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5th INTERNATIONAL CONFERENCE ON VIDEO GAME TRANSLATION AND ACCESSIBILITY

Residència d'Investigadors de Barcelona

7th and 8th June, 2018

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TABLE OF CONTENTS TABLE OF CONTENTS .................................................................................................. 2CONFERENCE ORGANISERS ...................................................................................... 3FOREWORD .................................................................................................................. 4CONFERENCE PROGRAMME – Day 1 ......................................................................... 5CONFERENCE PROGRAMME – Day 2 ......................................................................... 6VENUES ......................................................................................................................... 8KEYNOTE SPEAKER – Day 1 ........................................................................................ 9

Jérôme Dupire ........................................................................................................ 9KEYNOTE SPEAKER – Day 2 ...................................................................................... 10

Miguel Ángel Bernal-Merino ................................................................................. 10SPEAKERS .................................................................................................................. 11LIST OF SPEAKERS .................................................................................................... 37

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CONFERENCE ORGANISERS § TransMedia Catalonia Research Group

Sponsors:

§ Bridge Multimedia § Sub-ti Subtitles

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FOREWORD The video game industry has become a worldwide phenomenon, generating millions in revenue every year. Video games are increasingly becoming more elaborate and sophisticated, with advanced graphics and intricate story lines, and developers and publishers need to reach the widest possible audience in order to maximise their return on investment. Translating games into other languages and designing games that can be played for a wide spectrum of players, regardless of their (dis)ability, are two obvious ways to contribute to increasing the audience for the game industry. In addition, games are increasingly being used for “serious” purposes beyond entertainment, such as education, and such games should also be designed inclusively, to facilitate access to them by all types of players. Research on game translation, localization and accessibility has been gaining momentum in recent years. In particular, the number of studies analysing game translation and localisation from different perspectives has increased dramatically, while game accessibility remains a relatively unexplored topic. The Fun for All: 5th International Conference on Game Translation and Accessibility - Current Trends and Future Developments aims to bring together professionals, scholars, practitioners and other interested parties to explore game localisation and accessibility in theory and practice, to discuss the linguistic and cultural dimensions of game localisation, to investigate the relevance and application of translation theory for this very specific and rapidly expanding translational genre, and to analyse the challenges game accessibility poses to the industry and how to overcome them. The successful previous editions of the Fun for All: International Conference on Translation and Accessibility in Video Games, held at the Universitat Autònoma de Barcelona in 2010, 2012, 2014, and 2016 have become a meeting point for academy and professionals working in the game industry and the game localisation industry, as well as students and translators interested in this field. The fifth edition of the Fun for All Conference aims to continue fostering the interdisciplinary debate in these fields, to consolidate them as academic areas of research and to contribute to the development of best practices.

THE ORGANISING COMMITTEE TransMedia Catalonia Research Group

Universitat Autònoma de Barcelona funforall.conference@gmail.com

June, 2018

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CONFERENCE PROGRAMME – Day 1 THURSDAY, 7th JUNE 2018 08:30 - 09:00 Registration

09:00 – 09:15

Opening proceedings by Carme Mangiron, TransMedia Catalonia Research Group

09:15 – 10:15

KEYNOTE LECTURE Jérôme Dupire, CEDRIC/CNAM: Video game accessibility in 2018: what we did, what we do and what could be done

10:15 – 11:45

PANEL 1: Serious Games and Applications / Chair: Xiaochun Zhang — Minako O'Hagan, University of Auckland: Captions on Holodeck: Exploring the use of

Augmented Reality to project lecture captions to improve learner experience at university

— José Ramón Calvo-Ferrer, José Ramón Belda, Universitat d'Alacant: Assessing language proficiency in translator and interpreter training with video games: An ongoing project

— Rafael Müller Galhardi, Translator: A Translation gaming app

Coffee Break (11:45 - 12:15) 12:15 – 13:45

PANEL 2: Game Accessibility / Chair: José Ramón Calvo — Tomás Costal, Pilar Rodríguez-Arancón, UNED: Panorama of video game dubbing and

accessibility in Spain

— Carlos Escalona, Cristian Marín, Universidad de Cádiz: Audio describing videogames: A case study

— Ivan Borshchevsky, Alexey Kozulyaev, Rufilms LLC: Making Video Games Accessible to the Visually Impaired Users in Russia: Trends and Challenges

Lunch (13:45 - 14:45) 14:45 – 16:30

PANEL 3: Game Accessibility and Game Localisation: Research and terminological issues / Chair: Minako O'Hagan — Tomás Costal, Pilar Rodríguez-Arancón, UNED: From Intractable to Hyperaccessible: The

Current State of Video Game Subtitling

— Laura Mejías, Universitat Jaume I: The Interactive Nature of Video Games: Implications for Research

— Ximo Granell, Universitat Jaume I: Early Research in Video Game Localisation: mapping dissertations at university

— Miguel Ferreiro, Universidad de Salamanca: Game Localisation and Terminology: Brief research about the use of terminology in video games

Coffee Break (16:30 - 17:00) 17:00 – 19:00

PANEL 4: Game Localisation: Localisation of Japanese Games and localisation for Specific Territories / Chair: Carme Mangiron — Tomás Grau de Pablos, Universitat Autònoma de Barcelona: The Quest for Authenticity:

Determining the Nature of Japaneseness in Formal and Informal Localization

— Dominik Kudła, University of Warsaw: Video Game Localisation in Poland – A Diachronic

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Look

— Luo Dong, Universitat Autònoma de Barcelona: Game Localisation for the Chinese Market

— Phatchawalan Na-Nakhon, Mahidol University, Thailand: “Class Zero, Commencing Maneuvers”: Localization of Final Fantasy Type-0 HD from English into Thai

Conference social dinner (Thursday, 7th June 2018 – 8:00 pm) MAMA CAFÉ RESTAURANT Carrer Doctor Dou, 10 http://www.mamacaferestaurant.com/ Nearest underground stations: L3 Catalunya / L3 Liceu (Green Line) L1 Catalunya / L1 Universitat (Red Line) CONFERENCE PROGRAMME – Day 2 FRIDAY, 8th JUNE 2018 09:00 – 10:00

KEYNOTE LECTURE Miguel Ángel Bernal-Merino, University of Roehampton: Playability and multimodality in game localisation

10:00 – 11:30

PANEL 1: Game localisation: Industry Perspectives and Models / Chair: Tomás Grau — Leticia Sáenz, Manuela Ceccoli, Keywords Studios: How to Level Up your Loc

— Felipe Mercader, Freelance Game Translator: Economics and Investment in Game Localization: Impact of Localization on Sales, Mutation of EFIGS due to New-Emerging Markets, and the Spanish Situation

— Francesca Pezzoli, Ricardo Lausdei, Università degli Studi di Bologna: An Innovative Game Localization Model: Multileveled Virtual Teams

Coffee break (11:30 - 12:00) 12:00 – 13:30

PANEL 2: Game localisation: Processes, Technology and Risk Management / Chair: Pablo Muñoz — Marcus Toftedahl, University of Skövde: Localization in Indie Game Production

— Jordi Arnal, Kaneda Games: The Localization Technology behind Kaneda Games

— Xiaochun Zhang, University of Bristol: Risk Management in Game Localisation

Lunch (13:30 - 14:30)

14:30 – 16:30

PANEL 3: Game localisation: Case Studies / Chair: Miquel Pujol — Natalia Jaén, Universitat Autònoma de Barcelona: The Importance of Terms of

Address and Gender Language in Character Development in JRPG

— Francisco González, Universitat Autònoma de Barcelona: Creative language and its impacts on video game localisation: a case study on Pokémon Sun and Moon

— Miquel Pujol-Tubau, Universitat de Vic: Third languages (L3) in transmedia video games and their translation. A case study of "The Witcher 3"

— Silvia Pettini, Università degli Studi Roma Tre: Translating the “Virtual Self” in Game Localization: The case of The Sims 4

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Coffee break (16:30 - 17:00) 17:00 – 18:30

PANEL 4: Fan Translation / Chair: Miquel Pujol — Xiaoxiao Qu, Communication University of China: It Takes a Community: A Case

Study of Darkest Dungeon the Indie Game’s Localization in Mainland China

— Selahattin Karagöz, Ege Üniversitesi: Fan Localisation Practices in Turkey: A Comparative Case Study

— Omid Saheb Vossoughi, Project Manager International Translation Company: The Elder Scrolls Online – How fan translation can become a model of localization for videogame companies by using the crowdsourcing method

18:30 Closing remarks

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VENUES Residència d'Investigadors de Barcelona C/ Hospital, 64 08001 Barcelona Telephone: 0034 93 443 86 10 Fax: 0034 93 442 82 02 https://www.google.com/maps?q=+C/Hospital,+64+-+08001+-+Barcelona MAMA CAFÉ RESTAURANT Carrer Doctor Dou, 10 http://www.mamacaferestaurant.com/

Nearest underground stations: § L3 Catalunya / L3 Liceu (Green Line) § L1 Catalunya / L1 Universitat (Red

Line)

