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recomendadas
do grupo de localizao da Associao Internacional de
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ORIGINAL
Best Practices for Game Localization
Initial Draft by Richard Honeywood, Vice-ChairGame Localization Special
Interest
GroupGame
(SIG)Developers Association (IGDA)February 1st, 2011
International
Second Draft by Jon Fung
February 1st, 2012
This is the second draft of a Best Practices or How To guide for the
translation
and culturalization
of video game content. It is a compilation of
Game Localization
Best Practices
IGDA Localization SIG
CONTENTS
CULTURALIZATION
What is game culturalization?
Levels of game culturalization
Top Four Cultural Variables
Culturalization Best Practices
INTERNATIONALIZATION
User Interface
Architecture
Programming
Advice for Development Teams
LOCALIZATION
Familiarization
Glossary and Style Guide Creation
Translation
Voice Over Recording
Linguistic Quality Assurance
Master Up and Sign Of
PROJECT PLANNING
Pre-Production
Production
Alpha Phase
Beta / Localization Sign-Of / Gold Master Phase
APPENDIX 1 LIST OF BEST PRACTICES
APPENDIX 2 - CULTURALIZATION EXAMPLES
APPENDIX 3 GRAMMATICAL TOKEN EXAMPLE
APPENDIX 4 SAMPLE LOCALIZATION SCHEDULE
CONTRIBUTORS
Game Localization Best Practices

Localization SIG
CULTURALIZATION
[Note: Contributed by Kate Edwards; these points are excerpted from her
handbook
on game
culturalization, due in late 2012]
What is game
culturalization?
Culturalization takes a step beyond localization, making a more fundamental
examination
of a games
and choices,
and then assesses
the
While localization
assists assumptions
gamers with simply
comprehending
the games
content
throughculturalization
translation, culturalization
allows gamers
with the
Or conversely,
ensures that gamers
will not to
beengage
disengaged
by a
piece
of
content
that
is
considered
incongruent
or
even
ofensive
in
the
Cultural mistakes often prove to be costly for game developers and publishers
Innot
the loss of
potential
revenuemay
but the
of negative
thejust
worst-case,
a local
government
not greater
only banefects
the game
but take
more
action
against the company, including detainment of local
Levelsdirect
of game
culturalization
The need for game localization is a well-known necessity within the game
industry; however
need
for culturalization
remains
relatively
unrealized.
Culturalization
isntthe
just
a specific
task; its also
a broader
intent for
all
international
adaptation
of content.
In
its most basic
form, content
culturalization can be viewed as the following
three
phases:
1. Reactive culturalization: Make the content viable; i.e., avoid disruptive
issues
to allow &
a game
to remain in the
target
2. Localization
Internationalization:
Make
themarket.
content legible; i.e., perform
typical
localization
to
allow
the
game
to
be
understood.
3. Proactive culturalization: Make the content meaningful; i.e., adapt and
provide
locale-specific
options
to allow the game
toclarification
be locally relevant.
In regards
to these phases
of culturalization,
some
may be helpful:
Localization is critical but the process of achieving legibility through translation
is
not the
step
required
intitle
preparing
for other
cultures.
This is true
It may
be only
argued
that
a game
shouldcontent
be legible
before
it is viable.
But
a
government
will
restrict
a
game
based
on
sensitive
content
regardless
if
its
These phases are not a hierarchy. As with localization, culturalization takes
place
in various
within the typical game development cycle and is a
Top Four
Culturalstages
Variables
The efort of thinking outside our given cultural worldview often makes it
difficult
forby
a considering
game designer
in one
locale
to befour
aware
of thevariables
issues that
However,
at least
the
following
cultural
thatcould
most
often
generate
conflict
between
the
games
context
and
local
cultures,
it
is
1. History: Past and Present
The issue of historical accuracy is one of the most sensitive issues for local
markets.
Many cultures are extremely protective of their historical legacy and origins, so
any alternate
or inaccurate
history
can
yieldpossible
strong, to
emotional
backlash.
History
is a compelling
topic,
but its
rarely
provide the
full context
of a its
historical
event
in ahistory
game. that can be problematic but recent history can
But
not only
distant
be
a
very
sensitive
topic
as the memory of the events and outcome are very
2. Religion and Belief Systems
Game content creators need to be sensitive to the underlying mechanics of
the
culturesainto
which
theiron
game
titles
aretends
to be to
released.
In general,
society
based
sacred
rules
be less flexible and
yielding
to
the
context
in
which
information
appears
because they are
3. Ethnicity and Cultural Friction
Besides the more volatile issues of history and religion, there are many of
issues
that fitthose
underisathe
broad
addresses
formsand
of the
Chief among
usecategory
of ethnicthat
and/or
culturalvarious
stereotypes
perception
of inclusion
and exclusion with a negative bias towards a specific
4. Geopolitical
Imaginations
National governments often reinforce their local worldview and the extent of
their
geographic
sovereignty
through
digital media,
including
mapsand
and
This involves
a situation
where
the government
claims
certainonline
territories
they
those territories
toas
beChina
shown
as India,
integrated
nation,
With expect
some governments,
such
and
therewith
is notheir
room
for error on
this
issue
as
they
maintain
laws
that
dictate
how
national
maps
must
appear
See Appendix 2 for examples of games containing these four culturalization
variables.
Culturalization Best Practices
The underlying principle of culturalization is that a minor investment of time
and efort during the game development process will ofset a major loss of

Fortunately, there are some key steps developers can take to be more
proactive
about their culturalization strategy.
Gain awareness
1. Attain a basic awareness : A key step is to attain a fundamental awareness
of
potential
for people
culturalare
issues;
content
creators
andKorea,
managers
need
to
Forthe
example,
most
aware
that China,
India,
and the
Middle
East
bepeople
sensitive
markets.
Also, can
many
know
that certain types of content can become a real
flashpoint
for
backlash,
such
as maps,
flags and
historical information.
2. Ask questions : The goal isnt
to establish
subject-matter
expert proficiency,
but
to
ask
appropriate
questions
during
development.
For example, the game Kakuto Chojin (2002) contained a brief audio track with
a
chanted
portion
of the
Islamic
Quran,
resulting
in asked
widespread
backlashFrom
that
This
issue could
have
been
avoided
if someone
had
the question:
where
didaccountability:
these lyrics originate
do they mean?
If something
doesnt
3. Create
In orderand
for what
culturalization
to be successful,
it must
be
treated
as athat
standard
component
of the
development
cycle.
This
means
responsibility
for the
process
should be
assigned to a specific
person/team,
often
times
the content
coordinators
editors.
Also,
a new bug
type
cultural
or geopolitical
or and/or
whatever
appropriate
should
created in the bug tracking system to ensure the issues are flagged
Identifybe
issues
As mentioned previously, culturalization is most efective the earlier its
applied
game
content, thus
engaging in
team discussions
around meaning,
Here aretothe
fundamentals
of identifying
potential
issues:
1. Context proximity: Stated simply, contextual proximity is the concept that
the
closer a should
contentbe
element
in person,
place,
Developers
lookingapproaches
for content the
thatoriginal
mimicscontext
real world
locations,
buildings,
people,
events,
religions, nationalities, ethnicities and so on, and
2. Leverage
external
resources:
a. Text references: Many reference works can be useful for basic research, such
as
culturalresearch:
studies, country-specific
guides,
symbolwebsites,
dictionaries,
encyclopedias
b. Online
Wikipedia, official
government
non-government
organization
(NGO)
websites,the
religious
organizations,
c. Local opinions:
Accessing
knowledge
of people etc.
from a specific locale
and/or
culture
can
be
particularly
useful.
If you work in a large multinational company, make use of the internal
diversity
of the
company
andopinions
ask youronline
fellowinemployees
for opinions.
Alternatively,
you
can solicit
various forums
(e.g., Yahoo
Answers).
This ad hoc opinion gathering may contain subjective viewpoints, but a large
enough
sample can
reveal If
a the
clear
pattern.
d. Subject-matter
experts:
above
forms of research do not yield clarity,
seek
out
people in diferent fields such as history, cross-cultural studies or
Assess
severity
Just because issues have been identified in the research, it doesnt mean
everyidentifying
potential issue
needs
to be fixed.
After
potential
cultural
issues, the key in next stage is to be able to
efectively
determine
the must
fix the
issues.
1.
Triage the
found issues:
Separate
overt ofenses the obvious things
that
you
know
for
certain
will
be
a
problem
from the
the or
2. Document your choices: Every game publisher
hasreasonable
a choice as risks
to whether
not
change sensitive
content.
Mosttocompanies
do but there
are times when it may not make sense to make
even
a
minor
content
change
because the
the decision-making
issue is borderline
In such cases, its critical to document
in sensitive.
a defensive
explanation,
in
case
it
might
be
needed
if
a
government
or
consumers
raise
Implement with precision
Many game designers carry a preconceived notion that culturalization is about
making
changesand
andone
rethinking
the why
entire
game
idea.
This is amassive
misperception,
key reason
many
dont
confront the
geopolitical
and
cultural
aspect
at
all,
as
they
believe
its
going
to be too
This highlights one of the most important principles of culturalization:
1. Be surgical: Make the most minimal change to the least amount of content.
Only change what really must be changed in order to ensure distribution to the
games
target market.
In the majority
of cases with cultural issues, the resolution is a small, precise
fix
of a specific symbol, or word, or character design; its usually not a major
Conclusion
Create the game you want to create, but dont forget the global, multicultural
audience who will
be participating
vision, and
hopefully
enjoyingit ittakes
Well-executed
culturalization
withininayour
development
cycle
isnt turnkey;
time to implement successfully.

