In this Element, the authors focus on the translational dimension of 'on-screen language' (OSL). They analyse a data set covering the Polish localisations of Tom Clancy's The Division 2 and Shadow Warrior 2, from which over 1000 cases of unique and meaningful OSL were extracted, almost exclusively in languages other than Polish. Close to 100 representative examples are examined in this Element to map out a comprehensive typological account of OSL. First, visual-verbal stimuli are categorised by their prominence in the 3D environment. The second typology focuses on the identified OSL functions. A supplementary typological distinction is proposed based on the technical (static vs. dynamic) implementation of OSL. The discussion of findings and implications notably comprises input from an interview that the authors conduced with a lead level developer behind Shadow Warrior 2 to provide a complementary professional perspective on OSL and its translation.
In this Element, the authors focus on the translational dimension of 'on-screen language' (OSL). They analyse a data set covering the Polish localisations of Tom Clancy's The Division 2 and Shadow Warrior 2, from which over 1000 cases of unique and meaningful OSL were extracted, almost exclusively in languages other than Polish. Close to 100 representative examples are examined in this Element to map out a comprehensive typological account of OSL. First, visual-verbal stimuli are categorised by their prominence in the 3D environment. The second typology focuses on the identified OSL functions. A supplementary typological distinction is proposed based on the technical (static vs. dynamic) implementation of OSL. The discussion of findings and implications notably comprises input from an interview that the authors conduced with a lead level developer behind Shadow Warrior 2 to provide a complementary professional perspective on OSL and its translation.
This Element takes the initiative to highlight the nascent state of audiovisual translation research centring on users of video games. It proposes ways of advancing the research by integrating numerous related perspectives from relevant fields to guide studies in translated game reception into further fruition. The Element offers an accessible overview of possible relationships between translation and its experiencers, showcasing ways to design game reception studies. Examples, methods, tools, and practical concerns are discussed to ultimately develop a blueprint for game translation user research which aims to consolidate scientific user-centric inquiry into video game translation. To that end, the blueprint captures the three-pronged interplay between the parameters of localisation-reception research in facets of user experience, facets of translated games, and facets of game users.
This Element takes the initiative to highlight the nascent state of audiovisual translation research centring on users of video games. It proposes ways of advancing the research by integrating numerous related perspectives from relevant fields to guide studies in translated game reception into further fruition. The Element offers an accessible overview of possible relationships between translation and its experiencers, showcasing ways to design game reception studies. Examples, methods, tools, and practical concerns are discussed to ultimately develop a blueprint for game translation user research which aims to consolidate scientific user-centric inquiry into video game translation. To that end, the blueprint captures the three-pronged interplay between the parameters of localisation-reception research in facets of user experience, facets of translated games, and facets of game users.
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