Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-25T18:38:25.785Z Has data issue: false hasContentIssue false

Towards Game Translation User Research

Published online by Cambridge University Press:  02 May 2024

Mikołaj Deckert
Affiliation:
University of Lodz
Krzysztof W. Hejduk
Affiliation:
University of Lodz

Summary

This Element takes the initiative to highlight the nascent state of audiovisual translation research centring on users of video games. It proposes ways of advancing the research by integrating numerous related perspectives from relevant fields to guide studies in translated game reception into further fruition. The Element offers an accessible overview of possible relationships between translation and its experiencers, showcasing ways to design game reception studies. Examples, methods, tools, and practical concerns are discussed to ultimately develop a blueprint for game translation user research which aims to consolidate scientific user-centric inquiry into video game translation. To that end, the blueprint captures the three-pronged interplay between the parameters of localisation-reception research in facets of user experience, facets of translated games, and facets of game users.
Get access
Type
Element
Information
Online ISBN: 9781009385824
Publisher: Cambridge University Press
Print publication: 23 May 2024

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

5th Cell (2009). Scribblenauts [American and British English language versions]. Warner Bros. Interactive Entertainment.Google Scholar
Abeele, V. V., Spiel, K., Nacke, L., Johnson, D., & Gerling, K. (2020). Development and validation of the player experience inventory: A scale to measure player experiences at the level of functional and psychosocial consequences. International Journal of Human-Computer Studies, 135, 112. https://DOI.org/ggjqffCrossRefGoogle Scholar
AD4Games (2021). August 2021 – Live Audio Description of the Game ‘Before I Forget’. YouTube. https://youtu.be/1oY_-Zx9z90Google Scholar
Adlan, W. A. (2020). Larian Studios Talks about ‘The Larian Way’. Gamer Braves. www.gamerbraves.com/level-up-kl-2020-larian-studios-talks-about-the-larian-way/Google Scholar
Afzali, K. & Zahiri, M. (2022). A netnographic exploration of Iranian videogame players translation needs: The case of in-game texts. The Translator, 28(1), 7494, https://doi.org/10.1080/13556509.2021.1880536CrossRefGoogle Scholar
Al-Batineh, M. & Alawneh, R. (2022). Current trends in localizing video games into Arabic: Localization levels and gamers’ preferences. Perspectives: Studies in Translation Theory and Practice, 30(2), pp. 323342. https://doi.org/10.1080/0907676X.2021.1926520CrossRefGoogle Scholar
Almeida, S., Veloso, A., Roque, L., & Mealha, O. (2011). The Eyes and Games: A Survey of Visual Attention and Eye Tracking Input in Video Games. Proceedings of SBGames, 110. https://sbgames.org/sbgames2011/proceedings/sbgames/papers/Google Scholar
Arasu, P. (2023). Hogwarts Legacy’s Game Mechanics Reflect the Gender Essentialism at the Heart of Harry Potter. The Conversation. https://theconversation.com/hogwarts-legacys-game-mechanics-reflect-the-gender-essentialism-at-the-heart-of-harry-potter-199604Google Scholar
Atlus, (1996). Revelations: Persona (North American release). Atlus USA.Google Scholar
Babbie, E. R. (2021). Practice of Social Research. Boston: Cengage Learning.Google Scholar
Bardini, F. (2020). Film language, film emotions and the experience of blind and partially sighted viewers: A reception study. The Journal of Specialised Translation 33, 259280.Google Scholar
Barnes, W. (2012). Starcraft 2: Carte Blanche Localization. Localization Summit, Game Developers Conference. San Francisco. www.gdcvault.com/play/1015645/StarCraft-II-Carte-BlancheGoogle Scholar
Bartelt-Krantz, M. (2017). Game localization management: Balancing linguistic quality and financial efficiency. TRANS. Revista De Traductología 15: 8388. ISSN 1137-2311. https://doi.org/10.24310/TRANS.2011.v0i15.3197.Google Scholar
Bartle, R. (1996). Hearts, Clubs, Diamonds, Spades: Players Who Suit MUDs. Richard Bartle. www.mud.co.uk/richard/hcds.htm.Google Scholar
Bernabé-Caro, R., Orero, P., García, Ó., & Oncins, E. (2020). Validation of easy-to-read subtitles. In Dejica, D., Eugeni, C., & Dejica-Cartis, A. (Eds.), Translation Studies and Information Technology – New Pathways for Researchers, Teachers and Professionals (pp. 162175). Timișoara: Timișoara Editura Politehnica.Google Scholar
Bernal-Merino, M. Á. (2015). Translation and Localisation in Video Games: Making Entertainment Software Global. New York: Routledge.Google Scholar
Bernal-Merino, M. Á. (2016a). Creating felicitous gaming experiences: Semiotics and pragmatics as tools for video game localisation. Signata, 7, 231253. https://doi.org/10/gmzm38CrossRefGoogle Scholar
Bernal-Merino, M. Á. (2016b). The glocalization and co-creation in video games. In Thussu, D. (Ed.), Media across Borders: Localizing TV, Film and Video Games (pp. 202219). New York: Routledge.Google Scholar
Bernal-Merino, M. Á. (2018a). Creativity and playability in the localisation of video games. The Journal of Internationalization and Localization, 5(1), 7596.CrossRefGoogle Scholar
Bernal-Merino, M. Á. (2018b). Quantum identity and the enhancement of communication. Journal of Brand Strategy, 6(4), 380391. London: Henry Stewart.Google Scholar
Bernal-Merino, M. Á. (2020). Key concepts in game localisation quality. In Bogucki, Ł & Deckert, M. (Eds.), The Palgrave Handbook of Audiovisual Translation and Media Accessibility (pp. 297314). Cham: Springer International. https://doi.org/10.1007/978-3-030-42105-2_15CrossRefGoogle Scholar
