Perspectives

Studies in Translation Theory and Practice

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Current trends in localizing Video games into

Arabic: localization levels and gamers’ preferences

Mohammed Al-Batineh & Razan Alawneh

To cite this article: Mohammed Al-Batineh & Razan Alawneh (2021): Current trends in localizing
Video games into Arabic: localization levels and gamers’ preferences, Perspectives, DOI:
10.1080/0907676X.2021.1926520

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PERSPECTIVES
https://doi.org/10.1080/0907676X.2021.1926520

Current trends in localizing Video games into Arabic:

localization levels and gamers’ preferences
Mohammed Al-Batineh and Razan Alawneh
Translation Department, Yarmouk University, Irbid, Jordan

ABSTRACT ARTICLE HISTORY

The present paper investigates a largely ignored topic in Arabic Received 28 September 2020
translation studies: video game localization. It attempts to Accepted 2 May 2021
establish scholarly discussion about this field by analyzing the
KEYWORDS
current localization practices used in the Arabic video game Video game localization;
market and Arab gamers’ response to localized video games. To Arabic video game
this end, the paper analyzes officially localized Arabic video games localization; localization
from 2005-2020 to reveal common practices adopted by levels; video game reception;
developers when localizing games into Arabic. The paper also video game assets
surveys Arab gamers regarding their preferences related to these
practices. The analysis of the localized video games has revealed
several localization practices that go beyond what has been
discussed in the literature by video game localization scholars. The
results of the survey have revealed that the majority of Arab
gamers prefer ‘partially localized’ games, which do not include
Arabic dubbed or re-voiced audio or cutscenes, over ‘fully
localized games,’ which include re-voiced audio and cutscenes in
the target language. The paper concludes by proposing a new set
of ‘localization levels’ based on the analyzed data and survey
responses about Arab gamers’ localization preferences. Ultimately,
the paper seeks to bridge the gap between video game
developers and Arab gamers and, hopefully, serve as a
springboard for future video game localization projects in the
Arabic context.

Introduction
The video game industry has grown exponentially in recent years due to advancements in
personal computers (PC) and the widespread availability of powerful video game plat-
forms such as Microsoft’s Xbox and Sony’s PlayStation (PS). Thanks to globalization
and the internet, video game developers are currently angling to enter new markets by
localizing their video games into other languages. However, this route is not as straight-
forward as it seems. The process of localizing video games to other target markets entails
not only translating the linguistic content of the game but also adapting a complex multi-
media product for different cultures and locals (Fernández-Costales, 2016, p. 184). Video
game localization has most often been completed for Western languages such as French,
Italian, German, and Spanish (O’Hagan & Mangiron, 2013, p. 15). Recently, game devel-
opers have recognized the market value of localizing games for the Arab consumer. The

CONTACT Mohammed Al-Batineh [email protected]

© 2021 Informa UK Limited, trading as Taylor & Francis Group
2 M. AL-BATINEH AND R. ALAWNEH

Middle East and North Africa (MENA) region hosts one of the world’s most active and
growing gaming communities (Dalakian, 2013; YouGov, 2020).
Video game developers have adopted different methods to localize their video games
into Arabic. Some practices have been successful, while others failed to adequately trans-
late the game. In the absence of any concrete research into gamers’ needs and localization
expectations, game companies tend to localize video games into Arabic using trial and
error (Al-Batineh, in press). Common Arabic video game localization practices include
dubbing or subtitling using Modern Standard Arabic or colloquial dialects. Ubisoft’s
The Division 2 (2019) exemplifies a failed dubbing attempt. Ubisoft announced that
the game would be fully localized into Syrian Arabic for the voiceover and cutscenes.
After Ubisoft released the game’s trailer, the Arab gaming community expressed displea-
sure about the Syrian dialect in the game, which forced Ubisoft to change the language to
Modern Standard Arabic.
To meet the needs of the Arab gaming community and to expand game developers’
markets, several video game companies have attempted to provide Arabic localization
for different game assets. Specifically, game localization assets are the elements manipu-
lated or changed during the localization process, which can include in-game texts, art
assets, cutscenes and audio assets, and printed material (Bernal-Merino, 2015; Chandler
& Deming, 2012; O’Hagan & Mangiron, 2013). Each asset provides the player with
specific information related to the game, such as the characters or gameplay mechanics.
For instance, in-game texts include all user interface elements: menus, help screens, and
system messages. These texts also include all ‘narrative and descriptive passages, and all
dialogues that are not voiced-over and only appear in written form’ (O’Hagan & Man-
giron, 2013, p. 122). Art assets include graphics and images like game logos, maps,
and letters. This particular asset is often ignored by game companies, and subsequently
localizers, as it requires redesigning the asset for the target culture, which can be time-
consuming. In some games, especially when the graphics include important interactive
elements, the company provides subtitles featuring a translation of the text written on
the graphic. For instance, in the Arabic version of The Witcher 3 (2015), Arabic subtitles
were embedded in the graphics, which was helpful for gamers who do not know the
source language.
Two game elements crucial for an immersive gaming experience are the audio and
cinematic assets. Audio assets include voiceover files, songs, and audio tutorials. On
the other hand, cinematic assets include in-game movies called cutscenes (O’Hagan &
Mangiron, 2013, p. 5). These assets are usually re-voiced in the target language to
replace the game’s original voiceover. As previously mentioned, subtitling is another
way to translate and localize audio files and voiceovers. This practice entails providing
an on-screen visual text translation of the spoken words. Unlike movies and other audio-
visual material that have static placement of subtitles, video game subtitles may be placed
at the bottom of the screen or above the head of the character.
The final asset that needs localization is called ‘box and docs,’ which includes the
packaging of the game and player’s manual (Bernal-Merino, 2015, p. 109). This asset
could also include printed or digital advertising material. Most game developers
provide a digital format of the box and docs, especially for the digital version of their
games available for download from their websites or their digital game stores such as
Microsoft Store, Nintendo eShop, and PlayStation Store.
 PERSPECTIVES 3

Localizing Video game assets: localization levels

Video game companies weigh factors such as time, money, and the expectation of the
target market when deciding to produce localized versions of these game assets. These
factors determine the level of localization, as well as which game assets will be localized
into the target languages. Game localization levels fall within four main categories: no
localization, box and docs, partial localization, and full localization (Bernal-Merino,
2016; Chandler & Deming, 2012; McKearney, 2007). Localization levels are discussed
in the following sections.

