Localization 101

Video Game Localization 101

You might think, why does it take so damn long? Or, those lazy localization bastards! They’re just drinking beer and posting cat pictures on twitter while I wait for my game! Well, we are, but we’re also working. This is who we are and what we do…

What is localization?

Video game localization, very basically put, is the process of bringing over and adapting games for an audience outside of their country of origin.

Why does a game need to be localized at all? Why not just translate it directly and be done with it?

Strict 1:1 translation doesn’t really lend itself well to a product made for entertainment, I’m afraid. Literal translations often end up stilted and borderline incomprehensible, and companies (this is a business in the end, remember) want their product to be appealing (i.e. make sense and be pleasant) to the largest audience possible.

Or, as coworker and translator Tom Lipschultz put it:

“…a direct translation is LESS accurate, in most cases, than a quality localization.

Language isn’t just about words, but emotions and nuances as well. And those are exactly the things that straight translations miss. In order to successfully convey the same meaning as the Japanese – in full, including the emotional content and all nuances – you absolutely NEED to localize it.

A straight translation will rarely ever convey the full meaning of what’s being said, since Germanic languages and Asian languages are simply too different in structure for that to occur naturally.”

Personal philosophy:

Intent and meaning over a literal translation. A quality localization will deliver a natural script that contains the content, subtlety, and nuances of the original Japanese.

Who and what does it take to bring a game over?

People/Roles:

• Dev Team – The talented people who made/make the game and monkey with the original code to allow for English text, graphics, features, etc. to be implemented for a Western release.
  
• Big Boss/Acquisitions Person/General Overlord – The person in charge of contacting the development team/game company and negotiating/acquiring the rights to publish the game in other territories (usually NA and EU).
  
• Coordinator (JP side) – Usually a project manager or special point of contact on the Jpn side that relays info (schedule, files, marketing, etc.) to the dev team from the NA publisher.
  
• Coordinator (NA side) – Usually the overall loc manager or project manager on the NA side that’s coordinating the NA resources to localize the game. This involves scheduling, assigning jobs to the NA team (translation, editing, ESRB, etc.), organizing external QA, contracting voice recording studios, etc.
  
• Translator – The person assigned the task of converting the original Japanese script into raw English.
  
• Editor – The person assigned the task of rendering the raw English into natural English, assuring overall tone and consistency, and proofing the text.
  
• Copy Editor- A person who acts as second layer of proofing before QA. Charged with correcting any remaining issues with grammar, spelling, typos, inconsistencies, etc. (Usually a luxury and not often available for projects due to tight deadlines, multiple projects, budget, etc.).
  
• Recording Team – Usually a two man team consisting of a Japanese speaker and an editor (who worked on the game) that oversees the recording of the dub for the project.
  
• QA Team – Almost always consisting of an external QA house contracted to vet the stability/compliance of the overall game from both a technical and textual standpoint, and a small internal QA team usually made up of those who worked on the game (translator, editor, copy editor, etc.).
  
• Ratings Submitter – The person tasked with compiling and submitting any pertinent in-game content (violence, sexuality, alcohol, gambling, etc.) to the various ratings boards (ESRB, PEGI, ACB, etc.).
  
• Master Submission – The person charged with submitting the complete, localized game to first party (SCEA, NOA, etc.). Usually the localization manager or project manager.
  

Bringing Over a Game: The Process

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Example (simplified) Schedule:

Here is what a schedule might look like for a small to medium-sized game that’s dubbed and being released physically and digitally*.

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*The creation of a digital manual, design and creation of a physical manual, metadata, packaging, website, and other marketing initiatives not shown.

Why are you telling us this incredibly basic and not very exciting stuff?

Lately, localization has become something of a dirty word. Back and forth online, people dissect new announcements or bemoan unannounced titles with a kind of flippant viciousness and decidedly simplistic take on the things involved in working on a game. ‘Localization’ seems to be either just 'translation’ or an evil practice designed to mutilate because, well, that’s what evil people do.