However, the benefits to a companys content quality, government relations,

and
public image amongst local gamers will prove to be a valuable long-term
INTERNATIONALIZATION
Internationalization, abbreviated as I18N, is the process that enables game
localization
to take place. a product can only display game content in one
Before internationalization
language.
After internationalization, a products code base, architecture, and user
interface
are capableproduct
of processing
and
displaying
game content
in multiple
An internationalized
does not
contain
any elements
that difer
by
locale.
User Interface
Fonts
Asian languages, like Japanese, Korean and Chinese, predominately use fixedwidth
fonts. Asian-versions programmers are not willing to reprogram their
If
the original
systemthis
to handle
proportional
for European
language
versions,
then
the
While
should no
longer be fonts
an issue
on most PC
and console
games,
it still
seems
to be
an issuethe
in hand-held
games.apart from a proportional font, it may
To
further
maximize
space on screen,
be good being
to utilize
a font display
system that accustomed
allows for kerning
(diferent
Besides
a headache
for programmers
to fixed-font
languages,
the
downside
is
that
it
makes
line
width
limit
checking
It becomes necessary to create simple line-width checking tools ormore
Excel
macros
that
add
up
the
pixel
width
of
each
letter
and
can
tell
you
whether
it is
But the payof in translation quality and improved look of the game is
definitely
worththat
thethe
efort.
It is important
translation and development team work together early
in
the
development
cycle
select
the fonts.
The translators need to betoable
to verify
that all the letters used in their
language
are
available
in
the
selected
font.
Further, you need to decide on the font size and font type, to make sure it is
readable
whenspeaker
displayed
screen, as
towhether
determine
pixel
of
Only a native
of aon
language
canwell
tellas
you
thethe
feel
ofwidths
the font
is
right,
whether
accents marks look right in European languages, or
U.I.
and from
Message
Windows
Once you start to deal with multiple languages, you will find the layout of the
text
oncetodisplayed
on screen
game
will inevitably
start to
need some
In order
better assist
this, we
suggest:
That you allow
speech
bubbles to
auto-resize
for
message
windows
or
display
areas
that
are
more
flexible.
(The one-of cost to program such a system will save your dev team a lot of
time
resizing
things system
by handislater.)
If a fully
automated
too much, then at least allow the sizes to be
resized by specifying
the
x,y,w,h
coordinates
in across
the text
Alternatively,
if all text
boxes
must
be identical
allfilesthen
languages,that
sizeway
them
for the
of anticipated
translations
opposedas
tobeing
the length
of English
text.
The
rulelength
of thumb
is to approximate
translations
30-40%
longer than
English.
That you implement an automatic text wrap around system. i.e. instead of
askingallow
the translators
to hardcode
each
line-break
in want
by hand
(then
having to
(Also
for an over-ride
for times
when
you dont
words
automatically
broken
across
linesbut
more
on
that
latter).
This is practically a must for PC games that allow for resolution and screen
sizes
to be changed
by the
user!
(As another
option when
appropriate)
That you implement a font expansioncontraction
system
so
text
perfectly
fits
area.ori.e.
in theout
menu
(Alternatively, when appropriate) Allowthe
forallocated
text to scroll
expand
into a
pop-up
screen.
That way if space is limited in the GUI, the player can still see the full text
when
highlighted,
insteadMovies
of having to decipher abbreviations or cut-of words
Subtitles
in Pre-rendered
To save disk space, as well as to save your development team from having to
re-render
versions
of work,
the same
tocost
implement
a system
If creatingmultiple
a system
is a lot of
just movie,
think oftry
the
every time
a bug-fix
has
to
be
made
in
those
subtitles
for
each
language.
(And it is very rare that the subtitles will look right and be timed perfectly first
time,
so a morefor
flexible
system
thanIncorporate
re-rendering
everything
over-and-over
Best practices
subtitles
include:
a san
serif font
with a brightis
color
andsubtitles
dark outline
it is easily
against
both lightthe
andgame;
dark
Position
in thesosame
area ofvisible
the screen
throughout
preferably
theset
bottom
the screen
when
it interferes
with theper
Display each
of textthird
for 3ofseconds,
leftexcept
aligned,
allowing
96 characters
line,
and up
to 3atlines
text at a
time. for the user to read.
Any more
lines
onceofbecome
difficult
Use static text, avoid scrolling text whenever possible.

When two people are having a discussion, indicate changes of speaker by

adding
a hyphen (-) to the start of their line, especially if the new speaker is of
Architecture
Localization assets should be stored in a content management system with a
folder
structure that
is accessible
to the used
localization
Some suggestions
which
are commonly
to easeteam.
exporting / importing is
to
store
the
assets
by
level,
game
location,
or
by
language.
Language and Country Codes
While it might be tempting to just add single letters (such as E,F,I,G,S,J,K, or
C)
to represent
languages
or regional
versions
end of file
names,
directory
Further,
there can
be confusion
over which
codethe
represents
which
language
(e.g.
whether
German
be written
Ge orcodes,
De for
Deutsh).
To solve
confusion
overshould
languages
and country
a good
idea is to stick to
the
ISO
standards
that
are
recognized
across
industries
http://en.wikipedia.org/wiki/List_of_ISO_639-1_codes
http://en.wikipedia.org/wiki/ISO_3166-1
(or http://www.loc.gov/standards/iso639-2/php/code_list.php)
For example, if you combine a two-letter language code with a two-letter
countryone
code,
you have
shortin
but
readilycountries,
recognizable
to diferentiate
(When
language
is used
multiple
suchways
as Latin
America, you
can
just
pick
the
most
representative
country,
such
as
Mexico.)
Either use a dash between the country and language code (PT-BR), an
underscore
(PT_BR), or even more concisely if your system allows it, write one
This gives us:
enUS American English
enGB British English
deDE German
esES Castilian Spanish
esMX Latin American Spanish
frFR (European) French
itIT Italian
jaJP Japanese
koKR Korean
ptBR Brazilian Portuguese
ptPT Iberian Portuguese
plPL Polish
ruRU Russian
zhCN Simplified Chinese (Mandarin)
zhTW Traditional Chinese (Mandarin)
It may take some time to become accustomed to using these, but it will clear
things
up immensely.
Localization
Tools and File Formatting
Just as development teams use a lot of diferent tools to manage their
resources
Source
Safe,
etc.)
and
While a lot(Visual
of work
will likely
beAlienBrain,
in plain text
files
or make
Excel programming
files, File
Management
tools,
Translation
Memory
tools,
electronic
dictionaries,
and
file
We will not go into details of such tools here, but we encourage you to
find
the
best
solution
for
your
particular
development
and
translation
teams
needs.
While on the topic of file formats, if you are using plain text files, be aware of
file
format
particularly
youbetween
come across
AsianASCII
languages.
Rather
thandiferences
dealing with
corruptiononce
issues
Extended
and JIS
encoding
etc,
it
is
probably
wiser
to
stick
to
an
encoding
that
allows
all of your
A common pitfall in games is the issue of text used in graphics.
Whether 2D textures or 3D polygon models, the dev team needs to track
where
all text
appears
in theirallgame
in order
to belanguage
localizedversion
correctly.
Be
prepared
to have
to redraw
graphical
textfor
foriteach
(or
find a workaround
that allows
you
to use graphical
icons
and
symbols
instead
These
need to
be provided
to the
translators
and have
their
changes
tracked
just like all other text resources.

Resource Files and Character Encoding

It is best not to hard program UI text into the source code (or for that matter
any
script thatthat
could
beare
problematic
accidentally changed by the
And game
it is imperative
files
formattediflogically.
If events or storylines in the game are broken across files or are not in any
order,
please
surethe
there
are comments
some labeling
systemloading,
in place
Indicate
whichmake
platform
strings
belong to; or
particularly
for saving,
or
other
functions
afecting
platform
The
localization
team
will need
to putcompliance.
special care in translating these strings
to
use
the
terms
set
out
by
the
console
manufacturers.
Obviously things will be cleaner/smoother
if all files are in a similar format to
each
other.
Particularly if either the development team or translation team are using
convertor
the
fewer
formatting
changes,
the less
(andissues.
chance of
Dependingtools,
on the
file
encoding
too, you
might run
into work
memory
If Asian languages use double- byte character sets, and also expect English
and European
languages
so, they
will soon
seeJapanese,
that the lengths
of the
(English
uses on
average to
1.5do
more
characters
than
say Spanish
and
German
use more
than or
double
thewasted
amount
of letters
than
Japanese.)that
To
avoid may
memory
overflows,
simply
memory,
use
an encoding
keeps
letters
in single-bytes
(such
as UTF-8
or otherdevelopers
variable byteOn
theEuropean
flipside, for
Chinese,
Korean, and
Japanese,
if Western
have
trouble
fitting
the
entire
Asian
font
set
into
memory
(say
on
handheld
games)
Otherwise, if you need to load the entire font, you can talk with the translators
about
what segments
of themost
font they
maycan
notbe
need
and at least
For example
with Japanese,
phrases
translated
usingremove
a set ofthose
2,000
characters (the number of characters taught to children in school).
Programming
General Programming Tips
It goes without saying that you should avoid hard coding text within the
program,
as itwhen
means
a programmer
to fix those
byseparate
hand
Furthermore,
text
is hardcoded,will
thehave
programmer
willstrings
have to
the
be translated
from all
thetext
program
source
and
re-input
handor
The text
bestto
practice
is to isolate
strings
used in
game
into it
a by
resource
file
for
each
language.
As mentioned in the UI and Message Windows section, when you want to
center
text or
position
set places, rather
than
coding
theby
coordinates,
(Otherwise,
once
again,it ainprogrammer
will have
tohard
correct
things
hand each
time.
An alternative for when text needs to be positioned or centered but the system
cannot
automatically
it is toby
allow
the coordinates to appear in text
Resource
files should support
be separated
language.
While it might look neat to put all languages in separate pages or columns in
anisExcel
file, in practice
it means
the diferent
language
translators
cantand
all
It
recommended
that each
languages
files exist
in their
own directory
are copied
from
at buildteam,
time. include a list of the source language text
Also
to assist
thethere
localization
changes
between all
versions.
This
will minimize
thebuild
chance
of the localization team missing a new or edited
string.
Using XML for Translation Text
Some companies are finding the use of XML (Extensible Markup Language) a
great
alternative
over
plain
text
fileslanguages
or Excel tables
to do one
theirversion
projects
For instance,
if you
know
that
some
only need
of a
string
but
others
need
up
to
six
versions
of
the
same
string
(say
because
So instead of making all languages translate 6 versions of the same stringthe
identically
in their language,
they
could
just translate
once.in where needed.
While the languages
that need
more
versions
can additthem
(In your programs memory you might allow for the maximum number of
combinations
forfile
each
line, even
most endthe
up actual
as NULL
strings
in the
And as the XML
is parsed
andifcompiled,
strings
that
existend.
in the
XML
are
placed
into
the
source
code
and
the
system
is
flagged
to
branch
to
That way, Japanese, Chinese, and English can merely have shopkeepers greet
you
with
theLocalization
equivalent Interchange
of a simple Hello!
but in Italian you would have the
XLIFF
(XML
File Format)
While many platforms, game engines, and other technologies store text
resources
various file the
formats,
these
can be troublesome
Primarily itincomplicates
cycle supporting
of requesting
andformats
implementing
translations
asalso
each
formatyour
requires
a separate
It
hinders
teams
ability toworkflow.
develop quality and cost saving
translation
In
2002, thetools.
XLIFF format was established to solve this problem and provide a
standard format for all developers to exchange text translations with

Implementing this standard requires processing text resources from its native
format
into implementation
the XLIFF schema
for translation
requests.from XLIFF back to the
Translation
requires
post-processing
native
text information
resource fileon
format.
For further
XLIFF, and supporting tools, please reference these
links:
http://docs.oasis-open.org/xlif/xlif-core/xlif-core.html
http://www.oasis-open.org/committees/tc_home.php?wg_abbrev=xlif
http://en.wikipedia.org/wiki/XLIFF
Order of Variables in Text
When using C or C++s printf or similar text output functions, remember that
the
order of %s
and %d bought
variables
into
strings
will likely
change across
For example:
msg="%s
%d
%stext
for %d
dollars.";
will probably
change
order
and
Korean that
to allows
msg="%s%s
%d%d