Bernhaupt, R. (2015). User experience evaluation methods in the games development life cycle. In Bernhaupt, R. (Ed.), Game User Experience Evaluation (Human–Computer Interaction Series) (pp. 18). New York: Springer. https://doi.org/10.1007/978-3-319-15985-0_1CrossRefGoogle Scholar
Bethesda Game Studios (2008). Fallout 3. Bethesda Softworks.Google Scholar
Bethesda Game Studios (2011). The Elder Scrolls V: Skyrim. Bethesda Softworks.Google Scholar
Bethesda Game Studios (2023). Starfield. Bethesda Softworks.Google Scholar
Blizzard Entertainment (2010). StarCraft II: Wings of Liberty (English original, Russian and Korean localisation). Blizzard Entertainment.Google Scholar
Blizzard Entertainment (2014). Hearthstone (English original, Spanish localisation). Blizzard. https://news.blizzard.com/es-es/hearthstone/15019545/la-traduccion-de-hearthstone-un-vistazo-desde-dentroGoogle Scholar
Blizzard Entertainment (2016). Overwatch (various language versions). Blizzard Entertainment.Google Scholar
Bogost, I. (2011). How to Do Things with Videogames. Minnesota: University of Minnesota Press.CrossRefGoogle Scholar
Bogost, I. (2015). How to Talk about Videogames. Minnesota: University of Minnesota Press.CrossRefGoogle Scholar
Brigstow Institute. (2021). AD4Games: making video games accessible for visually impaired players – Brigstow Institute. University of Bristol. https://brigstowinstitute.blogs.bristol.ac.uk/project/ad4games/.Google Scholar
Brown, E. & Cairns, P. (2004). A grounded investigation of game immersion. Extended Abstracts of the 2004 Conference on Human Factors and Computing Systems – CHI 04, 12971300. https://doi.org/10.1145/985921.986048CrossRefGoogle Scholar
Cavia (2010a). Nier Replicant. Square Enix.Google Scholar
Cavia (2010b). Nier Gestalt. Square Enix.Google Scholar
CD Projekt Red (2015). The Witcher 3: Wild Hunt. CD Projekt.Google Scholar
Celeste, Wiki (2023). Assist Mode [Community-curated]. https://celeste.ink/wiki/Assist_ModeGoogle Scholar
Chau, J. (2019, 13 September). The Success of Multi-Billion Dollar Free-to-Play Games Isn’t Culture. Medium. https://medium.com/@SJeneris/the-success-of-multi-billion-dollar-free-to-play-games-isnt-culture-474195d212a2Google Scholar
Chebat, D. R., Schneider, F. C., Kupers, R., & Ptito, M. (2011). Navigation with a sensory substitution device in congenitally blind individuals. Neuroreport, 7(22), 342347. https://doi.org/10.1097/wnr.0b013e3283462defCrossRefGoogle Scholar
Chmiel, A. & Mazur, I. (2012). AD reception research: Some methodological considerations. In Perego, E. (Ed.), Emerging Topics in Translation: Audio Description (pp. 5780). Trieste: EUT Edizioni Università di Trieste. http://hdl.handle.net/10077/6361Google Scholar
Chu, M. (2017). Thinking Globally: Building the Optimistic Future of ‘Overwatch’. GDC Vault. www.gdcvault.com/play/1024266/Thinking-Globally-Building-the-OptimisticGoogle Scholar
Crosignani, S. (2011). Tips for Successful Games Audio Production. MultiLingual, https://multilingual.com/articles/tips-for-successful-games-audio-productionGoogle Scholar
Crosignani, S. & Ravetto, F. (2011). Localizing the buzz! Game series (Or how to successfully implement transcreation in a multi-million seller video game). TRANS: Revista de Traductología 15. Special issue on games localization, 2938.CrossRefGoogle Scholar
Csikszentmihalyi, M. (1990). Flow: The Psychology of Optimal Experience. New York: Harper & Row.Google Scholar
d’Ydewalle, G., Muylle, P., & van Rensbergen, J. (1985). Attention shifts in partially redundant information situations. In Groner, R., McConkie, G. W., & Menz, C. (Eds.), Eye Movements and Human Information Processing (pp. 375384). North-Holland: Elsevier.Google Scholar
d’Ydewalle, G., Van Rensbergen, J., & Pollet, J. (1987). Reading a message when the same message is available auditorily in another language: The case of subtitling. In O’Reagan, J. K. & Schoen, A. Lévy (Eds.), Eye Movements: From Physiology to Cognition (pp. 313321), Amsterdam: Elsevier Science Publishers B.V.CrossRefGoogle Scholar
Dale, L. (2023, 11 August). The Switch 2 NEEDS These Accessibility Improvements. Access-Ability. https://access-ability.uk/2023/08/11/the-switch-2-needs-these-accessibility-improvements/Google Scholar
Nine, Deck (2021). Life Is Strange: True Colors. Square Enix. https://lifeisstrange.square-enix-games.com/en-us/Google Scholar
Deckert, M. (2021). Język w przestrzeni ekranu: Przekładowe nieoczywiste oczywistości. In Stalmaszczyk, P. (Ed.), Język(i) w czasie i przestrzeni (pp. 99115). Łódź: University of Lodz Press. https://wydawnictwo.uni.lodz.pl/produkt/jezyki-w-czasie-i-przestrzeniGoogle Scholar
Deckert, M. & Hejduk, K. W. (2022a). On-Screen Language in Video Games: A Translation Perspective. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Deckert, M. & Hejduk, K. W. (2022b). Videogame localisation, spelling errors and player reception. Translation, Cognition & Behavior, 5(1), 27–49. https://doi.org/h422Google Scholar
Deckert, M. & Hejduk, K. W. (2024). Can video game subtitling shape player satisfaction? Perspectives: Studies in Translation Theory and Practice 32(1), 5975. https://doi.org/jp9mCrossRefGoogle Scholar
Di Giovanni, E. (2020). Reception studies and audiovisual translation. In Bogucki, Ł & Deckert, M. (Eds.), The Palgrave Handbook of Audiovisual Translation and Media Accessibility (pp. 397413). Amsterdam: Springer International. https://doi.org/10.1007/978-3-030-42105-2_20CrossRefGoogle Scholar
Di Giovanni, E. & Gambier, Y. (Eds.). (2018). Reception Studies and Audiovisual Translation. Amsterdam: John Benjamins.CrossRefGoogle Scholar