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KEYNOTE SPEAKER – Day 1

Jérôme Dupire

CEDRIC/CNAM

Video game accessibility in 2018: what we did, what we do and what could be done Video game accessibility is not a new field. For years now, people have worked on it and designed solutions. Unfortunately, the industry did not adopt as fast as they could these propositions. These last years came with a new legal context, motivating the industry to be aware of and to begin to implement accessibility solutions. Things are now moving in the right direction and we even have the opportunity to build new perspectives to make the video games accessible from a huge variety of ways. Jerome Dupire is an assistant professor at the Conservatoire National des Arts et Métiers (CNAM) since 2010. He holds a Masters degree in Computer Science (CNAM, Paris), a Masters degree in Biomechanics and Physiology (Pierre et Marie Curie University, Paris), and a Ph.D in Computer Sciences (CNAM, Paris). His teaching activity at the Ecole Nationale des Jeux et Media Interactifs Numériques (ENJMIN) covers topics such as physical computing, prototyping, interaction design and accessibility for disabled gamers. He also initiated and leads an annual workshop called �Inclus et Connectés�: for one week, this workshop brings together students from different fields, such as computer engineers, game/sound/graphic/UX designers and programmers and makes them work on the topic of alternative interactions and the inclusion of disabled users. His research activity takes place at the Centre d�Etude et De Recherche en Informatique et Communications (CEDRIC) lab, within the Human-Computer Interaction team. One of his main fields of research is digital accessibility for disabled people and especially accessibility applied to video games. He is the co-founder and chairman of the working group TC14.9 on Game Accessibility at the International Federation for Information Processing (IFIP) whose aim is to promote academic and industrial research on game accessibility for disabled gamers. Jerome is also the president of Capgame, a non-profit association he co-founded in 2013, which is promoting game accessibility for disabled gamers. Capgame is leading different actions, from communication towards the general public and broadcasting available technical solutions (hardware and software) for disabled gamers, to consulting for game studios and training for professionals.

Time slot: Thursday 09:15 - 10:15

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KEYNOTE SPEAKER – Day 2 Miguel Ángel Bernal-Merino University of Roehampton

Playability and multimodality in game localisation Creativity is one of the most debated topics in translation not only because of how it relates to authorship but also because of the unavoidable cultural ramifications and the business implications for all the parties involved. Identifying the parameters within which creative translation operates in rich media products is a complex process that comprises many variables beyond the linguistic ones, and even more so when dealing with multimedia interactive entertainment software (MIES). This seminar put forward new findings explaining the creativity in various entertainment products. The notion of neural networks is proposed as a way of explaining highly artistic translation within the constraints of each product type. We will explore many examples in order to isolate 'playability', the unique feature of creative game localisation. A creative thinker, Miguel Á. Bernal-Merino, PhD in the localisation of multimedia interactive entertainment software at Imperial College London, is the main international researcher in video game localisation. He is the author of the acclaimed monograph Translation and Localisation in Video Games: Making Entertainment Software Global (2015), and has published the leading articles on the subject in both professional and scholarly journals. He co-leads the AHRC-funded Media Across Borders Network and is a co-editor of Media Across Borders: The Localisation of Audiovisual Content (2016) for the reputable Routledge series lead by D. Thussu. He collaborates with universities and companies across Europe on projects related to media translation and video game localisation. He is the co-founder and elected chair of the ‘IGDA Localization SIG’. Dr. Bernal-Merino created the main international events in this field, the ‘Game Localization Round Table’ (at the heart of the language services industry), and the ‘Localization Summit’ (the main developers conference for the game industry), and has coordinated them from their conception.

Time slot: Friday 09:00 - 10:00

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SPEAKERS Jordi Arnal jordi.arnal@kaneda-games.com Kaneda Games

The localization technology behind Kaneda Games Kaneda Games started as indie game developer at 2012 and we were very concerned about the localization of our games. Since the beginning we had a close collaboration with translators because of our link to the University. In that presentation we want to show how we used our early localization technology based on xml files where translator didn't feel very comfortable with them, our improvements with xls files and moving to the cloud with google spreadsheet where different translators can work on the localization of the game at the same time. We will show our first game dubbed in more than 10 languages ‘Prolog’ and we will talk about some concerns about dubbing a game. Finally we will show how our technology works on production pipeline where we can test in real time changes on localization and will talk about grammar rules which improve the quality of the localization. Jordi Arnal is a computer engineer at UPC (Universitat Politècnica de Catalunya) and has a Master degree at videogames at UPF (Universitat Pompeu Fabra). He has worked as videogame developer for more than 10 years in different videogames companies in Barcelona and is the CEO of Kaneda Games, a Barcelona-based indie videogame company, specializing in Serious Games and Videogames for PC and consoles. He works also as teacher at different universities in Spain, such as UOC, UPF and UB, teaching how to create videogames and videogame programming. As a game developer he has attended different events, such as GDC, E3, Gamescom, Game Connection, etc.

Time slot: Friday 12:00 - 13:30 Ivan Borshchevsky & Alexey Kozulyaev ivan.borsh@gmail.com, avkozulyaev@rusubtitles.com RuFilms, LLC

Making Video Games Accessible to the Visually Impaired Users in Russia: Trends and Challenges Video games have become a very popular way to spend free time since 1950s when the first, very primitive games were invented by several scientists. Since then, an increasing number of people with special needs has been interested in playing video games. However, there are certain obstacles in making games accessible to this category of players. In Russia, the first challenge of making the games accessible to the visually impaired users is the lack of skilled audio describers. The fact is that the AD in Russia is called "typhlocomenting". This term was introduced for the first time in early 2000s. The procedure of "typhlocommenting" has been patented and, therefore, the legislation forbids any deviation from the "canonical methodology" which does not provide for the description of video games. At the same time, efforts were made to avoid mentioning of the term "audio description" in public and replace

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it with a newly invented one. This terminological "Iron Curtain" has cut off Russian describers and AD consumers from the international experience. At the same time, there is a great need of description of the video games. There is a number of web-sites created by enthusiasts where accessible games are collected (mostof all, so-called "text games"). This review will present ways of meeting the challenges in making the video games accessible to this audience. Ivan Borshchevsky, a linguist, clinical psychologist, Russian Sign Language interpreter, audiovisual translator and audio describer; a member of the Audio Description Association (UK) and the International Medical Interpreters' Association. Alexey Kozulyaev, Ph.D. is a member of the board of directors of RuFilms Group and Director of RuFilms School of Audiovisual Translation. He has been a prominent Russian AV translator since 1993 and is the author of the internationally renowned didactic system of training of AV translators. The course is taught in 11 domestic and 2 foreign universities. Alexey is also very active in providing corporate training and translator coaching for major gaming and SVoD companies. He's a graduate of the Moscow State Linguistic University and New York Film Academy. In 1992-1994 Alexey hosted Face Russia live show on Channel 2 and for 6 years worked for several American TV channels.

Time slot: Thursday 12:15 - 13:45 José Ramón Calvo-Ferrer, José Ramón Belda & Miguel Tolosa jr.calvo@ua.es, jr.belda@ua.es, miguel.tolosa@ua.es University of Alicante

Assessing language proficiency in translator and interpreter training with video games: An ongoing project One of the salient problems in translator and interpreter training is the heterogeneous proficiency levels in the second language classroom. Complaints about lack of linguistic skills at early stages are common amongst teachers at tertiary levels. Whatever the case, there is an evident ambiguity in determining the students' proficiency level as a result of such heterogeneity. This inevitably brings about difficulties in the adoption of necessary training actions, which in many cases consist of general measures, a sort of passe-partout merely tackling linguistic issues in a superficial manner. However, it is possible to diagnose the problem in a more accurate manner, as well as to identify the causes underlying the deficiencies that lead to foreign languages skills undermining translator and interpreter training. The development of technologies designed to assess language proficiency may provide instructors with tools to overcome such issues in translator and interpreting training. Video games, for example, have been successfully used as data mining tools to identify patterns and predict outcomes in education (Illanas Vila, Calvo-Ferrer, Gallego Durán, & Llorens Largo, 2013). In line with this, we wish to introduce an ongoing project on the development of a video game designed to predict both translation and linguistic skills of students of the degree in Translation and Interpreting, aimed at identifying student needs in second language training, so as to make language training for translators and interpreters specific, adaptative and purposeful. José Ramón Calvo-Ferrer holds a PhD in Translation and Interpreting from the Universidad de Alicante, where he teaches different modules on English and teacher