If
you in
doJapanese
not create
a system
for the translators
to freely change
the variables
inside
the speaking
target text,
thensingular/plural
the programmers
might
have
Note:
as we have
been
about
tokens
above,
wetocan
show"John
how bought
the implementation
the above system can make the resulting text
e.g.
6 potion for 1ofdollars."
is obviously wrong, but if we implement the token system so the text looks
like
the following
msg="<Cap><Character1>
bought
<IF_SING_Number1><INDEF_ART_SING_ITEM_2><ELSE_NOT_SINGLE_Number
then, if implemented correctly, the above system can result in all of these
potential
outputs
John bought
an apple for 1 dollar.
John bought 2 apples for 2 dollars.
Mary bought a pear for 3 dollars.
and so on.
Date, Time, Currency and Number Formats
All locales have diferent formats for displaying dates and figures.
Syncing up with your localization team prior to game production will enable
development
to establish
of the
game and which
Here are someteams
standard
formats all
forafected
the mostareas
common
languages.
US English
French
German
Spanish
Italian
Japanese
Date
mm/dd/yyyy
dd-mm-yyyy
yyyy-mm-dd
dd/mm/yyyy
yyyymmdd
Time
hh:mm:ss am/pm (12-hour clock)
hh:mm:ss (24-hour clock)
Decimal Separator
period (.)
comma (,)

Thousand Separator
comma (,)
space ( )
space ( ) or period (.)
Number Example
15 631,87 or 15.631,87
Currency
Ordinals
1er 2e 3e or 1re 2e 3e
1 2 3 or 1 2 3
One of the best ways to implement these various formats is to include a string
in the
resource
files
number format
that areidentify
translated.
This
way
it will be
upfor
to each
the translation
team type
to correctly
the order of
year, month,
day
well asinthe
diferent
characters
used
to separate
numbers.
When
currency
is as
localized
game,
as well
as paying
attention
to unique
currency
symbols
for
each
language,
you
should
also
approximate
exchange
For example, in the United States a game selling a cheeseburger for $2.00 is
okay.
However it would be unrealistic to display the price as 2 in the Japanese
version;
it would
more likely
160 (ifof
you
assume an exchange rate of 80
Automatic
Line Breaking
andbe
Wrapping
Text
Implementing an automatic line breaking or word wrapping system in games
with
lot of
text will
greatly
reduce
thetime
chances
of text
bugs. to
It willaalso
greatly
speed
up both
work
and QA
timeoverflow
when compared
having
original
writers
and
translatorsininput
all line
breaks
by hand.
Further,the
when
the same
text
is displayed
several
diferent
places
with
diferent
widths,
it
will
save
you
having
to
prepare
multiple
versions
of the
That said, there will be times when you need to override the automatic
linebreaking
algorithm.
For instance, the console hardware companies often enforce a rule that certain
terminology
be broken across
In this case anot
non-breaking
white lines.
space symbol can come in handy.
Either: a special hidden character code within the Unicode font set (0xA0); or,
a
token such
as <nbsp>
or _ (underscore)
that
converted
time
to a
(Further,
if your
line break algorithm
also breaks
at is
hyphens,
yourun
may
need
special non-breaking
hyphen
symbol
or <nbhy>
so words
Further,
your game text
may have
special
circumstances
like that
this:cannot be
Brigadoon
If
left to the ->
automatic line breaking system alone, then this road sign text
might get displayed
like this:
Exceptions
for Punctuation
in English, German, Spanish, and Italian
Your basic automatic line-breaking algorithm will work as follows: if the text
goes
of the
window
forthe
this
line, or
then
find the
lasttoletter
that
Then over
movethe
all length
text that
appears
after
space
hyphen
down
the next
line
and
repeat
process
the next
line. when scanning backwards along
In the
case
that the
no space
oron
hyphen
is found
the
line, then you
have nowhen
choice
but
to just
forcibly
break it
the
text be
mid-word
(Grammatically
speaking
you
break
a line
mid-word,
would
more
correct
to
break
at
a
syllable
and
add
a
hyphen
at
the
end
of
the
line,
but
One small optimization you can make to the algorithm is to only scan backthat
15
or
so
letters
instead
of
the
whole
line
(particularly
if
you
implement
the
Treat commas,, periods (full stops) ., exclamation marks !, question
marks
semi-colons
; and
colons
: as (long
if theyhyphens
are partlike
of the
Also be?,
careful
of em-dash
and
en-dash
previous
that have
the
length
of
an
m
and
n,
respectively)
as
well
as
the
Spanish
raya
These can be moved to the next line.
However, often when the font or text display system does not support these
characters,
the German
translators
may
use two hyphens
a substituteso
your
Note: Although
uses
99-shaped
quotationas
mark
at the bottom
of the
line,
and
Spanish
uses
an
inverted
exclamation
mark
at
the
beginning
of
While on the topic of punctuation, it is good to make sure that translatorsahave
the
option
to use
both
single
andfor
double
text,
quotation
British
English
uses
single
quotes
quoting
whilemarks.
American English uses
double quotesbut
both
arelike
used
when
quoting text
within
another
Ficklers
for style might
also
to alternately
use a straight
apostrophe
instead
of reusing
the closing
single quotesingle
mark quotes
(i.e. notfrom
the 6apostrophes
or 9-shapedinquotes,
buthas
a a lot of
This
helps diferentiate
text that
quote marksalthough not many companies go to that extent to improve

If the game system or translation tools for whatever reason cannot handle
punctuation
such
as `'
then you what
mightthey
consider
implementing
like
(These are just
simple
to visualize
are and
are easy to tokens
enter by
the
translators
if
necessary.)
Exceptions for Punctuation in French
French has some diferent punctuation rules that need to be taken into
consideration
when !,
implementing
an automatic
line-break
Exclamation marks
question marks
?, semi-colons
;system.
colons :, and
double-quotation
marks

and

(i.e.
66-shaped
and
99-shaped
quotes)
To deal with this, we suggest the following implementations:
1. Force the French translators to use a non-breaking space (0xA0), or
alternatively
a token
such
as <nbsp>
that
is treated
as non-white
space but
Prior to delivery,
French
translators
should
search
text for
instances of
punctuation
preceded
by a breaking
space
andare
change
them to non-breaking
As a best practice,
localization
engineers
that
implementing
localized text
should
check
French
textwith
for missing
non-breaking
spaces when
and
2.
Makeoccasionally
your line-break
system
deal
French punctuation
correctly
displaying
in the
version of
theone
game.
That
wouldtext
mean
you French
treat Bonjour
! as
unit of word + space + special
punctuation.
preferred
alternative.)
3.
A cheap and(The
nasty
work-around
is to add a spaces width of blank pixels in
front of
the
characters
in the
French width
font: worth
!, ?,
; :,
and
(This
can
befollowing
done simply
by adding
a spaces
of pixels
to the
width
of
these
letters
in
the
font
width
data.)
The French translators will need to be told to not add spaces before these
symbols
translating,
buttotrust
that tokens
it will look
screen,
However,when
you may
also need
provide
(likeokay
<!>,once
<?>,on
<:>,
<;>, <>,
and
<>)
or
alternative
characters
that
look
like
normal-width
versions
of
Japanese, Korean, and Chinese Punctuation
Although JKC are not as strict on where you can or cannot break text, they do
have
policies
on use
punctuation
thatmuch,
need so
to be
followedeven
(Note,some
Asiangeneral
languages
do not
spaces that
often
you will be if
splitting
the textare
in similar
the middle
of a stream
of lettersperiods/full-stops
where it happens,
to hit
The exceptions
to European
languages:
commas
and
,bufer
closing
quotation
andarea
the for
hyphenBasically
allow
some
space
at the marks
end of
the and
text ,
display
a
period
or
comma-like
character
to
be
squeezed
in
at
the
end
of
a
line
if
it
Otherwise you will have to move the preceding character across to the next
line
with
the punctuation
so that
it wont
alonequotation
at the start
of a
On the
other
hand, if you mark
are about
to break
at appear
an opening
mark-like
character,
then
it move
across to the start of the new line with the
Visit this link
forlet
further
information:
http://en.wikipedia.org/wiki/Line_breaking_rules_in_East_Asian_language
Advanced Option for English and European Languages: Hidden Line-Break
Tokens
Particularly when text is generated by the game system real time, or when the
textcan
is displayed
difering
re-sizeable)
displayaareas,
long
words
can
start
We
take a tipinfrom
print (or
media
and implement
system
where
long
words
are
properly
at the nearest
or most-logical
is line
If
you
providebroken
the translators
(and source
languagesyllable,
writers)and
witha ahyphen
hidden
break
token,
they
can
put
that
token
in
long
or
problematic
words,
in
order
Instead of a long token like <hlb>, if the target text wont be using the tilde for
~
caret
^ symbols
on screen,
couldshow
use these
Your or
text
display
system would
neveryou
actually
theseas
ontokens,
screen,and
but insert
your
automatic
line
break
routine
could
also
break
at
these
when
searching
for
e.g. Logically if you were handwriting or displaying text in print media, youthe
would
broadsword
at broad-
and carry
to the
next do
line.
So the break
translators
could write
broad^sword
andsword
the system
would
exactly
that
if
the
word
happened
to
carry
across
the
end
of
the
current
line.
Similarly if you had supercalifragilisticexpialidocious causing your game
trouble
when will
wrapping
text
between
lines,
we recommend
you
adding
in a few
This freedom
improve
the
look and
readability
of the text
once
on screen.
(While it might seem a little extravagant in English, for languages with longer
words
such
German,isthis
can really
a diference
to the
However
theastrade-of
of course
the make
issue that
translators
willoptimization
need to add of
these
symbols
into their
translation, taking up time and causing headaches
Even more
advanced
way:
An alternative to adding hidden line break tokens directly to the translation
text
to prepare
a dictionary
look-up
table
for each
language
lists
That is
way
the translators
dontor
have
to input
these
into their
text, that
but instead,
whenwill
thebe
files
are
for translators
integrationthan
into the
game
system,
This
less
of preprocessed
a burden on the
having
them
enter any
these
tokens
bythe
hand
time throughout
Allowing
Useevery
of Special
Symbols translation (not to mention having to

We mentioned the workaround for when punctuation like "`' cause trouble
with
eitheryou
thecould
gamecontrol
system
or use
localization
tools
by implementing
tokens
like
Similarly,
the
of en-dash,
em-dash
and rayla by
using
<>,
<-->,
and
<--->
as
workarounds
as
well.
Here we use <xxx> to symbolize tokens, but they could just as likely be {xxx}
or
/xxx oroption,
any other
representation
that works
in yourthat
system.
A further
if your
font has specialized
symbols
are not easy to
access
by
typing
into
the
word
processor,
text
editor,
or
Excel,
then
you might
Here are some examples of glyphs found in Asian languages that
European
language
translators
may want
to have access
to also (if they
<l_arrow>,
<r_arrow>,
<u_arrow>,
<d_arrow>,
share the same
<2way_arrow>,<doub_arrow>,
<star>,
<blackstar>,
<snow>,