No localization
No localization, or zero localization (Bernal-Merino, 2016), involves selling games in the
target market without providing a translation or localization of any game assets. Video
games with zero localization dominate the Arab market because game companies trust
that English-speaking Arab gamers will buy the original games. This practice provides
the opportunity for the company ‘to sell some extra copies without having to invest in
the localization process’ (O’Hagan & Mangiron, 2013, p. 142). Recently, thousands of
copies of games with no Arabic localization, including Red Dead Redemption 2 (2018)
and NBA 2K20 (2019), were sold in the Arab world. This lack of translation has paved
the way for Arabic fan localization to emerge as a practice whereby fans translate their
favorite games or provide walkthroughs on YouTube with Arabic commentary or
subtitles.

Box and docs

Box and docs localization entails translating a game’s package and player’s manual.
Bernal-Merino (2016) labels this level of localization as ‘market enabled localization,’
which also includes the localization of the game’s e-store blurb, website, and installa-
tion wizard (Bernal-Merino, 2016, p. 209). The localization of box and docs was preva-
lent in the Arab game market in the mid-1990s. Several SEGA and PC games were
released in the Arab world with an Arabic box and manuals (See Figure 1). The local-
ization of a game’s trailer and online advertisement material can also be considered part
of this practice.

Figure 1. Box and Docs Arabic Localization of FIFA 1995 (Guardiana.net, n.d.)
4 M. AL-BATINEH AND R. ALAWNEH

Partial and full localization

The most common levels of localization are partial and full localization. Partial localization
involves providing a translation of in-game texts such as the user interface (UI). The cine-
matics and audio assets are also subtitled in the target language. Finally, the most thorough
and complete level of localization is full localization. This practice involves localizing all
game assets into the target language. This includes translating the box and docs and UI,
as well as dubbing the audio files and cutscenes into the target language (O’Hagan & Man-
giron, 2013, p. 7). Due to this level’s multifaceted approach and more extensive production
workload, it is very expensive and time consuming.
The present paper explores the current practices adopted by game companies in localiz-
ing their game assets into Arabic as well as Arab gamers’ preferences related to these prac-
tices. Two methods of data collection were adopted. First, a list of officially localized games
in Arabic was created in order to document the localization practices used by game devel-
opers. The second method involves surveying Arab gamers about the localization practices
used by game developers and whether or not gamers viewed such practices favorably. The
following sections discuss the methodology adopted for data collection and analysis.

Method and data collection

Since the study’s main goal is to examine current practices in Arabic video game localiz-
ation, the researchers created a list of officially localized games across three major gaming
platforms: Microsoft Xbox One, Sony PlayStation (PS), and PC. The list was created by
searching each platform’s main game store—Microsoft Store for Xbox, Steam store for
PC, and PlayStation Store for PS—for localized games. Our online search also included
the top three Arabic gaming websites: HDR 24/7 (www.hdr247.com), Saudi Gamers
(www.saudigamer.com), and The Digital Gate (www.adslgate.com). The data set for the
games consisted of the game title, year of production, and its localized assets. The
initial list included 150 games localized into Arabic. This list was then filtered and vali-
dated by adopting two methods. The first method involved launching the game on the
researchers’ PC, Xbox, or PlayStation by downloading either the full or trial version of
the game to ensure that it included game assets localized into Arabic. Second, the
games were entered into a search on YouTube to find any Arab YouTubers providing
either a review of the game or a walkthrough. In order to validate a game, it had to be
reviewed or played by more than one YouTuber in Arabic.
The analysis of the games focused on the types of localization assets and the way voice-
overs and cutscenes were localized into Arabic. The final list included 142 games (called
‘games data’ henceforth) that were either partially or fully localized (see Appendix A for
complete list). The two other levels of localization (no localization and box and docs
localization) were ignored. The games data were recorded in a spreadsheet that docu-
mented release date and types of localized assets like UI and in-game texts, as well sub-
titling or dubbing for the voiceovers and cutscenes. The dialect of Arabic used in re-
voicing the game assets was noted, when applicable.
After collecting data about the levels of localization used by game companies, a survey
was designed to collect Arab gamers’ preferences related to current localization practices.
The survey was divided into three sections. The first section asked for the participant’s
 PERSPECTIVES 5

gender, region in the Arab world, and time spent on games. The second section had ques-
tions about the gamer’s preferences concerning localization levels, while the third asked
about the gamer’s preferred language or dialect (Modern Standard Arabic (MSA) or
Arabic Local Dialect (ALD)) when localizing cinematic and audio assets into Arabic.
The following section provides the results of the data analysis.

