The Translation of Video Game Titles in the Chinese Market (original) (raw)

Jank or Agenda? Janky or non-fluent? A small-scale practitioner survey on Chinese-English videogame localisation approaches

Digital Translation, 2025

At a time when China is one of the world’s largest videogame markets, the English translation of some Chinese-developed videogames is still regarded by some players as inadequate, or “janky”, the term originally used to describe a technical glitch (Cooper 2018). This preliminary study surveyed localisation specialists active in Chinese into English (ZH-EN) videogame localisation to probe into their localisation methods and the reasons behind them, and determine whether localisers indeed used a “janky” translation as the result of lack of experience and training, or whether it was a deliberate translation decision, as in “non-fluent” translation (Brownlie 2010). The collected data was analysed to investigate the plausibility of the assumption that Chinese-developed videogames rendered into English sometimes employ marked English, as in China English, to intentionally identify them as Chinese-made. Results of the explorative small-scale survey of professionals were found to be largely in favour of optimal English fluency, including the omission of culturally locked elements such as idiomatic phrases, suggesting that “janky”, rather than “non-fluent”, translation resulted, most likely due to a limited experience and lapses in quality assurance.

Translation of Mobile Game Titles: Trends and Implications

Journal of Translation Studies, 2023

This study tailors a classification for the translation strategies used for mobile game titles, based on classifications used in film title translation, with a focus on the Turkish mobile game publishers. The study found that the dominant strategy among the mobile game developers was no translation, followed by partial translation and no translation plus a catchy explanation. Also, the study proves that cooperation with another publisher and publishing year are major factors connected to the translation strategy employed. It has been understood that the translations of mobile game names need to be examined with a unique innovative perspective. The study suggests that a participant-oriented approach which includes agents active in the process is needed for further studies.

Found in Translation: Evolving Approaches for the Localization of Japanese Video Games

2021

Japanese video games have entertained players around the world and played an important role in the video game industry since its origins. In order to export Japanese games overseas, they need to be localized, i.e., they need to be technically, linguistically, and culturally adapted for the territories where they will be sold. This article hopes to shed light onto the current localization practices for Japanese games, their reception in North America, and how users’ feedback can contribute to fine-tuning localization strategies. After briefly defining what game localization entails, an overview of the localization practices followed by Japanese developers and publishers is provided. Next, the paper presents three brief case studies of the strategies applied to the localization into English of three renowned Japanese video game sagas set in Japan: Persona (1996–present), Phoenix Wright: Ace Attorney (2005–present), and Yakuza (2005–present). The objective of the paper is to analyze ho...

Putting Pleasure First: Localizing Japanese Video Games

TTR : traduction, terminologie, rédaction, 2000

Since their humble beginnings, video games have undergone huge technological advances, becoming a significant global industry today and highlighting the role played by translation and localization. Despite the continuing localization activities undertaken in the industry, translation studies (TS) have not paid much attention to video games as a research domain. Drawing on the author’s previous work on the Japanese Role Playing Game (RPG) Final Fantasy titles, this paper attempts to demonstrate the ample research scope that this domain presents for TS scholars. In particular, it discusses the unique localization model used by Final Fantasy’s Japanese publisher, illustrating how the games’ new digital platform allows the (re)creation of a new gameplaying pleasure directly through the localization process itself. In this model, the original game merely sets off a chain of improvements through localization. In turn, understanding the different pleasures drawn from different localized ve...

Video games as a new domain for translation research : from translating text to translating experience

2007

Resum: Els videojocs han crescut fins a convertir-se en una indústria d'entreteniment global. Aquesta globalitat no s'hauria aconseguit sense els esforços de transferència lingüística que fan que els jocs, independentment de l'origen que tinguin, arribin als jugadors en la seva llengua i contextos culturals. Malgrat la importància crucial que té la traducció, el seu valor no es té en compte en els estudis sobre videojocs, ni tampoc en els estudis de la traducció. Posant un èmfasi especial en la multidimensionalitat i en la multimodalitat dels videojocs, aquest treball defensa que la recerca sobre videojocs des de la perspectiva dels estudis de la traducció no sols serà profitosa per a la indústria dels jocs sinó també per als mateixos estudis de traducció, atès que obre noves vies de recerca.

