Localisation changes in modern games

In my last post I focused on how a localisation error led to a fairly mediocre game becoming rather famous in the 80’s. Now I’m going to focus on more modern games and try to show that even today, in an age of globalisation and the breaking down of cultural barriers, there are still quite stark differences between Japanese and Western versions of some games.

The first game I’ll focus on is Dead or Alive Xtreme 3, a beach volleyball spin-off from the fighting game series which sees scantily clad women participate in all sort of simplistic mini-games. The game, due out on PlayStation 4 and Vita in Japan in February 2016, will not come out in Europe or North America. Publisher Koei Tecmo has opted against bringing the game out on these shores because of “issues” regarding the representation of women in video games. This just underlines how the representation of women in games has changed over the years and how a series that was ported to Europe and North America before will not be ported now as the gaming landscape has changed over the years.

The second game is another Japanese game called Xenoblade Chronicles X, which comes out on the Nintendo Wii U this month and which also received a makeover before release in Europe and North America. One of the female characters in the game, who is supposed to be younger than the others, can no longer wear the same revealing outfits as the rest of the female cast. Also when creating female characters the Japanese version has a slider that adjusts the bust size of said character but on the non-Japanese version this slider is no longer available.

A video showing the changes:

What we can conclude from this short study is that the introduction of any female characters in one’s game must be thoroughly thought out as the way women are portrayed in games has changed a lot and the “established” ways of doing it are no longer acceptable.

– Marius Anton – Design Lead

 

 

Technical Research on Game Localisation

According to Apple’s guideline for Developer

Localization is the process of translating your app into multiple languages. But before you can localize your app, you internationalize it. Internationalization is the process of making your app able to adapt to different languages, regions, and cultures. Because a single language can be used in multiple parts of the world, your app should adapt to the regional and cultural conventions of where a person resides. An internationalized app appears as if it is a native app in all the languages and regions it supports.“[1]

Although the guideline only discuss about the apps, it is very useful for game localisation too. Both apps and game should feel like a native apps or game in the localised version.

So guideline can be as a primary source for localisation of games for Mac and iOS.

Likewise, Google  has also provided a guideline for localisation for android system. It talks about finding out the market, various flexible design layouts, Support of RTL (Right-to-Left) script, and other useful dos and don’t dos. [2]

Similarly, smashing magazine has also some good guidelines for localisation of website which can be useful for game localisation. They talk about taking out strings from the source file and storing in separate format like XML, .XLIFF. In addition, other useful tip for keeping source code from strings are discussed in their article title “Twelve Commandments Of Software Localization“. [3]

Likewise, a very interesting take on Localisation from Technical point of view has been published on Title “Localization Engineering: The Dream Job?” by Bert Esselink. He says “localization engineering is probably the main difference between localization and translation. It’s all that “technical stuff” that needs to happen when a software user interface is translated, or an online help file, or even an HTML file.“[4] He further discuss about the process and explain in detail about what Localisation Engineering means.

An article title “Best Practices for Game Localization” Initial Draft by Richard Honeywood, and Second Draft by Jon Fung explains about different approach to game localisation. They say we should focused on “culturalization” and explains about what they meant and how can it be localise the game. Furthermore, they discuss about “INTERNATIONALIZATION” which they explain it as a cosmetic translation of UI, Fonts, Subtitle etc. In addition, they further discuss about the use of ISO standard for file naming. In addition, the article talks about the common pitfall in game localisation and useful recommendation for all discipline in Game Development.[5]

//Reference:

  1. https://developer.apple.com/library/ios/documentation/MacOSX/Conceptual/BPInternational/Introduction/Introduction.html
  2.  http://developer.android.com/distribute/tools/localization-checklist.html
  3. http://www.smashingmagazine.com/2012/07/12-commandments-software-localization/
  4. http://www.fti.uab.es/tradumatica/revista/articles/besselink/besselink.PDF
  5. https://c.ymcdn.com/sites/www.igda.org/resource/collection/65D89F6D-3BD8-46EA-B32E-BE34236408D5/Best-Practices-for-Game-Localization-v21.pdf

Roles of Technical Lead

Although the game localisation itself has a least priority in a game development process, it is with no doubt plays a vital role in getting a game into wider customers.  

