Game Localisation

Video games have evolved to become a pervasive format which is beyond entertainment, enjoyed by a broad group of people rather than as a niche activity by hardcore gamers. However, to date, academic studies focusing on game localization and accessibility are few and far between, despite the fact that further research in localization and accessibility would be beneficial to all. The different contributions in this pioneering volume address the emerging fields of Game Accessibility and Game Localization from different angles, providing insightful information about these relatively unexplored academic areas with such close tights to the industry. The volume is divided in two sections: the first section includes four contributions on Game Accessibility, dealing with issues such as universally accessible games and guidelines for promoting accessibility. The second section of the book includes nine contributions focussing on different issues affecting game translation and localization, su...

Gender issues in the media and, particularly, in video games have been extensively investigated over the past decades (see Ross 2020). Conversely, the linguistic and cultural dimension of gender is still understudied and, due to the challenges it may pose in translation, especially when the transfer is from the mainly semantic gender system of English into the grammatical gender system of Romance languages, systematic research is paramount. This paper examines a fantasy war-themed role-playing game titled Dragon Age: Inquisition (Electronic Arts 2014), which presents a gender-customizable playable character, and which was purposefully selected in order to extend the realism-fictionality spectrum of war video games developed by Pettini (2020). This study investigates the representation of female characters in the game and analyzes the translation of gender from English into Italian and Spanish from the perspective of Game Localization (O’Hagan and Mangiron 2013; Bernal-Merino 2015). Parallel excerpts from in-game dialogues are compared in order to (1) explain how gender as a variable affects game translation, (2) show whether and how female characters are represented through language in the original game and through translation in the two localizations, and (3) make a quantitative and qualitative comparison between the Italian and Spanish translational approach. As findings show, this research analysis confirms clear linguacultural-specific tendencies (Pettini 2020) which, as concerns Italian, disclose a sociocultural resistance to the symmetrical use of the language of gender.

The paper deals with style guides in the process of localization. It explains their structure and contents. Eight main chapters of localization style guides were identified: Introduction, Company Voice, Content Types, Product-Related Information, Linguistic Information, Internationalization, Additional References and Updates. Furthermore, the paper also explains the main chapters of a videogame context document and information presented to translators in it, which are: Target Player, Formatting, Tone, Characters, World, Context Hints and Q&A. The aim of the paper is to pose as a foundation for further work in the process of teaching localization during university courses.

El grupo de investigacion TransMedia Catalonia (2014SGR27) de la Universitat Autonoma de Barcelona lleva mas de una decada dedicado a la formacion, la investigacion y la transferencia del conocimiento de la traduccion audiovisual y la accesibilidad. Desde el ano 2004, algunos miembros del grupo se han centrado en el ambito de los videojuegos, que han abordado desde distintas perspectivas. En este articulo, se presentan las principales aportaciones del grupo en el campo de los videojuegos desde el punto de vista de la traduccion y localizacion, la accesibilidad y el diseno de juegos serios con finalidades educativas y terapeuticas o como herramientas de diagnostico.

This book is about the three identities of the videogame, the gamer, and Game Studies. I write that there are no definitive truths but rather discourses and constructions; ideas, actions, beliefs, and practices related to videogames are discourses that merge and shape our perception of videogames as an area of study of its own right. These discursive responses meet and clash creating what we call truths, which are temporary and negotiable.

This perspective is inspired by Foucauldian ideas and present few questions about videogame-related identities in and outside of academe. Does Game Studies have a conceptual core? What makes game studies difficult to be disciplined in academe? What do we learn from the scholarly and popular discourses on videogames that would help understand the identity questions related to games?

I go on to describe what makes the videogame identity according to game studies: aesthetics, fictions, meaning-making, performance, transformation, etc. and what makes it difficult for game studies being an open market of ideas and an academic "un-discipline". This leads me to the gamer's identity: an aficionado first, and a connoisseur of fictional worlds.