Results
Localized games into Arabic (2005-2020)
As mentioned in the methodology, games data included 142 games localized into Arabic
from 2005-2020. Such a large number of localized games would not have been the norm
before the 2000s. However, the surge of Arab gamers has created a lucrative opportunity
for video game developers to expand into the Arab world and increase their profits.
Within the last fifteen years, game companies have realized this vast market potential
and increased the number of games localized into Arabic. This expositional increase in
the number of Arabic localized games is noted in Graph 1.
This increase can be attributed not only to a rise in Arab gamers but also to develop-
ments in video game design. Currently, several video game companies have adopted inter-
nationalization or globalization strategies when designing their games. These two strategies
have allowed for games to be built with more flexible game engines (the software environ-
ment used to create video games) that allow for easier localization into other languages and
cultures. Advancements in video game consoles, PCs, and video game engines have also
contributed to the spread of video games localized into Arabic. With such tools, how
have video games been localized into Arabic? What is the most prevalent level of localiz-
ation used in the Arabic video games market? The following sections discuss the current
trends in Arabic video game localization by delineating ‘localization levels’ and detailing
the practices adopted by game companies to localize their games into Arabic.

Localization levels
The localization levels used by game companies to translate their games into Arabic fall
within two main practices: partial or full localization. However, these levels of

Graph 1. Localized Games into Arabic from 2005-2020 based on the collected data
6 M. AL-BATINEH AND R. ALAWNEH

localization cannot cover all video game localization scenarios. There are levels of local-
ization that go beyond what Bernal-Merino (2016), Chandler and Deming (2012), and
McKearney (2007) have proposed. The following paragraphs provide the analysis
results for the games data in terms of ‘localization levels’ and provide examples of
games translated according to different practices.

Partial localization
Partial localization deals with in-game text only and includes subtitling the game audio
and cutscenes. After analyzing the games data, it was revealed that game companies
conduct partial localization through three strategies: (1) localization of the user interface,
including the main menu and the settings; (2) subtitling the game audio and cinematic
assets only (user interface and menus are not localized); and (3) localizing menus and the
UI and providing subtitles to the audio and cinematic assets. The following paragraphs
discuss these findings and the different levels of partial localization.

UI and subtitles: ‘Partial Localization’

The heart of partial localization lies in localizing in-game text and subtitling the voice-
over and cutscenes into the target language. Most game companies wanting to sell in
the Arab world adopt this level of partial localization. Successful examples include The
Witcher 3 (2015), Rise of the Tomb Raider (2016), Resident Evil 7 (2017), Assassin’s
Creed Odyssey (2018), Ghost Reckon: Breakpoint (2019), and Ghost of Tsushima
(2020)—all were well-received by Arab gamers. According to our games data, about
48% of included games were partially localized into Arabic using MSA, showing how
common this practice is in the Arabic video game market.
Unfortunately, long subtitles in a localized game can impact a game’s playability and
negatively affect the game’s level of immersion. In such cases, a player may spend more
time reading the subtitles and less time enjoying the graphics and gameplay. In this
regard, Mangiron (2013) argues that ‘the inclusion of poor quality subtitles can nega-
tively affect the gaming experience of players’ (p. 52). The Arabic subtitles in The
Witcher 3 (2015) is a case in point. The game was localized into Arabic using
elegant MSA; however, the small font and long subtitles adversely impacted the
game’s playability. Some subtitles in the game included eight Arabic sentences and
strings of more than two hundred characters. The absence of studies into best practices
for subtitling games into Arabic and the lack of any subtitling conventions make it
difficult for game companies and localizers to localize games for the Arab market.
Bernal-Merino (2015) discusses this issue and points out that subtitles in games,
what he calls ‘interactive subtitles’ (p. 129), do not follow any particular conventions;
some games include long subtitles, while others may include short ones. He argues that
‘these interactive lines cannot be considered … subtitles as such, even though they
share the same informative function and turn aural into visual. Rather, they become
a new hybrid by fulfilling the communication act of a dialogue exchange whilst includ-
ing UI characteristics’ (Bernal-Merino, 2015, p. 128). Because this complex process
remains unstudied, there is an urgent need for empirical and reception research on
game subtitling to guide the practice of game localization, particularly for those
gamers with hearing loss who rely on subtitling.
 PERSPECTIVES 7

User interface only

Some game companies provide localization for the user interface alone. This practice
involves minimal localization so that gamers who do not speak the game’s source language
can launch the game and customize the settings to their preferences. Examples of this prac-
tice include the Arabic localizations of Goat Simulator (2014) and Squad (2015). Compa-
nies may adopt this method due to a small localization budget or to test the game’s
reception in a specific locale without having to invest much money in a more in-depth
localization process. In other cases, the game code itself does not support providing sub-
titles for the dialogue. Additionally, some games do not rely on dialogue to build the
game experience, or they simply do not include voiceovers. For instance, The Bridge
(2013) and The Humankind Odyssey (2019) are all playable in Arabic at this localization
level due to the lack of dialogue and voiceovers. In such cases, Arab gamers can access
all the language assets (in-game texts like menus and instructions) in Arabic.