In terms of technical requirement, various things should be considered early on in game development process to have a smooth localisation of the game. The localisation of the game requires various aspects of game to be translated such as strings, audio, character design, colours and effect, and many more.

As a Technical Lead, my primary goal is to lead the technical development of the product, working closely with game programmer and design team to develop prototype and iterate on game mechanics and systems. In addition, evaluate and stay current on the best practices and evolving technologies in gaming across all platforms. Likewise, define and document policies, standards and guidelines that directs the selection, development, implementation and use of technology for the game. 

Here’s the current flow through the UI and the redesign under it.

DNDcurrentUIDownload Link here:

https://drive.google.com/file/d/0B0skoraKEChKMm9GR29JeFVCWmc/view?usp=sharing

Redesign:

Played around with some ideas for the game including a perk system and objective system in the UI. I know we spoke about adding no new features to the game as it’s about localization, but ideas are good anyway in low fidelity wire frames 🙂 Ignore these aspects if you’re sure we’re not adding anything new in.

DNDRedesignUImap

Download link here: updated 27/11/15

https://drive.google.com/file/d/0B0skoraKEChKbjhEVV9DZ3pNMFU/view?usp=sharing

 

Next I’ll be finishing this redesign, creating the last persona, creating a user journey chart, then moving onto higher fidelity designs. And also looking at graphical icons to use in the UI. Tybb for today

Summarised Competitor Eval & Analysis

Read below or download via this link, Summary of Competitor Evaluation & Analysis

 

Introduction

 

For the best chance to create an engaging and responsive user interface initial research was conducted by evaluating 5 games with regards to the 14 chosen heuristics, as well as evaluating how each of these games localize their content. I have chosen a mix of PC and Mobile games. As well as heuristically evaluating these games, I’ve analysed each of their features and have created two spreadsheets containing the sum of my research. Each of the five games researched, reside in the same genre as our own, an Isometric shooter. Below I have summarised my research to make it easier and clearer for my team and myself to view. I have highlighted aspects of their interfaces where we should not follow and aspects which we should use for inspiration.

Hatred (PC)

 

It’s obvious that Hatred had the biggest production budget out of all the games. The games menu’s options and the interface in general are very professional and consists of all the features you would expect from a high calibre game, including;

  • In depth fully customizable graphics parameters to cater to various different players using different types of systems
  • A fully integrated tutorial which is consistent with the story and flow of the game.
  • Fully customizable control scheme
  • A range of difficulty options compared to the rest.
  • A number of language options for the game (8 languages)

 

However, there are some very questionable decisions the designers of Hatred have made, which I would think for our game, we should shy away from, including;

  • No scoring system
  • Unspecified settings
  • Health and other UI components at the bottom of the screen (illogical?)
  • Tips giving wrong info
  • Tutorial inaccessible unless you restart entire game
  • Language selection hidden in menus

Overall the interface is very usable and the game is very playable. The usability problems I found are very minor, except for the UI components being at the bottom of the screen, which is very hard to focus on when you’re shooting at enemies at the top of the screen, and the lack of a scoring system which is there to flatter the player and motivate them, however this may be due to the style of the game (not arcade game).

 

 

Minigore 2 (Mobile)

 

Minigore 2 was chosen because it’s an improvement on the earlier title, Minigore 1. Both games have the same amount of review stars (4.5/5) on the apple app store, and has strong reviews from big organizations such as the Guardian newspaper, IGN and GameTrailers. With over 6 million recorded players worldwide it’s clear that Minigore is an example of a very successful action game on mobile. Features I feel which we can incorporate or take inspiration from include;

 

  • Camera customization
  • Integrated tutorial. Consistent with story and flow of game
  • Main menu is the shop, level select and play screen (innovative menu)
  • Objectives in the pause menu

 

Areas where the interface and game is lacking in, include;

 

  • Entrances to locations can be easily misinterpreted
  • Enemies/Allies can be misinterpreted
  • Menus, icons and type are not consistent in colour
  • Unspecified options

 

Overall, Minigore is an extremely well made and incredibly fun game. The controls are very simple with the option to customize them. The interface is easy to navigate however confusing at the start as there is no real ‘Main menu’, however after a few minutes of playing it becomes natural and feels quicker than other games I have evaluated. The game is very fast paced and with no real ‘main’ menu, as a player I could navigate between levels extremely quickly and access a variety of the games features seamlessly. One of the best features I found was the visibility of objectives in the pause menu, motivating the player to play the game to receive rewards.