Why won’t ___ bring over ___? Translation can’t be that much! How cheap are they?!

Why aren’t we getting ____ feature?

How can it be delayed?! It’s been out in Japan for AGES!

I find it all a bit…depressing and not a little frustrating given how complex the process actually is. It’s an endeavor that has many hurdles to overcome and takes numerous people to complete, and to think that companies or localization teams are are just being cheap or lazy or malicious is making it all a bit too personal. I do understand that a lot of the discontent with localization these days revolves around the philosophy behind decisions in the text or content, and while I don’t get into that particular snarl very much here, I do think that a lot of the nitpicking comes from a lack of understanding about what the entire process actually entails. Things like budget, deadlines, licensing limitations, or how some idiot super-glued a debug unit and gimped QA (Hi!) may not be the most exciting of details for fans to hear as the reasons behind why a game doesn’t have dual audio, gets delayed, or the script stumbles, but there it is.

Now, I’m not asking people to overlook mistakes or compromise on their preferences but to take/make them in the context that is the complicated and sometimes tumultuous process that is localizing a game for release overseas. And since that process isn’t really clear or well-known (at least not from what I can see online), I thought I’d lay it out here. Bacon.

                                                  - Jess (@HProtagonista)

Further Reading:

For more details on the costs of localizing a game and how this might affect the state of your game, please see:

How the Sausage Gets Made

For more details on the challenges of localizing the text in a game, please see:

Getting JRPGs Out In English Is Harder Than You Think

(an interview with Brittany Avery)

For more details on the EU release side of things, please see:

EU Release Work (a la me (XSEED))

For the ever contentious sub vs. dub discussion, please see:

Voice Rights and Availability (a la Tom (XSEED))

For more details on the general trials and tribulations of publishing localized games, please see:

Why Do Video Games Take So Long to Publish (Hatsuu)

For why Kickstarter is not the panacea to cure all niche game ills, please see:

Problems with Using Kickstarter for Localization: One POV (Wired article - XSEED)

Anonymous asked: Hey Jess! So you're doing remote localization freelance work now, right? I would love to get into doing that - currently on JET but way out in the inaka and probably moving to the Northeast US next August. I have Japanese/CS bachelors' and a website where I post my translation work, and occasionally stream translating stuff on Twitch and whatnot. My worry is meeting the right people to get involved. Do you have any tips on that? Thanks, btw, really liked your big post on localization costs.

I am! Australia’s actually not a bad position to be in when it comes to this stuff. Spiders aside, anyway.

And, hey! A fellow JET! I, too, was in the boondocks for my position, but it’s a great experience, and you’ll be happy to know that one of the running themes I’ve found in the localization industry (for both editors and translators) was having been on JET.

So, for your question, meeting the right people and being in the right place can have a pretty big impact on work. It’s also a pretty small (i.e. VERY SMALL) section of the industry, so getting your timing right to even get noticed can be a helluva thing. If you don’t actually have anyone in this line of work to help you with introductions, what I would suggest is:

1) If you’re not already familiar with the publishers and developers that localize and release games, get studying. You might know the famous guys like Nintendo’s Treehouse, 8-4, or you might know the purveyors of all things niche like XSEED, Aksys, NISA, etc., but there are lots of little or more obscure operations out there (think visual novels, STEAM guys, apps trying to make it over…) that could be your chance to get some work published and in the wild.

2) Event opportunities - This one’s hard for most, because who has that much money to throw around attending things all over the country like E3, PAX, GameStop Show, cons, etc.? However, going to something like these gives you a chance to actually meet people working on the games without a meeting or official intro. I’ve had several mini-meetings in the past with localization hopefuls or upcoming translators during my breaks at E3, and as exhausting as those events are, I’m always impressed by people putting themselves forward, so I’ve tried to give them a bit of time and advice when I could. Now, I’m not suggesting people bombard others working at events, but a request for a quick meeting with an offer for coffee is a siren call I know I haven’t been able to resist. Just don’t go into it trying to sell yourself. Approach it like a ‘pick your brain’ or chat or ask about the work they’ve done/the industry. Nobody is going to want to use their break to hear a work pitch. Many are happy to share war stories for a beer, though. :)