Subtitles only
Subtitles-only as a practice within partial localization is not uncommon in the Arabic
video game market. In this instance, subtitles are only provided for the game’s voiceover
and cutscenes, with neither the user interface nor in-game texts localized. This practice
has been adopted for video games that rely heavily on dialogue, such as Assassin’s Creed
(2014, 2015, 2017) and Watch Dogs 2 (2016). However, in some cases, technical issues in
the game code or game engine prevent developers from providing Arabic localization
with subtitles. Ubisoft has adopted the subtitles-only practice for several of its games
and navigated the technical constraints. In this regard, Malek Teffaha, head of localiz-
ation and communication at Ubisoft Middle East, said that ‘[subtitling] is a matter of
budget and game engine limitations. Our engine [at Ubisoft] did not fully support
Arabic in terms of text direction and fonts’ (M. Feffaha, personal communication
January 12, 2020). Localizing the interface into other language(s) should be considered
when designing the game; developers should prepare the game code to handle
different languages from the start. Unfortunately, localization is often overlooked as an
aspect of game development. The development team may also lack the knowledge of
certain languages’ characteristics and, consequently, develop a game code with an inter-
face that may not fully support them.
The ‘subtitles only’ practice is problematic for gamers who do not understand the
game’s source language. For example, Watch Dogs 2 (2016) lacks localized instructions
and in-game ‘tips.’ Figure 2 is taken from the loading screen of Watch Dogs 2 (2016).
Along the bottom of the screen, a tip is provided for the gamer: ‘If you forget how some-
thing works in the game, use the Know-it-all app to get some tips and tricks anytime’
(Watch Dogs 2, 2016).
Many Arab gamers will not benefit from the provided in-game tips simply because
they are unable to understand the language. The second screenshot (Figure 3) shows
instructions on how to play the game (the functions of the joystick buttons), explaining
‘how to open the Equipment Wheel’ or ‘how to aim [and] shoot.’ Such actions are crucial
for gameplay, and gamers unable to read the source language are left learning these by
trial and error.
8 M. AL-BATINEH AND R. ALAWNEH

Figure 2. Watch Dogs 2 (2016) Loading Screen Screenshot Taken by the Researchers

Figure 3. Watch Dogs 2 (2016) In-game Screenshot Taken by the Researchers

Full localization
Full localization of a game comprises localizing all game assets into the target language.
This includes in-game text, box and docs, voiceovers, and cutscenes. Our data analysis
has revealed that several video games have been fully localized into Arabic via
different translation practices. Some games companies adopt Modern Standard Arabic
(MSA) to re-voice audio and cinematic assets, while others use Arabic Local Dialects
(ALD). It was also revealed that some localization practices do not fall within the subca-
tegories of game ‘localization levels’ previously proposed by video game localization
scholars. For instance, some video games do not provide an Arabic interface although
 PERSPECTIVES 9

voiceovers and cutscenes were re-voiced into Arabic, using either MSA or ALD. The fol-
lowing sections discuss these practices in more detail.

Full localization in MSA

Games fully localized into Arabic using MSA have received a warm welcome from the
Arab gamer community. In such games, the user interface is translated and mostly
adapted into right-to-left Arabic script. Additionally, the voiceover and cutscenes are
re-voiced into MSA. This adds to the playability of the game and allows gamers to
pay attention to the graphics and gameplay as opposed to being distracted by listening
to a foreign voice or reading Arabic subtitles. However, this level of localization is
expensive and time-consuming. A well-done example of such practice is Tomb
Raider Definitive Edition (2014). According to a review on saudigamer.com, the
Arabic version of the game is ‘legendary’ in terms of the localization effort. Other
games that were fully localized into Arabic include Lego Marvel’s Avengers (2014),
Spyro Reignited Trilogy (2018), and Shadow of the Tomb Raider (2018). As previously
mentioned, full localization also includes subtitles, which are useful for gamers with
hearing loss. The localization of all game assets into Arabic is a momentous step
toward providing Arab gamers with full game immersion and enjoyment. It is worth
mentioning that the level of accessibility varies for each game. For instance, some
games provide color coding for different speakers in the dialogue (such as Shadow of
the Tomb Raider (2018)), while other games include the name of the speaker before
the subtitle (Lego Marvel’s Avengers (2014)).

Full localization in MSA and ALD

The analysis of the games data has revealed another full localization practice: the use of
MSA and ALD within one game for different game elements. In such practice, MSA is
used in the localization of the UI items, while the audio and cinematic assets are re-
voiced and subtitled using ALD. For instance, the menus of Detroit Become Human
(2018), published by Sony Interactive Entertainment, were localized into MSA while
the audio and cutscenes were localized into Egyptian Arabic. Other games have been
re-voiced into Lebanese Arabic (Just Cause 3 (2015), Just Cause 4 (2018), and Knack 2
(2017)), with the subtitles reflecting the spoken dialect.
MSA is understood by almost all Arabic speakers across the Arab world, but this is
not the case for ALD. Depending on the dialect, certain lexical items have different
meanings or are not used at all. One example is the Lebanese word faishe (floating)
used in Just Cause 4 (2018). This same word means something else to players in
Jordan (puffed). In this regard, Teffaha stated in a recent interview that the terminology
used in Just Cause 3 (2013) was ‘a bit weird for certain people in the Gulf and people in
North Africa, but they got the gist of it and it fit the comic nature of the game’
(Demmig, 2018, para 5). Indeed, localizing a game into a specific dialect may add
some sociolinguistic dimensions to gameplay or enhance the sense of humor in the
game. However, an Arab player’s lack of dialect knowledge could hinder him/her
from understanding dialogue or tasks in the game and thus negatively impact the
game’s playability.
10 M. AL-BATINEH AND R. ALAWNEH

User interface and re-voiced audio and cutscenes

cAnother level of full localization revealed by the analyzed data involves localizing the UI,
and re-voicing audio and cutscenes, without providing Arabic subtitles. Examples of such
games include Disney Infinity (2013), Forza Motorsport 6 (2015), World of Tanks Blitz
(2016), and Lego Worlds (2017). This practice is problematic for gamers with hearing
loss, who are interested in playing the game in Arabic. In this regard, Fernández-Costales
(2014) argues that ‘cutscenes which include audio cannot be fully enjoyed by the deaf and
hard of hearing if subtitles are not provided’ (p. 59). The reasons for adopting this
method could be technical or financial. In some cases, the game code does not allow
developers to add subtitles to the game. In other instances, the source language subtitles
are hardcoded into the game itself, which prevents companies from adding Arabic sub-
titling. Therefore, the only way to localize the audio and cutscenes is by re-voicing the
assets.

