GDC 2005

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(No Transcript)
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Rethinking Game Localization as Global Game
Development
Presented by Miguel Bernal, Roehampton
University Heather Chandler, Media Sunshine
Inc. Tom Edwards, Englobe Inc. Fabio Minazzi,
Binari Sonori Srl
A special panel session sponsored by
20 FEB. 2008, 1030-1130AM
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Agenda

• Introduction
• Localization as Core Game Development
• Translation and Translators
• Localizing Game Audio
• Content Culturalization Geocultural Issues
• Discussion/QA

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The Game Industrys Future is Global

• PricewaterhouseCoopers 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 ones global exposure, which means
  implicitly localizing content as part of game
  development.

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Integrating Localization is Critical

• 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.

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Localization as Core Game Development

• Heather Chandler
• Executive Producer
• Media Sunshine Inc.
• heather_at_mediasunshine.com

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Current State of Game Localization
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

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Sample Game

• 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

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Estimated Production Time

• 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)

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Estimated 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

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Desired State of Game Localization
Pre-Production Production
Post-Production Release

• Localization Friendly Code
• Determine Content Scope
• Define distribution
• Select vendors
• Review content w/vendors
• Content audit

• Organize assets
• Complete translation
• Complete VO recording
• Integrate assets
• Develop testing plan
• Cultural content review

• Complete integration
• Linguistic testing and fixes
• Review tech requirements
• Final content check, all issues identified

• Final approval on localizations
• Resolution of any remaining issues

• End-to-end process
• Starts in pre-production
• Proactively plans for localizations
• Plans for technical, process and content needs

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Keys to Localization

• Technical
• Localization-friendly code
• Automation
• Process
• Scheduling
• Asset management
• Testing
• Content
• Political Cultural sensitivity
• Assume global audience
• Ratings boards

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Translation Translators

• Miguel Bernal
• Lecturer in Media Translation
• Roehampton University London
• m.bernal_at_roehampton.ac.uk

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Translation (1/3)

• ?Data ?Tools ??Quality ??Time

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Translation (2/3)

• Creativity? Yes. Context Co-text

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Translation (3/3)

• Natural Vs Artificial Languages
• ???????? ?? ??
• The warrior will not kill the dragon
• El/La guerrero/a no matará al ael dragón/ a la
  dragona
• Immersion and Variables
• GH_ADJ GH_NOUN GH_VERB GH_VENUE
• Great performance electrifies The Palace

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Translators and testers

• Trained in audiovisual translation.
• Aptitude for creative and technical writing.
• CAT trained.
• Build in l10n toolkits compatible with CAT tools
  that
• allow translators to correct text directly.

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Localizing Game Audio

• Fabio Minazzi
• Localization Manager
• Binari Sonori Srl
• fabio.minazzi_at_binarisonori.com

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Contents of presentation

• Overview of the audio localization process
• The central role of the script in the
  localization process

Global audio production chain
Country 1
In-country Audio Production Unit
Centralized
Development Team
Country 2
CoordinationIntl Pre-Production Intl
Post-Production QA
In-country Audio Production Unit
Audio Studio
Country n
In-country Audio Production Unit
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The audio localization process
SCRIPT
Localization script affects all phases, all loc
team
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The Localization script fundamentals

• Localization script is not the Production script
• Localization script must contain a minimal set
  of critical information for localization

• Layout
• One line one sentence by one character
• Different information gt separate columns

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Information to be extracted from 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

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Managing script updates

• Carefully track original studio changes
• Handoff for loc consistent script and A/V assets

Scenario Original audio production 10 to 50
actors FIGS localizationgt 40 200 actors What
happens when script is updated?
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Impact of script changes
the audio localization resets ?

• 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

UPDATE
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Conclusions on Audio Localization

• The localization script is not only a tool for
  actors to speak, its 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

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Content Culturalization Geocultural Issues

• Tom Edwards
• Principal Consultant
• Englobe Inc.
• tomedw_at_englobe.com

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Why Culturalize Game Content?

• Culturalization is a step further beyond
  localization to take a deeper look into a games
  content choices and gauging their viability in a
  multicultural marketplace.
• Culturalization helps gamers potentially engage
  the games content at a deeper, more meaningful
  level.
• Primary Goal Protect the game developers (and
  industrys) 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.

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Why Culturalize Game Content? Because of
religious issues like in Kakuto Chojin in 2003

• Audio containing chanted verses from the Islamic
  Quran was mistakenly included in the game.

• 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).

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Learn More about Geocultural Issues

• Toms lecture entitled
• Self-Censoring Potential Content Risks for
• Global Audiences Why, How and When
• Time Thursday, 1200-100pm
• Place Room 2002, West Hall

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Concluding 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).

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Thank you for attending!Questions or Comments?
Contact Information Miguel m.bernal_at_roehampton
.ac.uk Heather heather_at_mediasunshine.com Tom
tomedw_at_englobe.com Fabio fabio.minazzi_at_binaris
onori.com
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Bibliography Recommended Reading

• Bernal-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/trad
  umatica/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
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• Díaz-Montón, D. 2007. Its a funny game, The
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• Di Marco, F. 2007. Cultural Localization
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• Edwards, T. 2007. Geocultural literacy, part 1,
  Multilingual, volume 18, issue 90 29-31.
  www.multilingual.com
• -----2006. Navigating the Geocultural Edge of
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• Finegan, P. 2006. Games quality, localization
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• Heimburg, E. Sept. 2003. Localizing MMORPGS.
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• Mandel, R. 2000. Unravelling the mysteries of
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• Sioli, F., Minazzi, F. Ballista, A. 2007.
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