Game localisation is an emerging field in Translation Studies that initially began attracting attention in the late 1990s, when the first studies analysing this new translation phenomenon were published by professionals working in the field. In the last decade, research on game localisation has gained impetus. Particularly, in recent years, the number of books, journal articles, book chapters, undergraduate, masters and doctoral dissertations aiming to shed light on this relatively young area of study have increased considerably. This paper examines existing research on game localisation, focusing on published papers (articles and book chapters) and books. It presents a diachronic view of game localisation research, describing the main topics and methods used, as well as the issue of research materials. Finally, it explores potential future research avenues and calls for reception studies, which are necessary to consolidate game localisation as an established research domain within ...

As an interactive media, fanbases of localised games can have a substantial effect on the localisation choices made by each team of translators. Thanks to the advent of the Internet and social media, gamers have the ability to participate in online discussions about localisation, often directly with the translators involved in the translation itself, and therefore translators are always very aware of the needs of their intended audience, and make choices about the translation of cultural concepts with these specific fandom expectancy norms in mind. The main questions that this study aims to discuss include: are the target-audience expectancy norms for Japanese role-playing games (JRPGs) influenced by fandom culture, and how does this affect the reception of their localisations? Using online discourse and focus groups, this case study explores this in reference to the localisation decisions made in Persona 5, a JRPG with a niche fandom and polarising localisation reception amongst critics and fans alike. Excerpts from the localisation were analysed both functionally and in reference to the perceived expectancy norms and real norms of the participants. The findings indicated that members of the fandom are more critical of Japanese-English translations because of their prior knowledge of the language and culture, though their perceived norms differed from their real expectations when exposed to actual excerpts from the translation.

The following paper aims to study the localisation of video games, in order to learn more about the work of the translator. It is a case study of the adventure game Grim Fandango, developed and published by Lucasarts in 1998. By comparing specific examples in the source and target texts, it attempts to illustrate the problems which can arise for the
translator as well possible solutions, supported by various more or less specific theories. Naturally, differences due to the nature of the medium require the use of specific tools as well. We will see to what extent game localisation is specific, as more general theories will be very
relevant as well. Comparison allows us to assess how successful the translator has been in this case. It shows that some aspects of game localisation are indeed somewhat limiting for the translator, but that most of what is asked of him is overall similar to more traditional, linear
translation work. Game localisation is indeed a blend of technical constraints and creativity, which appears to be rather neglected by translation studies scholars, in comparison to other forms of translation.

Účelom tejto všeobecnej štylistickej príručky je pomôcť pri simulácii situácií z lokalizačnej praxe, pri ktorých je lokalizátor alebo prekladateľ viazaný klientovou štylistickou príručkou. Primárne je určená na praktické prekladateľské semináre z angličtiny zamerané na lokalizáciu softvérových produktov – herných, neherných aj webových lokalít, počas ktorých študenti musia pri vypracúvaní zadaní konzultovať rôzne kapitoly, aby zadania vypracovali správne. Ako didaktická pomôcka môže slúžiť aj na iných seminároch prekladu, keďže študenti v nej nájdu aj všeobecné informácie týkajúce sa prekladu z angličtiny do slovenčiny, ako napríklad informácie o rôznych typoch textov, pravopise alebo zoznam niektorých častých gramatických chýb. V neposlednom rade sa dá využiť aj v praxi, ak klient nemá vlastnú štylistickú príručku k dispozícii, môže sa prekladateľ či lokalizátor riadiť touto všeobecnou.

The present thesis is a study of the translation of video games with a particular emphasis on the English-Russian language pair. On the one hand, it offers an analysis of the video game industry understood as a global phenomenon in entertainment, with the aim of understanding the norms governing present game development and publishing practices. On the other hand, it discusses particular translation issues that seem to be unique to these entertainment products due to their multichannel and interactive nature, in which verbal and nonverbal signs are interconnected to achieve a maximum persuasive effect on a player.

The purpose of this thesis is to present a comprehensive view on video game localisation process, as conducted by localisation department of Blizzard Entertainment. The thesis is focused on strategy and tactics used during the localisation process and assert that localisation must be judged not only by its adequacy and equivalence to the origin, but also by its purpose or scopos. The scopos of localisation is to make a player feel comfortable inside the game, to “translate the experience”, as if a game was created in players’ native language.

