TOKYO: The success of Japanese video games on a global scale is attributed to the delicate task of appealing to overseas players. This includes considering and adapting to the expectations of the global audience, especially on issues such as sexism. The majority of big game sales now come from outside Japan, leading to the need for careful consideration in everything from slang words to characters’ costumes for a global audience.
This process has evolved significantly since the 1980s and 90s, a period described as the “Wild West”. According to the SEGA of America team, back then, there were no industry standards, and the quality of localisation varied greatly from one title to the next. The constraints faced by translators included small text boxes and sometimes game developers did the localisation themselves in less-than-perfect English. This also meant that many dialogue-heavy games from that era never made it out of Japan.
However, things have changed for the better. Localisation is now integral to the design process, with international gamers in mind from the very beginning. Franck Genty, senior localisation manager at Japanese game giant Bandai Namco, pointed out that the #MeToo movement has influenced Japanese game developers to be more flexible in dressing their heroines.
Top-selling games like Mario, Final Fantasy, and Pokemon involve fantasy worlds that are not overtly Japanese, offering some flexibility for their adaptation. However, adapting series such as Yakuza, which are set in real-life locations and use Japanese underworld slang, is more challenging. Nonetheless, about 70% of revenue from recent Yakuza titles comes from overseas, highlighting the importance of getting the adaptation right.
Interest in manga comics, anime cartoons and wider Japanese culture in recent years has made the job of localisation easier. For instance, cultural reference points can now be more subtle, with adaptations no longer required to explain what “ramen” is. Genty’s team at the European headquarters of Bandai Namco has adapted games including the Tekken fighting series and the role-playing game Elden Ring into a dozen languages.
For Masayoshi Yokoyama, the series’ executive producer, many representations which were normal in Japan in the first Like A Dragon games are no longer acceptable. As a result, LGBTQ caricatures and sexist cliches have also been eliminated. Yokoyama also emphasized the importance of input from their teams in the United States and Europe to ensure the content is acceptable in their countries.
Efforts have been made to understand the needs of the English-speaking world, but challenges remain, particularly when translating games into languages other than English. Despite these challenges, localisation teams remain committed to creating connections to Japanese culture and helping players across different countries discover its depth while respecting the game and the player.
