GDC 2005twvideo01.ubm-us.net/o1/vault/gdc08/slide… · PPT file · Web view · 2009-01-05Foglio2. Foglio1. Project Analysis. Studio Briefing. Actor Booking and Recording. Handback

Rethinking Game Localization as Rethinking Game Localization as Global Game Development Global Game Development

A special panel session sponsored by:

Presented by: Miguel Bernal, Roehampton UniversityHeather Chandler, Media Sunshine Inc.

Tom Edwards, Englobe Inc.Fabio Minazzi, Binari Sonori Srl

20 FEB. 2008, 10:30-11:30AM

AgendaAgenda

Introduction Localization as Core Game Development Translation and Translators Localizing Game Audio Content Culturalization & Geocultural

Issues Discussion/Q&A

The Game Industry’s Future is The Game Industry’s Future is GlobalGlobal PricewaterhouseCooper’s 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 one’s global exposure, which means implicitly localizing content as part of game development.

Integrating Localization is Integrating Localization is CriticalCritical 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.

Localization as Core Game Localization as Core Game DevelopmentDevelopmentHeather ChandlerHeather ChandlerExecutive ProducerMedia Sunshine Inc.

[email protected]

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

Current State of Game LocalizationCurrent State of Game Localization

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

Sample GameSample Game

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)

Estimated Production TimeEstimated 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

Estimated Production TimeEstimated Production Time

Localization Friendly CodeDetermine Content Scope Define distribution Select vendorsReview content

w/vendors Content audit

Organize assetsComplete translationComplete VO recordingIntegrate assets Develop testing planCultural content review

Complete integration Linguistic testing and fixesReview tech requirementsFinal content check, all issues identified

Final approval on localizations Resolution of any remaining issues

Desired State of Game LocalizationDesired State of Game Localization

Pre-Production Production Post-Production Release

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

Keys to LocalizationKeys to Localization

Technical•Localization-friendly code•Automation

Process•Scheduling•Asset management •Testing

Content•Political & Cultural sensitivity•Assume global audience•Ratings boards

Translation & TranslatorsTranslation & Translators

Miguel BernalMiguel BernalLecturer in Media Translation

Roehampton University [email protected]

↑Data ↑Tools = ↑↑Quality ↓↓TimeTranslation Translation (1/3)(1/3)

Translation Translation (2/3)(2/3) Creativity? Yes. Context + Co-text

US Translation

NEW_STRING113=Madws. NEW_STRING113= ???????

Natural Vs Artificial Languages:戦士はドラゴンを 殺さ ない

The warrior will not kill the dragonEl/La guerrero/a no matará al [a+el] dragón/ a

la dragona

Immersion and Variables:{GH_ADJ} {GH_NOUN} {GH_VERB}

{GH_VENUE} Great performance electrifies The Palace

Translation Translation (3/3)(3/3)

Trained in audiovisual translation. Aptitude for creative and technical writing. CAT trained.

Build in l10n toolkits compatible with CAT tools thatallow translators to correct text directly.

Translators and testersTranslators and testers

Secure serverSecure server

Localizing Game AudioLocalizing Game Audio

Fabio MinazziFabio MinazziLocalization Manager

Binari Sonori [email protected]

Contents of presentationContents of presentation Overview of the audio localization process The central role of the script in the

localization process

Development Team

Audio Studio

CoordinationInt’l Pre-Production Int’l Post-Production QA

In-country Audio Production Unit

In-country Audio Production Unit

In-country Audio Production Unit

Country 1

Country 2

Country n

Centralized

Global audio production chain

The audio localization processThe audio localization process

Localization script affects all phases, all loc team

People . Phases involving Script

International Project

Manager

Audio Resources

Coordinator

Assets Manager

Text Engineer In-Country Studio Team

Master Sound Engineer

Project Analysis X X X XInternational Casting XAssets Precheck XScript Adaptation XPreproduction: prepare Script for recording X X

Preproduction: InternationalAudio rec session setup

X

Studio Briefing X XHandoff for recording X XActor Booking and Recording XAs-recorded Script generation XHandback from studios X XAudio Postproduction XQA - Proof listeningAudio Amends X X

SCRIPT

The Localization script: fundamentalsThe Localization script: fundamentals Localization script is not the Production script Localization script must contain a minimal

set of critical information for localizationLine ID A/V File Name Scene Dub Type Cast Dialogue AD: Instructions for recitation945 BV_0701 Battle

EventLip-Synch Soldier E Hmph. I wonder how long

your chivalry will last!Battle voice so it will be said during transition to battle sequence.