Entertainment, Dontnod, Nine, Deck, Enix, Square (2015–2022). Life Is Strange [series]. Square Enix.Google Scholar
Downs, J., Vetere, F., Howard, S., & Loughnan, S. (2013). Measuring audience experience in social videogaming. Proceedings of the 25th Australian Computer-Human Interaction Conference: Augmentaiton, Application, Innovation, Collaboration, 25. https://doi.org/10.1145/2541016.2541054Google Scholar
Drachen, A., Mirza-Babaei, P., & Nacke, L. E. (Eds.). (2018). Game User Research. Oxford: Oxford University Press.CrossRefGoogle Scholar
Eidos-Montréal (2011). Deus Ex: Human Revolution. Square Enix.Google Scholar
Eidos-Montréal (2018). Shadow of the Tomb Raider. Square Enix.Google Scholar
Electronic Arts (2022, 4 August). Customizable Pronouns Now Available in the Sims 4. EA. www.ea.com/en/games/the-sims/the-sims-4/news/customizable-pronouns-now-available-in-the-sims-4Google Scholar
Ellefsen, U. (2015). Between Reality and (Science) Fiction: French Localisation of the Post-Apocalyptic American dream. Unpublished essay, London.Google Scholar
Ellefsen, U. & Bernal-Merino, M. Á. (2018). Harnessing the roar of the crowd: A quantitative study of language preferences in video games of French players of the Northern Hemisphere. The Journal of Internationalization and Localization 5(1), 2148. https://doi.org/kv23CrossRefGoogle Scholar
Epic Games (2017). Fortnite: Battle Royale. Epic Games.Google Scholar
Epic Games Dev Community (2023). Fortnite Creative Glossary. Epic Developer Community. https://dev.epicgames.com/documentation/en-us/fortnite-creative/fortnite-creative-glossaryGoogle Scholar
ESRB (2023). Life Is Strange: True Colors – ESRB. ESRB Ratings. www.esrb.org/ratings/37564/life-is-strange-true-colors/Google Scholar
Extremely OK Games (2018). Celeste. Extremely OK Games.Google Scholar
Faure, Q. (2020). Pokémon, traduisez-les tous?: L’impact de la localisation sur l’expérience des joueurs: comparaison des versions française et italiennes des jeux vidéo Pokémon (Master’s dissertation). Geneva: University of Geneva.Google Scholar
Fernández-Costales, A. (2016). Analyzing players’ perceptions on the translation of video games: Assessing the tension between the local and the global concerning language use. In Esser, A., Bernal-Merino, M. Á., and Smith, I. R. (Eds.), Media Across Borders: Localizing TV, Film, and Video Games (pp. 183201). New York: Routledge.Google Scholar
Ferrara, J. (2012). Playful Design: Creating Game Experiences in Everyday Interfaces. New York: Rosenfeld Media.Google Scholar
FIFA (2023). The Football Landscape – The Vision 2020–2023. FIFA. https://publications.fifa.com/en/vision-report-2021/the-football-landscape/Google Scholar
Forums Blizzard (2022, 14 October). Frases mal traducidas. Overwatch Forums (Spanish); Blizzard. https://eu.forums.blizzard.com/es/overwatch/t/frases-mal-traducidas/12082Google Scholar
Freeman, M. & Rampazzo, G. R. (2018). The Routledge Companion to Transmedia Studies. New York: Routledge.CrossRefGoogle Scholar
Frijda, N. H. (2007a). Klaus Scherer’s article on ‘what are emotions?’ Comments. Social Science Information, 46(3), 381383. https://doi.org/10.1177/0539018407079694CrossRefGoogle Scholar
Frijda, N. H. (2007b). What might emotions be? Comments on the Comments. Social Science Information, 46(3), 433443. https://doi.org/10.1177/05390184070460030112CrossRefGoogle Scholar
FromSoftware (2011). Dark Souls [series]. Bandai Namco Entertainment.Google Scholar
Galdra Studios (2021). Arcadia Fallen. Galdra Studios.Google Scholar
Game Accessibility Guidelines (2023). Game Accessibility Guidelines | Full List. Game Accessibility Guidelines. https://gameaccessibilityguidelines.com/full-list/Google Scholar
Game User Interaction and Intelligence Lab (2022, 25 September). Official Website of GUII Lab’s Game User Research Methods Project; Game User Interaction and Intelligence Lab. Santa Cruz: University of California. https://gur.ucsc.eduGoogle Scholar
GameTec (2022). Overwatch 2 ALL Characters Ultimate Voice Lines (with Subtitles) HD. YouTube. www.youtube.com/watch?v=jt6jFU4Rs_MGoogle Scholar
Garda, M. B. (2012). Limits of genre, limits of fantasy: Rethinking computer role-playing games. In Brackin, A. L. & Guyot, N. (Eds.), Cultural Perspectives of Video Games: From Designer to Player (pp. 9199). Leiden: Brill. https://doi.org/10.1163/9781848881617_010CrossRefGoogle Scholar
Gerblick, J. (2021, 20 October). Over 20,000 Sims 4 Players Ask EA to Add Gender-Neutral Pronouns. Games Radar. www.gamesradar.com/over-20000-sims-4-players-ask-ea-to-add-gender-neutral-pronouns/Google Scholar
Geurts, F. (2015). What do you want to play? The Desirability of Video Game Translations from English into Dutch according to Dutch Gamers and Non-gamers (Master’s Dissertation). Leiden: Leiden University. https://studenttheses.universiteitleiden.nl/handle/1887/34704Google Scholar
Greco, G. M. (2016). On accessibility as a human right, with an application to media accessibility. In Matamala, A. & Orero, P. (Eds.), Researching Audio Description: New approaches (pp. 1133). London: Palgrave Macmillan.CrossRefGoogle Scholar
Guerrilla Games & Firesprite (2017–2023). Horizon [series]. Sony Interactive Entertainment.Google Scholar
Haider, A., Harteveld, C., Johnson, D., et al. (2022). miniPXI: Development and validation of an eleven-item measure of the player experience inventory. Proceedings of the ACM on Human-Computer Interaction, 6 (CHI PLAY), 126. https://doi.org/10.1145/3549507CrossRefGoogle Scholar
