Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-jn8rn Total loading time: 0 Render date: 2024-12-26T08:58:26.795Z Has data issue: false hasContentIssue false
Series:   Elements in Translation and Interpreting

On-Screen Language in Video Games

A Translation Perspective

Published online by Cambridge University Press:  27 October 2022

Mikołaj Deckert  and
Krzysztof Hejduk
Mikołaj Deckert
Affiliation:
Uniwersytet Łódzki, Poland
Krzysztof Hejduk
Affiliation:
Uniwersytet Łódzki, Poland

Summary

In this Element, the authors focus on the translational dimension of 'on-screen language' (OSL). They analyse a data set covering the Polish localisations of Tom Clancy's The Division 2 and Shadow Warrior 2, from which over 1000 cases of unique and meaningful OSL were extracted, almost exclusively in languages other than Polish. Close to 100 representative examples are examined in this Element to map out a comprehensive typological account of OSL. First, visual-verbal stimuli are categorised by their prominence in the 3D environment. The second typology focuses on the identified OSL functions. A supplementary typological distinction is proposed based on the technical (static vs. dynamic) implementation of OSL. The discussion of findings and implications notably comprises input from an interview that the authors conduced with a lead level developer behind Shadow Warrior 2 to provide a complementary professional perspective on OSL and its translation.
Get access

Keywords

video gameson-screen languageinterlingual translationvisual–verbal stimulilocalising textures
Type
Element
Information
Series: Elements in Translation and Interpreting
Online ISBN: 9781009042321
Publisher: Cambridge University Press
Print publication: 24 November 2022

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

3D Realms (1991–2010). Duke Nukem series [Game]. 3D Realms.Google Scholar
3D Realms (1997–2013). Shadow Warrior series [Games]. 3D Realms.Google Scholar
Aguilar, S. J., Holman, C. & Fishman, B. J. (2015). ‘Game-Inspired Design: Empirical Evidence in Support of Gameful Learning Environments’. Games and Culture, 13(1), 44–70. https://doi.org/10.1177/1555412015600305.CrossRefGoogle Scholar
Amick, T., Long, G., Schell, J. & Shehan, G. (2015). ‘A History of Video Game Consoles’. IST final report. https://sites.psu.edu/gshehan/wp-content/uploads/sites/24736/2015/03/IST110_Final_Report.pdf. Accessed 15 August 2021.Google Scholar
Antonelli, P. (2012). ‘Video Games: 14 in the Collection, for Starters’. New York: Museum of Modern Art. www.moma.org/explore/inside_out/2012/11/29/video-games-14-in-the-collection-for-starters/. Accessed 15 September 2021.Google Scholar
Badstübner-Kizik, C. (2019). ‘Multilingualism in the Movies: Languages in Films Revisited‘. In Deckert, M. (ed.), Audiovisual Translation: Research and Use (2nd ed.). Berlin: Peter Lang, 246–67.Google Scholar
Bareither, C. (2020). Playful Virtual Violence: An Ethnography of Emotional Practices in Video Games. Elements in Histories of Emotions and the Senses. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Bareja, S. (dir.) (1980). Miś [Teddy Bear]. Zespół Filmowy ‘Perspektywa’.Google Scholar
Bartle, R. (1996). ‘Hearts, Clubs, Diamonds, Spaced: Players Who Suit MUDs’. The Journal of Virtual Entertainments, 1, 19. https://mud.co.uk/richard/hcds.htm.Google Scholar
Bavelier, D., Achtman, R. L., Mani, M. & Föcker, J. (2012). ‘Neural Bases of Selective Attention in Action Video Game Players’. Vision Research, 61, 132–43. https://doi.org/10.1016/j.visres.2011.08.007.CrossRefGoogle ScholarPubMed
‘Bethesda Ruins’ (n.d.). Nukapedia Fallout Wiki. https://fallout.fandom.com/wiki/Bethesda_ruins. Accessed 18 September 2021.Google Scholar
Bernal-Merino, M. Á. (2006). ‘On the Translation of Video Games‘. The Journal of Specialised Translation, 6, 22–36. www.jostrans.org/issue06.Google Scholar
Bernal-Merino, M. Á. (2007). ‘What’s in a “Game”?’. Localisation Focus: The International Journal of Localisation, 6(1), 29–39.Google Scholar