This is an easy to implement extension

that ofers
all languages
access to
useful
or fun symbols
Grammatical
Tokens in their translations as well.
To make your text grammatically correct and more naturally looking in your
target
languages,
might
to considerof
implementing
a system like the
Pick and
choose toyou
match
thelike
requirements
your title.
For titles with not much text, it might be reasonable to just hard-code branches
into in
the
source
code
and prepare
exclusive
strings for each
case. text is
But
large
RPGs
or MMORPGs
where
the combinations
of variable
practically unlimited,
token
are practically
a must
you wanton some
WARNING:
SQUARE ENIX
hassystems
the intellectual
property
rightsif pending
of
these
implementations
(Japanese
patent
application
2003-178063),
so you
For safetys sake we will not list any source code here to prevent accidental
copyright
(That said,infringements.
SEGA owns the patent for name entry screens and the replacement
of
the
players
into game
text, but
almost
all games use
such systems
So its up to thename
developers
to decide
what
implementation
to make
and judge
the
associated
risks.)
As before, we are using <xxx> to indicate a token, but you could equally use
{xxx}
/xxx to
or make
whatever
works
for your
system.
<Cap>ortoken
the first
letter
of the
following variables text upper
case.
<CAP> to make all the letters in the text that follows upper case.
<bold> and <italic> tokens for bold and italic font access, if your system
supports
it. such as <red> or <white> if your system supports colored text
Color tokens
<wait
x>an
token
tolevel
pause
display of the
that by
follows
for a
number
of
Can add
extra
of the
performance
to text
the text
pausing
for
emphasis,
and
may
help (like
subtitles
matchthe
thenumber
timing of
the spoken
Article
tokens
replacing
1 with
the, a,dialogue.
an in English, or even
more
combinations
in
French)
Singular/plural
item
and
mob
tokens.
(If you have many names, you will probably need a look- up name
table system
instead
of justhas
trying
to exceptions
automatically
add
Even
English
many
such
ass.
goose->geese; genius->geniuses;
fish->fish.
Also make sure to handle exceptions for when you count a pair of objects as
one.)
Note: Asian languages such as Japanese and Chinese do not use singular/plural
very much
so it will
require
those
languages
programmers
to understand
Note:
Be careful
of 0in
most
European
languages
it is treated
as a plural
number,
but
in
French
it
is
treated
as
singular.
Make sure your system can handle this exception if you are doing French or
other
such languages.
Masculine/Feminine/Neutral
grammatical tokens to handle his/her/its-like
grammar
variations
in
European
languages.
Tokens that branch text depending
on whether the first letter is a vowel or not.
A simple test of the first letter may work in most cases.
However you may need to extend it for French to encompass silent hs, ys and
other
special
cases.
For large
games,
it generally is better to have a lookup table for all names that
lists
whether
a
name
should
be treated
as a vowel
consonant
of
Tokens that branch text
depending
on whether
the or
last
letter of ainstead
variables
text
vowel or consonant.
This is
is a
particularly
useful in Korean, where articles come after the
subject/object
in
a
and need
branch
the text
last ends
letterin
is a
Tokens that branchsentence,
text on whether
theto
last
letteron
of whether
a variables
an
s orthis
S.for German to also handle z, Z, x, X, and (shafen-S, the German
(Extend
double-s.)
Many languages such as English have rules for possessives where you add
apostrophe
(s) towhether
most nouns,
except
in thebycase
where it
s
Tokens
that scheck
the text
replaced
a variable
is already
a properends
nouninor
not.
Tokens that handle German cases (nominative / genitive / dative / accusative)
and Russian declensions (singular / plural / reflexive x 1st / 2nd / 3rd

Tokens that display the correct counters after numbers in Japanese, Korean and
Chinese.
(i.e. usually you have to put a character after each number to represent what
kind
of thing
is counting,
so small
one
type of counter,
A simple
flag itafter
each name
in thefurry
list ofanimals
names have
should
suffice.
Then you just have the token reference that flag to decide which counter to
print.
We suggest you talk to your translators about their requirements for each title
and
see
your development
teams
abilities,
time,we
and
budget
allows.
While
wewhat
advocate
correct grammar
in all
languages,
also
realize
that it
becomes
a
business
decision
on
how
correct
you
want
your
game
to
appear
in
Note: the trade-of for the added beauty and grammatical correctness of these
tokens
added complexity
for the
programmer
and translators,
added
But for are:
MMORPGs,
RPGs and other
text-centric
games,
these make and
a huge
diference
in the understandability
and quality
the
title.you want to make
(e.g. once human-to-human
interaction
comes of
into
play,
sure Appendix
singular/plural
who isexplanation
doing what of
to grammatical
whom is verytokens
clear.)with actual
See
3 for aand
detailed
token
PAL vsnames.
NTSC TV
One aside to dev teams who are making games for consoles that are expected
to run
on old-school
TVs, begames
sure tointake
regional
TV standards
into
For
example
if you develop
the in
USA
or Japan,
then decide
to your
release
a
European
version,
you
will
run
into
issues
with
frame
rates
(60fps
vs
50fps)
If you do not program in a way the program runs independently of the TV
frame
your
PAL TV
version and
maydigital
experience
a 1/5
As the rate,
newer
console
hardware
HD TVs
are gameplay
alleviatingslow
this down,
problem,
we
wont
go
into
detail
about
how
to
program
around
it
or
how
to
re-render
We just bring your attention to it as it can be one pitfall of localization that
many
teams
hit far too late in the development cycle.
Advicedevelopment
for Development
Teams
Work with your Localization Team as early as you can on your project.
1. By taking localizations needs into consideration during development, it will
reduce
the amount
of worklanguage
you haveresources
to repeatmore
over-and-over
foriteach
2. By making
your source
systematic,
will reduce
the
time
needed
to
translate
the
content
and
reduce
translation
mistakes
3. By working towards standardized formats and processes, the time by alland
parties
on localization
will be reduced
everyone
wont
need
4. Clearspent
communication
is essential
to allow as
your
product involved
to smoothly
pass
through
your to
regional
distributors
and with
console
makers
checklists,
as wellor
as
(e.g. be sure
provide
the translators
updated
Interface
Guidelines
other
documentation
from
the console
where
necessary, as these may
Remember,
localization
is your
pathwaymakers
to a wider
audience.
If you want people in other cultures to enjoy your title as much as the original
languages
version (and to keep buying your products), then the more
LOCALIZATION
Localization, abbreviated as L10N, is the process of creating a product suited
toincludes
a specific
locale. localized resources or assets, implementing the assets in
It
producing
an
internationalized
build,
andresource
bug fixing.
The localization assets
cantesting,
include editing
translated
files, localized voice
over
files,
translated
packaging
material,
and
translated
metadata
among
The localization process of a video game can be broken down
into the
following
stages:
Familiarization
Glossary and Style Guide Creation
Translation
Voice Over Production
Linguistic Quality Assurance
Master Up and Sign Of
Translation, editing, recording and QA may overlap and happen in parallel to
optimize
scheduling.
Refer to the
sample schedule in Appendix 4 to help visualize how each stage
may
overlap.
Familiarization
No matter how small or large the project, translators need to have read or
seenexpect
the content
before
theytranslator
begin translation
order to gain
a feelbefore
for the
You
a novel
or movie
will haveinread/seen
the work
they translate it, so why wouldnt we expect to give context to the translators

How much time to allocate and to whom depends on the size of the title and
budget
limitations.
A minimum
of 3 days of playing the game and reading background
documentation
is a good
starting
point
for small
titles,
with another
days to
For large MMORPGs,
you may
need
to allow
at least
a month
to play 2through
all
thetitle
content
using debug
orproviding
cheat commands).
If the
is still(even
in production,
then
early builds and design docs
may
have
to
suffice
until
playable
versions
are
available.
Translators should keep a record of names and ideas
as they play through the
game
content.
In order to track their pace, it may be wise to ask them for daily or weekly
progress
reports.
If they use
debug commands they should also play a little of the game without
them
to
know
what
elements
important
to gameplay.
They should also
check
out allare
modes
and areas
of the game, including any
multiplayer
mode
and
online
components.
The more they cover in this early stage, the less they will need to stop
translation
to refer
back be
to the
gameagainst
later. the glossary discussed in the
This
list of terms
should
checked
following
section
toGuide
ensure
it is comprehensive and consistent.
Glossary and
Style
Creation
Once translators are familiar with the content, the development team should
provide
the source
language
style then
guidethe
and
list of common
terms, including
If
it is a sequel
to another
project,
previous
titles materials
should be
provided
as
reference
to
maintain
translation
continuity.
If no such documents exist, then the translators should be able to create them
from
thetitle
source
and afrom
the
took during
familiarization.
A small
mayfiles
require
week
tonotes
namethey
all elements,
create
a style guide
and
characterize
each
of
the
main
characters
or
classes.
Large MMORPGs could take up to 6 weeks and still not have every name
finalized,
but if the
general
policiestogether,
and largebreaking
chunks of
each
categorygroups
are
The translators
should
brainstorm
into
specialized
on
larger
where
needed,
theninbringing
to the as
group.
That
way titles
the whole
team
has buy
and canthe
seeresults
where back
the project
a whole
is
heading.
Even the ideas that dont make the final cut at this phase should be kept as
backups
in case pull
names
need
to be changed
later on.
You can quickly
from
the backup
ideas instead
of having to meet and
rethink
new
names
again.
Also the reasons for naming decisions should be recorded, particularly when
the
team
renaming
something
deliberately
diverging
from
theand
original
It will
saveisthem
having
to justify or
their
stance over
and over
later,
if other
languages
are
translating
via
another
translation
(i.e.
Telephone
Game
or
Without a working glossary and style guide, it will be hard for translators to
deliver
work.
For any consistent
new names
that come up after glossary creation, we suggest that the
first
on a filler/working
Thenone
thethat
newcomes
namesacross
shouldthe
be name
addeddecides
in an updated
glossary. title until the
Development teams must be available to answer questions on the content.
The more context and answers the original creators supply, the better their
workstyle
will be
rendered
target languages
a wider
audience.
The
guide
shouldinto
list the
all spelling,
grammar,for
and
punctuation
rules that
apply
to
the
title.
If you are using a certain grammar guide or dictionary as the base for the style
and
spelling, then thislist
should
be listed and
and samples
a copy made
available
to all should
For characterizations,
explanations
on how
a character
sound,
listsjust
of word
choices, or
and
accents or
speech impediments
etc. time(e.g. dont
say British
Standard
American,
but list the exact
period,
language
levels and
etc along
with real
samples
and word
Updatedregion,
glossary,
style guide,
references
(grammar
guides
and choices.
dictionaries)
Translation should also be provided to QA during the testing phases as the
Once the style guides and glossaries are set, then the translators can proceed
to
actually translate.
Translators
should cross-check each other before signing of on their
translation.
If possible, it is recommended to have specialized editors or proofreaders be
the
onesone
thatlinguist
do the should
checking
to ensure
consistency.
Further,
always
be the
lead as the final word or go-to
person
for
any
decisions
that
need
to
be
made.
As a general rule, from experience, a ratio of 1 editor to 3 translators for Asian
languages,
andneed
1 editor
to upthe
to 4source
translators
for European
languages.
Editors do not
to speak
language
as fluently
as the translators
as they should
be mainly
focused
target
language.
However,
the stronger
they
are at on
thethe
source
language,
the more chance they
will also
find translation
and consistency
issuesscripts
beforewill
QAtake
findsmore
them.
Each
translator
will haveerrors
their own
speed, and audio
time than UI text as well.

