| 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. |
血液以及真实历史事件的展示也出现了类似的情况；为了不触犯国家在这些方面的底线和偏好，很多事项都必须重新进行调整。 |
| This is probably one of the reasons why so many games take place in imaginary worlds. |
这可能就是众多游戏故事发生在虚构世界中的原因之一。 |
| This customisation effort draws on the knowledge of geopolitical strategists, like Kate Edwards from Englobe. |
这种定制化的方案需要地缘政治战略家的专业知识，如 Englobe 的 Kate Edwards。 |
| 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). |
在 2006 年的加利福尼亚游戏开发者大会上，她做了一场名为“趣味与冒犯：在全球化游戏内容中的‘文化刀锋’上寻求平衡”（Edwards 2006）的展示会，并在台上解释了在向全球各地推广游戏时，对于各地文化足够敏感的重要性。 |
| Both developers and publishers want to please their clients. |
开发商和发行商都想要讨好客户。 |
| 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. |
游戏玩家并不在乎游戏来自于哪里，或者谁打造了这款游戏，无非就像买了辆新车或者 DVD 播放器一样平常。 |
| 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. |
大众消费的产品只会保留商标的符号；所有其他特征都可能会因为需要迎合本地市场而被重新定制。 |
| 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. |
所以说，翻译在某些情况下实际上属于再创造，或者按 Mangiron 和 O' Hagan 的话来说：“创译”，也就是译者需要为目标市场产出具有“本土感”的文本。 |
| It is important for translators to be aware of the logic behind this. |
译者应当了解这背后的逻辑，这很重要。 |
| Video games are a software product, and as such, they will have manuals and instructions, as well as interactive menus and help files. |
电子游戏属于软件产品，正因如此，电子游戏会包含使用手册、说明书、交互菜单、以及帮助文件。 |
| This will call for technical translation. |
这就会用到技术翻译。 |
| 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. |
除此以外，还有和文学文本或电影剧本更接近的台词以及对话也需要更具创意的翻译。 |
| 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. |
但和大多数翻译类型不同的是，电子游戏可以改编乃至于直接更换原先的剧本，只要是为了在目标文化中创造出更强烈的乐趣以及可玩性就没有问题。 |
| 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. |
目前与此类操作相似的领域，我们只能找到儿童文学翻译行业，此行业的专业人士经常会改编或更改原文，以增强儿童对书本的理解以及读书的乐趣。 |
| 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. |
血液以及真实历史事件的展示也出现了类似的情况；为了不触犯国家在这些方面的底线和偏好，很多事项都必须重新进行调整。 |
| This is probably one of the reasons why so many games take place in imaginary worlds. |
这可能就是众多游戏故事发生在虚构世界中的原因之一。 |
| This customisation effort draws on the knowledge of geopolitical strategists, like Kate Edwards from Englobe. |
这种定制化的方案需要地缘政治战略家的专业知识，如 Englobe 的 Kate Edwards。 |
| 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). |
在 2006 年的加利福尼亚游戏开发者大会上，她做了一场名为“趣味与冒犯：在全球化游戏内容中的‘文化刀锋’上寻求平衡”（Edwards 2006）的展示会，并在台上解释了在向全球各地推广游戏时，对于各地文化足够敏感的重要性。 |
| Both developers and publishers want to please their clients. |
开发商和发行商都想要讨好客户。 |
| 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. |
游戏玩家并不在乎游戏来自于哪里，或者谁打造了这款游戏，无非就像买了辆新车或者 DVD 播放器一样平常。 |
| 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. |
大众消费的产品只会保留商标的符号；所有其他特征都可能会因为需要迎合本地市场而被重新定制。 |
| 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. |
所以说，翻译在某些情况下实际上属于再创造，或者按 Mangiron 和 O' Hagan 的话来说：“创译”，也就是译者需要为目标市场产出具有“本土感”的文本。 |
| It is important for translators to be aware of the logic behind this. |
译者应当了解这背后的逻辑，这很重要。 |
| Video games are a software product, and as such, they will have manuals and instructions, as well as interactive menus and help files. |
电子游戏属于软件产品，正因如此，电子游戏会包含使用手册、说明书、交互菜单、以及帮助文件。 |
| This will call for technical translation. |
这就会用到技术翻译。 |
| 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. |
除此以外，还有和文学文本或电影剧本更接近的台词以及对话也需要更具创意的翻译。 |
| 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. |
但和大多数翻译类型不同的是，电子游戏可以改编乃至于直接更换原先的剧本，只要是为了在目标文化中创造出更强烈的乐趣以及可玩性就没有问题。 |
| 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. |
目前与此类操作相似的领域，我们只能找到儿童文学翻译行业，此行业的专业人士经常会改编或更改原文，以增强儿童对书本的理解以及读书的乐趣。 |
| 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. |
血液以及真实历史事件的展示也出现了类似的情况；为了不触犯国家在这些方面的底线和偏好，很多事项都必须重新进行调整。 |
| This is probably one of the reasons why so many games take place in imaginary worlds. |
这可能就是众多游戏故事发生在虚构世界中的原因之一。 |
| This customisation effort draws on the knowledge of geopolitical strategists, like Kate Edwards from Englobe. |
这种定制化的方案需要地缘政治战略家的专业知识，如 Englobe 的 Kate Edwards。 |
| 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). |
在 2006 年的加利福尼亚游戏开发者大会上，她做了一场名为“趣味与冒犯：在全球化游戏内容中的‘文化刀锋’上寻求平衡”（Edwards 2006）的展示会，并在台上解释了在向全球各地推广游戏时，对于各地文化足够敏感的重要性。 |
| Both developers and publishers want to please their clients. |
开发商和发行商都想要讨好客户。 |
| 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. |
游戏玩家并不在乎游戏来自于哪里，或者谁打造了这款游戏，无非就像买了辆新车或者 DVD 播放器一样平常。 |
| 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. |
大众消费的产品只会保留商标的符号；所有其他特征都可能会因为需要迎合本地市场而被重新定制。 |
| 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. |
所以说，翻译在某些情况下实际上属于再创造，或者按 Mangiron 和 O' Hagan 的话来说：“创译”，也就是译者需要为目标市场产出具有“本土感”的文本。 |
| It is important for translators to be aware of the logic behind this. |
译者应当了解这背后的逻辑，这很重要。 |
| Video games are a software product, and as such, they will have manuals and instructions, as well as interactive menus and help files. |
电子游戏属于软件产品，正因如此，电子游戏会包含使用手册、说明书、交互菜单、以及帮助文件。 |
| This will call for technical translation. |
这就会用到技术翻译。 |
| 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. |
除此以外，还有和文学文本或电影剧本更接近的台词以及对话也需要更具创意的翻译。 |
| 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. |
但和大多数翻译类型不同的是，电子游戏可以改编乃至于直接更换原先的剧本，只要是为了在目标文化中创造出更强烈的乐趣以及可玩性就没有问题。 |
| 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. |
目前与此类操作相似的领域，我们只能找到儿童文学翻译行业，此行业的专业人士经常会改编或更改原文，以增强儿童对书本的理解以及读书的乐趣。 |