Hamari, J. & Tuunanen, J. (2014). Player types: A meta-synthesis. Transactions of the Digital Games Research Association, 1(2), 29–53. https://doi.org/10/ggp9fkCrossRefGoogle Scholar
Harkin, M. (2023). Brazilian Gamers Get Local | MultiLingual July 2023. Multilingual.com. https://multilingual.com/issues/july-2023/brazilian-gamers-get-local/Google Scholar
Hart, A. (2022, 15 December). Baldur’s Gate 3 Adds Non-binary Option. Gayming Magazine. https://gaymingmag.com/2022/12/baldurs-gate-3-adds-non-binary-option/Google Scholar
Harteveld, C., Javvaji, N., Machado, T., et al. (2020). Preliminary development and evaluation of the mini player experience inventory (mPXI). CHI PLAY ’20: Extended Abstracts of the 2020 Annual Symposium on Computer-Human Interaction in Play. https://doi.org/10.1145/3383668.3419877CrossRefGoogle Scholar
Hejduk, K. W. (2022). A Multimethod Approach to On-Screen Language Localisation Reception – the Case of a Logical Adventure Video Game (Unpublished master’s dissertation). Łódź: University of Lodz.Google Scholar
Hernandez, M. (2017). Video Game Localisation: A Francophone Gamers’ Perspective on the Quality of PC Video Game Localisation (Master’s dissertation). University of Geneva.Google Scholar
Hsieh, H. F. & Shannon, S. E. (2005). Three approaches to qualitative content analysis. Qualitative Health Research, 15(9), 12771288. https://doi.org/10.1177/1049732305276687CrossRefGoogle ScholarPubMed
Huizinga, J. (1955). Homo Ludens: A Study of the Play-Element in Culture. Boston: Beacon Press.Google Scholar
IGDA Game Accessibility Special Interest Group (2021, 26 August). The IGDA Game Accessibility Special Interest Group Homepage. IGDA Game Accessibility SIG; IGDA. https://igda-gasig.org/Google Scholar
IGDA Games Research and User Experience SIG (2023, 16 August). Official Website of IGDA Games Research & User Experience. International Game Developers Association Games Research and User Experience Special Interest Group. https://grux.org/grux-sigGoogle Scholar
Impey, S. (2018). Mobile vs Desktop UI: Key Differences In Design. GameAnalytics. https://gameanalytics.com/blog/mobile-desktop-ui-design/Google Scholar
International Game Developers Association (2020). Official Website of the International Game Developers Association. IGDA. https://igda.org/Google Scholar
Internet Society Foundation (2023, 15 May). What Are the Most Used Languages on the Internet? www.isocfoundation.org/2023/05/what-are-the-most-used-languages-on-the-internet/Google Scholar
Interplay (1997). Fallout: A Post Nuclear Role Playing Game. Interplay.Google Scholar
Ishii, R. (2022, 30 March). Ghostwire: Tokyo Is Filled with Humor Most Players Won’t Understand. Automaton Media. https://automaton-media.com/en/reviews/20220330-10937/Google Scholar
Isometricorp Games (2022). Tunic. Finji.Google Scholar
Izard, C. E. (2009). Emotion theory and research: Highlights, unanswered questions, and emerging issues. Annual Review of Psychology, 60(1), 125. https://doi.org/10.1146/annurev.psych.60.110707.163539CrossRefGoogle ScholarPubMed
Japan Studio & Team Ico (2001). Ico. Sony Computer Entertainment.Google Scholar
Jiménez-Crespo, M. A. (2018). Localisation research in translation studies. In Dam, H., Brøgger, M., & Zethsen, K. (Eds.), Moving Boundaries in Translation Studies (pp. 2644). London: Routledge. https://doi.org/10.4324/9781315121871-3CrossRefGoogle Scholar
Johnson, D. & Gardner, J. (2010). Personality, motivation and video games. Proceedings of the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia on Computer-Human Interaction – OZCHI ’10. https://doi.org/10.1145/1952222.1952281CrossRefGoogle Scholar
Johnson, D., Wyeth, P., Sweetser, P., & Gardner, J. (2012). Personality, genre and videogame play experience. Proceedings of the 4th International Conference on Fun and Games – FnG ’12. https://doi.org/10.1145/2367616.2367633CrossRefGoogle Scholar
Kabát, M. (2023). Factors influencing the quality of digital game localization. Acta Ludologica, 6(1), 8494. https://doi.org/10.34135/actaludologica.2023-6-1.84-94CrossRefGoogle Scholar
Kallio, K. P., Mäyrä, F., & Kaipainen, K. (2011). At least nine ways to play: Approaching gamer mentalities. Games and Culture, 6(4), 327353. https://doi.org/10/fv6hqpCrossRefGoogle Scholar
Keebler, J. R., Shelstad, W. J., Smith, D. C., Chaparro, B. S., & Phan, M. H. (2020). Validation of the GUESS-18: A short version of the game user experience satisfaction scale (GUESS)JUX. Journal of User Experience, 16(1), 4962. https://uxpajournal.org/validation-game-user-experience-satisfaction-scale-guess/Google Scholar
Khaliq, I. & Dela Torre, I. (2019). A study on accessibility in games for the visually impaired. In Bujari, A., Manzoni, P., Forster, A., Mota, E., & Gaggi, O. (Eds.), Proceedings of the 5th EAI International Conference on Smart Objects and Technologies for Social Good, pp. 142148. New York: Association for Computing Machinery ACM Digital Library. https://doi.org/10.1145/3342428.3342682CrossRefGoogle Scholar
Khoshsaligheh, M. & Ameri, S. (2020). Video game localisation in Iran: A survey of users’ profile, gaming habits and preferences. The Translator, 26(2), 190208.CrossRefGoogle Scholar
Koscelníková, M. (2021). The localization of video games into less widely spoken languages that share a common history. The Journal of Internationalization and Localization, 8(1), 125. https://doi.org/10.1075/jial.20013.kosCrossRefGoogle Scholar
Kotaku, (2018). Assassin’s Creed: Origins’ Tour Mode Censors Naked Statues. Kotaku. www.kotaku.com.au/2018/02/assassins-creed-origins-tour-mode-censors-naked-statuesGoogle Scholar