Özellikle Türkçe literatürdeki çeviribilim kaynaklarının bir kısmında ve Türkçe literatürdeki söylemlerde yerelleştirme (localization) ve yerlileştirme (domestication) kavramlarının çoğunlukla birbirinin eş anlamlısı gibi kullanıldığı görülmektedir. Bununla beraber çeviribilim araştırmacılarının bazılarının kavramları birbiri yerine kullanarak ikileme düştükleri de göze çarpmaktadır. Oysa Berk'e göre yerelleştirme,yazılım ürünleri veya web sitelerinin başka bir dil, kültür ve hukuk ortamında kullanılabilmesi maksadıyla söz konusu erek dizgeye uyarlama sürecidir (Berk, 2005: 164). İsviçre'de kurulan LISA (Localization Industry Standard Association) ise yerelleştirmeyi sayısal veya sanal bir ürün içeriğinin kaynak pazar ortamından ürünün satılacağı ve kullanılacağı erek pazar ortamına dilsel/kültürel olarak adapte edilmesi (Pym, 2014: 119) şeklinde tanımlar. Yerlileştirme ise yabancı metni erek dil kültüründe baskın olan değerlere uygun olarak tutucu ve benzeştirici bir yaklaşımla aktarmaktır (Berk, 2005. 164). O halde yerlileştirme yani yabancı bir olguyu kaynak kültüründen erek kültüre taşıma veya aktarma yerli, yerli hale getirme bir tür çeviri stratejisi olarak ele alınabilir. Bilindiği gibi zaman zaman kaynak kültürde sahip olunan işlevi erek kültürde koruyamayacağı düşünülen ya da erek kültüre yabancı olan ve anlam ifade etmeyen bazı kavram ve olgular daha işlevli hale gelmesi ve anlamlı olabilmesi, bir diğer ifade ile erek okuyucuya kültürel düzlemde anlam ifade etmesi bakımından yerlileştirilmektedir. Yerlileştirme bazen de ideolojik nedenlerle yapılabilir. Bu çeviri stratejisine en çarpıcı örnek olarak Amerika'da sıkça tüketilen ve sokaklarda satılan " hot dog " verilebilir. Türk kültüründe ise bu tür yiyecekle sokaklarda nadiren karşılaşılabilir. Bu nedenle çevirmen bu ifadeyi çevirirken Türk kültüründe çok yer tutan ve gelenekselleşmiş köfte ekmek ifadesini kullanmayı tercih edebilir. Bu durumda çevirmen söz konusu ifadeyi Türkçeye yerlileştirme çeviri stratejisine başvurarak aktarmaktadır. Oysa yukarıdaki tanımdan da görüleceği üzere yerelleştirme başlı başına bir çeviri alanıdır, hatta çeviride bir uzmanlık alanı olarak nitelendirilebilir. Yerellereştirme bu durumda farklı dinamiklerin devreye girdiği bir tür alandır, çeviri stratejisi değildir. Bu nedenle daha makro bir şekilde ele alınmalıdır. Yerelleştirmede hem dilsel, hem kültürel hem de teknik uyarlamalar girift bir şekilde iç içe geçmiştir. Yerelleştirme sonunda ortaya çoğunlukla dijital bir ürün veya servis çıkmaktadır. Söz gelimi bir bilgisayar programının Türk kullanıcılara uygun hale getirilmesi için dilsel, kültürel ve teknik uygulamalardan geçirilmesi onu yerel yapmaktadır ve bu nedenle yerelleştirme akla gelir. Microsoft'un yerelleştirilmesi sırasında Türk kullanıcılara hitap etmeyen reklam ve renklerin programdan silinerek kültürü yansıtan renk ve reklamların eklenmesi bir çeşit yerelleştirme örneğidir ve genel olarak yerelleştirme endüstrisine hizmet eder. O halde yerelleştirme bir tür uzmanlık alanı olarak kabul edilebilirken, yerlileştirme bir çeviri stratejisidir. Bu iki kavramın özellikle araştırmacılar tarafından doğru anlamlarıyla kullanılması önem taşımaktadır.