For planning purposes, allow for 2,000 English words (4,000 Japanese
characters)
per day
per translator
for standard
text until
youfor
have
teams
If there is audio
involved,
then expect
the translators
speed
theyour
voiced
sections
text may
as before
much as
half,
on how much
Further, teams
will drop
start by
slow
they
hitdepending
their true momentum
so lipcheck
the
speed
constantly
in
order
to
see
how
the
schedule
looks.
If possible, attempt a dry run of integrating the text into the game and give
the
translators
a chance
see
translated
text on
screen
before
the
Seeing
the audio
scripts to
text
ontheir
screen
as subtitles
before
actual
voice
recording
starts will
allow
the translators
to brush
up the
text more
before the
This also provides
early
warning
of text length
or audio
timing
issues.
Voice Over Recording
If the title has audio, you will generally need to translate the recording script
first,
also allowing
for abe
pick
up session
the endby
oflocalized
the project, in order
Stagewhile
directions
should also
translated
(or at
replaced
instructions
when
needed).
Be
specific on
what
lines need to be time-synched or lip-synched to match the
video.
As games become larger and more complex, the amount of audio to be
recorded
and tracked
is needs
becoming
difficult
dealare
with.
The
development
team
to make
suretothey
able to manage large
amounts
of files
in their
system,
and
that
all the final
(with unused
For casting,
do not
hold back
from
truly
localizing
the files
characters
voices.takes
For example, Asian languages may prefer high pitched female voices, while
Western
prefervoices
deeper
voices,
so allow so
each
team
It is rare languages
that peoplemay
compare
across
languages
it istranslation
more important
that
the voice
worksalways
best for
targetataudience
withintoitself.
A translator
should
bethe
present
the recording
help explain the
material
to
the
audio
director
and
actors.
Also on-the-spot changes will need to be made due to timing and other issues,
so
a translator
needs to
be as-recorded
available to changes
make such
changes.
(Remember
to update
any
in the
subtitles.)
To save costly mistakes, the following are recommended:
Request for Quotation
Request quotations based on detailed scope of audio (line counts, word counts,
number
of actors,
timing
constraintssuch
per as
line)
to enable
vendors
to provide
Quotes based
on other
information
length
of source
language
recording
will add significant
variance to the estimate.
Script Preparation
and Translation
Make sure your stage directions are clear and allow time/budget for them to be
translated
as well.
(Your
recording
studios may not all be able to read your source language, and
the translators
may change
the characterization
the cast,before
so it istranslation
wise to be
Indicate
which lines
require Time
Synching or Lipof
Synching
and deliver
English
with
the script.
Time
synching
linesaudio
occurfiles
during
scripted
in game events or other areas where
the synched
dialog and
game
action
should
closely or
match.
Lip
lines
occur
during
cut scenes
other areas where the speakers
lips
are
visible.
Of course it is preferred that lip movements be adjusted for each language
(using
such
as FaceFX).
However
it issystems
not unusual
for a game to use the movie with lips animated for
English
lines
used
across
all
languages.
Note that voice recording can
take up to four times longer for lip and time
synching.
For lip synced lines deliver reference video for the translation and recording
teams
to matchvideo
up with.
If no reference
is available, the localization team can match syllables
which
closely
resembles
lip recorded
syncing. wildly to ensure all lines are delivered
Indicate which lines can be
with
appropriate
recording
constraint
(timed,
lip synched
or wild).
Also, the
make
it clear how
much leeway
there
is between
the length
of the target
language
and
the
original.
If all lines have to match exactly the timing or lip movements of the original, it
could
become
expensive
take appear
a long time
to record
But if the
audios
speakerand
doesnt
and the
timingall
of the
the audio.
lines is flexible,
then
that
freedom
will
allow
for
faster
translation
and
recording
for those
lines.
Make sure the file naming convention is logical so recording studios
the world
over
arent
left searching
names
when
re-ordering
files
Select
all takes
to be usedfor
in randomly
game as soon
as files
possible
and
make sure
the final
script and
actual final
takes match!
(Often
as-recorded
changes
are only implemented into the game program and
not back
into the
original
scripts, causing
Avoid
re-using
voice
files between
scenes.headaches trying to figure out which

(Although it may work to re-use the same file in various situations in the
source
targetitlanguages
may
require
translations
to account
Format language,
scripts to make
obvious who
the
actor altering
is speaking
or interacting
with.
This allows studios the opportunity to re-use actors in multiple scenes or files
while
to language
avoid sequences
of can
onebe
actor
voicing
characters
Do notallowing
assumethem
source
exertions
re-used
for two
other
languages
when
they
do
not
contain
distinct
words.
Reaction sounds vary widely between languages and cultures.
Add these files to the script and ask the localization team to consider their
reuse
across all
languages.
International
Casting
Create a casting package for the localization team comprising of character
descriptions
voice
type,
background,
similar
voice,
etc.),
If any famous(age,
voicesex,
actors
are
usedcharacter
in the source
language,
decide
which
language
versions
famous
talents.
This
situation
oftenrequire
arises in
gamesvoice
affiliated
with film or television shows that
are localized
foreign
markets.
Famous
voiceintalents
are
often paid a premium and will have lesser availability
potentially
afecting
project for
budget
and schedule.
Request database
orboth
live casting
key characters
in the game.
Database casting is much faster and cheaper and studios will typically deliver
up
to a
three
voice
samples
for youspecialist
to choosereview
from. the casting sample for
Have
native
speaker
or casting
congruity
with the
character.
Allow recording
studios
the latitude to cast the less important characters in the
game.
Due to the complexity of recording schedules and costs, this will allow them to
reuse
actors
for secondary
roles
saving to
you
time and
This isvoice
one of
the reasons
why it is
important
specify
the money.
audience in the
script

to
avoid
a
situation
where
one
actor
playing
the
role
of two characters
Audio File Specifications
Deliver volume balanced English file(s) for the international studios to
normalize
volume
against.
Deliver English
files
in the file structure you would like the international files
delivered
in.
You may specify the studios append language codes at the end of each
filename.
Specify the format, bit rate, frequency and number of channels you wish the
international
recording studios
to deliver
their audio in.
Specify all post-processing
efects
and requirements
for the audio files.
Some characters might need reverb or pitch-shift, others might have other
special
efects
by antoaudio
designer.
Allow for
voice designed
files volumes
be changed
across languages.
(While you can specify the general volume level, when you start dealing with
large amounts
of audio,
it is inevitable
that
files will
need
their volume
Better
to let your
audio replay
system do
it,some
than have
to ask
recording
studios
or
your sound
department
to fix each files volume by hand.)
Linguistic
Quality
Assurance
Testers should be a mix of strong linguists in the target language as well as
some
who will
are vary
goodwith
game
Team size
theplayers.
project size and schedule.
While some companies allow the testers to correct bugs they find, if
budget/schedule
allows,
then changes
it is better
the original translators
ownbe
the
Often there will be
deliberate
orifcharacterizations
that might
mistaken
However, as
thebugs.
translator needs to be able to justify such deliberate changes
when
waiving
bugs.
A llow the testers
to also make general suggestions (and not mix them as
bugs,
so
more
important
issues
behas
prioritized).
Regressing or confirming
that can
a bug
indeed been corrected (without
unexpected
side-efects!)
should
be
done
more
than
once
separate
Often old text accidentally becomes implemented
in a
newon
game
build,build
so its
always
better
to
double
check!
Also
it
pays
to
have
a
clear
policy:
for
example,
Master Up and Sign Of
It is recommended that a translator be present for last minute changes during
the
master
upone
phase.
On top
of QA,
or more translators should have also played through the
game
their
translation
has been
integrated
properly
and
all of
is
On
toptoofconfirm
box andthat
docs
translation,
usually
at this
phase there
will be
a lot
promotional
translations
guide
checking
be signed
carried of
out.
So
keep a linguist
on call and
even
afterbook
the game
has to
been
on.