Bernal-Merino, M. Á. (2013). The Localisation of Video Games. Doctoral thesis, Imperial College London. https://doi.org/10.25560/39333.Google Scholar
Bernal-Merino, M. Á. (2015). Translation and Localisation in Video Games: Making Entertainment Software Global (1st ed.). New York: Routledge.Google Scholar
Bernal-Merino, M. Á. (2016). ‘Creating Felicitous Gaming Experiences: Semiotics and Pragmatics as Tools for Video Game Localisation’. Signata, 7(1), 231–53. https://doi.org/10.4000/signata.1227.Google Scholar
Bernal-Merino, M. Á. (2018). ‘Quantum Identity and the Enhancement of Communication’. Journal of Brand Strategy, 6(4), 380–91.Google Scholar
Bernal-Merino, M. Á. (2020). ‘Key Concepts in Game Localisation Quality’. In Deckert, M. & Bogucki, Ł (eds.), The Palgrave Handbook of Audiovisual Translation and Media Accessibility. Cham: Palgrave Macmillan, 297–315.CrossRefGoogle Scholar
Berry, N. (2015). ‘The Difficulties of Open World Design’.Making Games, 6, 56–63. https://s3-eu-west-1.amazonaws.com/editor.production.pressmatrix.com/emags/210770/pdfs/original/d87229ab-f70b-4755-80d7-52ffe006423e.pdf. Accessed 26 September 2022.Google Scholar
Bethesda Game Studios (2008). Fallout 3 [Game]. Bethesda Softworks.Google Scholar
Bishop, C. (2018). ‘Reading Antiquity in Metro Redux’. Games and Culture, 15(3), 1–20. https://doi.org/10.1177/1555412018786649.Google Scholar
Bleichenbacher, L. (2008). Multilingualism in the Movies: Hollywood Characters and Their Language Choices. Tübingen: Franke Verlag.Google Scholar
Blizzard Entertainment & Iron Galaxy. (2016). Overwatch. [Game]. Blizzard Entertainment.Google Scholar
Bogost, I. (2006). ‘Playing Politics: Videogames for Politics, Activism, and Advocacy‘. First Monday. https://doi.org/10.5210/fm.v0i0.1617.Google Scholar
Bogucki, Ł. (2013). Areas and Methods of Audiovisual Translation Research (3rd ed.). Berlin: Peter Lang.Google Scholar
Bogucki, Ł. (2016). ‘Rendering Otherness in Film: Techniques for Translating Multilingual Audiovisual Material‘. In Lewandowska-Tomaszczyk, B., Thelen, M., van Egdom, G.-W., Verbeeck, D. & Bogucki, Ł (eds.), Translation and Meaning New Series, vol. 1. Frankfurt: Peter Lang, 183–91.Google Scholar
Bohannon, J. (2014). ‘Online Video Game Plugs Players into Remote-Controlled Biochemistry Lab’. Science, 343(6170), 475. https://doi.org/10.1126/science.343.6170.475.CrossRefGoogle ScholarPubMed
Campbell, C. (2019). ‘Death Stranding’s Product Placement Is an Act of Vandalism’. Polygon. www.polygon.com/2019/11/14/20955496/death-stranding-monster-energy-product-placement-kojima. Accessed 6 September 2021.Google Scholar
Camper, B. B. (2005). ‘Homebrew and the Social Construction of Gaming: Community, Creativity, and Legal Context of Amateur Game Boy Advance Development’. Master’s thesis, Massachusetts Institute of Technology. https://dspace.mit.edu/handle/1721.1/42227.Google Scholar
CD Projekt Red, Tomaszkiewicz, K., Kanik, M. et al. (2015). The Witcher 3: Wild Hunt [Game].Google Scholar
Chabris, C. F. & Simons, D. J. (2010). The Invisible Gorilla. London: Crown Publishers.Google Scholar
Chiaro, D. (2010). ‘Found in Translation: Crosstalk as a Form of Humour’. In Valero-Garcés, C. (ed.), Dimensions of Humor: Explorations in Linguistics, Literature, Cultural Studies and Translation. Valencia: University of Valencia Press, 33–54.Google Scholar
Chiaro, D. & De Bonis, G. (2020). ‘Multilingualism and Translation on Screen’. In Bogucki, Ł & Deckert, M. (eds.), The Palgrave Handbook of Audiovisual Translation and Media Accessibility. Cham: Palgrave Macmillan, 687–711.Google Scholar
Clancy, T. (n.d.). ‘Red Storm Entertainment Press Releases’. Red Storm. https://accessed:archive.org/web/19970629052550/http://www.redstorm.com/pressreleases.html. Accessed 31 August 2022.Google Scholar
‘Clock Puzzle’ (n.d.). Silent Hill Wiki. https://silenthill.fandom.com/wiki/Clock_Puzzle. Accessed 14 September 2020.Google Scholar
