When I was first looking at the Table of Contents for Atari to Zelda: Japans videogames in global contexts, the first chapter I noticed that I thought could definitely relate to my paper is “Localization: Making the Strange Familiar”, where it describes popular Japanese gaming companies being translated and fixed up for people in other countries to buy them as well. A couple quotes that stood out to me included:
“In the early days of video game development, many games never (officially) left Japan, but many of those that did were instant hits and affected the culture of the industry and popular consciousness in ways that we still do not fully understand.”
“Localization has become more critical over the past few decades. Japanese developers and publishers still control a majority of their domestic market, but global sales of Japanese games have been shrinking— from a 50 percent share of the market in 2002 to about a 10 percent share in 2009— as they encounter greater competition from Western developers. 4 In response, Japanese companies have become more aggressive and experimental in their strategies. For example, Square Enix purchased the Western developer Eidos and its library of game titles, and Capcom made the decision to have Vancouver-based Blue Castle Games create the second in its series of Dead Rising games to give the title more “Western appeal.” 5 Companies around the world continue to decide which games deserve global releases, which are for domestic markets only, how to develop intellectual properties that might allow for the creation of different genres of games based on the same IP but are sold in different regions, and how to figure out which of these approaches is the best to take.”
“Like anime and manga fans, some players have hunted down such games and either played them in the original Japanese or figured out how to translate and localize them for themselves and other players, with varying approaches to the concept of professionalization.”
(I have definitely done this)
And one other passage this chapter goes over is currently one of my favorite video game series, Ace Attorney, to give a prime example of the use of westernization in video games. I definitely feel like I’ll use this game as an example for my essay, especially since I have already looked into the differences between the Japanese and American version prior to reading this book.
“Culturalization certainly plays a critical role in the development of the English version of Phoenix Wright because the game relies on conversation, exposition, puns, name-based gags, pop culture references, and the like as a central part of its appeal (figure 5.1). Although the game’s legal system is fiction, the game relies on wit and exacting uses of language in both dialogue and writing. The player must engage with the language of the game as a primary means of gameplay— through interviewing witnesses and defendants, in reading pertinent evidence, and in cross-examinations— and get the content right. Localization is about altering or modifying cultural expressions that might interfere with a game player’s understanding or enjoyment of a game. So if a joke in a game relies on knowledge of a popular television show, localization ensures that players in each targeted market or culture are provided with a reference that they can understand.”
Consalvo, Mia. Atari to Zelda : Japan’s Videogames in Global Contexts, MIT Press, 2016. ProQuest Ebook Central, .