3) Social Media - This might sound cheesy, but having an active and robust online profile gives you a chance to talk with and perhaps even get familiar with some people in the industry. Just having a chat now and then with people online has led to enough of a familiarity that when I get requests from names I know (like for meetings or exchanges or advice), a lot of the time I answer or accept. That might just be me, but I still think it’s a way to get your name out there and recognizable to those you’re looking to attract. That you have a website and stream is a great start. Be sure to set up a Twitter as well if you haven’t already.

4) JET - I never used this myself, but JET has a pretty decent record for arranging get-togethers with the express purpose of networking. Be sure to check your area when you land back stateside for other Japanese networkers too. There were a ton in NY and LA when I got back, and there are even a bunch here in Melb.

5) Resume/portfolio - Get this puppy as updated and packed with stuff that shows your skills as best you can and be ready to send it to companies when you get back, open positions listed or no. It’s a slim chance without an actual opening being posted, but depending on the company, your resume may be looked at and filed away for when there is a position open in the future. I looked at and filed away several of those that came through XSEED for just that purpose. If the boss got a cool one or I saw one that impressed or intrigued, we’d hold on to that shit. In this way, you may already place yourself in line when a slot opens up or at least get your name recognizable to those screening when the flood comes in. Naturally, do keep an eye out on all job boards for a chance to send in a resume when jobs are advertised, but you have nothing to lose by sending out your stuff for reference early in case. At least I don’t think so, anyway.

So…basically, lieu of actually knowing anyone, your goal is to do your research and know where your opportunities are, and then aim your efforts very particularly where there’s a chance they’ll bear fruit. It’s a tough field to get into, so don’t be disheartened if it takes a lot of time or it seems you’re not making much headway. It’s all about just attacking it from different angles.

And there’s always tip #6 if 1-5 don’t help: Craigslist

No, seriously. I got my job at XSEED through a Craigslist add. The world is a strange place, huh?

Anonymous asked: Please, post a pic of your feet. S2

Originally posted by tinnkerbells

Anonymous asked: Hello i just want to ask why did you quit XSEED?

For love and adventure~

No, seriously. I met my husband years back when I was working in Japan, and we later reconnected/started dating and both thought it would be swell to live on the same continent for a change since I was in L.A. and he was in Japan. He’s Australian and had always toyed with the idea of returning home, so we considered our options, and Australia won out in the end. I miss XSEED terribly, but they’ve been good sports and kept me on board with projects while I fight off the local wildlife and write books here. I’ve also flown back to help out with E3 the past two years and bang heads together when needed, so they’re never really far from the gentle caress of my manager’s whip.

Anonymous asked: i'm interested in becoming a game localizer. what sort of degree(s) should i aim for?

That depends a lot on what exactly you want to do in the localization field. To be honest, though, the only one at XSEED who even remotely has a degree that connects to his work is Tom, I think (English degree). The rest of us sort of just meandered into the field, degrees or no degrees at all. I guess you could say I used my diplomacy studies when I became manager? :D

If Japanese –> English is your localization focus, however, a degree in Japanese, English, Asian Studies, etc., would certainly not be amiss. Scoring well on the JLPT also works a treat if you wanted to be a translator. I, personally, think experience and proven skills count for more, though. Being on something like the JET program, creating something tangible out of your interests (portfolio of work, translation samples, writing books, creating games, etc.), and basically showing that you’re actively enriching yourself in relation to the field always caught my eye when I went through resumes.

Basically, don’t get hung up on the degree part, but do carefully plot a path that demonstrates you mean business.

horehay-yang asked: Hi! I have a question. I love jrpgs and I want to get in the video game industry. But I don't know any Japanese...how hard would it be for me to get in if its not a localization position/job?

