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