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training since 2008. His research interests lie in ICT in general and video games in particular for second language learning and training. He has published various papers on video games, multimodality and second language learning in specialised journals (British Journal of Educational Technology, ReCALL, etc.) and he also visits regularly the universities of Essex and Kent, where he delivers talks and leads workshops on video games and translation. Dr José Ramón Belda Medina is a Senior Lecturer or Associate Professor (Profesor Titular), Department of English Studies, at the University of Alicante (Spain). He completed his studies in Germany, the UK and the USA. He has been teaching English as a Second Language (ESL), Español como Lengua Extranjera (ELE) and Historical and Applied Linguistics for 18 years in Spain (Alicante, Valencia, Barcelona) and in other countries (Germany, UK, Ireland, USA). He participated in the implementation of different English and Spanish language teaching programmes at undergraduate and postgraduate levels. He was the Resident Director of a Master Program in Spanish co-organised with Central Michigan University (USA) and Spanish Academic Coordinator for several American colleges at the Universidad de Alicante. His research interests are Second Language Acquisition, Applied Linguistics, Terminology, ICTs and internationalization. He has participated in different international conferences (BAAL, TESOL, AEDEAN, AESLA, etc.) and research projects and published several articles in scientific journals (Target, Meta, Translation and Terminology, Babel, etc.). He was the Academic Director of the Rafael Altamira Summer Program at the UA for six years (2006-2012), coordinating 30 Summer courses and approx. 2,000 students per year and he designed and coordinated the International Summer Program (www.isp.ua.es), co-organised with several American universities (University of Missouri, Central Michigan University, Rutgers University, Western Illinois University, University of Memphis, Instituto Tecnológico de Monterrey, etc.) at the University of Alicante. He was the Director of International Mobility (Office of International Relations) for 4 years (2012-2016). He was in charge of all exchange programmes and international partnerships with the University of Alicante (30,000 students). He prepared and coordinated the new Erasmus+ program (2014-2016) at the UA and participated in several global education conferences every year (EAIE, NAFSA, QS-APPLE) where he negotiated new international agreements with several universities from different countries (UK, USA, Canada, France, Germany, South Korea, Taiwan, Australia, Japan, Russia, Argentina, Chile, Uruguay, Malaysia, Thailand, New Zealand, etc.). Miguel Tolosa Igualada holds a PhD in Translation Studies (2009), Master's in Translation Studies (2004) and Bachelor's Degree in Translation and Interpreting (2001), University of Alicante (Spain). He is a sworn translator (French-Spanish/Spanish-French) since 2002. He has published several research works concerning both translation and interpreting activities. His main research interests are: the translation and the interpreting activities analysed as cognitive processes and the commission of errors, the translation and the interpreting didactics, the translation and interpreting activities within the International Organizations and in the private market. He is a member of the research group: Frasytram (Fraseología y traducción, University of Alicante). He teaches translation and interpretation at the University of Alicante since 2005. He has been a professional translator and interpreter since 2001.

Time slot: Thursday 10.15 - 11.45 Tomás Costal & Pilar Rodríguez-Arancón tcostal@flog.uned.es, prodriguez@flog.uned.es

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UNED

Panorama of video game dubbing and accessibility in Spain According to the most recent figures (DEV, 2016), the Spanish video game industry will have surpassed the billion-euro mark by the year 2019, making it one of the fastest-growing and most prosperous businesses in the country, with almost 500 companies and close to 10,000 professionals. The extreme diversity that characterises the plethora of products the video game industry releases throughout the year (Bernal-Merino, 2015) and the needs of a target audience with very high expectations and the leverage to have their voices heard (Bogost, 2007; Pérez González, 2014) invites researchers to delve deeper into the game localisation process. From the point of view of accessibility, the progressive transformation of video games into highly complex multimodal artefacts has led to the emergence of new challenges most users must face, as would be the case of the availability of a textual track which transcribes, glosses or synthesises aural content (O’Hagan and Mangiron, 2013). National and international user associations, special interest groups as well as academics have analysed and compiled potential accessibility pitfalls to raise awareness of these communicative obstacles, promote the adoption of alternative measures and consolidate best practices which consider key issues such as standardisation, quality assurance and design for all policies (Ablegamers, 2012; BBC, 2014; Chandler and O’Malley, 2012; Chandler, 2014; Egenfeldt-Nielsen et al., 2008; IGDA, 2016; Stephanidis, 2009). This paper will endeavour to offer an encompassing view of the Spanish video game localisation industry, with a special focus on linguistic accessibility. This panorama is based on the results of a series of interviews conducted with game developers, localisers, dubbing studios, voice actors and accessibility lobbyists, whose contribution will provide rich and current information about their strategic interests and level of involvement. References Ablegamers (2012). A Practical Guide to Game Accessibility. Retrieved from: http://www.includification.com/AbleGamers_Includification.pdf BBC (2014). Accessible Games Standard v1.0. Retrieved from: http://www.bbc.co.uk/guidelines/futuremedia/accessibility/games.shtml Bernal-Merino, M. Á. (2015). Translation and Localisation in Video Games. New York: Routledge. Bogost, I. (2007). Persuasive Games: The Expressive Power of Videogames. Cambridge (MA): The MIT Press. Chandler, H. M. (2014). The Game Production Handbook. 3rd ed. Sudbury (MA): Jones and Bartlett Learning. Chandler, H. M., and O’Malley Deming, S. (2012). The Game Localization Handbook. 2nd ed. Burlington (MA): Jones and Bartlett Learning. DEV (2016). Libro blanco del desarrollo español de videojuegos 2016. Retrieved from: http://dev.org.es/images/stories/docs/libro%20blanco%20dev%202016.pdf Egenfeldt-Nielsen, S., Heide-Smith, J., and Pajares Tosca, S. (2008). Understanding Video Games: The Essential Introduction. New York: Routledge.� IGDA (2016). Game Accessibility Top Ten. Retrieved from: https://igda-gasig.org/about-game-accessibility/game-accessibility-top-ten/ O’Hagan, M., and Mangiron, C. (2013). Game Localization. Amsterdam: John Benjamins. Stephanidis, C. (2009). The Universal Access Handbook. London and New York: CRC Press.

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Pérez-González, L. (2014). Audiovisual Translation: Theories, Methods and Issues. New York and London: Routledge. Tomás Costal is FPI-UNED researcher in the Department of Foreign Languages at Universidad Nacional de Educación a Distancia (UNED, Madrid, Spain), and holds an MA in Teacher Training and an MA in Translation for International Communication. His research interests include media accessibility, audiovisual translation, language teaching and semiotics. He is co-author of Traducción y accesibilidad audiovisual (Editorial UOC, 2016). Dr Pilar Rodríguez Arancón is lecturer at Universidad Nacional de Educación a Distancia (UNED), where she teaches in the areas of Translation, CALL and CLIL (Content and Language Integrated Learning). She is a member of the ATLAS research group and her main field of research is the influence of culture in the areas of audiovisual translation and foreign language teaching.

Time slot: Thursday 12.15 - 13.45 Tomás Costal & Pilar Rodríguez-Arancón tcostal@flog.uned.es, prodriguez@flog.uned.es UNED

From Intractable to Hyperaccessible: The Current State of Video Game Subtitling Over the last few decades, ground-breaking technological changes have transformed video game production, development, marketing, reception and fan phenomena to the point that triple A titles today would have been unimaginable not too long ago. Cinematic sequences render virtual worlds uncannily real and the latest software frameworks and platforms pursue the achievement of full player immersion. Audiovisual accessibility, however, still seems to be disregarded relatively frequently, and the current state of video game subtitling, whether it may be in blockbusters, indie titles or unfortunate flops, reveals the existence of fossilised problems for which other media have been capable of finding a solution. Although many studies have dealt with the theoretical, technical and methodological aspects of subtitling quite in depth (Deckert, 2013; Di Giovanni, 2016; Díaz Cintas and Remael, 2007; Downey, 2010; Pedersen, 2011; Pérez-González, 2012), few authors have focused on subtitling as an accessibility modality (Costal, 2018; Mangiron, 2013 and 2016; Mangiron, Orero and O’Hagan, 2014; Matamala and Orero, 2010), and yet a comparative overview of current practices would be urgently called for. The aim of this paper is to pinpoint the fundamental features of video game subtitling from mid-2016 to mid-2018, identify the best practices during that same period and present a set of guidelines to promote standardisation and favour comprehensibility. In addition, the authors will analyse whether the most renowned localised versions of popular titles align themselves with the basic principles of audiovisual accessibility. References Costal, T. (2018). Why is that Creature Grunting? The Use of SDH Subtitles in Video Games from an Accessibility Perspective. Special issue of Translation and Translanguaging in Multilingual Contexts 4(1). Amsterdam: John Benjamins.

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Deckert, M. (2013). Meaning in Subtitling: Toward a Contrastive Cognitive Semantic Model. Frankfurt: Peter Lang. Di Giovanni, E. (2016). The Layers of Subtitling. Cogent Arts & Humanities, 3: 1151193. Díaz Cintas, J., and Remael, A. (2007). Audiovisual Translation: Subtitling. Manchester: St Jerome. Downey, Gregory J. (2010). Closed Captioning: Subtitling, Stenography, and the Digital Convergence of Text with Television. Baltimore: Johns Hopkins University Press. Mangiron, C. (2013). Subtitling in Game Localisation: A Descriptive Study, Perspectives, 21(1), 42-56. Mangiron, C., Orero, P., and O’Hagan, M. (Eds.) (2014). Fun for All: Translation and Accessibility Practices in Video Games. Bern: Peter Lang. Mangiron, C. (2016) Reception of Game Subtitles: An Empirical Study. The Translator, 22(1), 72-93. Matamala, A., and Orero, P. (Eds.) (2010). Listening to Subtitles: Subtitles for the Deaf and Hard of Hearing. Bern: Peter Lang. Pedersen, J. (2011). Subtitling Norms for Television: An Exploration Focussing on Extralinguistic Cultural References. Amsterdam: John Benjamins. Cambridge: Cambridge Scholars Publishing. Pérez-González, L. (2012). Amateur Subtitling as Immaterial Labour in Digital Media Culture: An Emerging Paradigm of Civic Engagement. Convergence: The International Journal of Research into New Media Technologies, 19(2), 157-175. Tomás Costal is FPI-UNED researcher in the Department of Foreign Languages at Universidad Nacional de Educación a Distancia (UNED, Madrid, Spain), and holds an MA in Teacher Training and an MA in Translation for International Communication. His research interests include media accessibility, audiovisual translation, language teaching and semiotics. He is co-author of Traducción y accesibilidad audiovisual (Editorial UOC, 2016). Dr Pilar Rodríguez Arancón is lecturer at Universidad Nacional de Educación a Distancia (UNED), where she teaches in the areas of Translation, CALL and CLIL (Content and Language Integrated Learning). She is a member of the ATLAS research group and her main field of research is the influence of culture in the areas of audiovisual translation and foreign language teaching.

