All immersion-breaking faults disappeared, as the models’ lip-syncing matched the French audio, as intended. ![]() ![]() In fact, I was tempted to hit Exit and Uninstall but instead of that I tried switching the game’s audio from English to French, its native tongue. My initial reaction to Syberia 3 was bad. The exact opposite has happened with Syberia 3, which was created in French and then horribly transmogrified into English.īut let’s return to the matter at hand. Localization is a big industry (there are even Awards for good localization) but english speakers don’t stand on the receiving end of this procedure: most games are made in English (the Common language of the West) and then localized for other non-english markets. Like all things, money is an issue here if your budget can handle it, you can hire plenty of actors and an experienced sound director and engineers and do wonders. Third, you have to be careful in voice actor casting: what looks like an old, grumpy man with a raspy voice that pulls his vowels must speak like an old, grumpy man with a raspy voice that pulls his vowels. What you hear must follow what you see or you get those hilariously dubbed karate movies. Second, you have to be wary of lip-syncing when there are actors involved (real or virtual). This means that you “trans-create” content to guarantee a natural flow, utilizing idioms and cultural-bound elements. First, that you localize the content, not just translate the words. There are many traps in localizing content, from the obvious to the subtle, but whatever you do, you have to be careful of three things. Syberia 3 is the first (otherwise decent) game obliterated by bad localization. I believe this time we are witnessing a first. ![]() Despite the beautiful environments and the majestic soundtrack, something is definitely wrong in Syberia 3.Ĭan you count the times where a specific fault of a game (regardless of genre and platform) ruined the whole experience for you? We have witnessed descent games being destroyed by things like bad clipping, jerky animation or bland environments, cringe worthy dialogues, shallow characters or eccentric puzzles. Lip-syncing is atrocious, lines are being cut off while most voice actors sound funny and out of place. You think that you fell into a wormhole, went back into time and are playing a game that was released ten years ago. Fifteen minutes into Syberia 3, the third game of Benoit Sokal’s vision of a girl travelling to a charming world of talking automatons, you notice that something is really wrong.
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