Differences between video game localisation and standard translation

Although the discipline is relatively young, for a long time video game translation (or localisation in industry jargon) was entrusted to players rather than professional translators.

Nowadays, video game localisers are increasingly specialised in their field, and some even work in a translation agency that receives direct commissions from game publishers.

The differences between standard translation and video game translation are notable.

1. Video game translation: a very diverse field

On the American Translators Association website, you can find a two-part interview with Marina Ilari, an expert video game localiser, who reveals all the specificities, misconceptions as well as the positive and motivating aspects of this discipline.

The main characteristic of video game localisation is the variety of tasks. It is not just about translating the textual content of the games (menus, descriptions, dialogues, etc.), but also translating other documentation such as:

• Presentations, covers, advertisements and marketing content;
• Subtitling or dubbing of videos and other multimedia elements;
• Localisation and adaptation of units and measures;
• User manuals.

2. How to localise different styles of video games

There are many different styles of video games, each with its own terminology.
We can categorise them into 10 main genres, such as adventure, action, strategy, role-playing games, etc. Each genre has, in turn, an average of 5 subcategories.

Some localisers specialise in genres they are familiar with; others remain generalists, but often have to research specific terms from fields they are not familiar with.

Currently, video game localisation relies on computer-assisted translation (CAT) tools, such as translation memories that use translations already made for previously published games.

3. A good video game localisation requires access to a demo

Unlike a standard translation, localising a video game requires greater contextualisation of words to know which terminology is most suitable for the game's interactions. It's difficult to translate correctly if you can't see what is being talked about!

Ideally, the video game localiser should have access to a beta version of the game they are localising.

The localiser must have a clear understanding of each protagonist and scene to faithfully convey the original intent and tone. The approach is exactly the same as in the case of dubbing for film or television, where you have to put yourself "in the character's shoes".

4. The main limitations of video game localisation

Video game localisation faces several structural problems inherent to this field. I have identified four main problems:

• Large volumes of text to translate;
• Very short deadlines granted by the game publishers;
• Lack of information about the game;
• A certain lack of recognition ("worker behind the curtains").

The amount of words to translate is much more significant than you might imagine. Unlike a book, a video game has no pages, but most have a very high amount of text.

Modern video games, like RPGs, can have the same amount of text as novels, with an average of 50,000 to 100,000 words in English.

In the end, it is a specialised field that is far from the playful ideal you might have in mind: great limitations, very short deadlines for sometimes limited pay, a lot of competition, etc. But what wouldn't we do for passion?

Turning to a translation agency specialised in video games is a simple way to facilitate the marketing of a game in a new country.