| A similar thing happens with the depiction of blood, and real historical events; many things have to be readjusted to fit the country’s tolerance and taste in order not to hurt sensibilities. |
当游戏中出现血液或真实历史事件时，类似的情况也常常发生。开发者必须调整游戏的方方面面来适应目标文化的习惯，避免引起玩家的反感。 |
| This is probably one of the reasons why so many games take place in imaginary worlds. |
正是基于这一原因，许多游戏的背景往往设定在架空世界中。 |
| This customisation effort draws on the knowledge of geopolitical strategists, like Kate Edwards from Englobe. |
适应目标文化的需求涉及到专业的地缘政治知识。凯特·爱德华兹便是Englobe负责这一领域的专家。 |
| During the 2006 Game Developers Conference in California she explained the importance of being culturally aware when internationalising games in a presentation called "Fun vs. Offensive: Balancing the 'Cultural Edge' of Content for Global Games" (Edwards 2006). |
2006年，她在加利福尼亚的游戏开发者大会上发表了题为《有趣还是冒犯：全球化推广中游戏的文化取舍》的演讲，强调了文化差异在全球化游戏推广中的重要性（爱德华兹，2006）。 |
| Both developers and publishers want to please their clients. |
归根结底，开发者与发行商的最终目标是一致的——让玩家感到开心 。 |
| Gamers are not particularly interested in where the game comes from, or who created it any more than someone buying a new car or DVD player. |
正如买车或者DVD播放器时，消费者并不在意它来自哪个国家或是由谁制作做的，玩家购买游戏时也是如此。 |
| A product for mass consumption only keeps the branding features of the trademark; all the other characteristics might be subject to customisation due to the need to appeal to the local market. |
产品进入消费市场后唯一需要保留的便是品牌特征，其余部分都可以顺应目标市场的偏好调整。 |
| Therefore, the translation will be in some cases an actual recreation, or, to put it in the words of Mangiron & O’Hagan (2006), a "transcreation", where translators will be expected to produce a text with the right "feel" for the target market. |
因此，游戏翻译很多情况下其实是二次创作。用Mangiron和O’Hagan的话来说，即“创译”，其目的就是让目标市场的玩家感到“舒服”。 |
| It is important for translators to be aware of the logic behind this. |
译者必须理解这背后的逻辑。 |
| Video games are a software product, and as such, they will have manuals and instructions, as well as interactive menus and help files. |
电子游戏是以软件形式销售的，除了手册、指引之外，还包含可交互的菜单和帮助文件。 |
| This will call for technical translation. |
这是电子游戏翻译技术性的一面。 |
| On the other hand, we will also find narration and dialogue closer to literary texts or film scripts where a more creative translation would be expected. |
另一方面，电子游戏中也包含电影和文学作品中常见的叙事和对话，要求译员采取更有创意的翻译策略。 |
| However, unlike most forms of translation, video games can adapt or even change the original script, as long as it is in the search of enhanced fun and playability of the target culture. |
与其他领域的翻译不同，只要能使游戏更加有趣、使目标玩家更能沉浸其中，调整甚至更改原文都是可以接受的。 |
| We can only find a parallel of this type of practice in the translation of children’s literature where professionals often adapt or alter the original text to improve children’s understanding and enjoyment of the book. |
或许只有儿童文学的翻译可以于此类比：为了帮助儿童更好地理解并享受书籍，专业的儿童文学译者也常常需要对原文进行调整或改编。 |