 

12 is better than 6 (PC)

 

12 is better than 6 was chosen because the game fits into the genre of ‘Top down’ shooter, which doesn’t stick with the genre of Isometric, however it is very close. The game is extremely original and innovative in terms of the visuals, the difficulty and the style of the game. Because of the game’s novelty, I feel it would be wise to seek inspiration from it for our own project. Features I feel which we can take inspiration from include;

  • Language selection at the very start of the game (Localization)
  • Customization of resolution
  • Customizable camera
  • Graphics customization
  • Tutorial at the very start of the game and consistent with story and flow.
  • Level select feature
  • Perks shown in the menu
  • Excellent feedback to player regarding health and ammo count

 

Areas where the interface is lacking, include;

  • Interactive objects aren’t immediately visible (motivates search and explore?)
  • Enemies are easily misinterpreted
  • No visual feedback in different character states (stealth)
  • Unavailable perks, no description how to achieve
  • No mini-map
  • No error prevention when exiting game or level

 

Overall, this indie game is very usable and novel to it’s genre. With innovative game play features, regarding the reloading, the difficulty and art style, the value for money is excellent. The interface is very simple and easy to navigate. I didn’t find any major problems with the UI, only a few minor problems. I think the main things to take away from this game are the perks shown in the pause menu, which could be partnered with objectives, referring to Minigore 2. Also the animations in the interface provide amazing feedback to the player, e.g., revolver chamber spinning when firing and bullets animating into it when reloading. Also with regards to localization the game provides language selection and the beginning of the game, eliminating frustrations of searching for your native language through incomprehensible words.

 

 

 

 

Zombiewood

 

Zombiewood was chosen because of its similarities to our own game. Zombiewood is an isometric survival game, much like Minigore 2.Also similar to Minigore, Zombiewood has consistently received 4-5 star reviews. The game has a very arcade style feel like Minigore 2 and our own game DND, but it has a stronger focus on the story, which I feel we could learn from and incorporate into our own game. Not an indie game, but rather it was created by the well renowned game developer, Gameloft. Features to take inspiration from include;

 

  • Language selection at the very start of the game (Localization)
  • Tutorial integrated into the main game and consistent with story and flow
  • Great sound and visual feedback (e.g. Health, Pickups etc)
  • Tutorial is completely graphical
  • Enemies/Pickups etc and very visible.
  • Good error prevention

 

Areas in which not to follow include;

  • UI not consistent in colour
  • Tips are easily missed
  • Redundant UI components
  • Layout of icons make it hard to actually tap on some of them
  • Inconsistent UI visuals

Overall Zombiewood has a very usable interface and the in game interface itself is responsive. However I can’t help but compare it to Minigore 2, which I feel did a better job in terms of the UI. Both games have very very similar features however the consistency of the visual style in Minigore 2 and the general simplicity and layout make it the more enjoyable out of the two. In any case Zombiewood has provided me with some good guidelines on creating the UI for our project, in terms of what to include and what not to include.

 

 

 

 

 

 

Exanima

 

Exanima was chosen as it fits into the genre specifications and because of its originality and novelty in the genre. Exanima is a very accomplished and successful game and has received very high reviews on Steam (720 positive to 156 negative). The game can be compared to games such as Dark souls and Bloodborne. These, and Exanima are very hardcore games where the player is rewarded minimally and punished significantly. Because of its hardcore nature some of the usability faults may be implemented with that in mind, as to create a more realistic and harder experience. This will be taken into account. Features I believe we could take inspiration from include;

 

  • In depth graphical customization
  • Controllable camera
  • Tips
  • Customizable controls
  • Good feedback (being hit, attacking, etc)
  • In game UI layout (only critical info is displayed)
  • Drag and drop item selection

 

 

Areas in which I believe we should not follow include;

  • Pickups are easily missed
  • No tutorial, just a huge block of text
  • Unspecified game mode
  • No instructions or tips how to navigate and control character customization screen
  • Level design must be remembered (no mini-map – Hardcore)

 

In general, playing Exanima is an enjoyable experience, however it has some major flaws in the design and UI which I feel can’t be overlooked. Even though the game is meant to be difficult, it should not be difficult to understand and navigate through its menus. I think there is a lot to learn from Exanima, from  their successes and their mistakes.