Time slot: Thursday 12.15 - 13.45 Luo Dong 362656232@QQ.COM

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Autonomous University of Barcelona

Game localisation for the Chinese market With the era of globalisation, China has become one of the largest markets in the world for video game distributors. To enter Chinese market, a good localization is necessary in order to meet the needs and expectations of Chinese gamers. This paper will analyze the current situation of the Chinese game industry and the challenges to enter the Chinese market, such as the culture of guanxi (connection), shanzhai (imitation), piracy, and the illegal use of bots. The paper will also focus on the linguistic, technical and cultural adjustments that often need to be carried out during the process of game localization process. A number of examples will be provided to illustrate how the above-mentioned adjustments may affect the success of a foreign game in the Chinese market. Luo Dong is a Ph.D. candidate in Translation Studies at the Department of Translation and Interpretation at the Universitat Autònoma de Barcelona (UAB). Her research interests primarily focus on game localisation and cultural mediation into Chinese. She has a background in languages and business management and is an experienced Spanish/Chinese translator and interpreter.

Time slot: Thursday 17.00-19.00 Carlos Escalona & Cristian Marín ceepp94@gmail.com, cristian.mhonor@gmail.com Applied Linguistics Institute, University of Cádiz

Audiodescribing videogames: A case study Indie videogames are on the rise but this is just the beginning. Audiodescription is the main way blind people can access entertainment, but videogames seem to be a complete different world. Is it possible to audiodescribe videogames? What are the main problems and difficulties when doing so? In this study we will first explore the different projects and videogames for the blind that have been recently developed. The purpose of this section is to examine what has been done and what could be done to improve accessibility of videogames. Second, we will discuss the main points that influence the process of audiodescribing a videogame, that is: its mechanics, gameplay and the ways it has of interacting with the player. We will then analyse if every videogame can be audiodescribed by classifying them into genres. This way, we will discover if there are genres that are easier to be audiodescribed. The techniques and changes needed to audiodescribe a videogame and adapt it for the blind will also be studied. Finally, everything will be put into developing an actual audiodescribed videogame based on narration, audiodescription, sounds and music. This will prove that audiodescription of videogames is feasible when audiodescribers and developers work together from the beginning. Carlos Escalona: After studying English Studies at the University of Cádiz and doing my final project about videogames localization I discovered a passion for translation and so studied the Master’s Degree in Audiovisual Translation: Localisation, Subtitling and Dubbing at ISTRAD in Seville. There, discovered audiodescription and, after falling in love with it, I presented my work "Audiodescribing videogames?" in the 7th

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SELM Conference. I am currently working in the Instituto de Lingüística Aplicada (ILA) at the University of Cádiz. Cristian Marín: Passionate about computers since I was very young, I studied a Professional Training in Network Computer Systems Administration and a Professional Training in Multi-platform Apps Development in the IES Fernando Aguilar Quignon. I was impressed at how a few lines of codes could be turned into videogames or apps that can make life easier for others. When I finished I started studying other branches of development that I didn't study before, like videogames development. I am currently working at the Instituto de Lingüística Aplicada as computer technician and collaborating with the Corpus Linguistics Office developing a tourism corpus based on the analysis of feelings.

Time slot: Thursday 12.15 - 13.45 Miguel Ferreiro traduccionesferreiro@gmail.com University of Salamanca

Game Localisation and Terminology: Brief research about the use of terminology in video games In the present day, many video games of the same franchise are often translated by a different group of translators depending on the product. This leads to an "overtranslation" of terms in source language to the target language. The video games that I have analysed in this research encompass a large terminology with no official glossary or database. On this account, the goal of this research has been the creation of a terminological glossary from some products of the same video game franchise. After a deep search in different sources, a list of terms was made. For each term of the list, a terminology records based on ISO 12620 was created, and terms were analysed in their particular context field. It was discovered that many terms in source language were translated in a different way depending on the game, which shows the lack of terminology standards in video games. This leads to an absence of a standard procedure related to video games terminology. In order to avoid this translation mistakes in the future, it is necessary to elaborate a terminological glossary or database which would ensure the proper translation of terms, so as to preserve correctly already official translations. I personally consider the standardization and support of terminological glossaries and databases essential, especially in such a specific field as video games. This would be a benefit for professional translators to make a correct use of terminology. Owing to this reasons, it is highly recommended that companies and professionals consider what is exposed here in order to translate a product so complex and complete as a video game is. Keywords: Terminology, video games, glossary, terminological database, standardization. Miguel Ferreiro: Translator and researcher at the Universidad de Salamanca.

Time slot: Thursday 14.45 - 16.30

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Francisco González Barrionuevo fgonba@gmail.com Autonomous University of Barcelona

Creative language and its impacts on video game localisation: a case study on Pokémon Sun and Moon This paper analyses creative language and its impacts on video game localisation. Particularly, it focuses on what types of language require translators to use a more creative approach in order to meet the needs of their target users for them to enjoy the gaming experience as much as possible, and on how localisation can affect the quality of video games. It also presents a theoretical analysis and gives examples of the main strategies and techniques to translate this type of language. To carry out this study, it selects what typical video game linguistic instances would be considered as ‘creative language’ – items, moves, characters’ names, places, humorous instances and identity labels – and then analyses both the overall presence and the translation into Spanish of some of them in Pokémon Sun and Moon, considering that the Pokémon franchise’s products are globally regarded as an example of high-quality localisation, and that these video games are fairly recent and, therefore, will provide us with relevant, up-to-date data. Finally, this paper summarises that the main strategies used to translate creative language are domestication and transcreation, that this type of language needs to be translated creatively, by considering the intention of the source text and the characteristics of the gamers to whom it is addressed, and that it is crucial to pay enough attention to its translation in a video game as a bad localisation can easily impact negatively on the reception of target gamers. Francisco González Barrionuevo studied a BA in Translation and Interpreting at the Universidad de Granada (Spain) and an MA in Audiovisual Translation at the Universitat Autònoma de Barcelona (Spain). He also studied abroad for two years at the University of Roehampton (London, United Kingdom) and the Université de Montréal (Canada). He has a keen interest in video game localisation and experience in translation, localisation, subtitling, proofreading, quality assurance and project management, and he currently works as a freelance language service provider for Deluxe Media Europe (London) and a variety of other clients.

Time slot: Friday 14.30 - 16.30 Ximo Granell granell@uji.es University Jaume I

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Early research in video game localisation: mapping dissertations at university Video game localisation emerged as a field of interest among professionals and scholars at the end of the 20th century and has been steadily growing ever since the last two decades. Today, there is no discussion about its increasing presence and dissemination within the domain of Translation Studies, be it in the form of published works, of conference tracks, or even as the main theme of well-established conferences, like Fun for All. Almost in parallel, there has been a proliferation of translation courses at universities, at all levels of specialisation, that included writing dissertations as the final step towards completing undergraduate, master and, of course, doctoral studies. In contrast, the presence of video game localisation and other associated practices, such as accessibility is still weak among formal further education programmes. Even so, these contents have started to be included in academic programmes, to a wider or lesser extent, from just being mentioned as emerging practices, to being taught as part of other courses -mainly audiovisual translation courses- and to offer fully dedicated courses. As a result, and in combination with the interest of students willing to gain further knowledge in this field, the number of dissertations focusing on video game localisation and accessibility has been growing over the last decade. This paper explores this form of early research interest into the field of video game localisation and accessibility by examining and mapping undergraduate and master and doctoral dissertations, their connections to existing research topics, their classification according to research in Translation Studies, and their potential as a think tank for future avenues of research. Dr Ximo Granell is a Translation and Interpreting graduate from Universitat Jaume I of Castellon and holds a PhD on Information Systems from Loughborough University. He has worked as a translator in the areas of software localisation, website localisation, video game localisation, ICT, marketing, and business communication. Since 2010, he is a lecturer and researcher of the Translation and Communication department at Universitat Jaume I, in Castellon, and member of the research group TRAMA (Translation for the media and accessibility). He teaches information management, information research, and video game localisation in undergraduate and master courses. His research interests focus on multilingual information management and video game and multimedia translation. He is author of a number of publications in these fields, among them, of the book Multilingual Information Management: Information, technology, and translators (Oxford: Chandos Publishing, 2015) and of the book La traducción de videojuegos (Sevilla: Bienza, 2015) as co-author.

