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Classifying Video Game Translation Studies from Transtextuality Perspectives

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Classifying Video Game Translation Studies from Transtextuality Perspectives Volume 4 Nomor 1 E-ISSN: 2527-807X Januari-Juni 2019 P-ISSN: 2527-8088 CLASSIFYING VIDEO GAME TRANSLATION STUDIES FROM TRANSTEXTUALITY PERSPECTIVES SF Lukfianka Sanjaya Purnama [email protected] SF Luthfie Arguby Purnomo [email protected] IAIN Surakarta Abstract: This paper attempts to classify video game translation(VGT)studies from the perspectives of transtextuality, Genette‟s term referring to the relationships a text weaves with other texts (1992). In regard to VGT studies, applying transtextuality signifies the textuality of video game and its transtextual relationship with other texts. Transtextuality is linear to the connectionist perspectives Globalization, Internationalization, Localization, and Translation (GILT) holds, a conventional concept that houses VGT, emphasizing on the intra and inter relationships between the four elements of GILT. This necessity to consider VGT as a part of GILT is the linearity to which transtextuality conforms VGT studies. Applying transtexuality, VGT studies are classified into transversality, transcreation, transfiguration, and transmediation. Transversalityreferstothestudiesaimed at applying translation theories in VGT.Transcreation refers to VGT studies that focus on cultural issues in relation to video game mechanics. Transfiguration refers to VGT studies that incorporate game studies as a response to certain VGT issues. Transmediation refers to VGT studies that focus on the influence of video game media toward the translation aspects of video games. These four classifications construct a quadrant which opens probabilities for VGT studies to depart from the combination of each element. Keywords: transtextuality; video game translation; transversality; transcreation; transfiguration; transmediation VIDEO GAME TRANSLATION (2006). The level of restrictiveness VGT STUDIES has encompasses not only character Video game translation, henceforth number based restrictiveness as found is abbreviated into VGT, as a part of from subtitling but also image screen translation with its own complex restrictiveness. In VGT, violations multimodality (O‟Hagan 2005), has against character and image distinctive features differentiating it restrictiveness might usher not only from other screen translation such as mechanical and aesthetic problems but subtitling, surtitling, dubbing, and voice also financial costs since extra text and over. Those distinctive features are (a) image generate extra data to which spatial constraints, (b) the relationship extra cost is applied. In mobile game VGT weaves with Globalization, cases, the worst impact of these Internationalization, Localization, and violations is that extra data might Translation (GILT), (c) gaming preclude potential customers from experience, and (d) concerns on game downloading the game. Therefore, game aesthetics with the point of departure translators are required to equip on ludology and narratology. themselves not only with translation Spatial constraints VGT has endow ability but also gaming culture, gaming the study a restricted translation, a knowledge and computer skills as term proposed by Mangiron & O‟Hagan suggested by Dietz (2012). The 29 SF Lukfianka Sanjaya Purnama & SF Luthfie Arguby Purnomo challenges on VGT translation turn with various and diverse gaming more complicated when spatial culture. Purnomo et al. (2016), constraints are intertwined with the departing from the theory that gaming relationship between VGT and GILT. experience is structurally constructed, GILT, as explained by Cadieux and proposes what is termed as luden, a Esselink (2004), situates game micro structure that builds video game translators to orientate their works on assets to which translation is applied localization, internationalization, and and from which a shift of gaming globalization from which message experience might occur. In Gameloft‟s transfer should be coordinated with fighting game Gods of Rome, Chaos game mechanics and target culture. Vessel, the central object that becomes Buff Studio‟s Buff Knight, for instance, the primary focus in the game is translated in Jagoan Jones(lit. Single narrative, is translated into Thug) to conform to the localization BejanaKemelutin its Indonesian needs of Indonesian gaming culture version. A shift of luden appears on this Purnomo et al. (2016).Buff Knight is an translation from which gaming android endless runner game which experience might suffer from a shift emphasizes on the game mechanics also. The word chaos might take more than on the game narrative. reference to the primordial Greek deity Localizing the title into Jagoan Jones Chaos from whom night and darkness and stuffing the game