How to make your brand go further

Every company knows the importance of brand research. It is essential that your branding communicates your company’s values to consumers, resonates with your audience and carries the right associations and attitudes that people will link to your company.

Now imagine that you have found the perfect branding, a slogan that works beautifully and a tone of voice that gives your brand the right identity. More often than not, you will have hired a professional brand consulting team. You are doing great in your home market and are thinking of taking your brand abroad. Should you just go ahead?

The short answer is yes, but plan carefully. Of course you want to be able to harness the huge potential of foreign markets, but just like it takes a lot of work to develop a brand in a market, there should be a significant amount of research carried out before attempting to enter a new market.

The best way of achieving this is through multicultural brand research and transcreation. First of all, it’s important to research things such as the associations that certain words, colours and images may have in the target market, as they may differ greatly from your culture. You want to avoid blunders such as the famous Mitsubishi Pajero.

Secondly, transcreation, a combination of content creation and translation, can help preserve the essence of your brand in the target language, whilst respecting the cultural conventions and expectations, which translates into brand understanding and engagement.

So, in order to make your brand go further, it is best to work with a team who knows the target market well and can provide the necessary brand research information, as well as excellent copy that resonates with your audience and communicates your brand values. One brand that has achieved that beautifully in China is Nike, whose transliterated name “Nai Ke” also carries the meaning of being enduring and persevering, two concepts that perfectly match their products. And they’re doing great in the country, which shows the importance of good market research.

What is International Spanish?

One of my clients, who I have been working with for quite a while, recently decided to stop translating into Spanish for Spain and start translating into International Spanish. Aside from the challenges that this poses for me as a translator, the decision made me think. What is even International Spanish? Does it exist or is it a myth?

The RAE (Real Academia de la Lengua Española), which is the body that regulates the use of Spanish language, certainly doesn’t refer to International Spanish, even if it does differentiate between Castilian Spanish and American Spanish (which encompasses both the Spanish used in the US and in Latin American countries).

But what do people actually mean when they talk about International Spanish? Although the debate keeps raging on, I am of the opinion that International Spanish doesn’t exist, that is has been made up in order to facilitate communication across digital channels, and may I say so, to reduce translation costs in some cases. International Spanish is meant to be a kind of neutral Spanish which all fairly educated Spanish speakers will be able to understand no matter where they come from, and which avoids regional variations and local terminology and grammar which can be confusing, sound unnatural or even be offensive in other Spanish-speaking markets.

I can understand the case for International Spanish. After all, it’s the second most-spoken language in the world. Over 400 million people speak Spanish as a native language in no less than 31 countries, so it would be hard to localise content for each one of those countries. However, it’s precisely because of this wide range of speakers that it is just not possible to adopt one type of Spanish that all speakers will find natural.

Every country is different and so is its culture. Even basic words can change across locales. For instance, “car” is “coche” in Spain, whereas in many Latin American countries it’s “carro”, which in Spain refers to a horse cart. “Bicho” in a bug in Spain, but it can also be a naughty child, whereas it Costa Rica saying someone is a “bicho” at something it means they’re very good at it, and in Puerto Rico it refers to the male sexual organ. Then there is the word “chongo”, which refers to a one-armed person in Chile, a type of hair style in Mexico, a tame horse in Puerto Rico and a lover in Argentina. And that doesn’t even cover grammar, sentence structure and slang/common expressions.

Then there are also stereotypes. For example, in Spain, Latin American accents have long been ridiculed, especially from countries like Mexico, Venezuela and Colombia, one reason being the TV programmes from those countries that have been broadcasted in Spain. Although nowadays people are more accepting, there are still a lot of political and immigration issues that shape the way Spaniards think of Latin Americans, and despite the fact that opinions can vary widely and some other accents like Argentinian and Cuban carry more positive stereotypes, most customers in Spain will not react well if you try to market your products to them using a Latin American variant.