509 BV_0601 Battle Event

Lip-Synch Jansen Oh, man, this is getting real old, real quick!

Jansen is referring to the hoards of soldiers that are attacking them consistently. The tone should be of, 48 RT_005_2_a A Wild Soldier A Aargh! AD Injured soldiers. Noise of groaning and coughing

49 RT_005_2_b A Wild Soldier B Really, you two are walking miracles!

More amazment in her tone. E.g. Really, you two are…..

Layout: One line = one sentence by one character Different information => separate columns

Information to be extracted Information to be extracted from the Localization scriptfrom 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

Managing script updatesManaging script updates

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

ScenarioOriginal audio production: 10 to 50 actorsFIGS localization=> 40 – 200 actors

What happens when script is updated?…

Impact of script changesImpact of script changes… the audio localization resets 1 Project Analysis

2 International Casting3 Assets Precheck4 Script Adaptation

5 Preproduction: prepare Script for recording

6 Preproduction: Int'lAudio resession setup

7 Studio Briefing8 Handoff for recording

9 Actor Booking and Recording

10 As-recorded Script generation

11 Handback from studios12 Audio Postproduction13 QA - Proof listening14 Audio Amends

15Script Conversion to delivery format

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 …

UPD

ATE

Conclusions on Audio LocalizationConclusions on Audio Localization The localization script is not only a tool for actors

to speak, it’s 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

Content Culturalization & Content Culturalization & Geocultural IssuesGeocultural Issues

Tom EdwardsTom EdwardsPrincipal Consultant

Englobe [email protected]

Why Culturalize Game Content?Why Culturalize Game Content? Culturalization is a step further beyond localization to

take a deeper look into a game’s content choices and gauging their viability in a multicultural marketplace.

Culturalization helps gamers potentially engage the game’s content at a deeper, more meaningful level.

Primary Goal: Protect the game developer’s (and industry’s) 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.

Audio containing chanted verses from the Islamic Qur’an was mistakenly included in the game.

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

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).

Learn More about Geocultural IssuesLearn More about Geocultural Issues

Tom’s lecture entitled:“Self-Censoring Potential Content Risks for Global Audiences: Why, How and When” Time: Thursday, 12:00-1:00pm Place: Room 2002, West Hall

Concluding ThoughtsConcluding 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).

Thank you for attending!Thank you for attending!

Questions or Comments?Questions or Comments?

Contact Information: Miguel: [email protected]: [email protected]: [email protected]: [email protected]

Bibliography &Bibliography &Recommended ReadingRecommended ReadingBernal-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/tradumatica/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 localization investement”, in K. Dunne (ed.)

Perspectives on Localization. Amsterdam/Philadelphia: John Benjamins.Díaz-Montón, D. 2007. “It’s a funny game”, The Linguist. Volume 46, number 3: 6-9.Di Marco, F. 2007. “Cultural Localization: Orientation and Disorientation in Japanese Video

Games”, Tradumàtica, issue 5, Universitat Autònoma de Barcelona: online. www.fti.uab.es/tradumatica/revista/num5/articles/06/06art.htm

Edwards, T. 2007. “Geocultural literacy, part 1”, Multilingual, volume 18, issue 90: 29-31. www.multilingual.com

-----2006. “Navigating the ‘Geocultural Edge’ of Game Content”, Multilingual, volume 17, issue 80: 29-31. www.multilingual.com

Finegan, P. 2006. “Games: quality, localization and the world market”, Multilingual, volume 17, issue 84: 56-61.

Heimburg, E. Sept. 2003. “Localizing MMORPGS”. Gamasutra, onlinewww.gamasutra.com/resource_guide/20030916/heimburg_pfv.htm Kehoe, B. & Hickey, D. 2006. “Games Localisation”, Localisation Focus, March 2006, 27-29.Mangiron, C. & O’Hagan, M. 2006. “Game Localisation: unleashing imagination with ‘restricted’

translation”. The Journal of Specialised Translation 6: 10-21. www.jostrans.org/issue06/art_ohagan.php

Mandel, R. 2000. “Unravelling the mysteries of game localization”. Online www.avault.com/articles/getarticle.asp?name=local&page=1

Sioli, F., Minazzi, F. & Ballista, A. 2007. “Audio Localization for Language Service Providers”, Getting Started: Localization Guide, supplement to Multilingual, volume 18, issue 91: 18-23, online. www.multilingual.com/downloads/printSupp91.pdf