In less than four decades the video game industry has become a multibillion dollar worldwide phenomenon. As game technology has evolved, allowing for the inclusion of cinematic scenes in games, dubbing and subtitling practices have become incorporated into game design and localisation. However, while years of research in AVT have led to the establishment of subtitling guidelines, both for intralingual and interlingual subtitles, such guidelines are generally not applied in games. Some games provide subtitles of more than three lines, use small fonts, and do not take into account the established average reading speed. This paper adopts a descriptive approach to the study of current subtitling practices applied in the video game industry. It describes the different features of game subtitles and highlights the need for further descriptive and empirical research that should lay the foundation for the development of game subtitling guidelines.

Video games have become one of the most popular forms of entertainment in the modern digital society. The global success of the game industry has fostered the development of the game localisation industry, as developers and publishers strive to sell their games in different languages and territories to maximise their return on investment. This, in turn, has been reflected in the increasing demand for trained game localisers who can cope with the different challenges posed by this emerging type of translation and meet the industry's needs. Based on the long-standing experience of the MA in Audiovisual Translation at the Universitat Autònoma de Barcelona, this paper focuses on pedagogical issues concerning the training of game translators and, specifically, training them online, taking into consideration the specificities of distance education. After briefly presenting an overview of this MA and its online modality, the paper shifts to the teaching of game localisation, focusing on translation competence and curricular design, describing the tasks that students are asked to do. Special emphasis is placed on the teaching resources and tools used to provide a collaborative learning experience to distance education students that prepares them to embark on a career in this fast-paced and technologically-driven industry. To cite this article: Carme Mangiron (2021): Training game localisers online: teaching methods, translation competence and curricular design, The Interpreter and Translator Trainer To link to this article: https://doi.

(Doktora Tezi/Kitap) Holmes'un 1972 yılında sunduğu "Çeviribilimin Adı ve Doğası" adlı bildirinin ardından akademik bir disiplin haline gelen çeviribilim üzerine şimdiye kadar çevirinin süreç, işlev ve ürün boyutuna yönelik pek çok bilimsel araştırma yapılmış ve kuramlar geliştirilmiştir. Böylece çeviribilimin araştırma nesneleri ve alanları da genişlemiştir ve yeni gelişmelere paralel olarak gelişmeye de devam etmektedir. Bilim dallarının meşru kılınmaları ve gelişebilmesi için olgunlaşmaya eğilimli devingen bir yapısının olması gerekmektedir. Bu açıdan çeviribilimin bugün etkileşime geçebileceği devingen alanlardan biri de 1990'lı yıllarda önce yazılım dünyasında sonra da ağ teknolojinin yaygınlaşmasıyla ve bilgisayar teknolojilerinin muazzam boyutlara ulaşmasıyla web, video-oyun vb. alanlarda ortaya çıkan yerelleştirme endüstrisidir. Yerelleştirme endüstrisi, çeviri pratiğinin farklı olarak yapıldığı ve çeviri olgusuna yenilik katabilecek bir alan olarak düşünülmektedir. Ayrıca, bu endüstri çevirmenden çeviri yapmanın ötesinde farklı uğraş ve görevlerle de başa çıkmasını gerektirmektedir. Bu nedenle, çeviri dünyasına bir farklılık sunan yerelleştirmenin çeviribilim çatısı altında incelenip, kuramsallaştırılması gereken bir alan olduğu düşünülmektedir. Nitekim, bu alanla ilgili görüş bildiren ve kuramsallaştırma çalışmaları yapan çeviribilimciler mevcuttur. Bu kuramsallaştırma çabalarına bir katkı olarak bu kitap, yerelleştirmenin çeviribilim açısından bir paradigma adayı olup olmadığını tartışmaya açmıştır. Bu bağlamda Küreselleşme & Bilişim ve İletşim Teknolojilerinin yerelleştirme alanı üzerindeki etkisi, yerelleştirmede kullanılabilen çeviri araçlarının getirdiği yenilikler, yerelleştirmenin özellik ve sorunları üzerinde durulmuş, sorunlara karşı çözüm önerileri sunulmuş, yerelleştirme mevcut çeviri kuramlarıyla kıyaslanarak, kuramsal bir deneme yapılmış ve çeviri edinci kavramı yeniden açıklanmaya çalışılmıştır. Bu açıdan, çalışmanın gerek çeviribilim gerekse de endüstri açısından kuramsal çalışmalar ve uygulama sahasının bütünleştirilmesi ve böylece bir uzlaşı oluşturulabilmesi için katkı sağlayacağı düşünülmektedir

El objetivo del presente artículo, tras repasar brevemente el estado de la cuestión, consiste en exponer el abanico de posibilidades que ofrece la localización de videojuegos para realizar futuros estudios en torno a esta materia, a la par que describir posibles metodologías para llevar dichas investigaciones a buen puerto con los recursos que nos brinda la tecnología actual.