Time slot: Thursday 14.45 - 16.30 Tomás Grau de Pablos tomgradep@gmail.com Autonomous University of Barcelona

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The Quest for Authenticity: determining the nature of Japaneseness in formal and informal localization Over the years, many Japanese games have been translated and exported to Western markets like the US and Spain with great success, and oftentimes, many others have been left untranslated and unchecked by foreign audiences. While the reasons behind this selection process tend to be subjected to a myriad of factors, the type of games that are most likely to be left untranslated are usually those that require higher costs. In this presentation, I will attempt to highlight several cultural assumptions that have developed around this election process, particularly around game genres that are popular in both Japan and overseas. As visual fidelity and presentation increases, so do localization costs attached to their distribution, and because of this, translating a work in a way that guarantees its success overseas becomes an increasingly fundamental matter. With that factor in mind, new questions surface about the priorities and objectives that the team needs to highlight to increase those chances of success. It is in this area where a series of decisions get made about which elements of the text are best adapted and which are best omitted or changed during the adaptions. The translator’s work, at this point, becomes a balancing act between preserving the authenticity of the original text and converting it to one that is deemed more suited for foreign audiences. Throughout this presentation, I will offer a succinct overview of game localization over the years and compare the evolution of these priorities and objectives. This overview will include official translations as well as fan translations, since most of the people who dedicated time to the latter area eventually found themselves working on the former. In order to maintain my scope within a manageable level, I will mostly contrast between well-known localization companies of the late 90’s and early 2000’s, like Working Designs, and between well-known companies of today, like Playism and NIS America. By doing this, I intend to show the shift of priorities from a mostly freeform style of localization that emphasized creativity over literality, to more recent cases where literary translations are considerably more valued by both players and localizers. In this process, I will also consider the role that fan translations have had to push forward the aestheticization of textual fidelity into a tangible market demand. This presentation is meant, ultimately, to raise questions about the way that our preferences and interests towards Japanese media reflect not just on the image that we build around Japan, but also on our own interests towards specific instances of the videogame form. By highlighting the preoccupation that so many people have over this specific issue, I want to inquire whether it is possible that a set of ideologies have conformed around the process of Japanese games localization, and more importantly, whether those ideologies generate some form of conflict within gaming culture and popular culture as a whole as to what Japanese culture is. Tomás Grau de Pablos is PhD researcher in Cultural Studies and Japanese at the Universitat Autònoma de Barcelona. His areas of interests cover the intercultural relationships between Japanese and Western popular culture, and the values and ideas that are built throughout those relationships over the years. His thesis’ project was dedicated to studying the creation and distribution processes of Japanese video games in Spain and their impact on the creative processes of the Spanish industry. Currently, his main area of research is centred on the impact that popular discourses around games first, and game design philosophies second, are significantly influenced by an Orientalist gaze of Japan and its culture as a whole.

Time slot: Thursday 17.00 - 19.00 Natalia Jaén natajadi@gmail.com

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Autonomous University of Barcelona

The importance of terms of address and gender language in character development in JRPG Japanese Role Playing Games (JRPGs) are a story-driven genre. That means that the characters the players encounter during their journey are usually very important to the development of the story. Among all the characteristics that a character has, their speech pattern and mannerism are especially relevant to the translation process. In the case of Japanese JRPGs this is often shown by the use of different terms of address depending of the interlocutor and the use of different words depending of the gender of the speaker. This is what is called terms of address and gender language. Those features of the Japanese language are very useful to determine the relationship between two people speaking, or the way speakers present themselves to the world. Most other languages do not use many terms of address, and do not really have much differentiated gender language, which makes the translation of this features very challenging. However, this does not mean that they are untranslatable features. This paper presents a case study of the English translation of the JRPG Persona 3 Portable (P3P); analyzing how terms of address and gender language have been translated. The paper also discusses how those features of Japanese language could be translated into Spanish, taking into account the original characterization, in order to maintain target players' suspension of disbelief, which is crucial in any story-driven genre, like the JRPG. Natalia Jaén Diego was born in Gran Canaria, in the Canary Islands, also known as paradise. She left the islands for Barcelona to study translation and interpretation in the UAB and after that stayed to finish a Tradumatics master degree (which she finished with honours for her final paper) also by the UAB. If she had studied as much as playing videogames she’d have had more honours, but she wouldn’t have the 10000 hours necessary to be considered an expert in something. She hopes to get to 10000 hours in translation soon too, and level up from there.

Time slot: Friday 14.30 - 16.30 Selahattin Karagöz selahattin.karagoz@yandex.com.tr Ege Üniversitesi, Department of Translation and Interpreting Studies

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Fan Localisation Practices in Turkey: A Comparative Case Study This paper aims to describe fan localization practices of digital games in Turkey through a case study on comparison of platforms ‘oyunceviri.com’ and ‘turkceoyunmerkezi.com’ which both function as umbrella groups where volunteer translators and game users gather and through which volunteer localization practices are organized, localization files are produced, tested and distributed. The comparison and analysis will cover organization structure, testing and release phases, feedback from users, monetarization of the localisation practices, interaction with actors in video game industry, interaction with the users and structure of the platforms. Defining fan localisation as an essential part of gaming culture and a kind of fan production based on gamer labor and describing fan localisation in Turkey from abovementioned perspective, the paper aims to provide a Mia Consalvo’s conceptualization of gaming capital inspired theoretical framework for fan localisation. Selahattin Karagöz is a Ph.D. candidate in Translation Studies. His research topics cover localization, interactive media, digital game studies.

Time slot: Friday 17.00 - 18.30 Dominik Kudła dominik_kudla@uw.edu.pl University of Warsaw (Faculty of Applied Linguistics, Institute of Specialized and Intercultural Communication)

Video Game Localisation in Poland – A Diachronic Look This presentation is devoted to the gradual development of the most important practices connected with video game localisation in Poland. Obviously, the history of video games localisation in Poland is inseparably linked with the development of the video game industry at that market. Due to the period of Soviet influence until 1989 some phenomena connected with the growth of the global video games market were hampered or delayed in Poland. For a relatively long time all the video games were distributed there in their original language version, which in the vast majority of cases was English. This circumstance moulded the whole generation of gamers who used the medium, often unintentionally, as a setting for language learning. Another aim of the presentation will be to depict and characterise various modes of video game translation and localisation from pirate, semi-amateur translations sold in the late 1980s and 1990s to state-of-the-art projects involving the work of large team, such as The Witcher 3: Wild Hunt. Apart from demonstrating the practices necessary to adapt foreign games to the needs of a Polish consumer, the presentation will illustrate the efforts made to localise the games developed in Poland in numerous target markets. These activities will be thoroughly explained using numerous examples of both exemplary solutions to arising translation dilemmas and mistakes made by Polish translators at different levels of video game localisation. Special attention will be drawn to the most important characteristics and differences between translating video games representing different genres. Also, the presentation will try to show various phenomena occurring while translating games with different budgets from AAA games to indie games. The development and various types of practices connected with translation as well as other crucial aspects of linguistic localisation will be discussed in comparison with the global trends. Moreover, the evolution of video game translation and localisation will be juxtaposed with the models and

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frameworks describing the progression of video games translation in multifarious settings from all over the world. References: Bernal-Merino, M.Á. 2015. Translation and Localisation in Video Games. Making Entertainment Software Global. New York: Routledge. Czech, D. 2013. Challenges in video game localization: An integrated perspective. "Explorations. A Journal of Language and Literature". Vol. 1 (2013), pp. 3-25. Drab, E. 2014. Gry wideo a przekład: nowe pole badań w obrębie tłumaczenia audiowizualnego. � Rocznik Przekładoznawczy. Studia nad teorią, praktyką i dydaktyką przekładu�. 9 / 2014. Donovan, T. 2010. Replay: The History of Video Games. Lewes: Yellow Ant. Jankowski, Z. 2017. Od Baldur's Gate do Wiedźmina. Kulisy przełomowej lokalizacji, która doprowadziła do powstania pierwszej gry CD Projektu. (Internet article, source: http://www.eurogamer.pl/articles/2013-05-24-od-baldurs-gate-do-wiedzmina). Karczewska, D. 2002. O błędach w tłumaczeniu. (w:) A. Kopczyński, U. Zaliwska-Okrutna (red.) Język rodzimy a język obcy. Komunikacja, przekład, dydaktyka. Warszawa: Wydawnictwo Uniwersytetu Warszawskiego. pp. 129-148. O’Hagan, M. & Mangiron, C. 2013. Game Localization: Translating for the Global Digital Entertainment Industry. Amsterdam / Philadelphia: John Benjamins Publishing Company. Ostrowski, K. 2013. Co z lokalizacjami gier w Polsce? (Internet article, source: http://antyweb.pl/co-z-lokalizacjami-gier-w-polsce/). Dominik Kudła is a PhD student at the Faculty of Applied Linguistics at the University of Warsaw. Since 2017 he is a lecturer at the Institute of Specialized and Intercultural Communication (UW). He graduated in applied linguistics (speciality: translation in languages for special purposes and teaching foreign languages; with English and Russian) at this Institute. He defended his MA thesis entitled “Anglicisms in Selected Types of Texts Related to Football” in Polish and Russian in 2016. He is currently working on his PhD thesis entitled “Eye-tracking Analysis of Translations of English Video-game Texts into Polish”. Since 2016 he is also a member of the Eye-Tracking Experimental Linguistics Laboratory (LELO) at the University of Warsaw. His research interests include translation studies, video games localisation, translator training, contact linguistics, language of football and eye-tracking studies.