Translator’s Agency and Features of Non-professional Translation of Video Games (A Case Study of Uncharted 4: A Thief's End)

This qualitative research set out to describe translation of video games into Persian from a non-professional translation lens. The study examined the translation and subtitling of cut-scenes in a fan-video recording of the game Uncharted 4: A Thief's End. These cut-scenes were non-professionally subtitled and uploaded on Aparat.com to share with other Persian-speaking gamers. Initially, the paper presents the key literature on game localization and describes the status quo video games in Iran and non-professional translation. In the next section, the collected data were presented and analyzed at two levels of macro and micro. The interview results of the macro-level revealed the subtitler’s background information, aims and motivations. At the micro-level, the non-professional Persian subtitles of a five-hour video recording were analyzed in terms of translator’s visibility and agency as well as technical and linguistic issues. The findings suggested that the aim of this novice subtitler for volunteering to render the cut-scenes into Persian was to improve his command of English language and to enjoy himself in gaming. In other words, he was seeking cultural in addition to symbolic capital. Other results suggested the visibility and presence of the subtitler in the translation through the frequent use of glosses and explanations. Analysis of the subtitles at textual and technical levels showed that in multiple cases the generally recommended regulations in terms of time and space related constraints were not respected and mistranslation of idioms was frequent.

The Localisation of Japanese Video Games: Striking the Right Balance

The Journal of Internationalization and Localization, 2012

Over the course of the last three decades the entertainment software industry has become a multibillion dollar industry and a worldwide phenomenon. The United States and Japan have traditionally been the main players in this industry, which owes part of its global success to internationalisation and the associated localisation processes. Due to the cultural distance between Japan and Western countries, Japanese games often undergo extensive cultural adaptation in order to market them successfully in those territories. This paper analyses the localisation of Japanese console games. After presenting a brief overview of the history of the localisation of Japanese games it describes the main internationalisation strategies adopted by Japanese developers and publishers. It also explores the main localisation strategies applied to Japanese games, i.e. domesticating or exoticising, exploring the cultural adaptation processes to which some Japanese games have been subject, and examines how ...

Strategies of Localizing Video Games into Arabic: A Case Study of PUBG and Free Fire

Open Cultural Studies

Video game localization is the process of adjusting a current video game to make it available, usable, and culturally appropriate to the target audience. This study aims to investigate the strategies that translators use in localizing PUBG and Free Fire video games into Arabic. The data were extracted from interfaces and in-game captions of the two video games. Due to space constraints, a representative subset of the collected data was then selected and analysed according to the translation strategies proposed by Díaz-Cintas, and Remael (2014). The analysis showed that the localizers have more often used transposition and literal translation strategies. They also tried to adapt the text to suit the target-language culture as much as possible. The findings of this study will be helpful to translators, localizers, and trainers. By adopting the most relevant translation strategies outlined in this article, game localizers will hopefully be better equipped with the mechanisms of video g...

Genre and Translation Style in Chinese Translation of Hollywood Blockbuster Movie Titles in Mainland China and Hong Kong

Journal of Modern Languages, 2023

The title of a movie is the first to attract the audience's attention. Poorly translated movie titles may result in a "low box office", as translators in different countries have their styles and preferences in translating film titles, which might eventually result in different translations of the same movie title and cause confusion to the audience. This qualitative research used exploratory induction to investigate the influence of genre and translation style on the Chinese translation of Hollywood blockbuster movie titles in Mainland China and Hong Kong. Titles of 300 Chinese movies produced between 2001 and 2020 were purposefully selected from the top 50 Hollywood movies in the adventure, horror, and action genres. Genre was found to be slightly effective in the choice of translation style and strategies. Among the three genres, horror was found to have the greatest influence on the choice of translation strategy. It was concluded that translators from Mainland China were more conservative in title translation compared to translators from Hong Kong, whose attempt was to create innovative translations. The findings may have some theoretical and