So even when trying to use the so-called International Spanish variant and keep the language as neutral as possible, there will be significant differences across the countries and the text will not sound completely natural in any of the markets. Therefore, in order to achieve true engagement and realise your full potential in those markets, it is always best to localise your material for the particular locale you are trying to target. If, understandably, localising for 31 markets seems like an overwhelming prospect, the best solution is to research what markets will be mostly beneficial to you and stick to those. 

5 tips for successful app localisation

I recently read this blog entry by app developer Laura Tallardy http://lauratallardy.com/app-localization-made-easy/ and I was pleased to see, from a developers’ perspective, how important localisation is for the success of the product and in increasing market share. She provides some excellent technical tips that will come in handy for anyone seeking to localise their app. This inspired me to add some additional advice from a localisation provider’s point of view, which I hope you find useful.

1. Plan for localisation from the beginning

Integrating localisation from the beginning can help avoid some of the costly problems that may arise later if the app has not been designed in a localisation-friendly way. Consider technical issues, like the ability to support all kinds of characters, text directions, and date and currency formats. Also think very carefully about the markets you want to access based on their potential.

2. Research your target market

Once you have decided the markets you would like to access, you need to research and understand your customers, just like you would in your home country. What makes customers tick in one country might not be the same in another, so when localising some of the most important text, like the store descriptions, make sure to adapt it to the local market taste and expectations. Researching the most popular keywords in each market goes a long way in gaining visibility; Google AdWords and Trends are useful, but another trick is to start typing a word in the App Store search box and wait for suggested search terms. And don’t forget different countries may have different app stores!

3. Style is key

You have spent weeks or even months writing your app, so why risk ruining it with stilted text, awkward translations or plain unintelligible text? Direct, literal translations hardly ever work. Jokes, common expressions, cultural references and such need to be adapted so they are meaningful to the target audience. Style needs to be carefully considered in order to engage your audience, so it’s important to work with the right professionals, who are familiar with the app market and the style you are trying to portrait.

4. Bear in mind text expansion

It is very important to consider that languages are not all the same length. Whereas languages like Japanese and Chinese tend to be very short, other languages like French, Spanish and German use more words or longer words to convey the same message, which can take around 20-30% more space than English.

5. Test, test and test!

Test thoroughly your localised apps in all languages to make sure that everything works, the text is displayed correctly in the right place and there are no issues such as clipped text, incorrect line breaks and untranslated strings, as well as any other errors that might have crept in.

Christmas around the World

Christmas is one of the most celebrated holidays in the world. However, celebrations can vary widely across countries and cultures.

In the UK, celebrations start very early, and many towns switch on their Christmas lights as early as mid-November. Nativity plays and carols are quite popular close to Christmas time, and a lot of houses display a Christmas tree. The main meal is on Christmas Day, which is usually comprised of roast turkey, roast potatoes, vegetables and other trimmings, with Christmas pudding for dessert, and presents are exchanged on the day. On the 26^th December, the UK celebrates Boxing Day, which started as the day when collection boxes for the poor kept in churches were opened in order to distribute the contents, but these days is more known as the day when the sales start, which draw huge crowds to the city centre stores.

In Spain, most families eat their main Christmas meal on Christmas Eve. This is a big family occasion and it’s not rare to find 20-25 people gathered in one small room. And true to their reputation as food lovers, they have another large meal for lunch on Christmas Day. The traditional dinner varies from region to region, and it can be anything from turkey to lamb or even seafood. Although children receive some presents on Christmas Day due to influence from other cultures, the main festival is on the 6^th January, which celebrates the arrival of the Three Wise Men, who brought presents to baby Jesus. On the night of the 5^th January, it’s traditional to leave shoes on windowsills or balconies with small gifts (mainly food) for the Three Wise Men. When the children wake up, they can find their presents hidden under the bed, provided they have behaved well that year; naughty children can get coal as a punishment (which is not real coal, but a sweet shaped like the mineral).