Copenhaver, A. (2014). ‘Violent Video Game Legislation as Pseudo-agenda’. Criminal Justice Studies, 28(2), 170–85. https://doi.org/10.1080/1478601x.2014.966474.Google Scholar
Culture.pl (n.d.). ‘O nas’. [‘About Us’]. Adam Mickiewicz Institute. https://culture.pl/pl/o-nas. Accessed 14 April 2022.Google Scholar
Culture.pl (2016). ‘“Post-Post-Modern Gaming”? An Interview with Flying Wild Hog’. Culture.pl. 10 November. https://culture.pl/en/article/post-post-modern-gaming-an-interview-with-flying-wild-hog. Accessed 26 August 2022.Google Scholar
Deckert, M. (2021). ‘Język w przestrzeni ekranu: przekładowe nieoczywiste oczywistości’. In P. Stalmaszczyk (ed.), Język(i) w czasie i przestrzeni. Lodz: Lodz University Press, 99–114.Google Scholar
Deckert, M. & Jaszczyk, P. (2019). ‘Subtitling Choices and Visual Attention: A Viewer Perspective’. In P. Pietrzak (ed.), New Insights into Translator Training (special issue). inTRAlinea. https://intralinea.org/specials/article/2414.Google Scholar
deHaan, J. (2019). ‘Teaching Language and Literacy with Games: What? How? Why?’Ludic Language Pedagogy, 1, 1–57. https://llpjournal.org/2019/09/18/dehaan-what-how-why.html.Google Scholar
Derrat, M. (2021). ‘Top 10 Most Profound Games Ever Made’. YouTube video. https://youtu.be/kwlGiLuRBB8/.Google Scholar
Desimone, R. & Duncan, J. (1995). ‘Neural Mechanisms of Selective Visual Attention’. Annual Review of Neuroscience, 18, 193–222.Google Scholar
Dietz, F. (2006). ‘Issues in Localizing Computer Games’. In K. Dunne (ed.), Perspectives on Localization. Amsterdam: John Benjamins, 121–34.Google Scholar
Dillio, R. (2014). ‘A Critical Miss: Video Games, Violence, and Ineffective Legislation’.First Amendment Studies, 48(2), 110–30. https://doi.org/10.1080/21689725.2014.950496.CrossRefGoogle Scholar
Dontnod Entertainment (2015). Life Is Strange [Game]. Square Enix Europe.Google Scholar
Dunne, K. J. (2006). ‘Issues in Localizing Computer Games’. In K. J. Dunne (ed.), Perspectives on Localization. Amsterdam: John Benjamins, 121–34.Google Scholar
Epic Games, Inc. (n.d.). ‘Localization’. Unreal Engine 5.0 documentation. https://docs.unrealengine.com/5.0/en-US/localizing-content-in-unreal-engine-for-different-cultures/. Accessed 17 September 2021.Google Scholar
Ferguson, C. J., & Colwell, J. (2017). ‘Understanding Why Scholars Hold Different Views on the Influences of Video Games on Public Health’. Journal of Communication, 67(3), 305–27. https://doi.org/10.1111/jcom.12293.CrossRefGoogle Scholar
Ferguson, C. J., & Wang, J. C. K. (2019). ‘Aggressive Video Games Are Not a Risk Factor for Future Aggression in Youth: A Longitudinal Study’. Journal of Youth and Adolescence, 48(8), 1439–51. https://doi.org/10.1007/s10964-019-01069-0.Google Scholar
Fernandez-Vara, C. (2011). ‘Game Spaces Speak Volumes: Indexical Storytelling’. Proceedings of the 2011 DiGRA International Conference: Think Design Play. DiGRA/Utrecht School of Arts. www.digra.org/wp-content/uploads/digital-library/Game-Spaces-Speak-Volumes.pdf.Google Scholar
Fisher, S. J. & Harvey, A. (2013). ‘Intervention for Inclusivity: Gender Politics and Indie Game Development’. Loading… The Journal of the Canadian Game Studies Association, 7(11). https://loading.journals.publicknowledgeproject.org/loading/index.php/loading/article/view/118/183.Google Scholar
Fleming, V. (dir.) (1939). The Wizard of Oz. Loew’s, Inc.Google Scholar
Hog, Flying Wild. (2011). Hard Reset [Game]. Flying Wild Hog & Good Shepherd Entertainment.Google Scholar
Hog, Flying Wild. (2014). Juju [Game]. Flying Wild Hog.Google Scholar
Hog, Flying Wild. (2016). Shadow Warrior 2 [Game]. Devolver Digital.Google Scholar
Fredricksen, E. (2002) Progress Quest [Game]. http://fredricksen.net/.Google Scholar
Company, Fullbright (2013). Gone Home [Game].Google Scholar
Gambier, Y. (2003). ‘Introduction: Screen Transadaptation: Perception and Reception’. The Translator, 9(2), 171–89. https://doi.org/10.1080/13556509.2003.10799152.Google Scholar
