The Localisation of Video Games

The present thesis is a study of the translation of video games with a particular emphasis on the Spanish-English language pair, although other languages are brought into play when they offer a clearer illustration of a particular point in the discussion. On the one hand, it offers a descriptive analysis of the video game industry understood as a global phenomenon in entertainment, with the aim of understanding the norms governing present game development and publishing practices. On the other hand, it discusses particular translation issues that seem to be unique to these entertainment products due to their multichannel and polysemiotic nature, in which verbal and nonverbal signs are intimately interconnected in search of maximum game interactivity. Although this research positions itself within the theoretical framework of Descriptive Translation Studies, it actually goes beyond the mere accounting of current processes to propose changes whenever professional practice seems to be unable to rid itself of old unsatisfactory habits. Of a multidisciplinary nature, the present thesis is greatly informed by various areas of knowledge such as audiovisual translation, software localisation, computer assisted translation and translation memory tools, comparative literature, and video game production and marketing, amongst others. The conclusions are an initial breakthrough in terms of research into this new area, challenging some of the basic tenets current in translation studies thanks to its multidisciplinary approach, and its solid grounding on current game localisation industry practice. The results can be useful in order to boost professional quality and to promote the training of translators in video game localisation in higher education centres.Open Acces

What is it like to experience sound while playing educational games? : an interpretive phenomenological investigation

textI took an interpretive phenomenological approach to examine what it is like to experience sound while playing educational games. I asked six people to play three educational games, for a total of 18 interview sessions. I analyzed 603 pages of interview transcripts and 22.68 hours of video recording using phenomenological research techniques to derive. I used NVivo to identify and code 1,738 meaning units across the three games studied. I organized these meaning units into related clusters and identified constituents of meaning for each game studied. I derived 27 constituents of meaning for Fate of the World, 22 constituents of meaning for Hush, and 27 constituents of meaning for Salamander Rescue. I wrote textural-structural descriptions to describe participant experiences in each game and performed imaginative variation to further provide a context to describe participant experiences. From these results, I derived essential meanings to situate a discussion about sound in each of the games studied and I discussed eight essential meanings that were shared across the three games studied. According to my analysis of these participants’ responses, sound conveyed a sense of the game’s interface in addition to the environment in which play was situated. Sound also supported the presentation of characters in the game and worked to communicate the game’s narrative to the player. Music in the games studied helped to provoke thought and also conveyed an emotional context for play. Sound supported players’ overall engagement in these games, but the absence of sound removed this engagement. Critically, people noticed when the visuals that they saw did not match the sounds that they heard. I present an applied phenomenological framework for sound in educational games to illustrate these essential meanings and to reflect how participants’ experiences were affected by the ways they used game interfaces, interacted with game characters, experienced game narrative, and described the game’s environment. This framework further illustrates the possibility space for potential experiences of sound in gameplay as determined by the choices players make, the game’s state of play, and the degree of synchresis present between what players hear and what they see as they play.Curriculum and Instructio

What is it like to experience sound while playing educational games? : an interpretive phenomenological investigation

textI took an interpretive phenomenological approach to examine what it is like to experience sound while playing educational games. I asked six people to play three educational games, for a total of 18 interview sessions. I analyzed 603 pages of interview transcripts and 22.68 hours of video recording using phenomenological research techniques to derive. I used NVivo to identify and code 1,738 meaning units across the three games studied. I organized these meaning units into related clusters and identified constituents of meaning for each game studied. I derived 27 constituents of meaning for Fate of the World, 22 constituents of meaning for Hush, and 27 constituents of meaning for Salamander Rescue. I wrote textural-structural descriptions to describe participant experiences in each game and performed imaginative variation to further provide a context to describe participant experiences. From these results, I derived essential meanings to situate a discussion about sound in each of the games studied and I discussed eight essential meanings that were shared across the three games studied. According to my analysis of these participants’ responses, sound conveyed a sense of the game’s interface in addition to the environment in which play was situated. Sound also supported the presentation of characters in the game and worked to communicate the game’s narrative to the player. Music in the games studied helped to provoke thought and also conveyed an emotional context for play. Sound supported players’ overall engagement in these games, but the absence of sound removed this engagement. Critically, people noticed when the visuals that they saw did not match the sounds that they heard. I present an applied phenomenological framework for sound in educational games to illustrate these essential meanings and to reflect how participants’ experiences were affected by the ways they used game interfaces, interacted with game characters, experienced game narrative, and described the game’s environment. This framework further illustrates the possibility space for potential experiences of sound in gameplay as determined by the choices players make, the game’s state of play, and the degree of synchresis present between what players hear and what they see as they play.Curriculum and Instructio