Similarly to Spain, in Italy Christmas is quite a religious affair. A nativity scene is usually displayed in houses, town squares and churches. Father Christmas, or “Babbo Natale”, brings some presents to the children on Christmas Day, but the main celebration is also on the 6^th January, day in which Befana, an old woman, flies from house to house on her broomstick bringing presents to children.

In Australia, Christmas takes place at the the beginning of summer, and it’s quite common in coastal towns to gather and sing Christmas carols on the beach in the run-up to the holidays. Houses are decorated with Christmas trees, bunches of Christmas bush (a shrub native to Australia with cream-coloured flowers which later turn red) and lights. Neighbours can get quite competitive about their displays! Once he gets to Australia, Santa gives his reindeer a much needed rest and swaps them for six kangaroos, or “six white boomers”. Barbecues are also very traditional this time of year.

In the Philippines, Christmas is a mixture of Western and native traditions. Whereas they celebrate Christmas Eve, Christmas day and have Santa Claus, it is a tradition to have a bamboo pole (“parol”) with a star-shaped lantern on it, which represents the star that the Three Wise Men followed to get to Bethlehem.

In many other European countries, St Nikolaus is accompanied by a scary character, who acts as a warning to naughty and disobedient children and goes by different names, from “Knecht Ruprecht” in Germany to “Le Père Fouettard” in France.

Finally, in the Czech Republic, the traditional Christmas meal consists of fish soup and fried carp with potato salad. Some people fast during Christmas Eve in the hope of seeing the vision of the "golden pig" on the wall, which is said to bring luck. Also, it's a tradition for an unmarried girl to place a cherry twig under water on the 4th December. It if blossoms by Christmas Eve, she will get married within a year.

Localisation: The best way to increase your revenue

Localisation should be one of the top priorities in the marketing strategy of any company who wishes to have international presence. Research has clearly shown that consumers overwhelmingly prefer localised products. Common Sense Advisory, as part of their “Can’t Read, Won’t Buy” study, polled 3,002 consumers in 10 countries in their languages and found a substantial preference for the consumer’s mother tongue. This supports other studies which claim that over 50% of Internet users are more likely to buy from a website in their own language, and 75% do not make important purchase decisions unless the information is presented in their own language.

Similarly, several market research studies, like those published by App Annie, clearly show that a large percentage of the Top 20 games and apps for downloads and revenue across the different markets are in the local language.

With over 70% of Internet users not speaking English as their first language, the potential of localisation is huge. Also, if you take into account the costs of localising a product or website compared to the costs of opening a physical store in a different market, it is not difficult to see why localisation is such an effective strategy.

In order to maximise this potential, you should research and understand your customers in the target market, just like you would in your home country. Understand what makes them tick, and prepare your marketing plan accordingly. Also, tailor your messages and images according to the sensitivities and preferences of the target culture. Every culture is different, and what may be common practice in one country could be considered odd or even offensive in another.

For that reason, it is fundamental to have a localisation partner who can not only adapt the text according to the local culture, but also advise you on any possible cultural issues and how best to penetrate that market. It will be an invaluable help in order to achieve success abroad and increase your revenue.

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Would you like more information on how to increase your revenue through localisation? Please feel free to get in touch via our website or follow us on Twitter or LinkedIn.

5 tips for creating multilingual content marketing

We all know how important content marketing is. It helps you maintain a relationship with your clients, creates new leads, can help position your brand as knowledgeable and a trusted source for information, and works wonders for SEO, driving more traffic to your website. Just imagine how powerful that would be if implemented across all the markets you wish to target, and how much of a positive impact it would have on your business. Creating a successful content strategy might not easy, but it is definitely worth the investment. Based on our experience, we would like to share with you 5 tips that will help you on your way to developing a multilingual content writing strategy:

1. Provide a clear brief

Provide copywriters with a clear brief that explains the company’s values, brand identity, target audience, tone of voice, etc. so that they can produce content which, whilst resonating with the target market, communicates your brand’s personality and style. Glossaries are also useful to ensure consistency with previous/future material. Don’t forget content marketing is about communicating with your customers, bringing them closer to your brand and building rapport, so it is important to ensure the personality of the brand comes across consistently across all markets.

