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1 Video Games as Modern Multimodal Products |
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1 | (42) |
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1.1 What Is a Video Game and How Does It Work? |
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3 | (16) |
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1.1.1 Semiotic Channels and Signifying Codes |
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6 | (3) |
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1.1.2 The Rules of the Game |
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9 | (4) |
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1.1.3 The Audiovisual and Interactive Dimensions: Gameplay and Playability |
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13 | (6) |
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1.2 The Structure of a Video Game in Translation: Game Situations and Translatable Assets |
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19 | (5) |
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1.3 The Link Between the Game Industry and Research: A Practical Proposal for Interactive Genres |
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24 | (19) |
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1.3.1 Game Classifications Within the Industry and Academia |
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27 | (2) |
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1.3.2 Game Genres Determined by the Interactive Dimension |
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29 | (4) |
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1.3.3 The Nine Interactive Genres and Their Main Characteristics |
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33 | (5) |
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38 | (5) |
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2 The History of Localization and Dubbing in Video Games |
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43 | (36) |
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2.1 The Current Game Industry in Figures and Its Impact on Research |
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46 | (5) |
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2.2 The Origins of Video Games (1960s) and the First Beeps (1970s) |
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51 | (4) |
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2.3 The Origins of Game Localization (1980s) |
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55 | (5) |
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2.4 The Origins of Dubbing in Video Games (1990s) |
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60 | (6) |
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2.5 The Industry in the New Millennium (2000s) |
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66 | (5) |
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71 | (8) |
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74 | (5) |
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3 Game Localization: Stages and Particularities |
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79 | (38) |
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3.1 Game Localization and Audiovisual Translation |
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82 | (4) |
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3.2 The Localization Process |
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86 | (31) |
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3.2.1 Levels of Localization and Game Localization Models |
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90 | (5) |
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3.2.2 An Agile Process in Different Phases |
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95 | (7) |
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3.2.3 Agents and Available Materials in the Localization Process |
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102 | (7) |
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3.2.4 The Role of Fan Communities |
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109 | (4) |
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113 | (4) |
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117 | (46) |
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4.1 The Film Dubbing Model in Localization |
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119 | (23) |
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4.1.1 Avoiding Terminology Overlap |
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121 | (2) |
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4.1.2 The Dubbing Process: Movies Versus Video Games |
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123 | (12) |
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4.1.3 Quality Standards in Film Dubbing Applied to Game Dubbing |
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135 | (7) |
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4.2 A Particular Quality Standard: Dubbing Synchronies in Video Games |
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142 | (21) |
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4.2.1 Synchronization Across AVT Modes and Localization |
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142 | (4) |
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4.2.2 Dubbing Synchronies Within the Semiotic Construct of Audiovisual Products |
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146 | (5) |
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4.2.3 Types of Dubbing Synchronies in Video Games |
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151 | (5) |
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156 | (7) |
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5 Dubbing Analysis Through Game Situations: Four Case Studies |
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163 | (60) |
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5.1 A Brief Excursus on Research in Video Game Localization |
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164 | (3) |
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5.2 Analyzing the Dubbing of Adventure Video Games |
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167 | (4) |
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5.3 The Dubbing of Three Action-Adventure Video Games |
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171 | (30) |
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5.3.1 The Case of Batman: Arkham Knight |
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172 | (12) |
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5.3.2 The Case of Assassins Creed Syndicate |
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184 | (8) |
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5.3.3 The Case of Rise of the Tomb Raider |
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192 | (9) |
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5.4 The Dubbing of a Graphic Adventure: Detroit: Become Human |
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201 | (12) |
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205 | (2) |
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207 | (2) |
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5.4.3 Dialogic QTEs in DBH |
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209 | (2) |
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211 | (2) |
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213 | (10) |
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219 | (4) |
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223 | (12) |
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232 | (3) |
| Glossary |
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235 | (8) |
| Index |
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243 | |