Time slot: Thursday 17.00 - 19.00 Laura Mejías lmejias@uji.es University Jaume I

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The Interactive Nature of Video Games: Implications for Research The ever-changing world of video games originated in the early 60s (Levis, 1997; Kent, 2001; Juul, 2005). This makes them a relatively recent entertainment product, in comparison with their closest relatives, movies, which are already more than a century old. Video games were born as a different form of audiovisual communication in which the audience became active users, abandoning their role as passive spectators. Moreover, video games were conceived as a new form of technological development. The two factors ― the audiovisual and the computer nature (Levis, 1997) ― combined with a unique feature: interactivity. This complex configuration made video games the most sophisticated example of a multimodal product (Maietti, 2004). The distinctive nature of any video game requires a more complex process of adaptation to a target culture, more than simply a linguistic transfer, since there are some other functional, cultural and even legal aspects that need to be adapted (Bernal-Merino, 2006; Mangiron and O’Hagan, 2013). We are thus referring to localization; all the different phases included in the process of localization can offer interesting research perspectives that would let us better understand the entire process and its singularities, bearing in mind the multimodal nature of video games. In our case, we approach the study of video games from the audiovisual translation (AVT) standpoint, understanding AVT as one of the phases included in the broader process of localization. Given the multimodal complexity of video games, the aim of this talk is to review the concept of video games not only as a modern audiovisual product, but rather from a wider perspective, conceiving them as complex multimodal products whose characteristics bring new implications for research. More specifically, we will show how they represent a semiotic construct in which three communication channels combine to create meaning through their respective semiotic codes (Pujol, 2015). Hence, we will start from the traditional definition of an audiovisual text (Chaume, 2004) to then complete it and specify what aspects characterize video games. After that, we will present game situations as a new research unit derived from the multimodal nature of video games. These units will be used as the differentiating aspect to approach new studies in the field. To narrow down the analysis and offer a practical example, we will also outline a research proposal focused on the different types of synchronization that can be found in the dubbing of a corpus of action-adventure video games, depending on the different game situations previously described. Our research is situated in the Descriptive Translation Studies framework, with the aim of describing the different aspects that characterize the process and the product of game localization. Since research in the field is still scarce (O’Hagan, 2007), our goal is to contribute to expanding the knowledge about the different aspects that characterize the process of localization. This would be very beneficial not only for professionals, who could better understand the particularities of this medium and adapt their practices accordingly, but also for future professionals, whose training could be enriched based on modern research approaches. Laura Mejías Climent holds a Bachelor’s degree in Translation and Interpreting from the Universidad Pablo de Olavide (Seville). She is currently studying a PhD in Audiovisual Translation (AVT) at the Universitat Jaume I (Castellón de la Plana), where she works as a professor and researcher thanks to a FPI scholarship. She has taught at the Universidad Pablo de Olavide and the Instituto Superior de Estudios Lingüísticos y Traducción (ISTRAD). Furthermore, she has worked as translation project manager and professional translator. She has also taught in the USA thanks to a Fulbright scholarship. She holds a Master’s Degree in AVT from the Universidad de Cádiz/ISTRAD and a Master’s Degree in Translation and New Technologies from the UIMP/ISTRAD. Moreover, she studied the Master’s Degree in Secondary Education and Languages at the Universidad de Sevilla. Her lines of research focus on Descriptive Translation Studies, specifically, on translation for dubbing and video game localization.

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Time slot: Thursday 14.45 - 16.30 Felipe Mercader locustradus@gmail.com Freelance game translator

Economics and investment in game localization: impact of localization on sales, mutation of EFIGS due to new-emerging markets, and the Spanish situation The game localization industry is part of a living ecosystem which can be affected by many variables within the whole game industry. In the last 20 years, the strategies, plans and decision-making methods applied by game creators in order to localize their games have been changing constantly. How are these decisions made? Why do they only invest intranslation instead of full dubbing? Why do certain games not include Spanish localization? The presentation aims to examine studios’, publishers’ and game developers’ current approach to localization in terms of budgetary efforts and the resulting ROI. The analysis of first-hand sales data issued directly from indie and triple AAA studios will be used to measure the profitability of their investment and reveal the new paradigm in game localization: if they want to make the most of the localization investment, the traditional EFIGS strategy for handled and home game consoles will no longer be enough, due to the rise of new platforms (Steam, GOG, Itch.io, WeGame) and new audiences in Asia (China, Japan and Korea), Eastern Europe (Russia) and South America (Brazil). The sudden growth of the games-as-a-service model also demands a new methodology to fulfil users’ needs. Finally, the presentation will explore the Spanish situation both from the point of view of consumers in Spain and from the perspective of a freelance Spanish localizer, by examining the new challenges and work opportunities in this fast-changing market. Felipe Mercader Martínez completed the Tradumàtica: Translation and New Technologies Master's Degree at the Autonomous University of Barcelona after studying Translation and Interpreting at the University of Murcia. He works as a freelance English/French-into-Spanish game translator and localization engineer for localization agencies, studios, publishers and indie developers. Through this direct collaboration with indie developers, he is currently compiling as many testimonies as possible and building a database aimed at understanding localization’s economics and best strategies, particularly for small and medium-sized studios.

Time slot: Friday 10.00 - 11.30 Rafael Müller Galhardi aterion@gmail.com Freelance translator

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Translation gaming app I’m developing a language learning gaming app with three parts that works like a tangram. It’s comprised of a multilanguage crowdsourced distributed dictionary, a gaming chat interface and a discovery tool that resembles dating apps. Each area fits and works integrated with the others, so that the people who chat can ask for translations inside the conversations and have them readily accessible, the ones who translate can also research previous translations for reference and the new people who match can readily interact and enhance their language level. The chat works in pairs of language and language turns in which the players get points by typing on their target language and then on their own language to allow practice time for their matches. Players can also find people from different countries which have a common language, share and make lists of translated sentences, review, discuss and vote on sentences already translated. Rafael Müller Galhardi: I am an English into Brazilian Portuguese translator with several years of localization experience and a master in Translation and Accessibility by the Federal University of Bahia with a dissertation about Chrono Trigger’s fan translations. I'm also a very curious person. My twitter is @rafaskylink.

Time slot: Thursday 10.15 - 11.45 Phatchawalan Na-Nakhon happy.3@hotmail.com Research Institute for Languages and Cultures of Asia, Mahidol University, Thailand

“Class Zero, Commencing Maneuvers”: Localization of Final Fantasy Type-0 HD from English into Thai This ongoing study explores localization approaches through a case study of Final Fantasy Type-0 HD translation, which includes the contents of Prologue, Chapter 1 and Chapter 2, namely in-game cinematic subtitles, game instructions and proper names. With revenue deriving mainly from international importation and distribution, the gaming industry in Thailand continues to grow significantly every year. Therefore, video game localization plays a vital role in facilitating Thai players’ immersion into the gameplay and understanding video game instructions, in-game cinematics, moral values, and especially, role-playing games (RPGs) which are largely story-based. However, some video games, such as offline computer games, do not provide a Thai localized version due mainly to the closure of Electronic Arts Thailand, Thailand's major game developer, publisher and distributor, which made their games legally available offline – and as a result, games played offline thereafter infringed copyright. According to preliminary data gathered from my online questionnaire on the demand for Thai-localized games among Thai players, 83.92% of the players preferred Thai-localized games. To study the shortage of Thai-localized offline computer games, I serve as an English-Thai translator of Final Fantasy Type-0 HD from English into Thai, based on the theoretical translation frameworks of Newmark (1982) and Larson (1984), and Delisle’s Interpretive Approach (1988). Moreover, the translation strategies employed in Thai localization of Final Fantasy Type-0 HD are also analyzed and discussed in terms of sociological implications.

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Phatchawalan Na-Nakhon is a master degree transgender student in Language and Culture for Communication and Development program at Research Institute for Languages and Cultures of Asia, Mahidol University, Thailand. She graduated with a bachelor degree in Language for Development (English) from Prince of Songkla University, Thailand. Her research interests involve video game localization and audiovisual translation. Her master degree thesis title is Video Game Localization of Final Fantasy Type-0 HD from English into Thai. Recently, she gained experience translating the Standards of Care for the Health of Transsexual, Transgender, and Gender-Nonconforming people from English into Thai (pp. 50-71).

Time slot: Thursday 17.00 - 19.00 Minako O'Hagan minako.ohagan@auckland.ac.nz The University of Auckland�

Captions on Holodeck: Exploring the use of Augmented Reality to project lecture captions to improve learner experience at university This presentation reports on a small-scale explorative study conducted to test the projection of captions for recorded university lectures in a new Augmented Reality (AR) environment. Using the commercial AR headset HoloLens we conducted user testing to understand user experience of AR as an environment to access captions. The study involved a needs survey among current students and staff at the University of Auckland and a lab-based user experience study involving participants consisting of: (i) students with hearing impairment; (ii) normal hearing non-native speakers of English with some difficulty understanding lecturers in English and (iii) normal hearing native speakers of English. The presentation reports the survey results which indicate students’ current needs and the staff awareness of such needs for captions, together with the user experience results of HoloLens. On the basis of the study findings the future scope of AR as accessibility applications will be discussed. Minako O'Hagan is Associate Professor at the School of Cultures, Languages and Linguistics (CLL) at the University of Auckland, New Zealand. She has research specialisms in technology applications to translation with extensive publications, including the co-authored, first monograph in Translation Studies on videogames translation, published by John Benjamins: Game Localization: Translating for the Global Digital Entertainment Industry (O'Hagan and Mangiron 2013). She has an international research network of collaborators in Europe and Japan.