 

 

 

 

 

 

 

 

Conclusion

 

All of the games studied have things they do well, and things they don’t do well or leave out. I tried to choose games that stuck within our genre, however are completely different in the way they play and their styles, visually and in the way they play.

 

After experiencing all of the above games and evaluating and analysing them I feel I’ve come across a good number of good and bad points from which I can design a responsive and intuitive user interface. I feel this summary document will help myself and the team as we can refer to this quickly, without the need to look through my spreadsheets.

 

The findings to take inspiration from and to use from each game above should relate identically to the heuristics I have chosen for the evaluations, therefore I believe it more necessary, helpful and relevant to include a list of summarised ‘bad’ findings below, as well as the features to possibly include. As we can refer to the end column of my spreadsheets or directly to the heuristics to create good features in the design of the UI. I feel we need to summarise all the bad points so we can refer to them and compare them with the heuristics I’ve chosen to have a list of things to do, and a list of things to not do. Therefore below I have summarised the findings in which we should make sure to not include in our project.

Summary of findings and features to include in DND;

 

  • customizable graphics
  • tutorial which is consistent with the story and flow of the game
  • customizable control
  • range of difficulty options
  • A number of language/regional options at the very start of the game (Localization)
  • Camera customization
  • Objectives in the pause menu (If we will have objectives – Tech lead/Game des)
  • Level select feature
  • Perks shown in the menu (If we will have perks – Tech lead/Game des)
  • Visual feedback (e.g. Health, Pickups, ammo, etc)
  • Audible feedback (e.g. Health, Pickups, ammo, etc)
  • Tutorial is completely graphical (Localization)
  • Enemies/Allies/Pickups etc and very visible.
  • Good error prevention
  • Tips
  • In game UI layout (only critical info is displayed)
  • Scoring system

 

 

Summary of findings and features not to include in DND;

 

  • Unspecified settings
  • Health and other UI components at the bottom of the screen (illogical?)
  • Tips giving wrong info
  • Language selection hidden in menus
  • Entrances to locations can be easily misinterpreted
  • Menus, icons and type are not consistent in colour
  • Interactive objects aren’t immediately visible
  • Redundant UI components
  • Layout of icons make it hard to actually tap on some of them
  • Pickups are easily missed
  • No tutorial, just a huge block of text
  • Unspecified game mode

 

 

 

 

Ongoing Personas (2 complete)

So, my in my other module I’m doing a project related to a gaming service and have conducted surveys for that so for these personas for our game my research has included my surveys from my other project, I’ve conducted interviews (discussions) with friends, family and colleagues and have looked at a variety of statistics concerning gaming from credible sources.

I’m attaching the two current personas to this post.

P.S. Not sure why some lines are bold, ignore it.

Persona 1 (Veteran)

Persona 2 (Casual)

Competitor Analysis and Evaluation

Finished off my Competitor Evaluation and Competitor analysis today. No write up yet however the core information from the research is placed on the right of both spreadsheets. Giving guidance from how competitors have designed their interfaces. 2 mobile games were used and 3 PC games as we’re not 100% sure on what platform the game is intended for, which will impact the design.

 

I’ve also created some low fidelity wireframes (not complete halfway through – will finish tomorrow morning) for the design of our UI. However this is very very likely to see drastic changes when we have more of the design and game features laid out.

Heres the links, 1  2  3

 

Famous localisation mistake

Localisation mistakes are nothing new but few have become as popular as the localisation mistake made when the Zero Wing video game from 1991 was translated into English. At the very beginning of the game, in the opening cutscene one character’s dialog reads as follows: “All your base are belong to us“. This short phrase will become very popular many years later. This was not an isolated incident when it came to this game though, the whole game was poorly translated from the original Japanese into English. A quick example of a line of text from the game, with the accompanying poor translation and correct translation:

Original: 機関士:何者かによって、爆発物が仕掛けられたようです。

Translation: Mechanic: Somebody set up us the bomb.