Tips for MMORPGS

Basically treat each content patch as its own localization cycle and follow the
stages
listedthe
above
on a smaller
That means
translators
need scale.
to familiarize with and brainstorm the new
content
as
they
come
to
it.
Make sure the development team notifies the translators which sections are
okay
to translate,
in aorder
tolight
avoid
unnecessary
rewrites.language text is quite
(e.g. you
might use
traffic
system:
Green=source
solid
so it
is okay
to translators
be translated;
still besource
minor writers
changes,
but
Monitor
how
far the
are Orange=May
behind the original
and
make
sure the
writers
stop
content
in order
to give
both titles
Translators
will original
undoubtedly
tend
toadding
specialize
in certain
areas
of larger
(one
doing
quest
or a certain
regional
accent,
doing
item naming,
Just be
aware
thattext
on long-term
projects
fatigue
willanother
set in, so
to keep
creativity
andgood
motivation
up, youglossaries,
might allow
them
to rotate roles or
even will
This is where
style guides,
and
transition/training
periods
help
you PLANNING
maintain consistency and quality.
PROJECT
This section will map many of the best practices discussed previously to a
typicalprocesses
game development
process.
Since
and expectations
vary widely from company to company, and
methodologies
Pre-Production employed across diferent platforms of distribution are ever
This is the stage of the project where a release plan is decided what
platforms,
languages,
initial
project budgets,
and the release
date. art exist
Once an initial
treatment
document,
design document,
and concept
you
can
begin reviewing
potential
culturalization
issues
withinstart
the product.
Select
vendors
for localization,
testing,
culturalization
review,
getting
contracts
in
place
and
putting
your
team
together.
Production
Kickof the localization project agree on a process and initial schedule,
include
a localization
refresher
forcommitments
development to
staf
if necessary.
The initial
schedule must
include
English
script lockdown and
English
audio
delivery
(both
to
occur
in
this
phase).
The schedule should also include linguistic testing cycles and a tentative build
schedule.
Begin familiarization as well as preparing the glossary and style guide as soon
as
possible.
Once
character bios are available and some English audio has been recorded
you
can
begin
casting process.
Work with
yourthe
localization
vendor to establish the number of lines and
approximate
word
count
for
each character,
as distinguishing
the
key
Allow at least 2 weeks after casting
and prioras
towell
international
recording
for
your
vendorscript
to book
the talent.
Go
through
translation
and international voice over recording process;
allow
timethe
forinterface
volume balancing,
post
processing, and filename checks
Begin enough
translating
and in-game
text.
Remember most translators work at a pace of 2,000 words per day, and the
later you
leave this to
allow
torequirements
be edited, thefor
fewer
changes there
Work
withcan
development
team
to English
establish
an international
build
including
technology
to
import
and
export
text
seemlessly.
Perform a dry run of a text update and new build creation.
At the end of the production phase you should have a stable build with all or
most
the localized text and audio implemented.
Alphaof
Phase
Go through the internationalization testing process and ensure all localized
assets
are in place, all
fontscreate
are working
each language,
and the
Some development
teams
a singleinlanguage
build using
the user
longest
strings
of
the
languages
to
create
a
worst
case
stress
test
of
the
user
Once you have a build in place with all internationalization bugs addressed you
can
the localization
quality
assurance.
This begin
will likely
be the busiest
phase
of the project with bug fixes overlapping
with
new
translation
requests.
Keeping an up to date schedule of work to be done and communicating with all
of
your
partners will ease
the development
friction likely to
be generated
during
this time.
Seek
a commitment
from the
team
on a date to
lockdown
all
English
changes;
with
localization
being
dependant
on
source
text,
it
is
If necessary, go through a second round of international voice over recording
to
address
major bugs
or new
linesMaster
addedPhase
to the script.
Beta
/ Localization
Sign-Of
/ Gold
Once all translation requests are complete and all localization issues are
addressed,
grant time
approval
to your organization
to proceed
with releasing
the
Before
too much
has elapsed,
perform a brief
post-mortem,
and make
note of ideas to be used on future projects.

APPENDIX 1 LIST OF BEST PRACTICES

Culturalization
1. Decide on the depth of culturalization you want to achieve with your
product;
making it viable,
legible,
and/or meaningful.
2. Gain awareness
of the top
four cultural
variables as they apply to your
target
markets;
history,
religion,
ethnicity,
and geopolitical
imaginations.
3. Identify potential culturalization issues, assess
their severity,
and implement
your
changes
to
the
content
as
early
as
possible
in
the
development
cycle.
4. Be precise with your content changes make only the most minimal
changes
that will ensure distribution to your target markets and prevent postInternationalization
5. Font selection and sizing is a cooperative efort between localization and
development
teams.fonts with North American and European languages; Asian
6. Use proportional
languages
require
fixedto
width.
7.
Design the
interface
allow long translations or provide a system to
reposition
text
formulti-line
each language.
8.
For areas
with
text, enable a word wrapping system and allow text
to For
scroll
if translations
long.
9.
areas
with singleare
linetoo
text,
enable kerning to squeeze in long
translations.
10. For subtitles, use a bright color san serif font with a dark outline.
Position subtitles in the lower third of the screen, display for three seconds at a
time,
andchanges
use no more
than three
of text
at a time.
Indicate
of speaker
with alines
hyphen
leading
the line.
11. Store localization assets in an easy to access folder structure to enable
straight
importing
and
exporting.
12. Userforward
ISO 639-1
& 3166-1
language
and county codes to mark assets
intended
for
a
particular
locale.
13. Set aside time or budget to develop tools which will automate localization
tasks.
14. For text assets, choose an encoding that supports all target languages.
15. Be prepared to swap art assets in the user interface or game world if they
contain
legible
text.
16. Resource
files
should store all text used in the game; do not hardcode text
strings
in
the
source
17. Process resource code.
files into separate language files so all translators can
work
in
parallel.
Indicate strings that are platform specific to ensure translations comply with
console
manufacturer
terms.provide a list of source language text changes.
18. For each
localized build,
19. XML, or one of its derivative formats, is preferred for translation work over
plain
text the
or Excel
20.
Allow
orderfiles.
of variables in localized strings to be changed by language
andAllow
implement
a token
system and
to ensure
nouns,
verbs,
articles
etc.
can be
21.
date, time,
currency,
numbers
to be
displayed
with
difering
figures
and
number
separators
language.
22.
Allow
tables
to be
sorted byby
language
as translations may change
alphabetical
order.
23. Implement an automatic line breaking and word wrapping feature for
multiple
line text boxes.
Rules determining
where line breaks can occur vary by language.
Allow line breaking system to be overruled by use of a manual character such
as
non-breaking
spacemode
(0xA0).
24.aSupport
a PAL 60Hz
if your game is being distributed in Europe.
Localization
25. Ensure translation teams spend time familiarizing with your game prior to
translation;
materials
share with
them of
include
storyas
scripts,
26. Translators
should to
establish
a record
namesbuilds,
and ideas
they concept
familiarize
game content.
27. Providewith
the source
language style guide, glossary and pronunciation of
important
terms
to
the
translation
Translation teams will develop
styleteam.
guides and glossaries for each target
language.
28. Source language text should go through a spelling, grammar, and style
check
prior
sending outrate
a translation
29. Plan
for to
a translation
of at least request.
2,000 words per day with an
additional
day
for run
translators
to request
additional
information
when
they need
30.
Perform
a dry
of integrating
translations
into
a build prior
to linguistic
QA.
When possible allow translators to preview subtitles prior to audio recording.

31. Try to record localized audio in one session to ensure the same audio
director
is available
for pick
eachup
language
to minimize
rental costs.
Plan for an
emergency
session and
towards
the end studio
of the project
to fix
sever
bugs
or
cover
any
new
source
lines
added
to
the
game.
32. Provide detailed scope information to localization vendors for accurate
recording
At the veryquotations.
least they will need approximate line counts, number of actors, and
type
of
recording
constraints.
33. Audio scripts must
include file names, speaker, English line, recording
constraint
(time
synced,
lip synced,
or wild).
Order the script chronologically
so conversations
can be understood in context
and
participants
can
be
identified
(critical
for
actors
to read
for multiple
34. Casting packages for localization vendors shouldused
include
character
descriptions,
images,
source
language
voice samples.
35. Allow vendors
the and
ability
to cast
unimportant
characters making the
recording
schedule
easier
to
manage.
36. Plan for at least 2 weeks to book actors after the international cast is
chosen.
37. Specify audio file formats, file naming, folder structure, and postprocessing
you balanced
want the localization
vendors
to return.
Also
provideefects
a volume
source file for
the studios
to normalize volume
against.
38. Select a linguistic quality assurance team that possesses a mix of strong
linguists
each target
languageassets
as well
as good
game players.
39.
Bugs in
written
on localization
should
be directed
to the localization
vendor
while
bugs
written
on
internationalization
should
be
40. The linguistic quality assurance team should regress anddirected
confirmto
allthe
bugs
to
be
closed.
41. During the late stages of a project, keep staf on call to ensure timely
resolution
tolocalized
any last minute
or contentproperly
changes.
42. Once all
contentbugs
is functioning
in-game and all
localization
bugs
have
been
addressed,
request
the
linguistic
quality
APPENDIX 2 - CULTURALIZATION EXAMPLES
1. History: Past and Present
1. Age of Empires (1997) : In Age of Empires , a scenario was created in which
the
Yamatotell
armies
of Japan
the Korean
peninsula
and
efectively
Historians
us that
this is invaded
what occurred
and so
the game
designers
diligently
reality.of South Korea saw history diferently and disputed
However, replicated
the government
the
scenarios accuracy
anddeveloped
would notthat
allow
the game
to bethe
sold.
A downloadable
patch was
slightly
changed
scenario so
that
the
Yamato
invasion
wasnt
quite
as
overwhelming,
i.e.,
the
Chosenof the
2. Six Days in Fallujah (2009): This title reenacted the late 2004 events
Second
of Fallujah,
Iraqsides
by the
U.S.
military
in which
British and
The fightBattle
was costly
for both
and
was
surrounded
withU.S.,
controversy.
The coalition forces sufered over 100 deaths and over 600 wounded, while the
insurgent
losses were
1,300.
If
several decades
hadover
passed
since this event, it no doubt might make a
compelling
game
scenario
but the recent nature of the event made it so
2. Religion and
Belief
Systems
1. Kakuto Chojin (2002): This hand-to-hand fighting game was envisioned as a
key
addition to athe
original
library.
Unfortunately,
brief
audioXbox
trackgame
was incorporated
into the game that
included
a
chanted
portion
of
the
Islamic
Quran.
The error was fixed but some unfixed copies reached store shelves and the
issue
became
known
within
a few
weeks.
The game
waswidely
banned
in Saudi
Arabia
and
a few other Muslim countries and
the
backlash
became
so
widespread
that
the
product
was globally
All of that hard work and good intentions by the
development
staf were
essentially
eliminated
by
a
single
piece
of
content.
2. Resistance: Fall of Man (2006): When this game was released in the U.K., the
Church
England
shocked
learn
that action
their Manchester
was
But not of
only
was it was
recreated
buttothe
violent
of the gameCathedral
played out
within
the churchissued
itself, an
something
veryof
disturbing
the Church of
Sony eventually
apology considered
and the Church
England by
subsequently
issued
new Sacred
Digital
Guidelines to help video game developers and
3. Ethnicity
and Cultural
Friction
1. Resident Evil 5 (2009): Even before its release, this title generated
significant
negative
publicity
due Caucasian
to its perceived
racism.is seen roaming
In the game,
the clean
cut, white
protagonist
through
a publisher
village in sub-Saharan
and
gunning
down
unarmed,
obviously
While the
Capcom was Africa
quick to
show
that the
African
villagers
were
infected of
zombies,
thewhite
stark hunter,
imagery the
of a dark
white continent
man killing
villagers
Notions
the great
of black
Africa
and so forth
quicklythe
came
to mind had
for many
people.
While
developers
a clear
rationale for the conflict within the games
context, the backlash provided ample reason for a publisher to pause and