Kozinets, R. (2010). Netnography: Doing Ethnographic Research Online. California: Sage.Google Scholar
Kruger, J.-L. (2019). Eye tracking in audiovisual translation research, in Pérez-González, L. (Ed.), The Routledge Handbook of Audiovisual Translation (pp. 350–366). New York: Routledge.Google Scholar
Kruger, J.-L., Hefer, E., & Matthew, G. (2013). Measuring the impact of subtitles on cognitive load. Proceedings of the 2013 Conference on Eye Tracking South Africa – ETSA ’13. https://doi.org/10.1145/2509315.2509331CrossRefGoogle Scholar
Kruger, J.-L., Hefer, E., & Matthew, G. (2014). Attention distribution and cognitive load in a subtitled academic lecture: L1 vs. L2. Journal of Eye Movement Research, 7(5), 1–15. https://doi.org/10.16910/jemr.7.5.4CrossRefGoogle Scholar
Kruger, J.-L., Szarkowska, A., & Krejtz, I. (2015). Subtitles on the moving image: An overview of eye tracking studies. Refractory: A Journal of Entertainment Media, 25, 114.Google Scholar
Kubiński, P. (2014). Immersion vs. emersive effects in videogames. In Stobbart, D. & Evans, M. (Eds.), Engaging with Videogames: Play, Theory and Practice (pp. 133141). Leiden: Brill. https://doi.org/10.1163/9781848882959_013CrossRefGoogle Scholar
Kudła, D. (2020). Ocena odbioru lokalizacji językowej gier komputerowych na podstawie danych okulograficznych. Warsaw: Institute of Specialised and Intercultural Communication.Google Scholar
Kudła, D. (2021). The views of dedicated Polish gamers on the localization of video games into Polish – online survey results. Kwartalnik Neofilologiczny LXVIII, 4, 530549. https://doi.org/10.24425/kn.2021.139558Google Scholar
Lagunes-Ramirez, D., González-Serna, G., Lopez-Sanchez, M., et al. (2020). Study of the user’s eye tracking to analyze the blinking behavior while playing a video game to identify cognitive load levels. 2020 IEEE International Autumn Meeting on Power, Electronics and Computing (ROPEC). https://doi.org/10.1109/ropec50909.2020.9258693CrossRefGoogle Scholar
Studios, Larian (2023). Baldur’s Gate 3. Larian Studios.Google Scholar
Larreina-Morales, M. E., & Mangiron, C. (2023). Audio description in video games? Persons with visual disabilities weigh in. Universal Access in the Information Society. https://doi.org/10.1007/s10209-023-01036-4CrossRefGoogle Scholar
Lee, J. (2008). Fallout 3 withheld from India: Microsoft India Cancels the Title’s Release over Fears of Offending ‘Cultural Sensitivities’. Game Industry Biz. www.gamesindustry.biz/fallout-3-withheld-from-indiaGoogle Scholar
Lemhöfer, K. & Broersma, M. (2011). Introducing LexTALE: A quick and valid lexical test for advanced learners of English. Behavior Research Methods, 44(2), 325343. https://doi.org/10.3758/s13428-011-0146-0CrossRefGoogle Scholar
Live Wire (2022). Harvestella. Square Enix.Google Scholar
Logitech (2023). Logitech G Adaptive Gaming Kit for the Xbox Adaptive Controller. LogitechG Commercial Website. www.logitechg.com/en-us/products/gamepads/adaptive-gaming-kit-accessories.943-000318.htmlGoogle Scholar
Looking Glass Technologies (1994). System Shock. Origin Systems.Google Scholar
Makkonen, J. (2015/2017). Distraint: Deluxe Edition. Jesse Makkonen [independent creator].Google Scholar
Mandiberg, S. (2018). Fallacies of game localization: Censorship and #TorrentialDownpour. The Journal of Internationalization and Localization, 4, 162182.CrossRefGoogle Scholar
Mangiron, C. (2010). The importance of not being earnest: Translating humour in video games. In Chiaro, D. (Ed.), Translation, Humour and the Media: Translation and Humour, volume 2 (pp. 89107). London: Bloomsbury. https://www.bloomsbury.com/us/translation-humour-and-the-media-9781441137883/.Google Scholar
Mangiron, C. (2013). Subtitling in game localisation: A descriptive study. Perspectives: Studies in Translatology 21(1), 4256. https://doi.org/10.1080/0907676X.2012.722653CrossRefGoogle Scholar
Mangiron, C. (2016). Reception of game subtitles: An empirical study. The Translator 22(1), 7293. https://doi.org/10.1080/13556509.2015.1110000CrossRefGoogle Scholar
Mangiron, C. (2017). Research in game localization: An overview. The Journal of Internationalization and Localization, 4(2), 7499.CrossRefGoogle Scholar
Mangiron, C. (2018a). Game on! Burning issues in game localisation. Journal of Audiovisual Translation, 1(1), 122138. https://doi.org/10.47476/jat.v1i1.48CrossRefGoogle Scholar
Mangiron, C. (2018b). Reception studies in game localisation: Taking stock. In Di Giovanni, E. & Gambier, Y. (Eds.), Reception Studies and Audiovisual Translation (pp. 277296). Amsterdam: John Benjamins. https://doi.org/10.1075/btl.141.14manCrossRefGoogle Scholar
Mangiron, C. (2021). Game accessibility: Taking inclusion to the next level. In Antona, M. & Stephanidis, C. (Eds.), Universal Access in Human-Computer Interaction. Design Methods and User Experience. HCII 2021. Lecture Notes in Computer Science, volume 12768 (pp. 269279). Cham: Springer. https://doi.org/10.1007/978-3-030-78092-0_17Google Scholar
Mangiron, C. & O’Hagan, M. (2006). Game localisation: Unleashing imagination with ‘restricted’ translation. The Journal of Specialised Translation, 6, 1021.Google Scholar
Mangiron, C. & Zhang, X. (2016). Game accessibility for the blind: Current overview and the potential application of audio description as the way forward. In Matamala, A. & Orero, P. (Eds.), Researching Audio Description (pp. 7595). London: Palgrave Macmillan.CrossRefGoogle Scholar
Mangiron, C. & Zhang, X. (2022). Video games and audio description. In Taylor, C. & Perego, E. (Eds.), The Routledge Handbook of Audio Description (pp. 377390). New York: Routledge. https://doi.org/10.4324/9781003003052-29CrossRefGoogle Scholar