Dubbing only (No UI or subtitles)

The data has further revealed another localization practice: dubbing only, in which
Arabic re-voiced audio and cutscenes are provided, using either MSA or LDA. In this
practice, companies do not include an Arabic localization of the UI, in-game text, or
subtitles of the voiceover and cutscenes (See Table 1). It is a barebones approach that
privileges hearing gamers and those who have some reading knowledge of the source
language.
Furthermore, this localization practice is problematic for Arab gamers whose English
skills are not advanced enough to understand in-game texts such as game tips, art
assets, or messages that are important for gameplay. Figure 4 is taken from the
Arabic version of Uncharted 4: A Thief’s End (2014), which was localized using a
‘dubbing only’ practice.
Figure 4 features a letter found on a desk in Uncharted 4: A Thief’s End (2014). No
Arabic translation was provided, which leaves a non-English speaking player puzzled
as to whether or not the letter is important for understanding any subsequent game
tasks. This would then impact the player’s game immersion and ability to play the
game.
After reviewing the main trends in localizing games into Arabic, the study explores
how Arab gamers view these different localization practices. The following section
reports the results of the online survey aimed at investigating Arab gamers’ preferences
for localization levels and languages.

Table 1. Games Localized with Dubbing Only.

Game Year Language Used
Epic Mickey 2: The Power of Two 2012 MSA
LittleBigPlanet 3 2014 MSA
Uncharted 4: A Thief’s End 2016 MSA
Marvel’s Spider-Man 2018 ALD (Egyptian)
Days Gone 2019 ALD (Egyptian)
 PERSPECTIVES 11

Figure 4. Uncharted 4: A Thief’s End (2014) Screenshot Taken by the Researchers

What do Arab gamers want?

The gamer survey was launched on January 1, 2020, on two social media websites, Twitter
and Facebook, and closed on March 18, 2020. The researchers collected 613 responses from
gamers located throughout the Arab world. The survey was divided into three parts. The
first part requested demographic information (gamer’s gender and region) as well as an
overview of playing habits. The second part asked about the gamer’s preferences related
to current Arabic localization practices adopted by video game developers. The third
section surveyed the player’s attitude toward using ALD or MSA when re-voicing audio
and cinematic assets. Studies of gamers’ preferences are rare and mostly discuss languages
other than Arabic (Ellefsen & Bernal-Merino, 2018; Fernández-Costales, 2016; Geurts, 2015;
Khoshsaligheh & Ameri, 2020). The following sections provide the results of this survey.

Survey results
The research sample included 613 participants, with 34.42% females and 65.57% males.
Geographically, these gamers resided in all three Arab regions: the Gulf region (48.61%),
the Middle East (33.11%), and North Africa (16.47%) (see Graph 2). The collected gender
and demographic information aligns with a recent survey of 1,673 Arab respondents,
conducted by Dennis et al. (2018), on video games in the Arab world, which found
that ‘men are more likely to play video games than women’ in the region (p. 71).
Their results also confirm the second finding of our survey: most gamers reside in the
Gulf region (Dennis et al., 2018, p. 101). This was also reported by Noujaim (2017),
who points out that most Arab gamers come from the Gulf region because these
gamers have large ‘purchasing power’ and ‘above average disposable income, which
they choose to spend on gaming’ (Noujaim, 2017, para 13).
As for participants’ gaming habits, most survey respondents reported that they play
video games more than ten hours per week (53.49%). This includes about 96 (15.65%)
12 M. AL-BATINEH AND R. ALAWNEH

‘hardcore gamers’ who spend more than twenty-five hours per week playing video games
and about 232 (37.84%) ‘serious gamers’ (Ellefsen & Bernal-Merino, 2018, p. 48) who
play ten to twenty-five hours per week (See Graph 3). The results have also shown
that 46.48% of the participants are ‘casual’ gamers who spend two to ten hours, or less
than two hours, gaming per week (28.87% and 17.61% respectively).
The majority of the participants are either ‘hardcore gamers’ or ‘serious gamers’
(about 69%), which means they have extensive video game experience and can provide
insights into the localization practices that Arab gamers would prefer. The following sec-
tions feature the results of the survey’s second and third sections concerning the gamers’
preferences related to the level of localization and the use of MSA and ALD.

Arab gamers’ preferences related to ‘Levels of Localization’

When game companies localize their products into Arabic, the target gamers’ localization pre-
ferences should always be prioritized. Video game companies should aim not only to reach their
intended gaming audience but also to provide the best product that meets gamers’ language
needs. The second part of the survey attempted to reveal the gamers’ preferences related to
such ‘localization levels.’ This part of the survey included one question with four options
(full, partial, zero localization, or other) for the participants to choose from (see Table 2).
The data revealed that most of the participants prefer playing video games that are partially
localized into Arabic (64.27%). This practice includes video games that provide an Arabic
interface, in-game texts, and subtitled audio and cutscenes. The second most-preferred

Graph 2. Geographical Regions of the Survey Respondents

Graph 3. Time Spent Playing Video Games per Week

 PERSPECTIVES 13

level was full localization, with about 24% of the gamers reporting a preference for playing
video games that include an Arabic user interface, in-game texts, and Arabic dubbing and
voiceover. The data analysis has also revealed that some gamers (12.07%) prefer to play
games in their original language (See Table 2). The following section focuses on Arab
gamers’ specific language preferences for re-voicing audio and cinematic assets.