Hmmm… Well, there are plenty of options available even if you don’t speak Japanese. There’s Marketing, Programming, QA, Production, Design, etc. Endless possibilities, really. You just need to double-down on a focus (tech, art, writing, organizational talents, etc.) and go for it! Some of XSEED’s best and brightest started without Japanese experience. Pure guts, tenacity, and cupcakes won them slots.

How the Sausage Gets Made

Some of the Costs Associated w/ Localization (Digital-only*)

*Costs associated with the actual printing, approval, design, delivery, cost of shelf space, advertising , etc. aren’t something I know the exact $ specifics of, but they are very significant.

• Licensing a game & dev team time: Dev time is money
  

The right to publish a game in another territory can cost some serious money. What you’re paying for here are the distribution rights, licensing fees, and for the team to not only implement your text but also work with you through the QA process to make adjustments. Even modestly-sized projects can last many, many months, so the dev team needs to be secured for putting the text in and then later on for builds/inserting fixes even if QA comes a month or two later down the line after implementation.

Programming work extras: English menus and graphics also have to be redone, so it’s not just a matter of handing over English text and them copy/pasting it somewhere. Artists often have to work to retool this stuff before it can be added in. Programming-wise, internal codes have to be switched to add service ID, communication IDs, windows have to be adjusted to accommodate the translation because English takes up more space, etc.

• Translation & Editing: Less people is better
  

This includes not just text, but digital manuals as well which adds to time/design costs. <– don’t forget.

The size of the game and deadline sets your team numbers, basically. At XSEED we prefer to have as small a team as possible to ensure consistency of text and tone, but if the game is huge and the deadline is tight, we’ve thrown as much as 3 translators and 2 editors at titles before. Obviously, the more cooks you have in the kitchen, the greater the chance of fuck ups, so ideally you want less people. Just hiring 5 translators to bang out your text does get it done fast, but then you have to sort those 5 different styles into a single game. It’s not pretty. Less is more here and throwing more people at it tends to make it worse.

Extras: Having a proofer go over the edited files would be a useful addition after the editing phase, but that’s considered extra. Usually it’s up to editors to sort that out and then QA to catch misses.

• Voice Recording: Studio + actors + directors + producers = oh my
  

Recording is a huge part of the process even if it only takes a month or so to wrap up.

Work needed:

Script – You’ll get the Jpn original, but have to add in the English equivalents. Often, there are time limits on the length of the Japanese voices that have to be matched in-game. This is for game size reasons, scene length, lip flaps if the scene is animated, etc. Restricted length adds time to recording, so your recording costs will go up accordingly.
Work on scripts can also only be done towards the end or after editing has been finished because you need in-game lines for the script so that they match the internal text. One of the great joys of recording is finding out in the studio that a line in game is entirely too long for the voiced file and you have to edit/rewrite on the fly. This is often caught when you’re working up the script (as editor and then manager I used to do these), but there’s always something. Always.

People needed:

Sound Technician – The sound board jockeys. They capture the lines, fix the quality, and handle all the voice files. (*part of the overall studio cost you’re paying for)

Actors – Maybe you have an awesome budget and can afford one VA per character, but this usually isn’t the case. Most VAs can expect to voice at least 2-3 characters (1 main, 2 NPC, etc.) in a game for smaller budget titles. (*part of the overall studio cost you’re paying for)

Director – This is usually part of the overall studio deal. These guys and gals run the show while you’re there and direct the VA/ensure pace is being met so that the schedule holds. Some companies have their own personnel for this, so it’s not a certain cost (though usually). I did this when the director was also a VA in the game or they had some schedule conflicts. (*usually part of the overall studio cost you’re paying for)

Producer/Company Rep – It’s imperative to have someone who knows the text (usually the editor of script maker) attend recording. They’re there to explain characters, context, clarify lines, rewrite, direct, and basically approve the takes as they come in. Sure you can just hand off your script to a studio and say ‘go nuts’, but it’s your funeral. (*not part of the studio ‘budget’)

Translator – Not sure for other companies, but we usually send 2 people to recording, and one of them is a Japanese speaker. Most everyone at XSEED speaks or reads Japanese (to varying degrees), but when you’re uncertain of a line it’s best to check in with a native speaker to make sure you have the original intention of the line correct. (*not part of the studio ‘budget’.)