The aim of this paper is to show the particularities of the so-called "romhacking", a methodology developed by amateurs to localise mainly classic video games. In the first section, the concept
and origin of the term "romhacking" is presented. The second section offers an overview of the workflow followed by romhackers to localise video games. In the third section, an analysis of the differences between professional and amateur translations is given. The fourth section includes a discussion of the legal aspects of this practice. The paper concludes with a reflection on the impact of amateur translations on the video game localisation industry.

From the perspective of Game Localization (Bernal-Merino 2015, O’Hagan and Mangiron 2013), this paper presents a descriptive corpus-assisted study on the language of personality in The Sims 4 (Electronic Arts 2014), as the psychological dimension of this real-life simulation game represents its distinctive feature (Franklin 2014, Electronic Arts 2014a). The elaborate nature of The Sims 4 personality trait system has received academic attention, since its mechanics seem to be based on trait theory (Sloan 2015, 209), “a major approach to the study [and assessment] of human personality” in psychology (Villanueva 2010, vii). Accordingly, this paper analyzes how psychological simulation is worded in game texts and examines the features of The Sims 4 cross-linguistic personality lexicon. The original English trait system is thus compared with the Italian translation in order to explore the linguistic challenges and issues psychological customization poses to localization professionals.

Literature and other arts interrelate in a continuous and reciprocal exchange. In the 21st century, video games often turn literary stories, themes and characters into interactive gameplay and go beyond transmedia storytelling.
Dante’s Inferno (Visceral Games, Electronic Arts 2010) is a third-person action title, which is loosely based on the first part of the famous medieval poem, as its action premise, its beat’em up subgenre and the evident poetic licence demonstrate. Players assume the role of Dante whose avatar becomes a hyper-masculine and bellicose crusader-knight, who descends into the nine circles of Hell to save his beloved Beatrice.
From the perspective of Game Localisation (Mangiron and O’Hagan 2013), this paper examines its full localisation from English into Italian. Parallel excerpts from in-game dialogues have been selected and compared by drawing on both Electronic Arts’ authentic localisation database, and online resources such as walkthroughs. While analysing the relationship between the source and the target game texts, this study explores the influence Dante’s original lines exert on the Italian transfer. The aim is to show that, when a game is based on the target culture literature, the latter inevitably affects and constraints translation in order to ensure a more successful local impact and deliver a “deep or enhanced localisation” (Bernal-Merino 2014: 189). As first findings suggest, by means of integral or partial quotations together with lexical, syntactic and stylistic choices, the Italian game turns out to be more literarily expressive than its English source, thus providing its audience with a digital imitative Dantesque experience.

Game localization is an unexplored mode of teletranslation in Chile. This work describes its main translational features and assesses the quality of English to Spanish Game Localization. In order to assess the quality of translation, a comparative analysis based on detecting translation errors, translation techniques, as well as adequate and “inadequate” translation was made. This study also included an opinion survey on the quality of Game Localization for Spanish speaking users from different countries. The results of this research show the lack of theoretical background for the techniques used by translators / localisers, which results in many errors and inadequate translations that affect the affect the escopos of the localisation process as a whole; that is: to reproduce the same gaming experience offered by the original. For this purpose, this research applies the functionalist approach (Nord, 1997/2005) during the data analysis. This represents the starting point in the study of this translation mode in Chile and positions the videogame as a new object of study for translation studies and related disciplines.

Understanding the idiosyncrasies of humour has always been an area of interest
for many scholars. The relationship between humour and localisation in the frame
of video games is still a developing field for academic research.