Matamala, A. (2021). Accessibility in 360º videos: Methodological aspects and main results of evaluation activities in the ImAc project. Sendebar, 32, 6589.CrossRefGoogle Scholar
Matamala, A. (2022). Easy-to-understand language in audiovisual translation and accessibility: State of the art and future challenges. XLinguae, 15(2), 130144. https://doi.org/10.18355/XL.2022.15.02.10CrossRefGoogle Scholar
Matamala, A., Soler-Vilageliu, O., Iturregui-Gallardo, G., et al. (2020). Electrodermal activity as a measure of emotions in media accessibility research: Methodological considerations. The Journal of Specialised Translation, 33, 129151.Google Scholar
Maxwell-Chandler, H. & O’Malley-Deming, S. (2012). The Game Localization Handbook (2nd ed.). Sudbury: Jones & Bartlett Learning.Google Scholar
McEvoy, J. (2021, 10 December). Fortnite Slang and Terms Explained. Know Your Mobile. www.knowyourmobile.com/user-guides/fortnite-slang-and-terms-explained/Google Scholar
McLaughlin, M. & Muñoz-Basols, J. (Eds.). (2021). Ideology, Censorship and Translation. New York: Routledge. https://doi.org/10.4324/9781003102793CrossRefGoogle Scholar
McMullen, C. (2021). Skyrim’s Bucket Robbery Is a Testament to Player Creativity. The Escapist. www.escapistmagazine.com/skyrim-bucket-robbery-is-a-testament-to-player-creativity/Google Scholar
Mejías-Climent, L. (2017). The multiple (translatable) factors of a video game. In Bécart, A., Merola, V., & López-Campo Bodineau, R. (Eds.), New Technologies Applied to Translation Studies: Strategies, Tools and Resources (pp. 8390). Seville: Editorial Bienza.Google Scholar
Mejías-Climent, L. (2021). Recepción de los productos accesibles y la formación de subtituladores: Personas sordas en el aula de SPS. Quaderns: Revista de Traducció, 28, 255270. https://doi.org/10.5565/rev/quaderns.43CrossRefGoogle Scholar
Mejías-Climent, L. (2022). Enhancing Video Game Localization through Dubbing. Cham: Palgrave Macmillan. https://doi.org/10.1007/978-3-030-88292-1Google Scholar
Mescon, S. (2011). League of Legends: What It Means to Be Player-Focused. GDC Vault. www.gdcvault.com/play/1015040/League-of-Legends-What-itGoogle Scholar
MidBoss (2015). 2064: Read Only Memories. Limited Run Games.Google Scholar
Morin, S. M. (2021, 25 May). 8 Differences between Nier Gestalt and Nier Replicant. TheGamer. www.thegamer.com/nier-replicant-gestalt-games-comparison/Google Scholar
Mortal Kombat Wiki (2023). Mortal Kombat 11 [Community-curated]. FANDOM Games Community. https://mortalkombat.fandom.com/wiki/Mortal_Kombat_11Google Scholar
Nacke, L. E. & Lindley, C. A. (2009). 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), 121. https://journals.sfu.ca/loading/index.php/loading/article/view/72Google Scholar
Naughty Dog (2020). The Last of Us: Part II. Sony Interactive Entertainment.Google Scholar
Nawrocka, E. B. (2019). Game localization pitfalls: Translating variables and gender. Beyond Philology an International Journal of Linguistics, Literary Studies and English Language Teaching, 16(4), 129155. https://doi.org/10.26881/bp.2019.4.05CrossRefGoogle Scholar
Neidhardt, A. & Rüppel, A. (2012). Multiplayer audio-only game: Pong on a massive multichannel loudspeaker system. 7th Audio Mostly Conference: A Conference on Interaction with Sound, 130134.CrossRefGoogle Scholar
Nettelbeck, H. W. (2020). Comparing audience perceptions of characters in subtitled film. Journal of Audiovisual Translation, 3(1), 5071. https://doi.org/10.47476/jat.v3i1.2020.102CrossRefGoogle Scholar
Nimdzi (2018). Video Game Localization Report. www.nimdzi.com/video-game-localization/Google Scholar
Nintendo (2001). Luigi’s Mansion. Nintendo.Google Scholar
O’Hagan, M. (2005). Multidimensional translation: A game plan for audiovisual translation in the age of GILT. MuTra 2005 – Challenges of Multidimensional Translation: Conference Proceedings, 7687.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. Journal of Specialised Translation, 11, 211233.Google Scholar
O’Hagan, M. (2016). Game localisation as emotion engineering: Methodological exploration. In O’Hagan, M. & Zhang, Q. (Eds.), Conflict and Communication: A Changing Asia in a Globalising World (pp. 81–102). New York: Nova Science.Google Scholar
O’Hagan, M. & Flanagan, M. (2018). Gamer emotions in laughter. Translation, Cognition & Behavior, 1(2), 299318. https://doi.org/10.1075/tcb.00013.ohaCrossRefGoogle Scholar
O’Hagan, M. & Mangiron, C. (2004). Games localization: When ‘arigato’ gets lost in translation. New Zealand Game Developers Conference Proceedings, 57–62.Google Scholar
O’Hagan, M. & Mangiron, C. (2013). Game Localization: Translating for the Global Digital Entertainment Industry. Amsterdam: John Benjamins.CrossRefGoogle Scholar
O’Sullivan, E. (1999). Translating Picture. Signal, 90, 167175.Google Scholar
Olalla-Soler, C., Franco Aixelá, J., & Rovira-Esteva, S. (2021). Mapping cognitive translation and interpreting studies: A bibliometric approach. Linguistica Antverpiensia, New Series – Themes in Translation Studies, 19. https://doi.org/10.52034/lanstts.v19i0.542CrossRefGoogle Scholar
Oncins, E., Bernabé, R., Montagut, M., & Arnáiz-Uzquiza, V. (2020). Accessible scenic arts and virtual reality: A pilot study in user preferences when reading subtitles in immersive environments. MonTi, 12, 214241. https://doi.org/10.6035/MonTI.2020.12.07CrossRefGoogle Scholar
Orrego-Carmona, D. (2019). Audiovisual translation and audience reception. In Pérez-González, L. (Ed.), The Routledge Handbook of Audiovisual Translation (pp. 367–382). New York: Routledge.Google Scholar