Anime Studies: media-specific approaches to neon genesis evangelion

Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion aims at advancing the study of anime, understood as largely TV-based genre fiction rendered in cel, or cel-look, animation with a strong affinity to participatory cultures and media convergence. Making Neon Genesis Evangelion (Shin Seiki Evangerion, 1995-96) its central case and nodal point, this volumen forground anime as a media with clearly recognizable aesthetic properties, (sub)cultural affordances and situated discourses

Anime Studies

Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion aims at advancing the study of anime, understood as largely TV-based genre fiction rendered in cel, or cel-look, animation with a strong affinity to participatory cultures and media convergence. Taking Neon Genesis Evangelion (Shin Seiki Evangerion) as a case study, this volume acknowledges anime as a media form with clearly recognizable aesthetic properties, (sub)cultural affordances and situated discourses.;First broadcast in Japan in 1995-96, Neon Genesis Evangelion became an epoch-making anime, and later franchise. The initial series used already available conventions, visual resources and narrative tropes typical of anime in general and the mecha (or giant-robot) genre in particular, but at the same time it subverted and reinterpreted them in a highly innovative and as such standard-setting way.;Investigating anime through Neon Genesis Evangelion this volume takes a broadly understood media-aesthetic and media-cultural perspective, which pertains to medium in the narrow sense of technology, techniques, materials, and semiotics, but also mediality and mediations related to practices and institutions of production, circulation, and consumption. In no way intended to be exhaustive, this volume attests to the emergence of anime studies as a field in its own right, including but not prioritizing expertise in film studies and Japanese studies, and with due regard to the most widely shared critical publications in Japanese and English language. Thus, the volume provides an introduction to studies of anime, a field that necessarily interrelates media-specific and transmedial aspects.;In Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion, anime is addressed from a transnational and transdisciplinary stance. The disciplinary and methodological perspectives taken by the individual chapters range from audio-visual culture, narratology, performance and genre theory to fandom studies and gender studies. In its first part, the book focuses on textual analysis and media form in the narrow sense with regard to filmic media, bank footage, voice acting and musical score, and then it broadens the scope to consider subcultural discourse, franchising, manga and video game adaptations, as well as critical and affective user engagement

Investigating the build-up of precedence effect using reflection masking

The auditory processing level involved in the build‐up of precedence [Freyman et al., J. Acoust. Soc. Am. 90, 874–884 (1991)] has been investigated here by employing reflection masked threshold (RMT) techniques. Given that RMT techniques are generally assumed to address lower levels of the auditory signal processing, such an approach represents a bottom‐up approach to the buildup of precedence. Three conditioner configurations measuring a possible buildup of reflection suppression were compared to the baseline RMT for four reflection delays ranging from 2.5–15 ms. No buildup of reflection suppression was observed for any of the conditioner configurations. Buildup of template (decrease in RMT for two of the conditioners), on the other hand, was found to be delay dependent. For five of six listeners, with reflection delay=2.5 and 15 ms, RMT decreased relative to the baseline. For 5‐ and 10‐ms delay, no change in threshold was observed. It is concluded that the low‐level auditory processing involved in RMT is not sufficient to realize a buildup of reflection suppression. This confirms suggestions that higher level processing is involved in PE buildup. The observed enhancement of reflection detection (RMT) may contribute to active suppression at higher processing levels