In this paper we will analyse the localisation of the humour featured in the
conversations between characters on the video-sequences or cut-scenes (which
are the non-playable parts featuring videos in which the story can advance) in the
video games Uncharted: Drake’s Fortune and Uncharted 2: Among Thieves, part
of the Uncharted saga (Naughty Dog) from the Source Language (English) to the
Target Language (Spanish) applying a qualitative analysis. To understand the
localisation of the humorous items we will consider several aspects. First,
considerations about video games, including their definition, main genres and
their relationship with localisation. We will analyse the difference between
translating and localising and the main aspects of video game localisation.
Second, a short revision of the main tenets of humour, including definitions,
aspects and theories. We will also study the different typologies of humour
according to several authors, provide a self-made humour classification, and
assess the relationship between humour and video games. Third, we will revise
the audiovisual aspect of video games as well as the audiovisual challenges of
localisation (mainly, dubbing and subtitling). The results of the analysis will allow
us to draw conclusions on whether or not humorous elements have been
preserved, modified or omitted, and also on how the localisation (if that be the
case) has been carried out. The resulting figures will hopefully give us some clues
as to how translators (localisers) convey humour in the video games analysed.

El sector de los videojuegos es, a
efectos académicos y profesionales, apenas
un sector recién nacido con muchos recovecos
desconocidos todavía por explorar. Son
pocos los estudios en el ámbito de la traducción
y la interpretación que profundicen en
este sector y muchos profesionales desconocen
todas las dinámicas que se están siguiendo
en la práctica profesional de la localización.
En este artículo definiremos la noción
de localización, con el significado tan amplio
que el propio término posee, para posteriormente
presentar dos claros ejemplos de localización
que están presentes en el día a día
del sector pero de los que muy pocos son
conscientes.

Yerelleştirme endüstrisi, bilindiği gibi 1990'ların başından itibaren popüler hale gelmiştir. Bu popülerlik kendini önce yazılım, sonra da internetin yaygınlaşmasıyla websitesi yerelleştirmesi alanında hissettirmiştir. Ancak bununla beraber, diğer bir üçüncü alan daha ortaya çıkmıştır. Bu alan oyun yerelleştirmesi olarak bilinir. Oyun yerelleştirmesi alanında öne çıkan etmen oyuncunun oyunu kendi dilinde alımlamasını sağlayarak, oyunu daha ilgi çekici hale getirmek ve oynanabilirliği artırmaktır. Ayrıca, oyun yerelleştirmesi alanında, yazılım ve websitesi yerelleştirmesinden farklı olarak eğlendirmek ve böylelikle oyunun diğer dillerde satışını artırmak vardır. Eğlence endüstrisi alanında önemli bir hasılat getiren oyun yerelleştirmesi bazı dillerde/bölgelerde ise profesyonel anlamda nispeten yeni bir alan olduğundan sadece gönüllü kullanıcılar tarafından yapılır. Bu bağlamda, çalışmada Wolfenstein serilerinin en sonuncusu olan 5 Mayıs 2015 tarihli The Old Blood oyununun İngilizce dil dosyasından Türkçeye gönüllü bir kullanıcı tarafından yerelleştirilmiş versiyonunda benimsenen çeviri yaklaşımları incelenmiş ve bunun oyunun ilgi çekiciliğini, oynanabilirliğini, artırıp artırmadığı tartışılmıştır. Bu bağlamda ayrıca yerelleştirilmiş versiyonla ilgili erek kullanıcı yorumlarına da yer verilmiştir. Çalışmada, metne dayalı bir yaklaşım izlenmiş ve gerekli görülen noktalarda gönüllü oyun yerelleştirmesi ekibinden ilgili kişiyle mülakat yapılmıştır. Anahtar Sözcükler: Oyun yerelleştirmesi, lokalizasyon, yerelleştirme, oynanabilirlik, Wolfenstein The Old Blood, çeviri yaklaşımları.  Arş.Gör., Sakarya Üniversitesi Fen-Edebiyat Fakültesi Çeviribilim Bölümü.

