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Article published In:
The Journal of Internationalization and Localization
Vol. 8:1 (2021) ► pp.26–47

An overview of the localisation of video games into Arabic

 | Imam Muhammad Ibn Saud Islamic University | University of Leeds
 | Taif University
With the emergence of video game localisation studies in the last decade, scholarly interest in translation studies in this young discipline has increased. Although globalisation has encouraged video game companies to offer their products in as many languages and markets as feasible, this academic discipline is still an under-researched area, especially in the Arab context. This article presents an overview to engender a better understanding of the nature of video games and their localisation in the Arab market. This market is distinct due to its culture, politics and language. In addition to the translational challenges related to the Arabic language, this study deals with the specificities of video game localisation from political, cultural and linguistic perspectives. This research offers a historical overview of the localisation of video games into Arabic since the inception of the practice, including an outline of the main localisation milestones in this field.
Keywords: Arabic localization, video games, historical trajectory of localization, censorship, cultural adaptation
Article outline
  • 1.Introduction
  • 2.Contextualising localisation in the Arab world
    • 2.1Defining the term localisation
    • 2.2Arabising the term localisation
    • 2.3History of localisation in the Arab world
  • 3.Video game localisation
    • 3.1Video games in the Arab world
    • 3.2Video game regulations in the Arab world
  • 4.Challenges to video game localisation in the Arab world
    • 4.1Political challenges
    • 4.2Cultural challenges
    • 4.3Linguistic issues
  • 5.Concluding remarks
  • References
  • Gameography
Published online: 13 September 2021
DOI logo
https://doi.org/10.1075/jial.20008.goa
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Gameography
Arabian Lords. (Quirkat, 2006)Google Scholar
Assassin’s Creed (Ubisoft, 2007)Google Scholar
Assassin’s Creed Origins (Ubisoft, 2017)Google Scholar
Call of Duty 4: Modern Warfare (Activision, 2007)Google Scholar
Call of Duty: Modern Warfare 2 (Activision, 2009)Google Scholar
Dante Inferno (EA, 2010)Google Scholar
Detroit: Become Human (Sony Interactive Entertainment, 2018)Google Scholar
God of War. (Sony Interactive Entertainment, 2005–2018)Google Scholar
Injustice: Gods Among Us (Warner Bros. Interactive Entertainment, 2013).Google Scholar
Kakuto Chojin (Microsoft Games Studio, 2002)Google Scholar
Knack 2 (Sony Interactive Entertainment, 2017)Google Scholar
Little Big Planet (Sony Interactive Entertainment, 2008)Google Scholar
Marvel’s Spider-Man (Sony Interactive Entertainment, 2018)Google Scholar
One Piece: Burning Blood (Bandai Namco, 2016)Google Scholar
Pac-Man (Namco, 1980)Google Scholar
Pong (Atari, 1972)Google Scholar
Rappelz (nFlavor, 2006)Google Scholar
Red Dead Redemption 2 (Rockstar, 2018)Google Scholar
Rise of the Tomb Raider (Square Enix, 2015)Google Scholar
Spec Ops: The Line (2K Games, 2012)Google Scholar
Special Force (Hezbollah, 2003)Google Scholar
Street Fighter V (Capcom, 2015)Google Scholar
The Witcher 3: Wild Hunt (CD Projekt RED, 2015)Google Scholar
This Is Football (Sony Interactive Entertainment, 2004)Google Scholar
Tom Clancy’s The Division 2 (Ubisoft, 2019)Google Scholar
Tomb Raider (Square Enix, 2013)Google Scholar
Uncharted (Sony Interactive Entertainment, 2007–2016)Google Scholar
Under Ash (Afkar Media, 2001)Google Scholar
Unearthed: Trail of Ibn Battuta (Semaphore, 2013)Google Scholar
WALL-E (THQ, 2008)Google Scholar
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