We frequently see articles about Chinese regulations on Gamasutra and across industry sites, with talk of consoles being banned and then reintroduced. The Chinese games
market is a complicated space, particularly if you don’t have local ties to China.
If you’re a mobile games developer, you may have noticed that the market became even more complicated this past year.
Yet another regulation introduced will prohibit your mobile game from being released in China unless you navigate very carefully.
Market Opportunity in China
China represents a huge market potential, but it is likely most mobile game developers who try to enter the Chinese market in the near future will fail.
China is currently the “most valuable [mobile games market] in the world” according to GamesIndustry.biz.
A recent report from Niko Partners estimates 465 million mobile players in China by the end of 2016, generating $1.3 billion from mobile game exports, nearly doubling to $2.1 billion by 2020.
Just yesterday, TechCrunch posted an article stating China has surpassed the US in iOS App Store revenue, with Chinese mobile games consumption far exceeding the US (driving 75% of App Store revenue!).
Video game localization is one part of game development that often remains enshrouded in mystery. Why was place name X changed in the German version of a game? Why did that character’s name become something entirely different? It isn’t always immediately clear to gamers why localization teams make the decisions they do…
Sometimes it has to do with a direct word translation sounding too much like a pre-existing product in another region of the world. Sometimes one possible version of translated text makes no sense in Spanish or Japanese and needs to be adapted to fit within cultural context.
It is even possible a part of a storyline may bear too much resemblance to an actual historical event within, say Asia, and large sections of the text need to be entirely rewritten so the game isn’t banned within the region.
Localized Pokémon Names
Since Pokémon GO has been making such a big splash worldwide, we wanted to take the opportunity to discuss game localization using real world examples. While Pokémon names may not contain particularly historical or culturally-heavy implications, that doesn’t mean their localization is straightforward.
Pokémon characters are a good example of how localization can be accomplished in many different ways. Some Pokémon names are alliterations, whereas others resonate more with the character’s appearance. This means that Pokémon names are a good example of how video game localization teams sometimes use creativity to develop unique names in other languages.
Michelle: Hello, everyone! Welcome back to LocaLAIse this. My name is Michelle Zhao, and I am the Managing Director for the Greater China area here at LAI Global Game Services. Our guest today is Rory Schussler, gaming community manager of Firevale’s new mobile game: God of Arena. What is unique about this team is that they are a Chinese company that achieved success in western mobile market. Today they are going to share their experience and insights about this new game. Now let’s welcome Rory.
Rory: Hi, Michelle. It’s nice to be here! I am Rory, Community Manager for God of Arena from Firevale Games. Thank you for having me on to talk about our game.
Facebook Community Organic Growths –
The 1st month after Community Manager took over – a tremendous growth on the 3rd week
1. Michelle: Could you tell our audience about your company and your new game, God of Arena?
Rory: Firevale was founded by some industry talents from EA, Ubisoft and Zynga. Now we are based in Beijing and we have offices in ShangHai and HongKong. Continue reading →
Our latest installment of LocaLAIse This! takes a look at game localization from an artist standpoint. LAI’s Managing Director of China interviews Lillian Lee, our newest Game Art Localization Consultant with 12+ years in the industry. Lillian has served as an artist for AAA games such as The Darkness 2 and BioShock 2, and her expertise in Asian culture has been a tremendous asset in her work as an artist across studios, including Ubisoft and Red 5 Studios.