Notes on subtitles-only (because people think they can just cut costs by not recording): You say that Japanese-only is fine for you, but a publisher loses a significant chunk of sales if there is not an English dub. Is it worth it for the company to release a game with so much of their potential audience written off? Not usually. There are exceptions, of course (companies with smaller expectations for one), but it can have a huge impact on your sales/audience reached. If a company were aiming for a dual release (digi and physical) then a dub is almost always needed because it’s difficult to get store placement otherwise.

And, as others have said, the voices are not often even licensable for an NA/EU release.

Please see Tom’s posts below for more info.

• Ratings: This shit ain’t free, takes time to prepare and submit, and it is required if you want to release in these territories.
  

ESRB (US Rating)
PEGI (EU Rating)
UK Rating
USK (German Rating)
Aus/NZ Rating
DJCTQ (Brazilian Rating) You’ll need a physical proxy in Brazil currently to even get this.

GSRR (China) (Game Software Rating Regulations)

• QA: Internal, external, text, compliance, etc.
  

Depending on the size of your game and the complexity (multiplayer? DLC? Branching storylines?) you’ll need at least a month, usually way more for this. Cost-wise, unless you have an internal team that knows all the latest compliance rules and how to test them, you’ll be hiring one of the outside QA companies to make sure all your region settings are correct, the ratings are set correctly, people aren’t sticking to buildings and exploding (this has happened), etc.

Your internal team will usually comb for text bugs, check manuals, do playthrough, etc.

QA can be hell, and skimping on costs here always bites you in the ass later.

• Submission: Time is money
  

Submitting to first party doesn’t cost you a fee, but it is something that takes a lot of prep and checking to make sure it’s done right and then you have to babysit it as it goes through and address all bugs that come up, changes you’re asked to make, and sometimes have a spirited back and forth on things you think deserve to be waived. Sometimes for the more complicated and contentious bugs, you’ll have people from the first party in other territories weighing in as well, so your ‘bug’ could take weeks to sort as everyone has their say. Failing master will cost you more time and therefore more money because the dev team (who probably thought they were finished) now have to hang around and fix whatever the issue is and then wait again for resubmission to run its course.

• Marketing: Plans, people, designers, ad space, websites, etc.
  

Most people think commercials or GameStop store cardboard cut outs and promotions when they think ‘marketing’ for games, but a lot of the work includes stuff like the website (from scratch and written up by your internal team or translated and touched up?), press blasts, sending out review copies, arranging/doing Q&As, interviews, etc. Everyone seems to take this stuff for granted, but it takes people and effort and therefore more time and money. Granted, big money comes into play when you do ad placements, banners, and the like, but just depends on your budget, really.

Other localization considerations:

EU Release Work (a la me (XSEED)) - http://www.neogaf.com/forum/showpost.php?p=99968774&postcount=83

Voice Rights and Availability (a la Tom (XSEED))- http://www.neogaf.com/forum/showthread.php?t=525009%29

General Trials and Tribulations of Publishing Localized Games (a la Hatsuu (XSEED)) - http://hatsuu.tumblr.com/post/55401774233/why-video-games-take-so-long-to-publish

Problems with Using Kickstarter for Localization: One POV (Wired article - XSEED)  - http://www.wired.com/gamelife/2012/02/kickstarter-blindside/all/

Very Detailed Info on the Work That Goes Into the Text w/ Charts and Examples (a la Hatsuu via Kotaku) - http://kotaku.com/getting-jrpgs-out-in-english-is-harder-than-you-think-1441094168

tl;dr - Localization takes a lot of fucking work.

*11/25: Added China’s rating. Thanks, @__VAGABOND.