2. Adapt the text to the target culture

In order to truly appeal to a foreign audience, you need to use the right words and expressions which are common in that particular country and pay attention to local conventions, including puns, wordplay, local references, cultural and social preferences, etc. Similarly, do not forget to keep an eye on social and cultural trends, such as the new music group in the scene, the TV programs people are watching, the latest joke from an ad, or the must have-item of the season. Your local copywriters should be able to advise you on this, and provide feedback on linguistic and cultural issues.

3. Language doesn’t equal culture

Just because two countries speak the same language doesn’t mean you can use the same content in both. Think about how culturally different the US and the UK are. Multilingual content writing goes far beyond translating text into another language, it is about adapting the content to the target culture, as the previous point explained.

4. Multilingual SEO

Whilst the way search engine optimization works has changed greatly, it is more important than ever. Creating content that is relevant for your customers and uses appropriate keywords will improve your ranking in search engine result pages across all the different markets, especially if your competitors aren’t creating multilingual content. Research and use the keywords that are looked for in a particular market, write content relevant to that market and translate all the text that the search engines use to rank your content.

5. Pay attention to the visuals!

When writing content for a particular market, you should always check any accompanying images and symbols. Things that are acceptable in the original market might not be so in any other countries. For instance, displaying a bottle of wine in an ad might not be very popular in countries where alcohol is forbidden. Similarly, a hexagonal red sign would not mean anything in Japan, where the stop sign is a red upside down triangle.

Guidelines for globalization and localization. Is there a need for language restriction?

A few weeks ago, we shared Microsoft’s Guidelines for globalization and localization in our Twitter feed, which you can find here: https://twitter.com/MediaL0C/status/530688809697296384. 

Whilst I agree with most of the guidelines and recommendations, I have my reservations about others. For instance, some of the recommendations are quite obvious and every developer should take them into account, such as making sure to use the correct formats for numbers and dates, support international units and currencies, and display the fonts correctly. To some people, things like accents can be an annoyance, but they are extremely important. For instance, a little tilde on the “n” is the difference between “I am 3 years old” (Tengo 3 años) y “I have 3 anuses” (Tengo 3 anos) in Spanish.

But even these small, obvious changes need to be applied with caution is some cases. To give you an example, customers would expect to see their currency, with the correct number formats, displayed if they were to buy an app in the store. However, if they were playing a game whose story is based in the US and a character is buying something in a store or a bar, it would seem odd if the currency were anything other than USD. As always, it’s all about the context.

It goes without saying that things like cultural references, images, brand names, etc. need to be thoroughly researched before entering a new market, so I won’t go into much detail about that. You can read more on that here: http://medialoc.blogspot.co.uk/2014/01/what-is-culturalisation-and-why-should.html and http://medialoc.blogspot.co.uk/2012/12/the-cultural-dimension-in-games.html.

What struck me about Microsoft’s guidelines is the fact that they recommend avoiding colloquialisms, metaphors and technical jargon. They are indeed the hardest things to translate, but should professional translators not be able to convey them? I believe they should.

Let me explain myself. A lot of the time, this type of language is right at the core of the product and forms its very soul and essence. Let’s say we have a game or an app packed with puns, metaphors and humour. Should we not respect that, and convey them in a way that will be understood by the target audience and have the same effect on them? Why should the product be altered, so that it becomes less humorous and therefore loses part of its appeal? I am all for adapting the product to the target market, but always in a way that recreates the effect and purpose of the original. Jokes cannot be translated literally, instead a professional would find an equivalent in their target language which, in literal terms means something completely different, but appeals to the consumer in the same way the original product did and, in this case, makes them laugh.

The same applies for technical jargon. If a product is targeted to the general public, it should not contain a lot of technical terms in any language. However, if it’s targeted at a very specific segment of users who understand the jargon and use it on a daily basis, then the right translator should be used, who can understand these terms and knows their equivalent in the target language. Scientists wouldn’t expect to read dumbed down texts just because they are translations, they would expect these texts to use the same style and jargon as texts written in their own language.