Table 2. Participants’ Preference Related to the Levels of Localization.

Localization Number of
Level Item in the Survey Responses Percentage
Full localization I prefer playing games that are fully localized into Arabic, including 145 23.65%
Arabic user interface, in-game texts, and Arabic re-voiced
voiceovers and cutscenes.
Partial I prefer playing video games that are partially localized into Arabic, 394 64.27%
localization including Arabic user interface, in-game texts, and Arabic subtitled
voiceover and cutscenes of the video game.
Zero I prefer playing video games in their original language. 74 12.07%
localization
Other An optional choice where they can type in their preference 0% 0%

Arab gamers’ preferences for Arabic language: MSA or ALD

As mentioned earlier, the study’s video games analysis revealed that developers fully loca-
lize their games into Arabic by re-voicing the audio and cinematic assets, using either
MSA or ALD. The survey included a section asking if the participants preferred
playing Arabic video games re-voiced in either MSA or ALD. The results show that
most Arab gamers prefer to play their games in MSA (68.51%), while only 31.51%
prefer to play re-voiced video games in ALD (See Table 3).

Table 3. Participants’ Arabic Language Preference in Fully Localized Video Games

Re-voicing Practice Number of Participants Percentage
Re-voicing using MSA 420 68.51%
Re-voicing using ALD 193 31.46%

The results also demonstrate that when it comes to full localization in MSA, Arab gamers
prefer different game assets to be localized (See Table 4). One group prefers full video game
localization, which includes the UI, in-game texts, and Arabic re-voiced and subtitled audio
and cutscenes (45.51%) (Full localization using MSA Only). The other group, which consti-
tutes 23% of the participants, prefers to play video games with an Arabic localized UI, in-
game texts, and Arabic re-voiced audio and cutscenes without Arabic subtitles (Table 4).
However, this practice is not feasible for gamers with hearing loss.
The participants who prefer re-voiced audio and cinematic assets in ALD show
different preferences as well. For instance, 16.63% of respondents prefer to have audio
and cutscenes in ALD with subtitles in MSA (Table 4). Only 6.68% of the participants
prefer to play video games with ALD dubbing and subtitles, and 8.15% prefer to play
video games with an ALD voiceover only and no Arabic subtitles (See Table 4).
All participating gamers agree that it is important to have a localized UI and in-game texts.
This level of localization would help gamers understand the video game settings and instruc-
tions, which, in turn, enhances the gamer’s immersion and the game’s playability. It was also
revealed that gamers mostly prefer MSA in their games (about 68%). This could be attributed
14 M. AL-BATINEH AND R. ALAWNEH

Table 4. Participants’ Arabic Preference in Dubbing and Subtitling.

Number of
Localized Assets Preference Responses Percentage
Full Localization (UI, in-game texts, MSA UI, in-game texts, re-voicing, and subtitling 279 45.51%
re-voicing, and subtitling) MSA UI, in-game texts + ALD re-voicing + ALD Sub 41 6.68%
MSA UI, in-game texts + ALD re-voicing + MSA 102 16.63%
subtitling
UI and Re-voicing (No subtitles) MSA UI, in-game texts + MSA re-voicing 141 23%
MSA UI, in-game texts + ALD re-voicing 50 8.15%
TOTAL 613 99.97

to the fact that some lexical items in ALD are hard to understand in other regions, which may
consequently impact a game’s playability. Even most of the gamers who prefer ALD in the
voiceover and cutscenes prefer to have subtitles in MSA to compensate for any lexical gaps
they may encounter while playing the re-voiced video game.
Based on these results and the analysis of the games data, the localization levels, as pro-
posed by localization scholars, need to be revised. The current model does not cover all
video game localization practices found in the Arab market. The following section features
an updated, revised model for such localization levels based on the analyzed data.

Revising localization levels

The localization levels proposed by different scholars do not cover all video game local-
ization practices found in the Arabic video game market. As previously noted, some of

Table 5. A Revised Model for Localization Levels

Level of Localization Example
Partial Localization: One or more but not Localization Assets in Localized Assets in the Target Video
all assets of the original video game are the Source Video Game
localized Game
UI + in-game texts Arabic video game with Arabic user interface
only (in-game texts left in the source
language)
UI + in-game texts + Arabic video game with Arabic UI + in-game
voiceover texts (voiceover left in the source
language)
UI + in-game texts + Arabic video game with Arabic UI + Arabic
voiceover and in-game texts + Arabic subtitles (voiceover
cutscenes + subtitles and cutscenes left in the source language)
Arabic video game with Arabic UI + Arabic
in-game texts + Arabic re-voiced
voiceover and cutscenes (no subtitles or
left in the source language) Arabic video
game with Arabic re-voiced audio and
cutscenes only (UI, in-game text, and
subtitles left in the source language)
Arabic video game with Arabic subtitles
only (UI, in-game text, or audio and
cutscenes left in source language)
Full Localization: All assets included in the UI only Video game with an Arabic user interface
video game have been localized (some UI + in-game texts Video game with Arabic user interface +
video games do not include voiceovers or Arabic in-game texts
audio but are still fully localized by UI + in-game texts + Video game with Arabic UI + Arabic in-game
providing localization to the interface voiceovers + subtitles texts + Arabic voiceovers + Arabic
only) subtitles
 PERSPECTIVES 15