Game Localization – Art [Featuring Lillian Lee, Game Art Localization Consultant, LAI Global Game Services]
Hello, everyone! Welcome back to LocaLAIse this. My name is Michelle Zhao, and I am the Managing Director for Greater China area here at LAI Global Game Services. Today we are very happy to introduce the newest member of our team, Lillian Lee. Lillian is a game artist and is truly an industry veteran. Now she is also working as an art localization specialist for us here at LAI Global Game Services. So today we are featuring the artistic aspect of Game Localization. Let’s welcome Lillian.Continue reading →
How To Be A B2B Pro When Working With Chinese Mobile Game Companies
By Michelle Zhao, Managing Director – Greater China, LAI Global Game Services
Before we get into the data, let’s take a look around China:
Waiting in queues
In the subway car
The lucrative market
By the end of 2013, China had a $13 billion revenue game industry and 490 million players according to GPC, the China Game Publishers Association Publications Committee. Accounting for $1.8 billion, with 310 million mobile gamers, the mobile gaming market has been especially hot, seeing the largest growth in 2013 after rising 246.9% from the previous year. With the open policy of 4G license issuing (Dec. 2013) and economic growth in 2nd and 3rd tier cities, more people are expected to play mobile games. It is estimated that hardcore mobile games will be taking over half of the mobile game market in 2014. (Hardcore game mobile growth: 8% in 2008, 42% in 2013, 52% est. in 2014)
Localization is one of the few parts of the production process where you know you’ve done a good job when no one ever mentions it. A good localization isn’t intrusive and should make the player feel that no matter what language they’re playing the game in, that is the original.
I recently returned from DevHour, an incredible industry conference in Mexico City. The organizers have done a fantastic job of bringing together game development talent from states across Mexico, making DevHour the largest conference specifically for game developers in Latin America. As a result, the conference is gaining more traction from organizations abroad, this year including talks by the IGDA, King.com, YetiZen, and TechBA Vancouver.
Since very little has been written about the nuances of game localization, particularly for languages outside of Japanese and English, I interviewed Language Automation’s Latin American localization team and gamers from the region, in addition to scouring gaming forums. This article reflects the compiled information – how linguistic differences across 20 Latin American countries affects immersion in games and how translators are able to compensate for these linguistic variations. I’m publishing this article in follow up to my DevHour presentation about game localization, in which I spoke about the complexities of global markets and why proper localization (and culturalization) is key. Continue reading →
Fact: Over 50% of worldwide video game revenue comes from markets outside the US.
Despite the importance of making games available in a variety of languages for gamers across global markets, translation and localization is still a source of confusion for many developers. Due to the number of easily-avoided issues encountered by game translation and localization companies on a regular basis, we realized the value to the entire development community to dispel common myths regarding the localization process, thereby perpetuating a network of informed developers to ultimately enhance decisions regarding game translation, producing a global library of games with quality localization.
Here’s a recap of Myths #1-4:
Myth #1: A translation is a translation is a translation – In the long run, cheaper is better for my company’s bottom line, so I should always be searching for vendor alternatives.
- In actuality, switching localization vendors can have a negative impact on your company’s financial statement. In this section, we take a look at the implications of changing vendors. Continue reading →
For nearly 20 years, Language Automation, Inc. (LAI) has been tracking global video game markets in our mission to make games accessible to a wide array of players through our extensive network of worldwide game translators. While statistics and reports provide fantastic overviews and targeted data for these markets, we set out to gain a more detailed and deeper understanding of regional players and their perspective of the industry at the local level.
Through research and analysis of game industry trends around the world, we discovered gaps in game development that a handful of game developers and publishers are now filling – the creation of culturally-sensitive games that maintain an extraordinary level of local relevance – a.k.a. culturally-focused and regionally-inspired games. While large players in the US, Europe, and Asia focus on the development of games that will achieve high sales in proven markets, game creators in developing regions of the world see a need for a new type of game, that addresses the lack of games made specifically for their regions – regions in which individuals pour more money into gaming and have tremendous market potential.
To paint a fuller picture of the potential of video games in Latin America and the MENA region (Middle East & North Africa), we will first provide an overview of the two markets. (This overview is also outlined in the introductions of our two video interviews. Please check out our interview with Mexican developer Phyne Games and our interview with Lebanese-based developer Game Cooks). We will then share with you the insights of organizations that were largely successful due to their targeting of developing regions via culturally-focused and regionally-inspired games, and finally, we will provide highlights of our new interview series in which we speak with game developers that create games in this emerging genre. Continue reading →