involved in transforming game software developed in one country into a form suitable for sale in target territories, according to a new set of user environments with specific linguistic, cultural, and technical implications.
She continues that video games are not only technological but also distinctly cultural products, which increases the amount of potential translation problems.
O’Hagan (2013: 21–22) makes a point about the differences between software translation and game translation. She points out that videogames are constantly becoming more movie-like in terms of high quality graphics and voice acted cut-scenes. In recent years this progress has become even more apparent with the genre of video games that play like interactive movies having been extremely popular. The increase in cinematic features of videogames has led to game localization requiring the use of voice actors and dubbing in addition to just translators and text translation. Later on she uses the game Fable II as an example of this, as the localization of the game required the translation of not only 420,000 words of text but also the voice acting of more than 48,000 lines of dialogue. She mentions that another distinct difference between productivity software and games is the availability of high-speed internet connections has enabled the rise of online games.
Describing game localization in practice, O’Hagan (2013:111–122) begins with highlighting the global practices of game localization. She states that currently most video games are developed in English or Japanese, which leads to game developers utilizing localization as a tool to increase profits in regions where the demand for games in English or Japanese is smaller. This is reflected in the game League of Legends, which is currently available in at least 19 languages including Russian, Japanese, Korean, French and Spanish despite having been originally developed only in English. The diverse language palette is reflected also in the
e-sports scene of League. Both of these aspects will be further discussed in chapter 3 of this study. O’Hagan then notes that evidence has shown that the process of translating a game to a different language, or localization, should be started as early as possible in order to avoid compatibility problems later on. She names four models of game localization that are split into two pairs: first by who does the localization and second by when the localization is released. The first model O’Hagan (2013: 116–121) mentions is the in-house model where the localization is done under the supervision of the game’s developer or publisher. The second model is the outsourcing model where the localization is done externally outside of the developing studio. The next pair is the sim-ship model and its counterpart post-gold model. In the sim-ship model the localization of the game is shipped simultaneously to the original product, while in the post-gold model the localization is shipped often months after the original. According to O’Hagan (ibid.) the most common combination of these localization models is the outsourcing model paired with the sim-ship model.
O’Hagan (2013: 173–174) takes note of all of the different areas of video games that cause problems in the translation process. She begins her account of translation problems and appropriate strategies with culture-specific phenomena. She uses the translation of the Japanese game Final Fantasy X (2001) as an example. In a very dramatic scene in the game, the original Japanese phrase “Thank you” was changed in the translation. This was done because the meanings it conveyed to the original Japanese audience were more layered than a mere expression of gratitude, which would not have been clear to an English-speaking audience. What made this translation problem even more difficult was the fact that the new translation had to sync the movement of the characters lips in the scene. A counter example to this strategy is also offered by O’Hagan, who uses the translation of the game Ōkami (2006) as an example. The game is set in ancient Japan and is deeply ingrained with Japanese culture and history. Because of this the game was translated in a way that preserved these cultural references and the title was a success in the western market.
On the topic of translation strategies employed in the translation of videogames, Costales (2012: 394–404) lists multiple different strategies used by professional translators working on translating videogames. The first strategies shown by him are domestication and foreignization. He writes that both strategies are used in the translation of video games,
depending on the game itself. He uses the game Assassin’s Creed as an example where translations of multiple languages kept the Italian accent and phrases of characters due to the game being played through the eyes of an Italian assassin. Costales (ibid.) then uses the game Super Smash Bros Brawl as an example of domestication where the names of characters attacks where translated to contain puns and word plays in the target language, even when they were not present in the original Japanese version. He next highlights the strategy of no translation. He uses the game saga Street Fighter as an example where the Japanese names of various attacks used by different characters were left untranslated. He also uses the names of games or game series as an example of no translation, where the aim is for players all over the world to recognize the games from their original name. The strategy of transcreation is then highlighted by Costales (ibid.), who uses the same example of Final Fantasy X as O’Hagan (2013). In the game, translators had to create new names for various weapons due to the original Japanese names being untranslatable due to character count restrictions. On the strategy of literal translation Costales (2012) writes that it is employed usually in games that include lots of existing specific terminology like racing game or simulator games where players have to work with car parts, for example. He notes that in games like these the use of proper terminology becomes the main concern of translators. The last strategy highlighted by him is loyalty, where translators need to be aware of source material, for example video games based on existing movies or books like Harry Potter.
Costales (2012: 392–394) writes a section on the different genres and typologies of video games and how they affect the translation of the game and how it affects translation strategies.
He makes the point that the genre of a game greatly determines how much translatable content it contains. He uses a comparison between the RPG (role playing game) genre and the racing game genre noting that traditionally, RPG’s contain noticeably more translatable content. He does note, however, that in modern games the gaps between genres have been closing in terms of translatable text or dialogue. A slightly different take on the idea of videogame genres is offered by O’Hagan (2013: 66–71), who notes that while video games belong to different genres based on their gameplay (First Person Shooter [FPS] or RPG, etc.) there is variation within these genres based on the textual genre of the game (horror RPG or adventure RPG, etc.), which leads to translators needing to be able to recognize both the textual material of the game and how it is packaged. Costales (ibid.) notes that due to the
ongoing modernization of videogames, the amount of genres is fluctuating as games blend and mix genres together creating new ones. This can be clearly seen in the world of online-multiplayer games that are very dependent on sales trends to steer the development of new games. For example in the early 2010s the genre of MOBAs, or multiplayer online battle arenas, emerged which was a mix of real-time strategy games and action games. The MOBA genre then lost its popularity during the mid-2010s and was replaced in late 2010s with the even more popular genre of battle royale games, which were a mix of shooting and survival game genres.
Now that there has been discussion on previous research covering a wide array of topics on special languages, special language translation and specifically video game translation, the study moves on to discussing the relationships between e-sports, video games and translation.