with jokes about occur. Meanwhile the word vessel serves being single were intended to draw not only as reference to a narrative attentions from potential customers and object in the game but also they were proven to work. This foreshadowing the narrative that Gods transcreation, a rewriting like fashion of Rome circumnavigates around evil to fit games for target customers power that possesses and takes the O‟Hagan & Mangiron (2013, 2006) bodies of gods and heroes to battle the projects the abilities of the game player. This narrative luden is shifted translators in examining and when translation is exercised. This comprehending game mechanics and narrative luden is shifted when target culture with GILT as their translation is exercised. In the conceptual framework for their Indonesian version, any reference to the translation. Questions that occur, playng of game such DotA (Defense of regarding with the example from Buff the Ancients) a custom scenario for the Knight, are whether target game share real-time strategy game Warcraft III: intendedgaming experience like that of Reign of Chaos has been replaced by the original when translation is Mafia Wars, a phenomenon sweeping executed on the basis of transcreation. other locations such as Singapore and Gaming experience is constructed of Melbourne (Hjorth 2011). In the video game and puppetry, the Indonesian version, any reference to interaction between the players and the Chaos is absent and vessel with its video games, from which their complete alluded meaning is alsountransferable. presence would evoke positive In game aesthetics perspectives, this experience while the absence of one shift indicates that the translators element would do the opposite (Calvillo- emphasize more on the game Gámez, Cairns & Cox 2015). Due to its mechanics, the ludological aspects, structural nature, gaming experience instead of the game narrative, the might experience a shift when narratological aspects. This shift does translation takes place. This is the not imply the incompetence of the concern Chandler & Deming (2011) translators since this shift might occur emphasizes in regard to the fact that due to (a) the problem of equivalence games are for international customers 30 Leksema Vol 4 No 1 Januari-Juni 2019 Classifying Video Game Translation Studies from Transtextuality Perspectives and (b) the absence of game aesthetics concerned upon in regard to the above as a concern on VGT. case. Ludology, a paradigm that places The aforementioned four distinctive games as a game (Frasca 1999, 2007; J features as elaborated before signify Juul 2001), and narratology, a that VGT studies, as a part of screen paradigm that holds games as a form of translation, require (a) translation narrative (Simons 2007; Sicart 2011), studies to recognize shared similarities evoke a bipolar aesthetic relationship in video game restrictiveness has with game studies. These two paradigms, other restricted translation like film embodied through game mechanics and subtitling and comics translation, (b) stories, are conflicting yet studies on localization to unveil the complementary features video games roles, impacts, and significances have. In VGT, translators should heed localization holds toward VGT, (c) user‟s this game aesthetics since translation function to reveal how certain quality might suffer an ill assessment translation decision upon certain game when certain Translation Quality assets influence the gamers in playing Assessment (TQA) or Localization the game, (d) game studies to recognize Quality Assessment (LQA) is applied to the relationhsip between game the translation products. Skillshot Lab‟s translation and game aesthetics. This Notice Me Senpai, for instance, has an significance indicates that studies on interesting translation in the VGT are inseparable from the studies perspectives of ludology and on media, its users, and its aesthetics. narratology. On one of the para-diegetic This complementary condition implies elements, the original game has HANG that VGT studies are transtextual in OUT WITH YOUR SENPAI! translated nature and therefore, departing from into Jalan dengan Senpaimu! The this assumption, transtextuality, when translation of hang out into jalanushers employed for VGT study classification, significant concern on its impact to the might elicit a comprehensive game aesthetics. Ludologically hang out classification on focuses VGT scholars and jalan imply linear conformity with might delve into, which is the objective the characteristics of an otome game of this research. that is to attract the attention of male characters through affection building TRANSTEXTUALITY AND VIDEO since jalan still preserves the implied GAME TRANSLATION meaning of attraction and affection. Aarseth (1997) through his Meanwhile from narratological masterpiece Cybertext: Perspectives on perspectives,
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