GDC (2018a). ‘A Fun Time in Which Some No-Good Game Developers May or May Not Discuss How We Made NieR:Automata’. YouTube video. https://youtu.be/jKbH9i5axxU. Accessed 27 September 2021.Google Scholar
GDC (2018b). ‘Failing to Fail: The Spiderweb Software Way’. YouTube video. http://youtu.be/stxVBJem3Rs. Accessed 21 August 2021.Google Scholar
Gee, J. P. (2005). Why Video Games Are Good for Your Soul: Pleasure and Learning. Melbourne: Common Ground Publishing.Google Scholar
Gee, J. P. (2006). ‘Why Game Studies Now? Video Games: A New Art Form’. Games and Culture, 1(1), 58–61. https://doi.org/10.1177/1555412005281788.Google Scholar
Greco, G. M. (2018). ‘The Nature of Accessibility Studies’. Journal of Audiovisual Translation, 1(1), 205–32.Google Scholar
Griffiths, M. (2005). ‘Video Games and Health’. British Medical Journal, 331(7509), 122–3. https://doi.org/10.1136/bmj.331.7509.122.Google Scholar
Hall, L., Johansson, P., Tarning, B., Sikstrom, S. & Deutgen, T. (2010). ‘Magic at the Marketplace: Choice Blindness for the Taste of Jam and the Smell of Tea’. Cognition, 117(1), 54–61.Google Scholar
Hamari, J. & Tuunanen, J. (2014). Player Types: A Meta-synthesis. DIGRA: Transactions of the Digital Games Research Association, 1(2), 29–53. http://dx.doi.org/10.26503/todigra.v1i2.13.Google Scholar
Harvey, A. & Fisher, S. (2014). ‘“Everyone Can Make Games!”: The Post-feminist Context of Women in Digital Game Production’. Feminist Media Studies, 15(4), 576–92. https://doi.org/10.1080/14680777.2014.958867.Google Scholar
Hazelton, R. (2014). ‘Learning the Poetic Line’. Poetry Foundation. www.poetryfoundation.org/articles/70144/learning-the-poetic-line. Accessed 9 May 2021.Google Scholar
Hempuli, & Teikari, A. (2019). Baba Is You [Game]. Hempuli.Google Scholar
Henry, J. (2019). ‘The Division 2 Devs Reveal Story Length’. Gamer Rant. 18 January. www.gamerant.com/division-2-story-length. Accessed 26 August 2022.Google Scholar
International Trade Administration. (2020). ‘Media & Entertainment’. International Trade Administration, United States Department of Commerce. www.trade.gov/media-entertainment/. Accessed 25 August 2021.Google Scholar
International Trade Administration (n.d.). ‘Media & Entertainment: Video Games Sector’. International Trade Administration, United States Department of Commerce. www.trade.gov/media-entertainment-video-games%20sector. Accessed 25 August 2021.Google Scholar
Interplay, Black Isle Studios, Bethesda & Obsidian (1997–present). Fallout series [Games].Google Scholar
‘In the Studio’. (1997). Next Generation, 26 (February), 34. https://archive.org/details/nextgen-issue-26/page/n35/mode/2up.Google Scholar
Izushi, H. & Aoyama, Y. (2006). ‘Industry Evolution and Cross-Sectoral Skill Transfers: A Comparative Analysis of the Video Game Industry in Japan, the United States, and the United Kingdom’. Environment and Planning A: Economy and Space, 38(10), 1843–61. https://doi.org/10.1068/a37205.CrossRefGoogle Scholar
Janarthanan, V. (2012). ‘Serious Video Games: Games for Education and Health’. Ninth International Conference on Information Technology – New Generations, 875–78. https://doi.org/10.1109/itng.2012.79.Google Scholar
Kain, E. (2019). ‘“Death Stranding” Shamelessly Bombards You with Corporate Product Placements’. Forbes. www.forbes.com/sites/erikkain/2019/11/09/death-stranding-shamelessly-bombards-you-with-corporate-product-placements/. Accessed 27 September 2021.Google Scholar
Kallio, K. P., Mayra, F., Kaipainen, K. (2011). ‘At Least Nine Ways to Play: Approaching Gamer Mentalities’. Games and Culture, 6(4), 327–53. https://doi.org/10.1177/1555412010391089.Google Scholar
Keogh, B. (2018). ‘From Aggressively Formalised to Intensely in/Formalised: Accounting for a Wider Range of Videogame Development Practices’. Creative Industries Journal, 12(1), 14–33. https://doi.org/10.1080/17510694.2018.1532760.CrossRefGoogle Scholar