In my opinion, it’s all about context and effect, recreating the purpose of the original product in the target language; and the more invisible the translator is, the better. Culturalisation implies adapting the product to suit the needs of the target market, so that it’s just as appealing as it was in the original market, not altering the very essence of the product and turn it into something that it is not.

What is culturalisation and why should I care about it?

“Culturalization is going a step further beyond localization as it takes a deeper look into a game’s fundamental assumptions and content choices, and then gauges the viability in both the broad, multicultural marketplace as well as in specific geographic locales. Localization helps gamers simply comprehend the game’s content (primarily through translation), but culturalization helps gamers to potentially engage with the game’s content at a much deeper, more meaningful level.”

(Chandler, Heather Maxwell & O'Malley Deming, Stephanie. The Game Localization Handbook, 2nd ed.)


In short, we could say that, whereas localisation takes into account all the different cultural aspects, it mainly involves text, from the more basic tasks of inclusion of different alphabets and number formats, to adapting cultural references, jokes, idioms, etc. Culturalisation, then, would take this cultural adaptation one step further, to include the product's artwork and design.

It has to be pointed out that, although the quote above refers to games, culturalisation exists in other translation disciplines, such as website localisation.

Why culturalise a product?

The answer is very simple. Culturalising a game, or any other product, will make its audience engage with it much more deeply; therefore, the reaching potential in foreign markets increases dramatically. Fail to culturalise, and you risk your product not selling in a market in which it could have been extremely successful. Or even worse, you could potentially insult or offend your audience.

A good example of this is this campaign poster for the Spanish version of the TV programme The Voice, which features presenter Jesús Vázquez:

Whilst this poster works well in the Spanish market, the gesture would be considered rude in the UK, where the programme also exists, akin to showing your middle finger to the audience.

A famous example of a culturalisation fail happened in 2003, when Microsoft was forced to pull the game Kakuto Chojin off store shelves because it contained Qu'ran verses in the background of the theme song for a character. The issue became headlines news in Saudi Arabia, whose government demanded an apology, forcing the company to withdraw the game worlwide (it had been released in North America despite this).

Changing the content of a product can be quite time-consuming and expensive, of course, and that is why it's so important to consider culturalisation from the very beginning. The earlier you think about cultural aspects, the less likely you are to get a "surprise" at the end. And considering how much of a positive impact it can have on sales, it's definitely worthwhile.

For more information on the cultural aspects in videogames, please read this earlier post: http://medialoc.blogspot.co.uk/2012/12/the-cultural-dimension-in-games.html 

The cultural dimension in games localisation

As translators and interpreters know, it is very important to bridge the gap between cultures. In certain disciplines, the meaning and the effect that the text has on the reader is far more important than the words. This is especially true of localisation, which has been defined as the “adaptation of a product, application or document content to meet the language, cultural and other requirements of a specific target market” (Ishida & Miller: 2005).

In the specific field of games localisation, this adaptation goes well beyond the words. As we all know, different cultures perceive things in different ways so, if a product is to be successful, it’s important to make sure that it adapts to the target markets, as the picture below amusingly shows. In fact, at least 50% of the revenue in games comes from localised versions (Chandler: 2006), which shows why localisation efforts should not be underestimated.

A while ago, I had the pleasure of witnessing a very interesting presentation by Melissa Clark-Reynolds, Founder and CEO of MiniMonos, a company which provides a virtual world for children in which they can create a monkey avatar, socialise with other monkeys and play minigames. She spoke of how sometimes they release minigames adapted to their local markets. One interesting example was a minigame which involved monkey poo, as can be seen in the following pictures.

                         

This type of minigame would have never worked in the Australian or New Zealand markets, for instance, where children are not as obsessed with their digestive system as they are in the UK. Despite speaking the same language, the cultures in these countries are different and being able to adapt to British “tastes” (if we can call it that in this case!) proved an extremely effective strategy, making this one of the most successful minigames for the company in the UK.