Time slot: Thursday 10.15 - 11.45 Xiaoxiao Qu kytakaq@outlook.com Communication University of China

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It Takes a Community: A Case Study of Darkest Dungeon the Indie Game’s Localization in Mainland China With the increasing prevalence of digital distribution in the video game industry, it’s no longer a problem for the independent game developers to distribute their contents across borders, and players all over the world are taking more interest accordingly. Yet due to the usually small size of the developing team and the general lack of financial support, it’s usually tricky to adapt an indie game to the local player communities, especially when the generally Euro-American developers want access the vast audience in Mainland China. The immense consuming potential of the Chinese market has made independent developers willing to tailor their products as well as marketing strategies to it, which, however, takes extra efforts to realize, comparing to the standard localization TLs referred to as FIGS (French, Italian, German, and Spanish), and the return is not always commensurate with the cost. This study seeks to reveal the various dimensions of the localization of indie games in Mainland China through the examination of the case of Darkest Dungeon, an acclaimed indie gothic horror RPG (Role Playing Game) with a fair amount of assorted in-game texts and a refined writing style. By conducting a study of the game’s officialized fan translation on various scales, from a comparative study between the in-game texts and their translations to the investigation of the agitation during the localization process in the online community of players, a community-driven model of indie game localization in an emerging market is identified. The study also shows that, rather than failings shown in the translated text, it’s the lapse in projection and management that is more likely to cause impediments to the reception of an indie game in a different locale. Xiaoxiao Qu is currently pursuing a master's degree in English Language and Literature, with a focus on Translation Theory and Translation/Interpreting of Film, TV, and Drama at the Communication University of China. She received a BA in Geographic Information Science from the China University of Geosciences in 2017. Her research interests include AVT, indie game localization, and fan translation.

Time slot: Friday 17.00- 18.30 Silvia Pettini silvia.pettini@uniroma3.it Roma Tre University

Translating the “Virtual Self” in Game Localization: The case of The Sims 4 The Sims series (Electronic Arts, 2000 – Present) is a very popular franchise of social simulation games created by designer and auteur Will Wright. Over its four main titles and numerous expansions and spin-offs, The Sims has received broad critical acclaim and commercial success at global level and has become a cultural phenomenon by simply replacing monsters with plain humans and proving that ‘real’ life can be simulated by interactive entertainment (Frasca 2001; Sihvonen 2011). In other words, players have fun by creating and managing the everyday lives of simulated people known as Sims and, given the series’ open-endedness, the gaming experiences players’ co-author may be uniquely personal. Moreover, players can completely customize their avatars in terms of age, gender, sexuality, physical and personality characteristics, which have a significant impact on how their Sims will think, behave, and act. In linguistic terms, this level of customization means

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thousands of words referring to aspirations, careers, moods, skills, traits, walk styles, etc., the player can select to co-design the identity of his/her “virtual self” (McCreery et al. 2012). More importantly, in order to be entertaining, language in The Sims in-game texts has a peculiar sense of humor based on colloquial and idiomatic expressions, wordplay, rhymes, and figures of speech with an intended comic effect. These linguistic devices for humor purposes pose considerable translation challenges (Fernández-Costales 2011; Lepre 2015; Mangiron 2010) and the degree of creativity and playfulness of the US English ST vocabulary may be very difficult to be rendered. In this light, from the perspective of Game Localization (Bernal-Merino 2015, O’Hagan and Mangiron 2013), this paper explores the series’ latest instalment, namely The Sims 4 (2014), and compares the original US English version with its Italian and Spanish localizations. It examines the game-specific vocabulary in context and analyzes the strategies translators used to re-create the fun factor of this famous social simulation game. The objective is to show whether and how a culture and language-specific phenomenon like humor may affect the localization of the player’s “virtual self”. Keywords: The Sims, game localization, translation, humor. References Bernal-Merino, M. 2015. Translation and Localisation in Video Games. Making Entertainment Software Global. London/New York: Routledge. Fernández-Costales, A. 2011. “Adapting humor in video game localization”. MultiLingual, 22, 6, 33-35. Frasca, G. 2001. “The Sims: Grandmothers are cooler than trolls”. Game Studies, 1, 1. Online at: http://www.gamestudies.org/0101/frasca/ Lepre, O. 2015. The translation of humor in video games: a case study. Unpublished PhD Thesis, University College London. Mangiron, C. 2010. “The Importance of not Being Earnest: Translating Humor in Video Games”. In Chiaro, D. (ed.). Translation, Humor and the Media. London: Continuum, 89-107. McCreery, M. P., Kathleen-Krach, S., Schrader, P.G. and R. Boone. 2012. “Defining the virtual self: Personality, behavior, and the psychology of embodiment”. Computers in Human Behavior, 28, 976-983. O’Hagan, M. and C. Mangiron. 2013. Game Localization: Translating for the global digital entertainment industry. Amsterdam/Philadelphia: John Benjamins. Sihvonen, T. 2011. Players Unleashed! Modding The Sims and the Culture of Gaming. Amsterdam: Amsterdam University Press. Silvia Pettini holds a B.A. in Translation and Interpreting (English-Spanish) from Gregorio VII University (Rome) in 2006, and an M.A. in Specialized Translation from La Sapienza University (Rome) in 2008. She received her second M.A. degree in Modern Languages for International Communication (English-Spanish) from Roma Tre University (Rome) in 2013, where she also earned a PhD with Doctor Europaeus certification in English Language and Translation in 2017, with a thesis titled “The Translation of Realia and Irrealia in Game Localization: Culture-Specificity between Realism and Fictionality”. She is currently a postdoctoral research fellow at Roma Tre University and her main research interests are Game Localization, Audiovisual Translation and Bilingual Lexicography.

Time slot: Friday 14.30 - 16.30

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Francesca Pezzoli & Riccardo Lausdei francesca.pezzoli@unibo.it, riccardo.lausdei@gmail.com NBZ Localization Services, Università degli Studi di Bologna Campus di Forlì

An Innovative Game Localization Model: Multileveled Virtual Teams The rapidly growing localization industry has been imposing a hectic pace and huge pressure on professionals in terms of volumes, output and quality of translations. In this scenario, both developers and agencies are looking for skilled and expert specialists who can manage tight deadlines, stressful projects and multifaceted tasks that often go beyond translation, such as query tool management, TM maintenance, last-minute updates and the use of specific applications. How can students and graduates become localization specialists in this ever-changing and "impatient" environment? Who can provide candidates with the necessary training for them to succeed as professional game translators? Is it possible to offer a multi-layered solution that can satisfy the needs of both fledgling translators and the game localization industry? Our experience as practitioners, academics, researchers and founders of a localization company taught us that multileveled virtual teams can be the perfect connecting link between aspiring translators and an increasingly demanding localization business. This yet vastly unexplored model has proved to be a great opportunity for all parties involved. Clients (both developers and agencies) love teams because they can handle higher volumes in shorter times and PMs don't need to contact many individual freelance translators/reviewers for each project. A virtual team allows its members to work from anywhere in the world and to communicate via any live chat system. Procedures and best practices are established, and working with the same persons offers many advantages in terms of consistency, stylistic uniformity and micromanagement. Teams are cost-effective and time-saving because project management, handoff/handback/file allocation, Q&A collection and many other tasks are handled by team leaders. Multileveled teams are particularly interesting and innovative. They include veteran leaders, expert translators and newbies, allowing novices to acquire experience in a protected environment where team leaders review each and every word and provide constant feedback and QA. At the same time, all members can feel part of a group and have a global view on projects, rather than just translating small sections while unknown colleagues take care of the other parts with no communication at all, at a higher risk of issues such as inconsistencies and style discrepancies. Moreover, in a multileveled team the overall quality of translations is guaranteed through internal review and QA. In our talk we will analyze a case study of a multileveled EN>IT localization team, illustrating its advantages, business potential and possible drawbacks and describing best practices and rules for an agile model which can successfully face the many challenges of the contemporary industry. Francesca Pezzoli: Since 2003 - Freelance translator and tester in the videogames and software localization business, working in collaboration with clients worldwide and supervising projects for leader publishers and developers such as Microsoft, Sony, Nintendo, Ubisoft, Square Enix, King, Rovio, etc. Since January 2016 - Estalishment of the NBZ SNC company working in the videogames and apps localization business. Since 2017 - Adjunct professor for the module in "Game Localization" at the International MA Degree in Specialized Translation, University of Bologna, Forlì Campus.

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Riccardo Lausdei: Since 2007 - Freelance translator in the videogames and software localization business, working in collaboration with clients worldwide and supervising projects for leader publishers and developers such as Microsoft, Sony, Nintendo, Ubisoft, Square Enix, King, Rovio, etc. Since January 2016 - Estalishment of the NBZ SNC company working in the videogames and apps localization business. Since 2017 - Lecturer for the module in "Game Localization" at the International MA Degree in Specialized Translation, University of Bologna, Forlì Campus.

Time slot: Friday 10.00 - 11.30 Miquel Pujol-Tubau miquel.pujol@uvic.cat University of Vic – Central University of Catalonia (UVic-UCC)

Third languages (L3) in transmedia video games and their translation. A case study of "The Witcher 3" In the recent years, the presence of third languages (L3) has been increasingly notorious in audiovisual texts. This denomination includes both the presence of various real or invented languages and the use of linguistic varieties in a significant, relevant way that can modify the final understanding of the text. In audiovisual texts, third languages can perform a wide range of stylistic, pragmatic or discursive functions. In this framework, the Trafilm research project, funded by the Spanish Ministry of Economy and Industry (MINECO), was created to describe the reality of the translation of multilingual audiovisual texts. In its current stage, the project counts on a database (www.trafilm.net) with the audiovisual data analysed up to this day, basically from films and series. This paper aims at sharing an evolution of the core research project, focused on the presence and translation of L3 in video games that belong to a transmedia franchise. This choice is based on the fact that many transmedia projects are displayed in open fantasy worlds where multilingualism is a necessary means to portray its cultural and racial variety. To perform the analysis, we have selected video games from three transmedia sagas (The Witcher, Song of Ice and Fire and The Lord of the Rings) to detect L3 instances in the original English version of the chosen game and describe how they are rendered in the Spanish version. The analysis will make use of a selection of suitable fields in the Trafilm database form, including whether the L3 instances are understandable and/or meaningful in the original English version or if the visual code aids in the L3 comprehension. As a first step in an ongoing project, this paper will outline the study design and will provide preliminary results on the presence of L3 instances in The Witcher 3 (2015) and how they have been addressed in the Spanish localized version. Miquel Pujol-Tubau is currently a lecturer in Translation Studies at the University of Vic – Central University of Catalonia (UVic-UCC), where he lectures in translation theory and audiovisual translation both at undergraduate and postgraduate level. In 2015, he completed his PhD thesis, which deals with the use of dubbing in the representation of characters in films and videogames belonging to a transmedia project. He is a member of the Trafilm research project (www.trafilm.net). His research interests include audiovisual translation, multilingualism, intertextuality, localization and media studies.