Patridge, S. (2017). Video games and imaginative identification. The Journal of Aesthetics and Art Criticism, 75(2), 181184. https://doi.org/10.1111/jaac.12355CrossRefGoogle Scholar
Pearce, C. (2005). Theory wars: An argument against arguments in the so-called Ludology/Narratology debate. Proceedings of DiGRA 2005 Conference: Changing Views – Worlds in Play. www.digra.org/digital-library/publications/theory-wars-an-argument-against-arguments-in-the-so-called-ludologynarratology-debateGoogle Scholar
Peever, N., Johnson, D., & Gardner, J. (2012). Personality & video game genre preferences. Proceedings of the 8th Australasian Conference on Interactive Entertainment Playing the System – IE ’12. https://doi.org/10.1145/2336727.2336747CrossRefGoogle Scholar
Perego, E. (Ed.). (2012). Eye Tracking in Audiovisual Translation. Rome: Aracne.Google Scholar
Perego, E. (2020). Accessible Communication: A Cross-Country Journey. Berlin: Frank & Timme.CrossRefGoogle Scholar
Perego, E., Del Missier, F., & Bottiroli, S. (2015). Dubbing versus subtitling in young and older adults: Cognitive and evaluative aspects. Perspectives: Studies in Translation Theory and Practice, 23(1), 121. https://doi.org/10.1080/0907676x.2014.912343CrossRefGoogle Scholar
Phakiti, A. (2015). Quantitative research and analysis. In Paltridge, B. & Phakiti, A. (Eds.), Research Methods in Applied Linguistics: A Practical Resource (pp. 3448). London: Bloomsbury Academic.Google Scholar
Phan, M. H., Keebler, J. R., & Chaparro, B. S. (2016). The development and validation of the game user experience satisfaction scale (GUESS). Human Factors: The Journal of the Human Factors and Ergonomics Society, 58(8), 12171247. https://doi.org/10.1177/0018720816669646CrossRefGoogle ScholarPubMed
Pigeon, J. (2021). Guide pratique de la localisation vidéoludique en français canadien, précédé de l’état des lieux (Master’s dissertation). Université du Québec en Outaouais.Google Scholar
PlayOverwatch (2016). Overwatch Animated Short | ‘Alive’. YouTube. https://youtu.be/U130wnpi-C0?t=293Google Scholar
PlayStation (2023). Access Controller: A Customizable, Adaptive Controller Kit for PS5. PlayStation Commercial Website. www.playstation.com/en-us/accessories/access-controller/Google Scholar
Prajzner, K. (2019). Narracja. In K. Prajzner, (Ed.),Wprowadzenie do groznawstwa (pp. 1536). Łódź: University of Lodz Press.Google Scholar
Radulovic, P. (2018, 29 June). A 7-Year-Old Sims Mobile Game Is Being Pulled from Chinese App Stores. Polygon. www.polygon.com/2018/6/29/17518170/the-sims-freeplay-removed-ios-android-chinaGoogle Scholar
Ramos, C. M. (2016). Testing audio narration: The emotional impact of language in audio description. Perspectives: Studies in Translation Theory and Practice, 24(4), 606634. https://doi.org/10.1080/0907676x.2015.1120760Google Scholar
Ramos, M. (2015). The emotional experience of films: Does audio description make a difference? The Translator, 21(1), 6894. https://doi.org/10.1080/13556509.2014.994853CrossRefGoogle Scholar
Rauscher, A., Stein, D., & Thon, J.-N. (2021). Comics and Videogames: From Hybrid Medialities to Transmedia Expansions. New York: Routledge.Google Scholar
Remedy Entertainment (2019). Control. 505 Games.Google Scholar
Respawn Entertainment (2019). Apex Legends. Electronic Arts. www.ea.com/pl-pl/games/apex-legends/about/characters/bloodhoundGoogle Scholar
Ribeiro, F., Florencio, D., Chou, P., & Zhang, Z. (2012). Auditory augmented reality: Object sonification for the visually impaired. IEEE 14th Int. Workshop Multimedia Signal Process, 319324.CrossRefGoogle Scholar
Roh, F. (2011). Les Effets Des Erreurs De Traduction Dans La Localisation Des Jeux Vidéo (L’Exemple de The Elder Scrolls: IV Oblivion). (Master’s dissertation) Geneva: University of Geneva. https://archive-ouverte.unige.ch/unige:17295Google Scholar
Rojo, A., Ramos, M., & Valenzuela, J. (2014). The emotional impact of translation: A heart rate study. Journal of Pragmatics, 71, 3144. https://doi.org/10.1016/j.pragma.2014.07.006CrossRefGoogle Scholar
Romero-Fresco, P. (2019). Accessible Filmmaking: Integrating Translation and Accessibility into the Filmmaking Process. London: Routledge. https://doi.org/10.4324/9780429053771CrossRefGoogle Scholar
Ruskin, E. (2012). AI-Driven Dynamic Dialog through Fuzzy Pattern Matching. Empower Your Writers! GDC Vault. www.gdcvault.com/play/1015528/AI-driven-Dynamic-Dialog-throughGoogle Scholar
Sajna, M. (2018). Cultural transfer in video games. Linguistische Treffen in Wrocław, 14, 175186. https://doi.org/10.23817/lingtreff.14-15Google Scholar
Santa Monica Studio (2022). God of War Ragnarök. Sony Interactive Entertainment.Google Scholar
Sapkowski, A. (1990). Wiedźmin (The Witcher) [series] (Polish original). Various publishers.Google Scholar
Schafer, T. (2020). Representing LGBT+ Characters in Games: Two Case Studies. GDC Vault. www.gdcvault.com/play/1026629/Representing-LGBT-Characters-in-GamesGoogle Scholar
Scherer, K. R. (2005). What are emotions? And how can they be measured? Social Science Information, 44(4), 695729. https://doi.org/10.1177/0539018405058216CrossRefGoogle Scholar
Shibayama, M. & Taniyama, H. (2012). Audio localization done right: Simultaneous scripting and recording. Localization Summit 2012. www.gdcvault.com/play/1015618/Audio-Localization-Done-Right-SimultaneousGoogle Scholar
Sony Interactive Entertainment (2023). The Last of Us Part II – Accessibility. PlayStation. www.playstation.com/en-us/games/the-last-of-us-part-ii/accessibility/Google Scholar
Square Enix (2023). Final Fantasy XVI. Square Enix.Google Scholar