Anime Studies

Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion aims at advancing the study of anime, understood as largely TV-based genre fiction rendered in cel, or cel-look, animation with a strong affinity to participatory cultures and media convergence. Taking Neon Genesis Evangelion (Shin Seiki Evangerion) as a case study, this volume acknowledges anime as a media form with clearly recognizable aesthetic properties, (sub)cultural affordances and situated discourses.;First broadcast in Japan in 1995-96, Neon Genesis Evangelion became an epoch-making anime, and later franchise. The initial series used already available conventions, visual resources and narrative tropes typical of anime in general and the mecha (or giant-robot) genre in particular, but at the same time it subverted and reinterpreted them in a highly innovative and as such standard-setting way.;Investigating anime through Neon Genesis Evangelion this volume takes a broadly understood media-aesthetic and media-cultural perspective, which pertains to medium in the narrow sense of technology, techniques, materials, and semiotics, but also mediality and mediations related to practices and institutions of production, circulation, and consumption. In no way intended to be exhaustive, this volume attests to the emergence of anime studies as a field in its own right, including but not prioritizing expertise in film studies and Japanese studies, and with due regard to the most widely shared critical publications in Japanese and English language. Thus, the volume provides an introduction to studies of anime, a field that necessarily interrelates media-specific and transmedial aspects.;In Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion, anime is addressed from a transnational and transdisciplinary stance. The disciplinary and methodological perspectives taken by the individual chapters range from audio-visual culture, narratology, performance and genre theory to fandom studies and gender studies. In its first part, the book focuses on textual analysis and media form in the narrow sense with regard to filmic media, bank footage, voice acting and musical score, and then it broadens the scope to consider subcultural discourse, franchising, manga and video game adaptations, as well as critical and affective user engagement

Beyond sound effects: Designing sound for the American theatre in the 1970s

This dissertation investigates the engagement between American theatre and sound reproduction technologies in the 1970s. Through an analysis of Abe Jacob’s sound design for Broadway and productions created by experimental theatre practitioners such as Robert Wilson, Richard Foreman, and the Wooster Group, I explore how these productions extended formal theatre sound design practice in response to the advent of the recording and reproduction technologies, from microphones, loudspeakers, phonograph, tape recorders, and later digital computers. Although live theatre never had the resources to invest in technical research projects, it was very adept at adapting the latest innovations from other fields. I contend that the development of sound technologies not only shaped the formal innovations in electronic music composition, recordings, radio, and film, but that it compelled theatre artists to incorporate sound as a constituent part of the overall scenography. Tracing the way the sound was dramatized and staged, each chapter sounds out a pairing of the changes in design processes alongside the new approaches to the practice of listening and sound making in the age of mechanical and electronic (re)production: namely, Abe Jacob’s rock and roll sound system and Broadway’s mediatic resistance; Robert Wilson’s auditory landscape and sound event; Richard Foreman’s use of a tape machine to create sound objects; and the Wooster Group’s use of sound to foreground different modes of listening. The conclusion reflects upon my own sound design for Ping Chong and encapsulates the influences of sound technologies on theatre discussed in previous chapters. While the discourse of theatre sound is mostly comprised of step-by-step sound design instructional textbooks, this dissertation focuses not only on the type and variety of sounds made but also the artistic rationale behind the creative process by combining analyses of dramatic texts, production history, newspaper reviews, interviews and video recordings. Even though these new practices of sound in theatre were driven by sound technologies, this study reveals that the artistic rationale behind the creative process played an important role in transforming the technology to meet the needs of the production. Ultimately, by providing an account that interrelates the development of sound technology with its users from different artistic fields, this dissertation demonstrates the importance of sound in theatre and opens up the approaches to designing sound beyond its causal and semantic strictures of sound effect

DRONE DELIVERY OF CBNRECy – DEW WEAPONS Emerging Threats of Mini-Weapons of Mass Destruction and Disruption (WMDD)

Drone Delivery of CBNRECy – DEW Weapons: Emerging Threats of Mini-Weapons of Mass Destruction and Disruption (WMDD) is our sixth textbook in a series covering the world of UASs and UUVs. Our textbook takes on a whole new purview for UAS / CUAS/ UUV (drones) – how they can be used to deploy Weapons of Mass Destruction and Deception against CBRNE and civilian targets of opportunity. We are concerned with the future use of these inexpensive devices and their availability to maleficent actors. Our work suggests that UASs in air and underwater UUVs will be the future of military and civilian terrorist operations. UAS / UUVs can deliver a huge punch for a low investment and minimize human casualties.https://newprairiepress.org/ebooks/1046/thumbnail.jp