Khatib, F., Cooper, S., Tyka, M. D. et al. (2011). ‘Algorithm Discovery by Protein Folding Game Players’. Proceedings of the National Academy of Sciences, 108(47). www.pnas.org/content/108/47/18949.short.CrossRefGoogle ScholarPubMed
Productions, Kojima (2019). Death Stranding. Sony Interactive Entertainment.Google Scholar
Koops van ’t Jagt, R., Hoeks, J. C. J., Dorleijn, G. J. & Hendriks, P. (2014). ‘Look Before You Leap: How Enjambment Affects the Processing of Poetry’. Scientific Study of Literature, 4(1), 3–24. https://doi.org/10.1075/Ssol.4.1.01jag.Google Scholar
Kultima, A. (2021). ‘Game Jam Natives? The Rise of the Game Jam Era in Game Development Cultures’. ICGJ 2021: Sixth Annual International Conference on Game Jams, Hackathons, and Game Creation Events. New York: Association for Computing Machinery, 22–28. https://doi.org/10.1145/3472688.3472691.Google Scholar
Langacker, R. W. (2007). ‘Cognitive Grammar’. In Geeraerts, D. & Cuyckens, H. (eds.), Oxford Handbook of Cognitive Linguistics. Oxford: Oxford University Press, 421–62.Google Scholar
Langacker, R. W. (2008). Cognitive Grammar: A Basic Introduction. New York: Oxford University Press.Google Scholar
Langdell, T. (2006). ‘Beware of the Localization’. In C. Bateman (ed.), Game Writing: Narrative Skills for Videogames. Hingham: Charles River Media, 201–8.Google Scholar
Larsen, L. J. (2017). ‘Play and Gameful Movies: The Ludification of Modern Cinema’. Games and Culture, 14(5), 455–77. https://doi.org/10.1177/1555412017700601.Google Scholar
Lieberman, D. A. (2012). ‘Video Games for Diabetes Self-Management: Examples and Design Strategies’. Journal of Diabetes Science and Technology, 6(4), 802–6. https://doi.org/10.1177/193229681200600410.Google Scholar
Liew, Z. R. & Che Omar, H. (2018). ‘Understanding Fansub as One of the Audiovisual Translation Method’. Kemanusiaan: The Asian Journal of Humanities, 25(2), 109–27. https://doi.org/10.21315/kajh2018.25.2.6.Google Scholar
Lipkin, N. D. (2019). ‘The Indiepocalypse: The Political-Economy of Independent Game Development Labor in Contemporary Indie Markets’. Game Studies, 19(2). http://gamestudies.org/1902/articles/lipkin.Google Scholar
Lloyd, B. (2019). ‘Yes, There’s a LOT of Product Placement in “Death Stranding”’. Entertainment.ie. www.entertainment.ie/gaming/death-stranding-product-placement-428856. Accessed 26 August 2022.Google Scholar
Lörscher, W. (1991). Translation Performance, Translation Process, and Translation Strategies: A Psycholinguistic Investigation, vol. 4. Tubingen: Gunter Narr.Google Scholar
Lowood, H. (2021). ‘Electronic Game’. Encyclopaedia Britannica. 1 November. www.britannica.com/topic/electronic-game. Accessed 17 September 2021.Google Scholar
Lv, Z., Tek, A., Da Silva, F., Empereur-mot, C., Chavent, M. & Baaden, M. (2013). ‘Game on, Science – How Video Game Technology May Help Biologists Tackle Visualization Challenges’. PLoS ONE, 8(3), Article e57990. https://doi.org/10.1371/journal.pone.0057990.Google Scholar
Maguire, T. (2015). Accessible Theatre-Making for Spectators with Visual Impairment: Cahoots NI’s The Gift. Belfast: Ulster University.Google Scholar
Mangiron, C. & O’Hagan, M. (2006). ‘Game Localisation: Unleashing Imagination with “Restricted” Translation’. The Journal of Specialised Translation, 6, 10–21.Google Scholar
Mangiron, C. (2018). ‘Reception Studies in Game Localisation: Taking Stock’. In E. Di Giovanni & Y. Gambier (eds.), Reception Studies and Audiovisual Translation. Amsterdam: John Benjamins, 277–96.Google Scholar
Entertainment, Massive (2017). ‘INSIDE MASSIVE – Episode 1: Join the Family’. YouTube video. www.youtu.be/KkGHZjgJfDM/. Accessed 7 September 2021.Google Scholar
Matamala, A. &Orero, P. (2015). ‘Text on Screen’. In A. Remael, N. Reviers & G. Vercauteren (eds.), Pictures Painted in Words: ADLAB Audio Description Guidelines. ADLAB. www.adlabproject.eu/Docs/adlab%20book/index.html.Google Scholar