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Time slot: Friday 14.30- 16.30 Leticia Sáenz & Manuela Ceccoli Keywords Studios

How to Level Up your Loc Even though it seems that the work of a translator might be autonomous, there are standardized processes and best practices in the localization industry that professional translators should observe. In this panel we will lay the foundations of what working as a translator entails both for freelancers and in-house team members, analyzing the necessary competences of candidates, the usual workflows, the differences between both positions and the most common mistakes found in entry tests and how to avoid them. We will also present the working relationship with the localization project manager and how to make the most out of the collaboration by examining a list of best practices to be carried out. Currently the Localization Lead at Keywords Barcelona, Leticia Sáenz manages a team of project managers, coordinators and linguists specialized in the challenges of localizing market leading games. Leticia has over 10 years of experience in video games localization in different roles, from Translator to Senior Project Manager, which has given her insight of the whole development and localization process as well as in-depth knowledge of game development and design. Manuela Ceccoli is a Senior Italian Language Specialist in the Barcelona office of Keywords Studios. She graduated from the University of Florence with a B.A. in Intercultural Studies writing a thesis on translation of Fantasy. After spending hundreds of hours playing RPGs and MMOs during school and university years, she decided to join the video game localization industry almost as a prank to her family... and never left. With more than 10 years of experience localizing video games, and hundreds of projects under the belt, Manuela has also translated comic books, apps, articles for music blogs and a children's book. She has experienced both the office life and the challenges of a freelancer and has decided, for the moment, to go back to the thrills of the former.

Time slot: Friday 10.00 - 11.30 Omid Saheb Vossoughi omidsaheb@gmail.com Project Manager – International Translation Company

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The Elder Scrolls Online – How fan translation can become a model of localization for videogame companies by using the crowdsourcing method Crowdsourcing and crowdfunding has become a usual practice for videogames companies in order to save money on localization process. One of the best examples was the case of Wasteland II (InXile Entertainment, Deep Silver) in May 2014. The game was finally launched in 2015 with negative impact on the localization of the game. But not only companies use this model to localize big amounts text in order to publish a product. Fan localization also nourishes from the crowdsourcing method when companies decide not to localize in a particular language. When ZeniMax and Bethesda, (also in 2014) decided to publish The Elder Scrolls Online into English, French and German also in 2014, a group of fans of the saga decided to step forward and localize this MMORPG themselves using the method of crowdsourcing. This study will compare two different models of crowdsourcing: from the Wasteland II to The Elder Scrolls Online it will show and explain the flaws and strengths of each model and will try to demonstrate why the latest is more successful than the first despite its weaknesses. The study will compare areas such as: tools used for the translation, user interface, use of glossaries, and workflow of the localization process, amongst others. One of the conclusions we can share is that fan translators and localizers can be well organized and create a proper structure for videogames localization. The study will show to the audience the Cervantesco Project which is the responsible of this feat. The Elder Scrolls Online is a MMORPG videogame with more than two million words in game, which around six times bigger than the novel Don Quixote, from Miguel de Cervantes. Omid Saheb Vossoughi: Freelance translator with several years of experience and since 2015 and also Project Manager in one of the top international translation agencies. My areas of expertise are mainly: audiovisual, localization, videogames, technical, medical, marketing, sports, e-commerce and retail, amongst others. As translator and gamer, I am passionate about videogames and their process for being translated, localized and culturally adapted. Always learning from colleagues from the field and trying to get more and more involved in the industry. Most recently, I have been working as Project Manager for a translation agency for the last two years. This role has showed me a wider view of the translation industry, which is very competitive. Always learning and always moving forward, I would love to be part of the process of development and localization for a big videogame company.

Time slot: Friday 17.00 - 18.30 Marcus Toftedahl marcus.toftedahl@his.se University of Skövde

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Localization in Indie Game Production During the last few years, there has been a rapid change in how games are distributed and marketed. This change is partly because of the advent of new and emerging markets in form of regions on the rise within the games sector. Other reasons influencing this change are new technologies and new types of distribution channels. While these areas have partly been studied previously, there has been a strong focus on “traditional” distribution models with games developed and distributed by large corporations within the AAA game industry. The process of developing or adapting games to a specific audience or demographic has also had a AAA focus from a game study perspective. Adapting to new markets or business models to find the correct consumer base are key factors for many indie game developers’ success. Digital distribution models have given opportunities to small game companies to sell their games on a global market already from the start. Being a small independent game developers acting on a global market have proven to pose a challenge for the vast majority of developers, struggling to develop, market, localize, patch and give customer support to their game. These are examples of functions that the AAA corporations have resources to handle with specific teams of experts in the subject matter. As an indie you have to manage it yourself. This presentation will focus on localization from an indie game development and production perspective. Using a mixed method approach consisting of mainly action research and case study design, I have gathered data from indie game studios in Sweden, China and India to get an understanding of how small studios with limited resources handle the global nature of digital games on mobile, console and PC. The study is based on interviews and field work in both the Nordic and Asian regions. The presentation will cover and relate current indie game development practices to subjects such as fan translation, community based localization, technical challenges connected to indie game development in general. The work is carried out at the University of Skövde, Sweden as a part of the project Gamehub Scandinavia, funded by the EU/Interreg programme. Marcus Toftedahl is a game researcher, developer and lecturer at the University of Skövde, Sweden. His main competences lies within game production, game design and narrative design. His main research interests are within serious games, gamification and the processes found within indie game development and production. Marcus has worked at the University of Skövde since 2009 and has since he started co-developed the world's first full concentration game writing education at University level as well as teaching game design and game production in general. Marcus have led multiple game development projects as a part of the University's digital game research, focusing mostly on using games in public spaces. Since summer of 2016 Marcus is working on his PhD project in socio-technical systems researching indie game production with a special focus on localization.

Time slot: Friday 12.00 - 13.30 Xiaochun Zhang xiaochun.zhang@bristol.ac.uk University of Bristol

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Risk Management in Game Localisation Risk analysis can be heuristic in understanding translation as a social relation and the decision-making process in translation tasks. Pym (2015) identified three levels of risks that can be applied to translation: 1) credibility risk, which concerns the trust between translators, the clients, and the end-users who share and maintain the belief on the specificity of translation; 2) uncertainty risk, which refers to the translator’s uncertainty when making decisions on how to transfer meaning between languages in the process of translating text items; and 3) communicative risk, which ensues from the way texts are interpreted and used in different settings. Based on the unequal distribution of communicative risk across texts and contexts, Pym proposes a model of risks and efforts, which suggests that effort should be invested according to the level of communicative risk. This paper seeks to apply the three types of risks in reflecting the practice of game localisation. It will firstly discuss the specificity of game localisation in the lens of credibility risk, reviewing the relations between game translators, the clients, and the players under the supposition that equivalence in game localisation lies on gamer’s experience. Secondly, it will address uncertainty risk by investigating the way game translators transferring risks to their clients via a case study. Lastly, it attempts to identify communicative risk levels in translating different game assets, in the hope of establishing a teachable mode of decision-making in game translator’s training. Reference PYM, A., 2015. Translating as risk management. Journal of Pragmatics, 85, 67-80 Dr. Xiaochun Zhang is Lecturer in Translation Studies and the Programme Director of MA Chinese-English Translation at University of Bristol. Her research interests lie primarily in audiovisual translation with a specific interest in digital game localisation and fansubbing. Other areas of interest include media accessibility and language technology.

Time slot: Friday 12.00 - 13.30

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LIST OF SPEAKERS Alexey Kozulyaev, 11 Carlos Escalona, 17 Cristian Marín, 17 Dominik Kudła, 23 Felipe Mercader, 26 Francesca Pezzoli, 31 Francisco González Barrionuevo, 19 Ivan Borshchevsky, 11 Jérôme Dupire, 9 Jordi Arnal, 11 José Ramón Belda, 12 José Ramón Calvo-Ferrer, 12 Laura Mejías, 25 Leticia Sáenz, 32 Luo Dong, 17 Manuela Ceccoli, 32 Marcus Toftedahl, 35 Miguel Ángel Bernal-Merino, 10

Miguel Ferreiro, 18 Minako O'Hagan, 28 Miguel Tolosa, 12 Miquel Pujol-Tubau, 32 Natalia Jaén, 22 Omid Saheb Vossoughi, 34 Phatchawalan Na-Nakhon, 27 Pilar Rodríguez-Arancón, 13, 15 Rafael Müller Galhardi, 27 Riccardo Lausdei, 31 Selahattin Karagöz, 23 Silvia Pettini, 30 Tomás Costal, 13, 15 Tomás Grau de Pablos, 21 Xiaochun Zhang, 36 Xiaoxiao Qu, 28 Ximo Granell, 20