the original video games only include in-game texts and do not include art assets, audio,
and cutscenes. When such games are localized into another language, all assets included
in the video game are localized. It might not be accurate to list such video games under
‘partially localized’ since all game assets have been localized. In other cases, video game
developers provide Arabic-dubbed voiceovers and cutscenes, while the in-game texts and
other textual elements remain in the source language. This practice has not been clearly
defined under any of the categories provided by Bernal-Merino (2016), Chandler and
Deming (2012), and McKearney (2007). The proposed localization levels found in the
literature are mostly based on the localization practices used for English and FIGS
(French, Italian, German, and Spanish-speaking) countries. Therefore, video game local-
ization levels, as proposed by the aforementioned scholars, might not fully cover the
localization practices used for Arabic. To address this gap, we propose revising the ‘local-
ization levels’ into subcategories based on current localization practices in the Arabic
video game market in order to contribute to and improve upon the scholarly discussion
of localization levels (See Table 5).
Our proposed levels of localization are built on the concept of game assets. In other
words, these suggested localization levels depend on the available game assets in the orig-
inal video game and the localized ones in the target language. We differentiate between
two main levels of localization: full localization, which localizes all video game assets into
the target language and culture, and partial localization, which does not localize all video
game assets into the target language and culture.

Conclusion
The present paper attempted to reveal the current localization practices adopted by video
game companies to translate their games into Arabic. The paper analyzed almost all the
officially localized Arabic games from 2005 to 2020. Based on the collected games data, an
exponential increase in the number of video games localized into Arabic can be seen through-
out the past decade. Furthermore, the games data analysis demonstrated that the localization
practices adopted by video game companies vary. While some provide only localization of the
game’s UI, others fully localize the game, including voiceovers and all other assets.
The data has also revealed that the ‘localization levels’ proposed by translation and
localization scholars (Bernal-Merino, 2016; Chandler & Deming, 2012; McKearney,
2007) need further improvement in order to include the localization of assets beyond voi-
ceover and subtitles. Based on the analysis of the localization levels found in the Arabic
video game market, the paper suggested a revised model for localization levels, one with
more comprehensive subcategories than those currently used in localization schema.
Beyond the games data, the study also surveyed Arab gamers’ preferences related to local-
ization practices. Most gamers prefer to play video games that are partially localized into
Arabic, which includes localizing the UI, in-game texts, and the audio and cutscenes with
Arabic subtitling. In regard to full localization, most participants report that they prefer
to play video games that are re-voiced in MSA, as opposed to ALD. This finding confirms
Ubisoft’s decision to change the Syrian Arabic used in The Division 2 (2019) back to MSA
after fans of the game showed displeasure at the use of ALD. This choice not only cost
Ubisoft extra money to re-do the localization but was also additional time and effort.
16 M. AL-BATINEH AND R. ALAWNEH

Moreover, the survey showed that Arab gamers have an interesting preference: full
localization using ALD for re-voicing the audio and cutscenes with MSA subtitles (pre-
ferred by 16.63% of the participates, see Table 4). This localization practice was proposed
by the researchers for the purposes of the survey and, as far as the games data have
shown, has yet to be adopted by video game developers for Arabic localization. While
such a localization level is possible, this practice could be costly as it entails an interlin-
gual translation of the ALD audio and cinematic assets.
Research into Arab gamers’ preferences for and perceptions of video game localization
remains an ongoing gap within Arabic localization and translation studies. More studies
are needed in this area in order to bridge any potential disparities between video game
developers and gamers’ expectations.

Notes on contributors
Mohammed Al-Batineh is an associate professor of translation at the Department of Translation at
Yarmouk University, Jordan. He obtained his Ph.D. in Translation Studies from Kent State Uni-
versity, USA. He also holds a master’s in English-Arabic Translation from Yarmouk University,
where he completed his undergraduate studies in English Language and Literature. Mohammed’s
research interests include translation technologies, audiovisual translation, videogame localiz-
ation, and translation pedagogy. Email: [email protected]
Razan Alawneh has a master’s degree in Arabic-English translation from Yarmouk University,
Jordan. She has been a freelance subtitler and videogame localizer since 2016. Her working
languages are Arabic and English. Razan’s main research interests include videogame localization,
audiovisual translation, and accessibility. Email: [email protected]

Disclosure statement
No potential conflict of interest was reported by the author(s).

ORCID
Mohammed Al-Batineh http://orcid.org/0000-0002-8219-9900

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Gameography
Assassin’s Creed Odyssey (2018)
Ghost Recon: Breakpoint (2019)
Just Cause 4 (2018)
Resident Evil 7 (2017)
Rise of the Tomb Raider (2016)
Shadow of the Tomb Raider (2018)
Assassin’s Creed (2014, 2015, 2017)
Days Gone (2019)
Detroit Become Human (2018)
Disney Infinity (2013),
Epic Mickey 2: The Power of Two (2012)
Forza Motorsport 6 (2015),
Ghost of Tsushima (2020)
Goat Simulator (2014)
Just Cause 3, (2015)
Knack 2 (2017)
Lego Marvel’s Avengers (2014)
Lego Worlds (2017).
LittleBigPlanet 3 (2014)
Marvel’s Spider-Man (2018)
NBA 2K20 (2019)
Red Dead Redemption 2 (2018)
18 M. AL-BATINEH AND R. ALAWNEH

Spyro Reignited Trilogy (2018)

Squad (2015)
The Bridge (2013)
The Division 2 (2019)
The Humankind Odyssey (2019)
The Witcher 3 (2015)
Tomb Raider Definitive Edition (2014)
Uncharted 4: A Thief’s End (2016)
Watch Dogs 2 (2016)
World of Tanks Blitz (2016)

Appendix A: Analyzed Video Games (Games Data)