The Internet of Things (IoT) enables numerous business opportunities in fields as diverse as e-health, smart cities, smart homes, among many others. The IoT incorporates multiple long-range, short-range, and personal area wireless networks and technologies into the designs of IoT applications. Localisation in indoor positioning systems plays an important role in the IoT. Location Based IoT applications range from tracking objects and people in real-time, assets management, agriculture, assisted monitoring technologies for healthcare, and smart homes, to name a few. Radio Frequency based systems for indoor positioning such as Radio Frequency Identification (RFID) is a key enabler technology for the IoT due to its cost-effective, high readability rates, automatic identification and, importantly, its energy efficiency characteristic. This paper reviews the state-of-the-art RFID technologies in IoT Smart Homes applications. It presents several comparable studies of RFID based projects in smart homes and discusses the applications, techniques, algorithms, and challenges of adopting RFID technologies in IoT smart home systems.

The study of this paper stems from the author’s experience in the localisation of classic video games through romhacking techniques and aims at reflecting on the particularities and differences of the professional localisation of video games. Furthermore, it discusses the legality of this practice and the quality of amateur translations. Finally, the paper concludes with a reflection on the impact of amateur translations in recent times.

Els videojocs han crescut fins a convertir-se en una industria d’entreteniment global. Aquesta globalitat no s’hauria aconseguit sense els esforcos de transferencia linguistica que fan que els jocs, independentment de l’origen que tinguin, arribin als jugadors en la seva llengua i contextos culturals. Malgrat la importancia crucial que te la traduccio, el seu valor no es te en compte en els estudis sobre videojocs, ni tampoc en els estudis de la traduccio. Posant un emfasi 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 traduccio no sols sera profitosa per a la industria dels jocs sino tambe per als mateixos estudis de traduccio, ates que obre noves vies de recerca.

The course will focus not only on dominant frameworks constructing world oceans under the reign of modernization and global capitalism, but all the more so upon emergent forms of oceanic region-making and island/archipelagic belonging in the Pacific, Caribbean, and other world oceans.  These latter formations are generating alternative refigurations of peoples, places, history, creativity, and planetary belonging.  We will theorize the rise of “oceanic” as well as island-based and “archipelagic” ways of enframing space, time, lands, cultures, bodies that are different from territorial, nation-bounded, or continental mappings. 

We will discuss what this islands/oceans/ worlding nexus means in relation to the metaphors and master-narratives of global capitalism.  Throughout, we will push towards not only theorizing but also creating tactics, terms, and tropes of an environmental eco-poetics:  as we enter and try to survive the endangered geo-planetary period called the Anthropocene.  We now confront a time of dry lightning, warming and rising oceans, extreme weather, precarious economy, and a global pandemic called COVID-19 that pushes us beyond given forms or tactics and (for example) to teach and study via Zoom.

The Pacific Ocean stands at the outset of global modernity as a Euro-American construction as a region of ideological investment, romantic fantasy, ethnographic investigation, and geopolitical interest.  The Pacific reflects desires and goals erupting between Western powers and Asian and Pacific sites n uneven modes of colonial and postcolonial mediation across the modern global-capitalist era. But we will also study archipelagic Caribbean poetics, and get an entangled worlding sense not only of the “American Pacific” but of the German Atlantic as it reaches north to displace England and the US as maritime hegemons and south into the Mediterranean in its aspirations to become global empire.  Samoa remains its Pacific expansion and dream, entangled yet decolonizing as is Hawai’i as US settler state.  Expressive constructions-- from poems and stories to theoretical and historical essays—will help us to construct, critique, and comprehend oceanic, archipelagic,  and insular world regions from the Mediterranean and Atlantic Caribbean to the Pacific-becoming-Oceania as we push toward an “archipelagic” approach to islands-oceans as interlinked formations  that is reshaping American studies.  Our goal is to produce a more historicized, multiple, and critically informed grasp of oceanic modes of belonging to region, ecology, and planet:  what has been called more “creative cartographic mappings” of spatial and temporal belonging to this planet.