Matern, M. F., van der Westhuizen, A. & Mostert, S. N. (2019). ‘The Effects of Video Gaming on Visual Selective Attention’. South African Journal of Psychology, 1(12), 183–94. https://doi.org/10.1177/0081246319871391.Google Scholar
Mountain, Missing (2019). Eden [Game]. Missing Mountain. https://missingmountain.itch.io/eden.Google Scholar
Musselwhite, C., Marston, H. R. & Freeman, S. (2016). ‘From Needy and Dependent to Independent Homo Ludens: Exploring Digital Gaming and Older People’. Games and Culture, 11(1–2), 3–6. https://doi.org/10.1177/1555412015605220.Google Scholar
Nacke, L. E., & Lindley, C. A. (2010). ‘Affective Ludology, Flow and Immersion in a First-Person Shooter: Measurement of Player Experience’. Loading… The Journal of the Canadian Game Studies Association, 3(5), 1–21. https://doi.org/10.48550/arXiv.1004.0248.Google Scholar
Naishuller, I. (dir.) (2021). Nobody. Universal Pictures.Google Scholar
Nallawalla, K. (2019). ‘Product Placement in Video Games’. Good/Bad Marketing. www.goodbadmarketing.com/keith/product-placement-in-video-games/.Google Scholar
NAWA (Narodowa Agencja Wymiany Akademickiej – Polish National Agency for Academic Exchange) (2020). ‘Poland Is Leading the Way of Gaming Industry. How?’ https://study.gov.pl/news/poland-leading-way-gaming-industry-how.Google Scholar
NLS (National Library Service for the Blind and Print Disabled) (2015). ‘Video Gaming Accessibility’. www.loc.gov/nls/resources/general-resources-on-disabilities/video-gaming-accessibility/.Google Scholar
O’Hagan, M. (2009). ‘Towards a Cross-Cultural Game Design: An Explorative Study in Understanding the Player Experience of a Localised Japanese Video Game’. The Journal of Specialised Translation, 11, 211–33.Google Scholar
O’Hagan, M. (2019). ‘Game Localization: A Critical Overview and Implications for Audiovisual Translation’. In Luis Pérez-González (ed.), The Routledge Handbook of Audiovisual Translation. Abingdon: Routledge, 145–59.Google Scholar
O’Hagan, M. & Mangiron, C. (2013). Game Localization: Translating for the Global Digital Entertainment Industry. Amsterdam: John Benjamins.Google Scholar
Palumbo, A. (2018). ‘“High Likelihood” That Video Game Revenue Will Be 100% Digital by 2022, Says Piper Jaffray’. Wccftech. https://wccftech.com/video-game-revenue-100-digital-by-2022/. Accessed 27 September 2021.Google Scholar
Pan European Gaming Information (2017). ‘Statistics about PEGI’. Interactive Software Federation of Europe. https://web.archive.org/web/20180629131125/https://pegi.info/page/statistics-about-pegi. Accessed 27 August 2022.Google Scholar
Pan European Gaming Information (2020). ‘Statistics about PEGI’. Interactive Software Federation of Europe. https://pegi.info/page/statistics-about-pegi. Accessed 27 September 2021.Google Scholar
Parini, I. (2015). ‘Cultural and Linguistic Issues at Play in the Management of Multilingual Films in Dubbing’. In Bogucki, Ł & Deckert, M. (eds.), Accessing Audiovisual Translation. Frankfurt: Peter Lang, 27–50.Google Scholar
Patel, F. & Lynch, H. (2013). ‘Glocalization as an Alternative to Internationalization in Higher Education: Embedding Positive Glocal Learning Perspectives’. International Journal of Teaching and Learning in Higher Education, 25(2), 223–30. https://files.eric.ed.gov/fulltext/EJ1016539.pdf.Google Scholar
Paul, C. A. (2014). ‘Meaning’. In M. J. P. Wolf & B. Perron (eds.), The Routledge Companion to Video Game Studies. New York: Routledge, 459–65.Google Scholar
Pedersen, J. (2007). ‘Scandinavian Subtitles: A Comparative Study of Subtitling Norms in Sweden and Denmark with a Focus on Extralinguistic Cultural References’. Doctoral thesis, Stockholm University.Google Scholar
Peña Pérez Negrón, A., Bonilla Carranza, D., & Berumen Mora, J. (2021). ‘Cutting-Edge Technology for Video Games’. In J. Mejia, M. Muñoz, Á. Rocha, & Y. Quiñonez (eds.), New Perspectives in Software Engineering: CIMPS 2020 – Advances in Intelligent Systems and Computing, vol. 1297. Cham: Springer, https://doi.org/10.1007/978-3-030-63329-5_20.Google Scholar
