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Found 5 results

  1. Hey guys, I'm here to let you know that the 6th Game Quality Forum Europe will be held in Berlin on June (26th – 28th). Straight from their mouths: Your 2018 speaker faculty includes: Tulay McNally, QA Director, EA Tara Brannigan, Head of Customer Support and Community Management, Flaregames Alexander Murgatroyd, QA Manager, Space Ape Games Natalie Gladkaya, Head of Localisation, Plarium Jeffrey Otterspoor, Director of Community Operations, Gamepoint Sarah Beauter, Head of Localisation, Gameforge Sergej Mudruk, Team Lead Quality Assurance, Xing Nadege Josa, Senior Project Manager - Localisation Services - WWS Europe, Sony Interactive Entertainment Europe Pete McKay, Director of Social and Player Engagement, Socialpoint Florentina Neagu, Producer, Guerilla Games Euan Hislop, QA Analyst, CCP Games Miguel Hernández García, Localisation Coordinator, Nordeus Quite some prominent names, I'd say. They do have a steep price tag, but a conference of this size on a very specific topic is bound to have many useful insights from people all over. Very important to those who want to specialize in game localization, QA, or other professionals in this area. Other conferences that are not as niche have been harder to join, especially in Europe. Bear in mind though that this is not focused on translations specifically. That said, having an understanding of the processes involved helps you build rapport with the people who look for you for performing those nifty game translations. You can check their full programme here, if only for your curiosity. They are also offering a team discount of 20% if you bring in at least two more people from your group. You can get in touch with them at enquire@iqpc.co.uk or +44 (0) 207 036 1300. (You can ask him for the programme too instead of registering up in the previous paragraph) And if you do attend, please let us know what you thought of it. Did you ever participate in the previous editions? What did you think of it?
  2. "How a Major JRPG Wound Up Getting Totally Re-Written Months After Release" That was a post written by Patrick Kiepek on Waypoint. NIS America, a video game publisher and responsible for the JRPG game Ys release, made some faults on the localization of the game from Japanese into English and the feedback they received from the players community was intense. Owning up to their mistakes, their president wrote a apology letter that admitted their mistakes and promised to make it right. According to the fellow over here, this is one of the game's opening lines. That goes to showing that even big companies with experience on their backs can grave mistakes. Mistakes that happen often when people don't take responsibility for what is being made. More importantly, they had the guts to openly own their mistakes and, even better, to correct them. It's not something you see every day, and it definitely demonstrates the company's attitude, no matter their motivation. I figured this was a good example for us freelancers to be able to recognize our faults and act on them. And also as a reminder that big companies are not that apart from everybody else. Also, having understandable responsibilities that people are aware of during the workflow.
  3. Whether to localize or not is always a subject for debate, among informed and non-informed individuals alike, as well as between translation industry players, and developers, sometimes. Sergei Klimov runs Charlie Oscar, an independent studio working on original PC games. They localized their first game, released in 2015, into 12 languages in the span of 2 years, and he had a lot to share about their decisions, faults and rewards on the process. They had different phases in their launch. Mostly, the Early Access period, the full release, the Chinese New Year, and the months that followed. Each portion has its own developments, and I'll add here his takeaways so you may get a general understanding of it, but I advise you go to his post and read his account in details. It has lots of interesting information both for freelancers and developers/companies alike. He also went ahead and posted a detailed account of the sales to region vs actual use of the languages. Interesting notes. And a nice summary at the end: I was not surprised that the localization of the game in to Br-Pt didn't pan out very well. I don't know about the method or costs they went through, but as interesting as Gremlins, Inc. might be, the game got no exposure whatsoever and the trend in Brazil is to follow the big hits. Very small communities play independent games such as this one, especially one of a strategic nature, because it's difficult to get to know them, and all your friends will be playing Call of Duty. The one way I can imagine making it work is by having a very small team working on the localization at an affordable price for the studio. That way it's practically impossible not to cover the expenses. But, if they had invested in marketing it, that would have been an entirely different scenario. I hadn't heard about Gremlins so far, and I'm involved in a lot of gaming news and trends. Anyway, the information Sergei brought us is very interesting, and it's awesome to see what a developer thinks about localization. What did you learn from his post that you believe was invaluable?
  4. When I started out my career as a game localizer I looked for an agency to train me. My familiarity with games helped me immensely, but there was so much more depth to the game localization field (even if considering translations alone) than in other areas that I was thoroughly surprised. And glad, too, since that really meant there would always be something more to learn, and it would never get boring. One such special pieces from translations that most people never get to know is lyric translations. Rob T. worked on a song lyrics from Super Mario Odyssey and he shared some of the processes involved in crafting the translated version. Obviously, directly translating song lyrics leaves you with…well, something that won’t actually work as lyrics in the target language. But it’s clear that Suzuki-san and the team wanted something big and romantic. A love song of sorts. I listened to the song a few more times and set about creating a first draft of the English lyrics, taking the ideas from the above and fleshing them out so there would be enough syllables to match the rhythm and melody of the song. Rob continues by sharing some of the newer drafts (you can tell that plenty gets changed along the way), and even a demo recording of one of the versions made. People with keen attention and desire to do so will be able to compare the song rythim and momentum with the lyrics. Moreover, he talks about how a lyrics can change according to the sensation you want people to get from it (though that's to be expected, the importance of it can easily pass by unnoticed), and even more interestingly you'll notice how references can be inserted in the song without alienating those that are not a part of the group which understands them. So much work for a single song! He also goes on to talk about some of the history involved in the Mario universe. I don't know about you, but these things makes the game more powerful, in my opinion. Especially one where the background is so... hidden such as Mario's. I hope his account piked your interest. Or at least, your curiosity.
  5. I was checking out Level Up Translation when I found this blog post over here, by Damien. They have a list of useful tools for various localization efforts, and I was interested to see this portion over here: Now, these tools are aimed at game developers (maybe some of you are?), but they can also be of aid when working on a localization project yourself, or even when recommending solutions to a client, so keep them in mind. Cheers! @AaronCampos, @Igor Kozlov, @Anthony Teixeira, @Manuel J. Muñoz, @Shaimaa El-Shamy, @Renan Felipe dos Santos, @Gabriel Ninô, @Roxana Rivera this may come in handy. Would you guys be able to add to this list?
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