Correct translation: Engineer: Somebody has planted a bomb.

(Wikipedia, 2015)

The phrase uttered at the beginning of the game has appeared in numerous articles, books, comics, clothing, movies, radio shows, songs, television shows, video games, webcomics, and websites. It is an interesting case of a relatively mediocre game that wasn’t received that well critically when launched, to become an internet phenomenon at a much later date, due to its poor localisation. The video game industry has come a long way since then and the localisation efforts of game companies have improved exponentially. Localisation mishaps still occur though and I will cover more of them in future posts. But until then, remember that: “All your base are belong to us“.

– Marius Anton

Bibliography: Wikipedia, (2015). All your base are belong to us. [online] Available at: https://en.wikipedia.org/wiki/All_your_base_are_belong_to_us [Accessed 15 Nov. 2015].

Tasks and Challenges in Game Localisation

There are many tasks and challenges when it comes to localising a game:

  • Linguistic and cultural: the translation of language and cultural references maintaining the feel of the game but making it more appealing for the receiving locale.
  • Hardware and software: for example the change between PAL and NTSC, re-mapping of hotkeys, gameplay modifications.
  • Legal: age ratings may differ depending on the country of release. They are controlled by national or international bodies like PEGI (for Europe), ESRB (for US and Canada),ACB (for Australia), or CERO (for Japan).
  • Graphics and music: Some games may exhibit different characters, or the same ones with a slightly different appearance in order to facilitate players identification with theiravatar. Music may also vary according to national trends or the preferences of major fan communities.

Example:  When games are more story- than action-driven, culturalising them can be challenging because of all the premises the designers are taking for granted in the development of theplot. Asian gamers seem to prefer more childlike characters, while Western countries might emphasize adult features. An example of the changes that are likely to happen during localization is Fatal Frame (known in Japan as Zero and known in Europe as Project Zero) (Tecmo 2001). In the original Japanese version the female protagonist, Miku, was a frightened seventeen-year-old girl looking for her brother Mafuyu who disappeared after entering a haunted mansion. In the US and European versions Miku is nineteen, has Western features, and is not wearing the original Japanese school uniform. Unfortunately, developers did not think necessary to change her brother’s appearance, so when players do find Mafuyu at the end of the game they do not seem to be blood-related.

To know more details about localisation, please go to the source:

https://en.wikipedia.org/wiki/Video_game_localization

What I learned today

I attended to an event called Interface 2015, there I got  to several small conferences where they talked about where to get money for your games and what is there to be considere in order to help your game to be successful.

Among other things that were mentioned, localisation of games was almost always an important topic.

First Garry Williams from SoldOut said that localisation of a game should at least consider these languages to get to lot of people.

  • English
  • French
  • German
  • Italian
  • Spanish
  • Polish
  • Russian
  • Portuguese (Portugal and Brasil)

He also mentioned that even if it sounds odd Poland and Russia have are places where night life ends early and videogames are the only alternative so we have also that factor to consider when localisating a game.

From the conference called “How to reach global markets” with Gareth Wiliams from Premier PR, Tobias Jost from Marchsreiter Communications and Victor Perez from VPCom, I learned that to get to people in UK, France and Germany we have to localise, however these 3 have huge differences on how to get to players and they stated clearly that:

  • You MUST consider the genre of your game before spending in localisation, if it is a FPS you don’t really need to invest much o nothing at all, whereas if it is a children´s or family game it has to be localised considering specialy the translation. No translation = No one plays your game.
  • On this matter there’s also the thing of how your game looks like, for instance if you have manga/anime like characters you must consider localising also for Japan, Korea and China; or if it is free to play China and Russia are a huge market.
  • In Germany you have to be extremly careful with the rating of your game, for the super strict rules that protect children. I mean you have to be careful of this anywhere but pay special attention in Germany or you’ll probably end up in trouble.

There were to many things consider here and I have the impression that culturalisation and localisation are becoming the same thing so we need to provide easy ways to help on translation matters or alternatives to it so there’s more time for developer studios to find ways to culturalise their games.