Przybylski, A. K., Deci, E. L., Rigby, C. S. & Ryan, R. M. (2014). ‘Competence-Impeding Electronic Games and Players’ Aggressive Feelings, Thoughts, and Behaviors’. Journal of Personality and Social Psychology, 106(3), 441–57. https://doi.org/10.1037/a0034820.Google Scholar
Pursel, B. K. & Stubbs, C. (2017). ‘How Multiplayer Video Games Can Help Prepare Individuals for Some of the World’s Most Stressful Jobs’. In M. McNeese & P. Forster (eds.), Cognitive Systems Engineering an Integrative Living Laboratory Framework, 1st ed. Boca Raton: CRC Press, 277–95.Google Scholar
Rawitsch, D., Heinemann, B. & Dillenberger, P. (1971). The Oregon Trail [Game]. MECC.Google Scholar
Reiss, K. (2000). Translation Criticism – The Potentials & Limitation: Categories and Criteria for Translation Quality Assessment. Manchester: St Jerome.Google Scholar
Rock, I., Linnet, C. M., Grant, P. I. & Mack, A. (1992). ‘Perception without Attention: Results of a New Method’. Cognitive Psychology, 24(4), 502–34.Google Scholar
Rocksteady Studios (2011). Batman: Arkham City [Game]. Warner Bros.Google Scholar
Romero-Fresco, P. (2013). ‘Accessible Filmmaking: Joining the Dots between Audiovisual Translation, Accessibility and Filmmaking‘. Journal of Specialised Translation, 20, 201–23. www.jostrans.org/issue20/art_romero.php.Google Scholar
Romero-Fresco, P. (2019). ‘Accessible Filmmaking: Integrating Translation and Accessibility into the Filmmaking Process’. London: Routledge.CrossRefGoogle Scholar
Romero-Fresco, P. (2020) ‘Accessible Filmmaking’. In Bogucki, Ł and Deckert, M. (eds.), The Palgrave Handbook of Audiovisual Translation and Media Accessibility. London: Palgrave, 545–66.Google Scholar
Sanford, K., Starr, L. J., Merkel, L., & Bonsor Kurki, S. (2015). ‘Serious Games: Video Games for Good?’ E-Learning and Digital Media, 12(1), 90–106. https://doi.org/10.1177/2042753014558380.Google Scholar
Sapkowski, A. (1986). Wiedźmin [Witcher] series. Poland: Supernowa.Google Scholar
‘ScanTek’ (n.d.). The Division Wiki. https://thedivision.fandom.com/wiki/Contact_Lens. Accessed 4 September 2021.Google Scholar
‘Shadow Warrior 2’ (n.d.). How Long to Beat. https://howlongtobeat.com/game.php?id=39740. Accessed 14 August 2020.Google Scholar
Shaffer, D. W., Squire, K. R., Halverson, R., & Gee, J. P. (2005). ‘Video Games and the Future of Learning’. Phi Delta Kappan, 87(2), 105–11. https://doi.org/10.1177/003172170508700205.Google Scholar
Simons, J. & Rensink, R. (2005). ‘Change Blindness: Past, Present, and Future’. Trends in Cognitive Sciences 9(1), 16–20.Google Scholar
Slade, D. (2018). Black Mirror: Bandersnatch. Netflix.Google Scholar
Sperber, D. & Wilson, D. (1995). Relevance: Communication and Cognition, 2nd ed. Oxford: Blackwell.Google Scholar
Sternheimer, K. (2007). ‘Do Video Games Kill?’ Contexts, 6(1), 13–17. https://doi.org/10.1525/ctx.2007.6.1.13.Google Scholar
‘Strategic Homeland Division’ (n.d.). The Division Wiki. https://thedivision.fandom.com/wiki/Strategic_Homeland_Division. Accessed 16 September 2020.Google Scholar
Suellentrop, C. (2017). ‘“Witcher” Studio Boss Marcin Iwinski: “We Had No Clue How to Make Games”’. Rolling Stone. March 15. https://web.archive.org/web/20170802203720/www.rollingstone.com/glixel/interviews/witcher-studio-boss-we-had-no-clue-how-to-make-games-w472316/. Accessed 27 August 2022.Google Scholar
Suojanen, T., Koskinen, K. & Tuominen, T. (2015). User-Centered Translation. London: Routledge.Google Scholar
Team Silent (2001). Silent Hill 2 [Game]. Konami.Google Scholar
‘Tom Clancy’s The Division’ (n.d.). Game Lengths. www.gamelengths.com/games/playtimes/Tom+Clancy‘s+The+Division/. Accessed 14 August 2020.Google Scholar
‘Tom Clancy’s The Division 2’ (n.d.). How Long to Beat. https://howlongtobeat.com/game?id=57480. Accessed 14 August 2020.Google Scholar
Games, Telltale (2009). Sam and Max Save the World [Game]. Telltale Games.Google Scholar
