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Master Reference Master Video Game Localisation : A Francophone Gamers' Perspective on the Quality of PC Video Game Localisation HERNANDEZ, Marion Abstract Since the 1970's, the video game industry has taken off rapidly, with localisation evolving alongside it, from virtually non-existent to full featuring dubbings. The area has therefore started attracting the attention of Translation Studies. Yet, few scholars and industry organisations have focused on gamers' reception of such localised products, an aspect that is crucial to the matter since they are the primary users of games. This paper therefore sought to gather first-hand data and inquire into francophone gamers' opinion on localised games. An online questionnaire was used in order to assess, among other topics, respondents' level of satisfaction with PC games localised into French, one of the first languages into which games were translated. Data showed that, overall, participants from the sample were more satisfied than dissatisfied with the French localisation, but to a small extent, with participants' discontent mainly stemming from the alleged poor quality of translations and dubbings, which hinder full immersion. Reference HERNANDEZ, Marion. Video Game Localisation : A Francophone Gamers' Perspective on the Quality of PC Video Game Localisation. Master : Univ. Genève, 2017 Available at: http://archive-ouverte.unige.ch/unige:104629 Disclaimer: layout of this document may differ from the published version. 1 / 1 ___________________________________________________________________________ VIDEO GAME LOCALISATION: A FRANCOPHONE GAMERS’ PERSPECTIVE ON THE QUALITY OF PC VIDEO GAME LOCALISATION ___________________________________________________________________________ Marion Hernandez Directrice : Lucía Morado Vázquez Jurée : Silvia Rodríguez Vázquez Mémoire présenté à la Faculté de traduction et d’interprétation (Département de Traitement de l’Information Multilingue, Unité de français) pour l’obtention de la Maîtrise universitaire en traduction, mention technologies de la traduction. Année 2017-2018 – Session d’automne 2017 Anti-plagiarism declaration Déclaration de non-plagiat J’affirme avoir pris connaissance des documents d’information et de prévention du plagiat émis par l’Université de Genève et la Faculté de traduction et d’interprétation (notamment la Directive en matière de plagiat des étudiant-e-s, le Règlement d’études de la Faculté de traduction et d’interprétation ainsi que l’Aide-mémoire à l’intention des étudiants préparant un mémoire de Ma en traduction). J’atteste que ce travail est le fruit d’un travail personnel et a été rédigé de manière autonome. Je déclare que toutes les sources d’information utilisées sont citées de manière complète et précise, y compris les sources sur Internet. Je suis consciente que le fait de ne pas citer une source ou de ne pas la citer correctement est constitutif de plagiat et que le plagiat est considéré comme une faute grave au sein de l’Université, passible de sanctions. Au vu de ce qui précède, je déclare sur l’honneur que le présent travail est original. Marion Hernandez Le 23/08/17 à Dublin Acknowledgements First and foremost, I would like to thank my supervisor, Lucía Morado Vázquez, for inspiring me and arousing my interest in localisation, for helping me and guiding me along the way, for answering all my numerous questions in a record time and for providing invaluable feedback on my work. I also want to thank Silvia Rodriguez Vázquez for kindly accepting to be my examiner. I am very grateful to all the industry professionals that have contributed to this thesis in one way or another: Josué Pereira for letting me use his localisation comic, Ben Cookman for providing me with more information on his “The New Faces of Gaming” study, NCsoft for allowing me to use a screenshot from WildStar and the Frozenbyte team, especially Joel, for letting me use a screenshot from Trine 2 and giving me an extensive explanation of their localisation choices in terms of launcher. A very special thanks to Élorine Albertin and Benoît Bockstal (Klev) for taking part in the piloting phase of the questionnaire and providing me with constructive comments that helped me improve my final version greatly. Of course, I also want to thank all the unnamed people that took the time to answer my questionnaire, and without whom the whole project would not have been possible. Another special thanks to all the native speakers that helped me improve the standards of my English writing: Conor, Pat, Stephanie, Michelle, Roger, and particularly Adam Leahy, who kindly offered to proofread the whole thesis with his meticulous eye. Thanks as well to Dani and Nora for lending me some game localisation textbooks while I was away. Last, but not least, I wish to thank Philippe Cheminel for his indefectible support, his expert answers on video games, his keen eye for mistakes and, above all, for introducing me to the amazing world of video games in the first place so many years ago. Abstract Since the 1970’s, the video game industry has taken off rapidly, with localisation evolving alongside it, from virtually non-existent to full featuring dubbings. The area has therefore started attracting the attention of Translation Studies. Yet, few scholars and industry organisations have focused on gamers’ reception of such localised products, an aspect that is crucial to the matter since they are the primary users of games. This paper therefore sought to gather first-hand data and inquire into francophone gamers’ opinion on localised games. An online questionnaire was used in order to assess, among other topics, respondents’ level of satisfaction with PC games localised into French, one of the first languages into which games were translated. Data showed that, overall, participants from the sample were more satisfied than dissatisfied with the French localisation, but to a small extent, with participants’ discontent mainly stemming from the alleged poor quality of translations and dubbings, which hinder full immersion. Table of contents Anti-plagiarism declaration ..................................................................................................................... 0 Acknowledgements ................................................................................................................................. 0 Abstract ................................................................................................................................................... 0 Table of contents ..................................................................................................................................... 0 1. Introduction ..................................................................................................................................... 1 2. State of the Art ................................................................................................................................ 4 2.1 Defining the Terms ........................................................................................................................ 4 2.1.1 Video Games .......................................................................................................................... 4 2.1.1.1 From a Game to a Video Game ................................................................................... 4 2.1.1.2 “Terminological Heterogeneity” (O’Hagan and Mangiron, 2013) .............................. 6 2.1.1.3 Proprietary VS Open Source ..................................................................................... 11 2.1.1.4 Typology of Video Games ........................................................................................ 12 2.1.2 Localisation and Related Notions .................................................................................. 15 2.1.2.1 Localisation ............................................................................................................... 15 2.1.2.2 Globalisation ............................................................................................................. 17 2.1.2.3 Internationalisation .................................................................................................... 17 2.1.2.4 Translation ................................................................................................................. 18 2.1.2.5 Going “One Step Further”: Culturalisation ............................................................... 18 2.2 Video Game Localisation ............................................................................................................ 20 2.2.1 History .................................................................................................................................. 21 2.2.1.1 1970’s: The Birth of Digital Entertainment ............................................................... 21 2.2.1.2 1980’s: Establishment of the Game Industry ............................................................ 22 2.2.1.3 1990’s: The Fight for the Markets ............................................................................. 22 2.2.1.4 2000’s: The Professionalization of Game Localisation ............................................. 23 2.2.1.5 2010’s: Enhanced Localisation and New Developments .......................................... 24 2.2.2 Why Localise: The Dichotomy ..................................................................................... 25 2.2.2.1 Profit .........................................................................................................................
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