2. Pocket God (2009): In this iPhone game, the player is the god over a small
fictitious
island
and hasBolt
the Creative,
ability to torment
small
though
The games
developer,
was clear
that natives
the game
is notactivities
intended
to
depict
any
specific
nationality.
However, with the various artifacts on the island (including a moai head statue
specifically
from
Easter Island), the native outfits and their darker skin color, it
4. Geopolitical
Imaginations
1. Hearts of Iron (2004): In the game Hearts of Iron and its sequel, the games
map
was divided
into somewhat
arbitrary
similar
to thewas
classic
board
In Hearts
of Iron, which
takes place
duringsectors
World War
II, China
divided
into
several
distinct
pieces,
including
Tibet
and
Taiwan
being
portrayed
as
separate
The government of China banned the game for this very reason, even though
the
context
World War IIfacts
when
neithersecondary
Tibet nor Taiwan
was part of the
The time
historical
andisgeopolitical
became
to the present
governments
to reinforce
their
ownthe
perception
of their
territory
every
2. Ghost Reconneed
2 (2004):
In South
Korea,
Korea Media
Rating
Boardin(KMRB;
now South
the Game
Rating
Board or is
GRB)
banned
this
title
becauseofthe
game
The
Korean
government
firmly
against
the
depiction
their
northern
neighbor
an denied
aggressor
because
the Mercenaries
ongoing tensions
between
two
The
KMRBas
also
sales
of the of
game
in 2005
for thethe
same
reasons.
In 2007, the GRB changed their minds due to local gamer pressure over
freedom of3speech
rights andTOKEN
now allows
titles like Ghost Recon 2.
APPENDIX
GRAMMATICAL
EXAMPLE
Heres a more detailed explanation with actual token names (but not the
source
although
it shouldnt
Imaginecode,
we have
the item
table. be too hard to implement for most
Then from this table, we can define the following tokens that pull from one or
more
columns
real-time
according
thethese
context
of what
is variable
happening
within
(I am using
xxx
and itemx
heretobut
could
be any
in your
system.)
* <SGL_I_NAME_xxx>
Just prints out the singular form of the item name. (Pretty much the default
item
token
games up till now.)
e.g. You
gotin1 all
x <SGL_I_NAME_itemx>.
You got 1 x sword.
* <PLR_I_NAME_xxx>
Prints out the plural form of the item name.
e.g. The thief stole all your <PLR_I_NAME_ itemx >!
The thief stole all your swords!
* <INDEF_ART_SGL_I_NAME_xxx>
Prints out the indefinite article followed by the singular item name.
e.g. Richard found <INDEF_ART_SGL_I_NAME_ itemx >.
Richard found a sword.
Richard found an axe.
Richard found the Masamune.
Richard found Excalibur.
* <DEF_ART_SGL_I_NAME_xxx>
Prints out the definite article followed by the singular item name.
e.g. Richard places <DEF_ART_SGL_I_NAME_ itemx > into the carry bag.
Richard places the sword into the carry bag.
Richard places the axe into the carry bag.
Richard places the Masamune into the carry bag.
Richard places Excalibur into the carry bag.
* <INDEF_ART_PLR_I_NAME_xxx>
(Probably not needed in E? More for FIGS.)

Prints out the plural indefinite article followed by the plural item name.
e.g. Richard found <INDEF_ART_PLR_I_NAME_ itemx >.
Richard found some swords.
Richard found some axes.
( Richard found some Excaliburs. Probably never happens. Just for
completeness.)
* <DEF_ART_PLR_I_NAME_xxx>
(Probably not needed in E? More for FIGS.)
Prints out the plural definite article followed by the plural item name.
e.g. Richard places <DEF_ART_PLR_I_NAME_ itemx > into the carry bag.
Richard places the swords into the carry bag.
Richard places the axes into the carry bag.
( Richard places the Excaliburs into the carry bag. Probably won't occur. Just
for
completeness.)
* <NUM_I_NAME_xxx,
val_yyy>
Prints the number in the second parameter val_yyy, followed by the singular
form
if the
number==1,
otherwise
e.g. You
buy
<NUM_I_NAME_
itemx,the
1>.plural form.
You buy 1 axe.
e.g. You buy <NUM_I_NAME_ itemx, 2>.
You buy 2 axes.
* <DEF_ART_NUM_I_NAME_xxx, val_yyy>
If the number in the parameter val_yyy == 1, print the singular definite article
followed
by the
singular
name form; otherwiseitemx,
print the
number
in val_yyy
e.g. Richard
places
<DEF_ART_NUM_I_NAME_
1> into
the carry
bag.
Richard places the sword into the carry bag.
e.g. Richard places <DEF_ART_NUM_I_NAME_ itemx, 5> into the carry bag.
Richard places 5 swords into the carry bag.
(We could even make a similar token that instead of printing the number for
the
form,
prints
the
definite
plural
article
instead.
e.g. plural
"Richard
places
the
swords
into
the carry
bag.")
* <INDEF_ART_NUM_I_NAME xxx, val_yyy>
If the number in the parameter val_yyy == 1, print the singular indefinite
article
followed
by<INDEF_ART_NUM_I_NAME_
the singular name form; otherwise
print the number in
e.g. Richard
buys
itemx, 1>.
Richard buys a sword.
Richard buys an axe.
e.g. Richard buys <INDEF_ART_NUM_I_NAME_ itemx, 5>.
Richard buys 5 swords.
Richard buys 5 axes.
(We could even make a similar token that instead of printing the number for
the
form,
prints
the indefinite
plural
article
e.g. plural
"Richard
buys
an axe."
& "Richard
buys
someinstead.
axes.")
* MALE/FEMALE TOKEN:
<IF_MALE>. <ELSE_NOT_MALE>. <ENDIF_MALE>
If the lead party member is a male, then it prints the former '...' part;
otherwise
prints
the <IF_MALE>handsome
latter '...' part.
e.g.
"Why,ithello
there
boy<ELSE>pretty girl<ENDIF>!",
if the
lead
character
is male
thenthis
it prints
hello
I'm
sure
you'll
find places
where
adds "Why,
character
tothere
your handsome
text, and itboy!",
can be
expanded to other party members if necessary, its just that the leader of a

* SOLO/MULTI-MEMBER PARTY TOKEN:

<IF_SOLO>. <ELSE_NOT_SOLO>. <ENDIF_SOLO>
If your party only consists of one active (living) member, then it prints the
former
'...'we
part;
otherwise
prints
the latter
part.
In English
can
probablyitget
by with
"you" '...'
as it
covers both you (singular)
and
you
(plural)
situations.
(Japanese, Chinese and Korean do have plural you though so it helps them.
Some European languages change both the noun for you and the
surrounding
grammar,
so this
really of
helps
Basically if your
party only
consists
one them!)
party member then you can do the
following.
e.g. 1) Hello <IF_SOLO>you<ELSE_NOT_SOLO>you guys<ENDIF_SOLO>!
e.g. 2) <IF_SOLO>You should get your head fixed.<ELSE_NOT_SOLO>You
people
should get your
heads fixed.<ENDIF_SOLO>
* SINGULAR/PLURAL
TOKEN:
<IF_SING val_xxx>.<ELSE_NOT_SING>.<ENDIF_SING>
A wonderful token that can be used on anything that has a numerical value.
If val_xxx == 1, then it prints the former '...' part; otherwise it prints the latter
'...'
part. use: "You receive <val_1> gold <IF_SING val_
Obvious
1>piece<ELSE_NOT_SING>pieces<ENDIF_SING>.
(Or: "You receive <val_1> gold piece<IF_SING
val_1><ELSE_NOT_SING>s<ENDIF_SING>."
if you prefer brevity over clarity.)
"You receive 1 gold piece."
"You receive 2 gold pieces."
Even general statements can be improved.
e.g. if you know <val_2> contains a value representing a number of boys, say,
then:
val_2>That
boy<ELSE>Those boys<ENDIF> will never grow
That<IF_SING
boy will never
grow up.
if <val_2> == 1; Those boys will never grow up. otherwise.
In some games, we were even able to handle crazy sentences like.
<Cap><ART_NUM_M_NAME_mon_no, num_of_mons> gave me <IF_SING
num_of_mons>his<ELSE>their<ENDIF>
<PLR_I_NAME item_no>. to get all
"A goblin gave me his apples."
"5 goblins gave me their apples."
"An anaconda gave me his potions."
"3 anacondas gave me their potions."
* DIFFERENTIATING MASCULINE/FEMININE/NEUTRAL ITEM NAMES IN GRAMMAR
<IF_NAME_xxx_M>.<IF_NAME_xxx_F>.<IF_NAME_xxx_N>.<ENDIF_NAME_xxx>
(Where xxx is the variable we are testing.)
For European languages, we will add a column next to the item names for
indicating
M/F/N,
so we can
the token
with
e.g. Imagine
you receive
an use
<item_1>
andabove
want in
to combination
use 'it' to refer
to this
thatdata
item.
In English that would be...
You put it in your bag.
In German we could write...
Du tust <IF_NAME_1_M>ihn<IF_NAME_
1_F>sie<IF_NAME_1_N>es<ENDIF_NAME_1>
in deine
Tasche.
Of course, if your language only has male & female
and
no neutral then we
would
only
write
M
or
F
in
the
column
next
to
the
name,
and in the translation
<IF_NAME_1_M>Lo<IF_NAME_1_F>La<IF_NAME_1_N><ENDIF_NAME_1>
metti
nella
borsa.
Similarly,
we can add columns that have flags on whether these words:
start or end with vowels or consonants
is a proper noun or not

are paired items (e.g. pairs of pants, socks or glasses)

Then we can create tokens, similar to the ones above, that branch the text
real-time
according to the flags pulled from the names row in the table, reale.g. <IF_VOWEL_x>.<ELSE_CONSONANT_x>.<END_IF_VOWEL_x>
If the first letter of the given name is a vowel, then it prints the former '...'
part;
otherwise
it prints
the latterfeet.
'...' part.
e.g. An
orb glows
at <leader>'s
Un orbe luit aux pieds <IF_VOWEL_HERO>d'<ELSE_CONSONANT_HERO>de
<END_IF_VOWEL_HERO><HERO>.
<IF_x_PR>.<ELSE_x_NOT_PR>.<ENDIF_x_PR>
If x is a proper noun, then print former '...' part; otherwise it print the latter '...'
part.
(Alternatively: If the name x has an empty entry for its corresponding definite
single
(or indefinite
single,
for
in easier
the word
table
then
we
So
youarticle
dont really
need a flag,
but
it that
may matter)
make life
if this
rule
doesnt
apply
to all
We
wont
golanguages.)
into details of German and Russian case and declension systems
here, but
if is
basically
expanding
on this
concept
and adding
more
People
who
are
interested
can enquire
at basic
the e-mail
address
listed at
the end
of this
But
be document.
warned, these design documents can get pretty detailed so arent for
the
faint-hearted!
APPENDIX 4 SAMPLE LOCALIZATION SCHEDULE
Schedule Parameters:
This is a small project using one translator per language, 2 weeks worth of
translation
work,
and 1 holidays
week worth
ofnot
audio
recording.
For simplicity,
regional
have
been
accounted for.
If translators attend recording sessions, add one week to the schedule.
The number of translators could be increased to shorten the translation time,
but
it will increase familiarization and glossary creation costs; time should be
Production
Alpha Phase
Beta Phase
MONTH
Week
Familiarization
(translator & editor)
Glossary & Style-Guide
glossary creation
Translation
script translation
text translation
manual & packaging translation
Voice Over Production
casting
recording (2 weeks after casting)
pickup recording (if necessary)
Development Team
I18N bug fix
debug
Linguistic Quality Assurance
audio & text integration