Tomlin, R. S. & Myachykov, A. (2015). ‘Attention and Salience’. In Dąbrowska, E. & Divjak, D. (eds.), Handbook of Cognitive Linguistics. Berlin: De Gruyter, 31–52.Google Scholar
Tondello, G. F., Wehbe, R. R., Orji, R., Ribeiro, G. & Nacke, L. E. (2017). ‘A Framework and Taxonomy of Videogame Playing Preferences’. In: CHI PLAY ‘17: Proceedings of the Annual Symposium on Computer-Human Interaction in Play. New York: Association for Computing Machinery, 329–40. https://doi.org/10.1145/3116595.3116629.Google Scholar
Turel, O. (2020). ‘Videogames and Guns in Adolescents: Tests of a Bipartite Theory’. Computers in Human Behavior, 109, Article 106355. https://doi.org/10.1016/j.chb.2020.106355.Google Scholar
Turel, O. & Bechara, A. (2019). ‘Little Video-Gaming in Adolescents Can Be Protective, but Too Much is Associated with Increased Substance Use’. Substance Use & Misuse, 54(3), 384–95. https://doi.org/10.1080/10826084.2018.1496455.CrossRefGoogle ScholarPubMed
Tyler, J. & Howarth, L. (1983). Adventure Programs. London: Usborne.Google Scholar
Ubisoft & Ubisoft Montreal (2015). Tom Clancy’s Rainbow Six: Siege [Game]. Ubisoft.Google Scholar
Ubisoft, Red Storm Entertainment & Massive Entertainment (2019). Tom Clancy’s The Division 2 [Game]. Ubisoft.Google Scholar
Unity Technologies (n.d.). ‘Class LocalizeStringEvent’. Unity Technologies Scripting API. https://docs.unity3d.com/Packages/com.unity.localization@0.7/api/UnityEngine.Localization.Components.LocalizeStringEvent.html. Accessed 17 September 2021.Google Scholar
Uysal, D. (2017). ‘Bilgisayar oyunlarinda bağimlilik, şiddet ve kimlik kaybinin çocuk ve gençler üzerindeki etkileri: Burkhard Spinnen’in “Nevena” adli romani [Effects of Addiction, Violence and Loss of Identity in Computer Games on Lives of Children and Young People: Burkhard Spinnen’s Novel ‘Nevena’]’. Journal of Academic Social Science Studies (56), 177–200. http://dx.doi.org/10.9761/JASSS7005.Google Scholar
Valve (2007–11). Portal series [Games]. Valve.Google Scholar
Valve (2007). Team Fortress 2 [Game]. Valve.Google Scholar
Vitka, W. (2019). ‘How The Division 2 Video Game Recreated and Destroyed DC’. WTOP. https://wtop.com/entertainment/2019/03/washington-wasteland-how-one-of-the-years-biggest-video-games-recreated-and-destroyed-dc/.Google Scholar
Wahl, C. (2008). ‘Du Deutscher, Toi Français, You English: Beautiful! – The Polyglot Film as a Genre’. In Christensen, M. & Erdŏgan, N. (eds.), Shifting Landscapes: Film and Media in European Context. Newcastle: Cambridge Scholars Publishing, 334–50.Google Scholar
Whaley, B. (2015). ‘“Who Will Play Terebi Gemu When No Japanese Children Remain?” Distanced Engagement in Atlus’ Catherine’. Games and Culture, 13(1), 92–114. https://doi.org/10.1177/1555412015606533.Google Scholar
William, J. (1890/1950). The Principles of Psychology. New York: Dover Publications.Google Scholar
Wolf, M. J. P. & Perron, B. (2003). The Video Game Theory Reader. New York: Routledge.Google Scholar
Wong, H. (2011). ‘A Study of the Video Game Industry in US Metropolitan Areas Using Occupational Analysis’. Master’s thesis, University of Massachusetts.Google Scholar
Young, C. J. (2018). ‘Game Changers: Everyday Gamemakers and the Devel-opment of the Video Game Industry’. Doctoral thesis, University of Toronto.Google Scholar
Zanotti, S. (2018). ‘Auteur Dubbing: Translation, Performance and Authorial Control in the Dubbed Versions of Stanley Kubrick’s Films’. In Ranzato, I. & Zanotti, S. (eds.), Reassessing Dubbing: The Past is Present. Amsterdam: John Benjamins.Google Scholar
Zhang, L. & Weisi, L. (2013). Selective Visual Attention: Computational Models and Applications. Singapore: John Wiley.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

On-Screen Language in Video Games
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

On-Screen Language in Video Games
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

On-Screen Language in Video Games
Available formats
×