Another company in the world of online gaming, Zynga, famously decided to enter the Chinese market a couple of years ago. They rebuilt the game Farmville and, although the Chinese version is quite similar to the original Farmville, there are some changes that reflect the preferences of this target market. For instance, some changes were made to the colour palette and the plots of farmland are larger than in the original version.  And some new crops were also introduced, as can be seen in the picture below:

                                    

These crops, like the ginseng or the Caterpillar fungus, reflect the kind of crops that would grow in the region.

All this has huge implications for the games localiser, who must not only be a master of the written word, but also become a language consultant, and provide advice to clients when they come across something that could cause a potential issue in the target market.

Some time ago, I was working on a Japanese game for a portable device. The title included a minigame in which the characters had to compete to finish a big bowl filled with some type of alcoholic drink. The first one to finish it won the game, and the characters were depicted quite obviously drunk, and then complaining about having a headache the morning after. I had been told that the age rating of the game was 3+, so I immediately identified a problem and warned the client that a drinking minigame was going to be problematic in the target market, especially for such a young audience. All the translators discussed the problem as a team and we developed an idea to turn the drink into some sort of sugary potion and change the text so that the characters got a sugar rush instead, as children often get when having too many sweets. That saved the client a lot of time and money by not having to edit the game, and they were very grateful.

Other times, this cultural dimension can appear in the form of cultural references within the games themselves. For instance, in World of Warcraft there is a trinket called the Six Demon Bag, and its description text reads “Blasts enemies with the power of wind, fire, that kind of thing!”. This is a reference to the movie Big Trouble in Little China, in which Egg Shen’s describes the contents of his Six Demon Bag using the same words. In these cases, it’s important for the localiser firstly to identify the reference, and secondly, to look for the equivalent, that is, the official version of the movie in the target market (whether it’s dubbed or subtitled), and use the same wording in order to achieve the same effect that the original version of the game aims for.

Another important cultural aspect is related to characterisation. Many games contain fantasy characters such as orcs, wizards, fairies, but also pirates, gangsters and similar. The localiser will need to be familiarised with the way those creatures or characters speak in the target language and follow the conventions. It could be possible that an equivalent accent might need to be found in the target language to portray certain stereotypes or, lacking that, the use of certain interjections, expressions or pet phrases. Rude language and swearing can be particularly tricky because, whilst the effect on the player has to be maintained, cultural sensibilities also have to be taken into account. Some languages and cultures are more accepting of this type of language than others.

Of course, all this doesn’t mean that the content always has to be adapted. Sometimes aspects of the source culture have to be kept in order to maintain a certain local flavour. It wouldn’t make much sense for a game clearly based in New York, where the city is central to the story, to have characters speaking with a very marked regional French accent, for instance. However, both localisers and developers need to be aware of these issues and use their skills and expertise to ensure that the localised product meets all the requirements and needs of the target market if the product is to be successful. After all, this is a business, and the better the quality of the localisation, the higher the potential for revenue.

What you need to be a games localiser

It's been a while since my last post, but as usual the summer period has been extremely busy. In the past I've talked about general translation issues, and today I thought it was about time to explain a little bit more about what MediaLoc does: games localisation. Therefore I decided to reproduce an article I have written especially for those interested in knowing what you need to get into this industry. Hope you like it!

Getting into… GAMES LOCALISATION

Have you ever wondered why everyone seems to like their Xbox 360 or PLAYSTATION®3 so much? Games used to be a kids’ domain; however, nowadays companies are constantly branching into new markets and releasing products that defy the traditional definition of a videogame. Most of you will have seen the adverts about “games” that you can sing along to, that keep you fit and even help you cook! Whilst games might still not be everyone’s cup of tea, this expansion, which is taking place across many foreign markets, means that there is plenty of work out there for translators interested in the field.

