As the narrative techniques and the story lines of video games have become more complex and well-developed, the adaptation of games entails a serious challenge for translators. More precisely, the article explores the possible relation between the translation approaches used in the field and the different genres or textual typologies of video games. This paper addresses the issue of video game localisation focusing on the different strategies to be used from the point of view of Translation Studies. I expect the choice of Shovel Knight as a localisation case study to be interesting due to the place of retro gaming in the larger history of videogame culture and videogame localisation. I will also observe how O’Hagan and Mangiron’s idea that function guides game translation2, which draws from Vermeer’s Skopos Theor圓, applies to the work at hand. Finally, I will analyse the translation itself, focusing on the translation of humour, puns and register, but also in the embellishment and changes of translation, which O’Hagan and Mangiron call ‘transcreation’1. This will be followed by an examination of certain commercial branding issues that impact specific translation choices, although branding and its impact on translations in general are beyond the central focus of this essay. To do this, I will draw upon writings regarding games localisation and Translation Studies specifying technical, cultural or historical issues that may be relevant. I will look at the meaning of localizing a ‘retro’ game, that is to say a game that is meant to evoke a different time period, and how this does or does not affect the localisation process from a consumer’s viewpoint. This essay aims to analyse the Spanish localisation of Shovel Knight from a number of perspectives. Game localisation is indeed a blend of technical constraints and creativity, which appears to be rather neglected by translation studies scholars, in comparison to other forms of translation. It shows that some aspects of game localisation are indeed somewhat limiting for the translator, but that most of what is asked of him is overall similar to more traditional, linear translation work. Comparison allows us to assess how successful the translator has been in this case. We will see to what extent game localisation is specific, as more general theories will be very relevant as well. Naturally, differences due to the nature of the medium require the use of specific tools as well. By comparing specific examples in the source and target texts, it attempts to illustrate the problems which can arise for the translator as well possible solutions, supported by various more or less specific theories. It is a case study of the adventure game Grim Fandango, developed and published by Lucasarts in 1998. The following paper aims to study the localisation of video games, in order to learn more about the work of the translator.
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