St. Pierre, E. A. & Jackson, A. Y. (2014). Qualitative data analysis after coding. Qualitative Inquiry, 20(6), 715719. https://doi.org/10.1177/1077800414532435CrossRefGoogle Scholar
Sterczewski, P. (2012). Czytanie gry. O proceduralnej retoryce jako metodzie analizy ideologicznej gier komputerowych. Teksty Drugie, 6, 210228. www.rcin.org.pl/dlibra/publication/65796Google Scholar
Sterling, J. S. (2009, 15 September). Scribblenauts Getting a Full UK Localization. Destructoid. www.destructoid.com/scribblenauts-getting-a-full-uk-localization/Google Scholar
Sue, J. (2018, 10 August). Culture Clash: Why Arena of Valor Is Struggling in America. GamesIndustry.biz. www.gamesindustry.biz/culture-clash-why-arena-of-valor-is-struggling-in-americaGoogle Scholar
Suojanen, T., Koskinen, K., Tuominen, T. (2015), User-Centered Translation. London: Routledge.Google Scholar
Szarkowska, A. & Gerber-Morón, O. (2018). Viewers can keep up with fast subtitles: Evidence from eye movements. PLOS (Public Library of Science) One, 13(6) 130. https://doi.org/10.1371/journal.pone.0199331Google ScholarPubMed
Takatalo, J., Häkkinen, J., Kaistinen, J., & Nyman, G. (2010). Presence, involvement, and flow in digital games: Concepts and methods. In Bernhaupt, R. (Ed.), Evaluating User Experience in Games (pp. 2346). Amsterdam: Springer. https://doi.org/10.1007/978-1-84882-963-3_3CrossRefGoogle Scholar
Tales of Lumin (2023). Baldur’s Gate 3 Character Creation (All Races, Male & Female, Full Customization, All Options, More). YouTube. https://youtu.be/PXZVjESnsdgGoogle Scholar
Tal-Or, N. & Cohen, J. (2010). Understanding audience involvement: Conceptualizing and manipulating identification and transportation. Poetics, 38(4), 402418. https://doi.org/10.1016/j.poetic.2010.05.004CrossRefGoogle Scholar
Gameworks, Tango (2022). Ghostwire: Tokyo. Bethesda Softworks.Google Scholar
TestronicLab (2023). Localization QA. Testronic. www.testroniclabs.com/localization-qa-2/Google Scholar
The Witcher (2015). The Witcher 3: Wild Hunt – The Wolven Storm – Priscilla’s Song (multilanguage). YouTube. www.youtube.com/watch?v=lMvAAfPs0UEGoogle Scholar
Tighe, D. (2023). Bandai Namco Group: Gundam IP Sales FY2010 to FY2021. Statista. www.statista.com/statistics/1304287/bandai-namco-mobile-suit-gundam-series-sales/Google Scholar
Ubisoft (2017). Assassin’s Creed Origins. Ubisoft.Google Scholar
Ubisoft Montreal (2014). Child of Light. Ubisoft.Google Scholar
Unicef (2023). Children’s rights and online gaming: Industry toolkit on advancing diversity, equity and inclusion. United Nations Children’s Fund. www.unicef.org/reports/childrens-rights-and-online-gamingGoogle Scholar
USK (2023). USK Altersfreigabe für Life Is Strange: True Colors. Unterhaltungssoftware Selbstkontrolle. https://usk.de/en/usktitle/49168/Google Scholar
UsTwo (2023). Desta: The Memories Between. UsTwo.Google Scholar
Valve (2007). Portal 2. Valve.Google Scholar
VGE (2022). All about Video Games: European Key Facts 2022. Video Games Europe. www.videogameseurope.eu/publication/2022-all-about-video-games-european-key-facts/Google Scholar
Volition (2013). Saints Row IV. Deep Silver.Google Scholar
Wiemeyer, J., Nacke, L., Moser, C., & Floyd’ Mueller, F. (2016). Player experience. In Dörner, R., Göbel, S., Effelsberg, W., & Wiemeyer, J. (Eds.), Serious Games: Foundations, Concepts and Practice (pp. 243271). Amsterdam: Springer. https://doi.org/10.1007/978-3-319-40612-1_9CrossRefGoogle Scholar
Wijman, T. (2023). Newzoo’s games market revenue estimates and forecasts by region and segment for 2023. https://newzoo.com/resources/blog/games-market-estimates-and-forecasts-2023Google Scholar
Witmer, B. G., & Singer, M. J. (1998). Measuring presence in virtual environments: A presence questionnaire. Presence: Teleoperators and Virtual Environments, 7(3), 225240. https://doi.org/10.1162/105474698565686CrossRefGoogle Scholar
Wu, Z. & Chen, Z. (2020). Localizing Chinese games for Southeast Asian markets: A multidimensional perspective. The Journal of Internationalization and Localization, 7(1–2), 4968. https://doi.org/10.1075/jial.20003.wuCrossRefGoogle Scholar
Xbox (2023). Xbox Adaptive Controller. Xbox Commercial Website. www.xbox.com/en-GB/accessories/controllers/xbox-adaptive-controllerGoogle Scholar
Yuan, B. & Folmer, E. (2008). Blind hero: Enabling guitar hero for the visually impaired. 10th International ACM SIGACCESS Conference on Computers and Accessibility, 169176.CrossRefGoogle Scholar
Zabalbeascoa, P. (2008). The nature of the audiovisual text and its parameters. In J. Díaz-Cintas (ed.), The Didactics of Audiovisual Translation (pp. 21–37). https://doi.org/10.1075/btl.77.05zabCrossRefGoogle Scholar
Zanettin, F. (2008). Comics in Translation. Manchester: St. Jerome.Google Scholar
Zhang, X. (2013). Censorship and digital games localisation in China. Censorial Forces at Play: Past and Present, 57(2), 338350. https://doi.org/10.7202/1013949arCrossRefGoogle Scholar
Zorrakin-Goikoetxea, I. (2023). Reflexión sobre el euskera como lengua minoritaria en videojuegos y estudio de recepción. Qua1derns, 30, 139151. https://doi.org/10.5565/rev/quaderns.106CrossRefGoogle Scholar
Zulhusni, M. (2023). Gaming in 2023: Asia’s Influence on a Multi-billion Dollar Tech Industry. TechHQ.com. https://techhq.com/2023/10/in-2023-what-the-west-probably-doesnt-know-about-eastern-gaming/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.

Towards Game Translation User Research
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.

Towards Game Translation User Research
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.

Towards Game Translation User Research
Available formats
×