Master Up and Sign Of

I18N testing
localization testing
final QA
CONTRIBUTORS
SIG founder/chair
editor, version 2
SIG vice-chair; author, version 1
Please send your additions/changes/suggestions etc. to locsig-sc@igda.org.
Your ideas will be reviewed and implemented as soon as possible.
This is a living document that will continue to be updated as needed.
While this isnt intended to be the definitive guide to game localization, it is
meant
to be
the groundwork
thatlocalization
will inspire people
to adapt
the concepts
For
a very
in-depth
look at game
practices,
we recommend
Theto
Game
Localization
Handbook
(ISBN:
0763795933)
by
Heather
Maxwell
If you are not a member of the IGDA Game Localization SIG, then sign up to
our mailing list today via the IGDA website (igda.org/locsig) and join in the

Para colaborar com o projeto, basta traduzir o texto

TRADUO
Prticas recomendadas para localizao de jogos
Esboo inicial por Richard Honeywood, vice-presidente Grupo de
localizao
Associao de
internacional de desenvolvedores de jogos (IGDA) 1 de
fevereiro
Segundo esboo por Jon Fung
1 de fevereiro de 2012
Este o segundo esboo de um guia de "prticas recomendadas" para a
traduo
e culturalizao
do contedo
dede
um
videogame. uma
Prticas recomendadas
para
localizao
jogos
Grupo de localizao da IDGA
CONTEDO
CULTURALIZAO
O que "culturalizao" de um jogo?
Nveis de culturalizao de um jogo
Quatro principais variveis culturais
Paticas recomendadas de culturalizao
INTERNACIONALIZAO
Interface do usurio
Arquitetura
Programao
Conselho s equipes de desenvolvedores
LOCALIZAO
Familiarizao
Criao de glossrio e guia de estilo
Traduo
Gravao de voice-over
Garantia da qualidade lingustica
Planejamento de projeto
Pr-produo
Produo
Estgio alfa
APNDICE 1 - LISTA DE PRTICAS RECOMENDADAS
APNDICE 2 - EXEMPLOS DE CULTURALIZAO
APNDICE 3 - EXEMPLO DE
APNDICE 4 - EXEMPLO DE CRONOGRAMA DE LOCALIZAO
COLABORADORES
Prticas recomendadas para localizao de jogos

SIG de localizao
CULTURALIZAO
[Nota: colaborao de Kate Edwards; esses tpicos so excertos de seu
caderno
O que "culturalizao" de jogos?
Culturalizao um passo alm da localizao. feita uma avaliao
fundamental
hipteses
e escolhas
deaum
jogo para ento
estudar
A localizao das
ajuda
os jogadores
apenas
compreender
o contedo
doa
jogo
Ou ento, garante que os jogadores no sero afastados por um contedo
considerado
imprprio
ou at
ofensivo
no ambiente do jogo.
Equvocos culturais
custam
muito
aos desenvolvedores
e s distribuidoras
-Na
no
pior das hipteses, um governo local pode, alm de proibir o jogo,
tomar
Nveis de culturalizao de jogos
A necessidade de localizao de jogos bem conhecida na indstria dos
videogames,
no entanto
a necessidade
deespecfica;
culturalizao
ainda tem
A
culturalizao
no apenas
uma tarefa
ela tambm
como
Na forma mais bsica, a culturalizao de contedo consiste nos trs
estgios
1. Culturalizao relativa: Tornar o contedo vivel, ou seja, evitar
questes
2. Localizao e internacionalizao: Tornar o contedo claro, ou seja,
realizar
3. Culturalizao proativa: Tornar o contedo significativo, ou seja,
adapatar
e
Alguns esclarecimentos
no que diz repeito a esses trs estgios:
A localizao crtica, mas o processo de alcanar a clareza atravs da
traduo
no oque
nico
na preparao
do contedo
para
Pode-se debater
umpasso
jogo necessrio
deva ser "claro"
antes de ser
"vivel". Mas
um
governo
far no
restries
a um
jogo baseado
questes
delicadas
Os trs
estgios
so uma
hieraquia.
Assim em
como
a localizao,
a
culturaliuzao
acontece
em
vrias
etapas
em
um
ciclo
de
Quatro principais variveis culturais
O esforo de pensar alm de nossa prpria viso cultural muitas vezes
torna
difcil para
um designer
jogosas
deseguintes
um local variveis
estar ciente
dos que
Entretanto,
considerando
pelode
menos
culturais
geram
a maior
parteedos
conflitos entre o contexto do jogo e culturas
1. Histria:
passado
presente
A questo da preciso histrica uma das mais delicadas para os
mercados
locais.so extremamente protetoras em relao a suas origens e
Muitas
culturas
seu legado,
qualquer
alterao
ou impreciso
gerar uma
Histria
um
tema atraente,
mas
muito rarohistrica
fornecerpode
o contexto
completo
um evento
histrico
em que
um jogo.
Mas
no de
apenas
a histria
distante
se mostra problemtica. A
histria
recente
pode
ser
uma
questo
muito
delicada, dado que a
2. Religio e sistemas de crenas
Criadores de jogos devem ser sensveis aos mecanismos subjacentes das
culturas
quesociedade
seus ttulos
sero lanados.
Em geral,em
uma
baseada
em regras sagradas tende a ser menos
flexvel e a ceder menos ao contexto no qual a informao aparece porque

Felizmente, h alguns passos fundamentais que desenvolvedores podem

seguir
Conscientizao
1. Conscientizao bsica: um passo fundamental ter conscincia dos
problemas
culturais
potencial;
criadores
contedo
e gerentes
Por exemplo,
a maiorem
parte
das pessoas
estde
ciente
de que
China, ndia,
Coria
Muitas pessoas tambm sabem que certos tipos de contedo podem
tornar-se
2. Questione: O objetivo fazer as perguntas apropriadas durante o
desenvolvimento,
no
tornar-se
um(2002)
especialista
no tema.
Por exemplo, o jogo
Kakuto
Chojin
continha
uma pequena faixa de
udio
O problema poderia ter sido evitado se algum tivesse perguntado: "De
onde

INTERNACIONALIZAO
Internacionalizao, abreviada para I18N, o processo que permite que
a
localizao
acontea.
Antes
de internacionalizao,
um produto somente pode exibir o contedo
do
Depois da internacionalizao, o cdigo base do produto, sua arquitetura e
interface
de internacionalizado
usurio so capazes
decontm
processar
e exibir
o contedo
Um produto
no
nenhum
elemento
que em
varia de
acordo
com
o
local.
Interface de usurio
Fontes
Idiomas asiticos como japons, coreano e chins usam,
predominantemente,
de largura
Se
os programadores fontes
da verso
originalfixa.
asitica no estiverem dispostos a
reprogramar
o sistema
lidar com na
fontes
proporcionais
das de
verses de
Apesar
de no
ser maispara
um problema
maior
parte dos jogos
computador
Para maximizar o espao na tela, alm de uma fonte proporcional, bom
utilizar um display que permita o "kerning" (espaamentos diferentes entre

http://en.wikipedia.org/wiki/List_of_ISO_639-1_codes
http://en.wikipedia.org/wiki/ISO_3166-1
(ou http://www.loc.gov/standards/iso639-2/php/code_list.php)

http://docs.oasis-open.org/xlif/xlif-core/xlif-core.html
http://www.oasis-open.org/committees/tc_home.php?wg_abbrev=xlif
http://en.wikipedia.org/wiki/XLIFF

http://en.wikipedia.org/wiki/Line_breaking_rules_in_East_Asian_language

 <l_arrow>, <r_arrow>, <u_arrow>, <d_arrow>,

<2way_arrow>,<doub_arrow>, <star>, <blackstar>, <snow>,

* <SGL_I_NAME_xxx>

* <PLR_I_NAME_xxx>

* <INDEF_ART_SGL_I_NAME_xxx>

* <DEF_ART_SGL_I_NAME_xxx>

* <INDEF_ART_PLR_I_NAME_xxx>

* <DEF_ART_PLR_I_NAME_xxx>

* <NUM_I_NAME_xxx, val_yyy>

* <DEF_ART_NUM_I_NAME_xxx, val_yyy>

* <INDEF_ART_NUM_I_NAME xxx, val_yyy>

Quem for
traduzindo/revisando e
TRADUTOR(A)
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
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Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho

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de

Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho

de
de
de
de

Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho

REVISOR(A)
Thiago Hilger

Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho

de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de

Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho

de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de

Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho
Bella Cardoso
Carvalho

de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de
de

Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Bella Cardoso de
Carvalho
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges

Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Sheila Gomes
Sheila Gomes
Sheila Gomes
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges

Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Carolina de Ges
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez

Diego Hernandez
Diego Hernandez
Diego Hernandez
Sheila Gomes
Sheila Gomes
Sheila Gomes
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez

Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego
Diego

Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez
Hernandez

Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Diego Hernandez
Sheila Gomes
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone

Larissa Habib Ciccone

Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Sheila Gomes
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa
Larissa

Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib
Habib

Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone
Ciccone

Larissa Habib Ciccone

Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Larissa Habib Ciccone
Paulo Noriega
Paulo Noriega
Paulo Noriega

Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo

Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega

Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo
Paulo

Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega
Noriega

Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Paulo Noriega
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo

Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom

Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo

Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom

Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo
Melo

Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Tom Melo
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich

Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Sheila Gomes
Debora Weirich
Debora Weirich
Debora Weirich
Sheila Gomes
Debora Weirich
Debora Weirich
Debora Weirich
Sheila Gomes
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Sheila Gomes
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Sheila Gomes
Debora Weirich

Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Sheila Gomes
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Sheila Gomes
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Sheila Gomes
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Sheila Gomes
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Debora Weirich
Ana Rodrigues
Ana Rodrigues
Ana Rodrigues
Ana Rodrigues
Ana Rodrigues

Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana

Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues

Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana

Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues

Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana
Ana

Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues
Rodrigues

ENGLISH
Best Practices
culturalization
Game Localization
IGDA
International Game Developers Association
internationalization
team
style guide
linguistic quality assurance
development team
voice over
refer

PORTUGUS
Prticas recomendadas
culturalizao
Localizao de jogos
IGDA
Associao internacional de desenvolvedores de jogos
internacionalizao
equipe
guia de estilo
controle de qualidade lingustico
equipe de desenvolvimento
voice over
consultar

original
Descreva
a dvida
movementsSegmento
be adjusted
for each
Sheila
- "FaceFX"
deve ser
language (using such systems as FaceFX). traduzido?

Resposta1
Sheila - No

Resposta2
Thiago - No

Resposta3 PARA PULAR UMA LINHA DENTRO DA

CLULA, APERTE CTRL+ENTER