*FOR ENGLISH, SEE THE "ENGLISH SUMMARY" SECTION AT THE END OF THE PAPER*

Pro gradu -tutkielmassani selvitän, voiko terminologisen käännöstyön joukkoistaminen tuottaa
saavutettavia termikäännöksiä tai -määritelmiä Pokémon-pääsarjan pelien termeistä. Tutkin myös,
pitävätkö Pokémon-pääsarjan pelaajat saavutettavia termejä ja määritelmiä käytettävinä. Tavoitteeni on
antaa käännösalan ammattilaisille tietoa siitä, miten pelaajat toimivat joukkoistetussa
kääntämisympäristössä ja milloin heitä kannattaa osallistaa termien kääntämiseen ja määrittelyyn.
Lisäksi tutkimus auttaa muodostamaan konkreettisen käsityksen siitä, miten faniyhteisöä ja pelien
kääntämistä kannattaa lähestyä, kun tavoitellaan saavutettavuuden ja käytettävyyden tasapainoa.
Esittelen tutkimuksessa ensin kriteerit saavutettavalle termille ja määritelmälle. Kriteerit
perustuvat sanastotyön yleisiin hyvän termin ja määritelmän periaatteisiin sekä saavutettavuusteorioihin
ja -tutkimuksiin. Joukkoistamisen määritelmä tutkimuksessani perustuu käyttäjälähtöisen kääntämisen
viitekehykseen.
Tutkimusympäristöni oli verkkopohjainen termipankki, jonka rakensin tutkimusta varten websuunnittelija Joni Kaunismäen kanssa. Termipankissa käyttäjät saivat suomentaa ja määritellä
Pokémon-pelien englanninkielisiä termejä, antaa suomennoksille ja määritelmille plus- ja miinusääniä
ja kommentteja ja lisätä termipankkiin termejä. Tämä käyttäjien tuottama sisältö muodosti tutkimukseni
aineiston. Termipankin suunnittelu perustui saavutettavuus- ja käytettävyysperiaatteisiin ja
käyttäjäkeskeiseen suunnitteluun. Hyödynsin termipankin suunnittelussa myös muiden
verkkotermipankkien ja -sanakirjojen rakenteita ja käyttäjätutkimuksia. Valitsin termipankkiin neljä
termikategoriaa erilaisia Pokémon-faniyhteisön jäseniä ja muita lukijoita ajatellen. Termikategoriat olivat
tilat ja tilanmuutokset, pokémonien perustiedot, pelimaailman avainsanasto ja syvälliset mekaniikat ja
kilpailu.
Termipankissa oli aineistonkeruun lopussa 40 englanninkielistä termiä. Termeille oli kirjoitettu
43 suomennosta ja määritelmää. Ääniä suomennoksille ja määritelmille oli 73, kommentteja 12.
Sivustolla oli 13 aktiivista käyttäjää. Termeistä 29 ja määritelmistä 21 sai vähintään yhden saavutettavan
määritelmän. Termisuomennokset olivat suurimmilta osin saavutettavia, ja saavutettavia termejä
pidettiin käytettävinä. Eniten eroja termisuomennosten saavutettavuuden ja käytettävyyskäsitysten
välillä aiheuttivat faniyhteisöjen viestintätottumukset, termien käyttöyhteydet, ja täysi aikaisemman
suomenkielisen termipohjan puute. Määritelmien saavutettavuus ja käytettävyyskäsitykset olivat
termisuomennoksia jakautuneempia. Saavutettavuuden ja käytettävyyskäsitysten välisiin eroihin
vaikuttivat fanien viestintätottumusten lisäksi tiedon kapseloituminen ja ainutlaatuinen
vuorovaikutussuhde pelaajan ja pelin välillä. Vuorovaikutussuhde saattoi tosin myös auttaa luomaan
saavutettavia määritelmiä ja vähentämään saavutettavuuden ja käytettävyyskäsitysten välistä eroa.
Tulokset viittaavat siihen, että fanit voivat oikeissa olosuhteissa tuottaa joukkoistetusti
saavutettavia termejä ja määritelmiä ja pitää niitä käytettävinä. Fanien suurimmat voimavarat
joukkoistetussa käännöstyössä ovat faniyhteisön kollektiivinen älykkyys ja kriittinen ajattelu. Kun
tavoitellaan saavutettavuuden ja käytettävyyden tasapainoa