Localization 101

"Use the right word, not its second cousin." - Mark Twain

Localization — here defined as text editing and rewriting for the purpose of a smooth read — is a key component of QA, to the point where some entire offices specialize in it. Whether your assignment is to fix typos or rewrite entire scenes, here are some things to keep in mind.

First, be aware of all the common spelling and grammatical mistakes. We've all been on the Internet long enough to see the confusion between "its" and "it's," between "their" and "they're," between "your" and "you're," and so on. Be aware also of the proper use for each punctuation mark. Don't join full sentences together with a comma, for example; use a period or, if the sentences are closely related, a semicolon.

There are plenty of sources out there for detailed rules on proper grammar, so I won't bore you with those details here. For QA and localization purposes, however, be aware that each office likely has its own rules on how to handle variations in grammar.

English is an evolving and flexible language, with many valid variations on several terms. Terms like "OK," or "ok," or "okay." Some spell it "all right," and some spell it "alright." Interrobangs ("?!") can be written as "!?" as well. Any one of those ways is fine — as long as its consistent.

If Character A says "OK" in one scene, Character B shouldn't say "okay" in another scene. If your written emotes are marked with asterisks and written in lowercase, such as "*smile*" or "*punch*," you shouldn't see any marked "(Sigh)." Your localization department likely has established rules on which variations go where, and if they don't, be sure to ask your lead.

Now, just as grammatical consistency is important, there are other types of crucial consistency, specifically relating to characterization and narrative.

When it comes to dialogue, make sure each character has a distinctive, consistent voice. How formally do they speak? How do they address other characters? Are they friendly? Aggressive? Condescending? Enthusiastic? Analytical? Are there any particular words or phrases they like to use in certain situations? Do they have any particular quirks, such as repeating certain consonants or stumbling over certain words? Do they have any particular nicknames for particular topics or other characters? Are they quiet, or are they talkative? Serious, or do they like to crack jokes? Is there any other specific character they treat with particular reverence or disdain? What makes this character angry? What makes them happy? What do they want?

When, as a writer, you know the answers to those questions, you'll make it come through in their speech, and give them a world of depth in the process. As the RedLetterMedia guy once said, the mark of a well-defined character is one you can easily describe without mentioning their looks, their outfit, their role, or their profession. Take all that away, and what's left is their personality — their voice.

Make sure to vary it up from one character to the next, too. Characters from similar backgrounds may have similar speech patterns, but that doesn't mean they'll have the same personalities — and, if there's a good reason to, they may vary their speech patterns depending on who they're with at the time. One RPG from a few years back had a certain character, a noblewoman, give a fellow noble a formal greeting, then ask, "Can we drop the formality? All this stiffness goes straight to my neck." Showing multiple sides to a character, as long as the characters have good reason to show those sides, can add to their depth immeasurably.

Something else, too: If a character does have a particular quirk — such as, say, responding to requests with "As you wish" — make sure that only that character exhibits that quirk. That'll help keep each character distinctive and memorable.

Now, depending on what you're assigned to, much of this work may already have been done. In that case, much of your job will be to ensure that each character's voice stays consistent from scene to scene. Make sure the game's rough street thug doesn't start speaking in formal terms. Make sure the raging berserker announces his intentions in an appropriately bloodthirsty fashion (unless he's Hannibal Lecter, in which case, make sure he stays calm while devouring people's intestines). If your pirate girl introduces herself by being spunky and flirty, make sure she doesn't start talking like an old wise man when the time comes for her to give exposition.

Ah, exposition. It's a necessary evil — without it, the audience won't know what's going on — but it's always tough to write without being boring as hell. Nothing is duller to a viewer, or player, than watching characters just stand around telling each other the plot. In the worst cases, the characters drop all traces of their personality while they're doing it, becoming blank slates as they recite facts for the viewer's benefit. Humphrey Bogart once said, "Whenever they have me give exposition, I always hope they'll put some camels ****ing in the background so the audience'll have something to look at."

The trick to making exposition bearable is to weave it into the characterization. The first question to ask is, "What does the audience need to know?" But don't stop there. Once you have the answer, ask, "How would these characters describe what the audience needs to know?"

Here, let's have an example. Let's take the exposition in the next paragraph, and tell it three different ways:

16 years ago, there was a great war. Rebel forces with foreign backing slew the king and drove his young daughter and infant son into exile, under the protection of the king's best knight. Unfortunately for everyone, the king's death triggered a terrible weapon, and the resulting blast vaporized most of the capital city.

Now, here's that story told by a random villager:

I haven't had a full night's sleep in 16 years. Every time I close my eyes, I hear that blast... I'm lucky I was out in the Market District. If I'd been at home, I'd be dead, like...like everyone else. Look, I don't care WHO was behind the rebellion; King Phaedren must be burning in hell right now, and I hope the same for his children! Building a weapon like that right here in the city, binding it to his own heartbeat... What was he thinking?

Here it is told by the king's knight:

Do you remember that night, Aria? You came up to my knee back then; I doubt you remember more than the screams, and the blast at the end. I saw it all. The rebels at the gate, pawns of the enemy, clashing with us, burning with us... There were too many of them. Most of us were out in the field, fighting that stupid war. I saw your father's face as they broke through the gate. He knew it was over. He knew what would happen next. That ridiculous bomb; I still can't believe he let them talk him into building it, let alone keeping it here in the city, tied to his own damn heart, the old... Forgive me; I shouldn't speak ill of him. He was my king, and his final order stands: "Save my children."

And here it is told by a veteran of the rebel army:

You know what they say about us rebs these days? About who supposedly backed us and trained us? Doesn't matter. What matters is how many good people died to bring that tyrant down. Never mind how many starved, or died in that bloody war he wouldn't stop waging. No, I mean the men and women who stormed his castle and pierced his blasted heart. Funny; we all thought he was bluffing about the bomb. "If I fall, the city falls." We thought even he was above that. And tens of thousands paid for our faith in his mercy. They say his little brats survived, you know. They'd be about your age now...

Whenever possible, convey exposition as naturally — even as stealthily — as you can. Couch it in arguments, humor, excitement, sex, or anything else the audience can relate to. Make sure the audience gets it, but don't hit them over the head with it if you can possibly avoid it.

Make sure, as well, that the characters' dialogue accurately reflects the events of the story and the circumstances of the setting. Common mistakes include characters who refer to events they have no way of knowing about, or refer to dead characters as if they were still alive, or speak of past events as if they were still ongoing (so once you've cleared out the monsters, make sure there's no one still running around yelling "Monsters are attacking!")

That's all the time I've got for now. Next time, we'll get back into career advancement, and talk about what happens when you reach the next rung on the ladder.