Game YEAR
1. Need for Speed: Most Wanted 2005
2. This is football 2005
3. Rappelz 2006
4. WALL-E 2008
5. Red Faction: Guerrilla 2009
6. Toy Story 3 2010
7. Transformice 2010
8. Cars 2 2011
9. FIFA 12 2011
10. PES 2012 2011
11. Epic Mickey 2: The Power of Two 2012
12. FIFA 13 2012
13. Game Dev Tycoon 2012
14. Journey 2012
15. PES 2013 2012
16. Assassin’s Creed IV: Black Flag 2013
17. Disney Infinity 2013
18. FIFA 14 2013
19. PES 2014 2013
20. The Bridge 2013
21. Tomb Raider 2013
22. Assassin’s Creed Unity 2014
23. Call of Duty: Advanced Warfare 2014
24. FIFA 15 2014
25. Goat Simulator 2014
26. LittleBigPlanet 3 2014
27. PES 2015 2014
28. The Crew 2014
29. Assassin’s Creed Rogue 2015
30. Assassin’s Creed Syndicate 2015
31. Call of Duty: Black Ops III 2015
32. Erica 2015
33. FIFA 16 2015
34. Forza Motorsport 6 2015
35. Just Cause 3 2015
36. PES 2016 2015
37. Star Wars: Battlefront 2015
38. Tearaway Unfolded 2015
39. The Witcher 3: Wild Hunt 2015
40. Tom Clancy’s Rainbow Six Siege 2015
41. WWE 2K16 2015
42. 8-Bit Armies 2016
43. Adam’s Venture: Origins 2016
44. Age of Conquest IV 2016
45. Among the Sleep – Enhanced Edition 2016
46. Batman: The Telltale Series 2016
47. Battlefield 1 2016

(Continued)
 PERSPECTIVES 19

Continued.
Game YEAR
48. Call of Duty: Infinite Warfare 2016
49. Fantastic Contraption 2016
50. FIFA 17 2016
51. LEGO Marvel’s Avengers 2016
52. Naruto Shippuden: Ultimate Ninja Storm 4 2016
53. One Piece Burning Blood 2016
54. Paragon 2016
55. PES 2017 2016
56. Ratchet and Clank 2016 2016
57. Rise of the Tomb Raider 2016
58. Rise of the Tomb Raider: 20 Year Celebration 2016
59. Sherlock Holmes: The Devil’s Daughter 2016
60. Street Fighter V 2016
61. The Last GuarDialectn 2016
62. The Walking Dead: A New Frontier 2016
63. The Witness 2016
64. Tom Clancy’s The Division 2016
65. Uncharted 4: A Thief’s End 2016
66. Watch Dogs 2 2016
67. World of Tanks Blitz 2016
68. WWE 2K17 2016
69. Assassin’s Creed Origins 2017
70. Batman: The Enemy Within – The Telltale Series 2017
71. Call of Duty: WWII 2017
72. Captain Tsubasa Dream Team 2017
73. FIFA 18 2017
74. For Honor 2017
75. Fortnite 2017
76. Forza Motorsport 7 2017
77. GT Sports 2017
78. GuarDialectns of the Galaxy video game 2017
79. Hellblade: Senua’s Sacrifice 2017
80. Hello Neighbor 2017
81. Hidden Agenda 2017
82. Hob 2017
83. Horizon Zero Dawn 2017
84. Knack 2 2017
85. Late Shift 2017
86. LEGO Worlds 2017
87. Marvel vs. Capcom: Infinite 2017
88. Middle-earth: Shadow of War 2017
89. PES 2018 2017
90. PlayerUnknown’s Battlegrounds 2017
91. Resident Evil 7: Biohazard 2017
92. RiME 2017
93. Tekken 7 2017
94. Tom Clancy’s Ghost Recon Wildlands 2017
95. Uncharted: Lost Legacy 2017
96. WWE 2K18 2017
97. LEGO Marvel Superheroes 2 2017
98. Assassin’s Creed Odyssey 2018
99. Battlefield V 2018
100. Darksiders III 2018
101. Detroit Become Human 2018
102. Far Cry 5 2018
103. FIFA 19 2018
104. Just Cause 4 2018
105. LEGO DC Super-Villains 2018
106. LEGO The Incredibles 2018
107. Marvel’s Spider-Man 2018
108. MONSTER HUNTER: WORLD 2018

(Continued)
20 M. AL-BATINEH AND R. ALAWNEH

Continued.
Game YEAR
109. PES 2019 2018
110. Remothered: Tormented Fathers 2018
111. Shadow of the Colossus 2018
112. Shadow of the Tomb Raider 2018
113. Spyro Reignited Trilogy 2018
114. The Conjuring House 2018
115. The Crew 2 2018
116. WWE 2K19 2018
117. Ancestors: The Humankind Odyssey 2019
118. Call of Duty: Modern Warfare 2019
119. Control 2019
120. Days Gone 2019
121. Death Stranding 2019
122. Far Cry: New Dawn 2019
123. FIFA 20 2019
124. Gears 5 2019
125. Jumanji: The Video Game 2019
126. JUMP Force 2019
127. Mortal Kombat 11 2019
128. Need For Speed Heat 2019
129. PES 2020 2019
130. Plants vs Zombies: Battle for Neighborville 2019
131. The Dark Pictures Anthology: Man of Medan 2019
132. The LEGO Movie 2 Videogame 2019
133. The Sinking City 2019
134. Tom Clancy’s Ghost Recon: Breakpoint 2019
135. Tom Clancy’s The Division 2 2019
136. Trials Rising 2019
137. WWE 2K20 2019
138. Black Mesa 2020
139. Cyberpunk 2077 2020
140. Dragon Ball Z: Kakarot 2020
141. Little Nightmares II 2020
142. Marvel’s Avengers 2020