However, games localisation involves much more than translation, and linguists working in this area need to be aware of certain technical and legal issues that might not necessarily apply to other fields. To start with, games companies are extremely protective of their products, and this means that often the translator has to work without having seen the product at all, despite having signed any necessary confidentiality agreements. It is not uncommon for the translator to only know the title of the game and the platform it will be played on. Sometimes, if they are lucky, they might get a few screenshots of the characters or the menu screens.

This lack of information becomes an acute problem when attempting to translate strings composed of a single word, with no context at all. Aside from the usual problems of gender and number, and whether a word is a verb or a noun (“pause”), certain terms will have completely different translations depending on the context; for instance, “wheel” in a racing game could refer to the steering wheel or to one of the four rotating wheels of the car.

Another common problem that games translators have to face on a daily basis is the lack of space on screen, meaning that in particular occasions they cannot exceed a certain number of characters when translating, which in screens such as the menus can be extremely challenging. And to this challenge you have to add the fact that games translators have to branch into other fields, such as translation of scripts and subtitles. Most localised games these days are dubbed, subtitled or both, so it is also important to have the necessary skills to carry out this type of work.

Other issues that need to be taken into account include the use of TRCs, placeholders and concatenation. TRC stands for Technical Requirements Checklist and it refers to a list of terms or “authorised names” that the translator must strictly follow; they include terms such as the names of the platforms and peripherals and in many cases the terms are copyrighted, so it is imperative to use the approved translations.

Placeholders are also very common in games localisation and can pose endless problems. For instance, even the simple sentence “You have won a %d” will have to be translated slightly differently in many languages depending on the gender of the object that “%d” is replaced with, as in “You have won a car”.

Concatenation can be even trickier. In the games localisation industry, it refers to combining several separate strings to form a sentence. Using a similar example to the one in the previous paragraph, the translator could find themselves having to translate the following table:

ENGLISH	SPANISH
You have won a	Has ganado una
gold	oro
silver	plata
bronze	bronce
coin.	moneda.

When combining them, the results will be “You have won a gold coin”, “You have won a silver coin” or “You have won a bronze coin”. However, it is clear that this syntax is not going to work in many languages. For instance, in Spanish “Has ganado una oro moneda” is incorrect; “oro” should appear at the end and be preceded by a preposition: “Has ganado una moneda de oro”. Since the syntax has been programmed into the game and cannot be altered, in a case like this it would be useful to translate the first string as “Has ganado una moneda de” and leave the last cell empty, or just with a full stop. However, this is only a very basic example and challenges of this type can be much more difficult to solve.

Any translators wishing to work in the games localisation field should be able to tackle all these issues and also start familiarising themselves with the games and the associated terminology used in them. Some of the most common terms can vary from one company to another, or between different platforms and consoles, so it is very important to become aware of these differences. Similarly, it is not uncommon for games translators to specialise in a few genres; the style and terminology can vary widely and, whereas some games contain a lot of technical information (for instance, car specifications in racing games), others use a very flowery language that will put the translator’s creativity to the test (role-playing games, or RPGs, with long and complicated stories).

It is also helpful to find a job in-house within a game company.  Even though the industry is fairly young, most translation companies specialised in this area will hardly consider translators without game experience. Obviously, it helps to be an avid gamer, but working for a game company also provides an excellent perspective on what type of issues you will have to face as a freelancer.  Some companies, such as Blizzard and NCsoft have in-house translation teams, and most of the others have localisation testing departments, which check all the text once it has been implemented in the game.

In terms of tools, it is not necessary to have specialist software, as most of the work comes in Excel or even Word format. However, using TM software can be very beneficial due to the sheer number of repetitions and the need for consistency within the games, which can sometimes surpass the 100,000 words mark.

There has not been much written about games localisation to date, but those interested in the field could benefit from reading the “Game Localization Handbook” by Heather Maxwell Chandler (2005). It provides a comprehensive description of the games localization process and will be undoubtedly helpful for anyone thinking about branching out in this industry.