Localization is a vital part of the game design process for titles that consider a global audience, but translating between different languages is much easier said than done. Speech patterns, dialects, and even comedic contexts all need to be considered when localizing a game such asLike a Dragon: Pirate Yakuza, and though it is important to capture the essence of the original script, one-to-one translations simply won’t cut it in most scenarios, running the risk of sounding stilted or awkward. As theLike a Dragonseries has grown increasingly accessible with its subtitles and dubs,RGG Studio’s gameshave considered this to great effect, leaning on the strengths of its localization to capture its intended humor and emotional story beats.
It isn’t a surprise to say thatLike a Dragon: Pirate Yakuza in Hawaiicontinues to show what makes its localization so important, and impressive, in Majima’s spinoff story. Leading up to the game’s release,Pirate Yakuza’s marketing material was already filled with pirate puns galore, but within the context of the game itself, its dialogue has to contend with more than just pirate speak.Like a Dragon’s localization has always faced obstacles in terms of how jokes and self-expression might land in different cultural contexts, and furthermore, there’s the consideration of different dialects. As the developers discussed withPC Gamer, Majima’s Kansai dialect is consistently centered through his presence as a leading role.
Like a Dragon: Pirate Yakuza in Hawaii Continues to Consider the Kansai Dialect
English Text That Supports Nuanced Dialects
WhilePirate Yakuzahas an English dubwith acclaimed voice actor Matt Mercer taking on Majima’s role, it is most likely that fans of the series will opt for the Japanese language with subtitles for translation. This is not due to a lack of talent on Mercer’s part, but rather, because of Hidenari Ugaki, who has established such a presence for the character throughoutLike a Dragon’s history that he has become synonymous with Majima himself.Pirate Yakuzakeeps his talents on display, as its English text translation becomes more pronounced to match Majima’s dialect accordingly. Simple English wouldn’t highlight the nuances of the Kansai dialect, and soPirate Yakuzaconsiders its text differently.
Showing Differences in Speech Patterns, Accents
When Majima picks up the phone, he opts for a “yello” instead of a simple hello. When he speaks, he apostrophizes words, shortenin' them for emphasis. “For” becomes “fer,” “you” becomes “ya,” and so on. Despite his lost memory, there is consistent consideration of Majima’s origins, cemented in how the English text of his dialogue is conveyed. Not only does the game give glimpses of his past through small references he conjures up, but it further demonstrates the differences in dialect between him and those he’s surrounded by. Of course, there’s also the matter of the language barrier between him andNoah givenPirate Yakuza’s Hawaii setting, which is jokingly brought up as Majima recounts his pirate tale, though it does not hinder their flow of dialogue in any disruptive way.
Beyond Majima,Pirate Yakuza’s English localization also considers modern English slang. When Noah calls out Kamulop for being a sweaty old man in a costume, he returns with a “don’t put me on blast, kid.” When Majima encounters Claire, an ex-Pirate who he joins in a fight to save a tourist from some thugs, her own English text denotes a similar informal, accented way of speaking, which she later conceals in an attempt to be more conventionally ladylike. Even the non-interactableNPCs ofPirate Yakuzahave their own personalities and ways of speaking, like those in the rough-n-tumble of Madlantis.
The Merits of Localization for Audiences
Without the efforts of RGG Studio’s localization teams,theLike a Dragonserieswouldn’t hold the level of prominence it does on a global scale. The ability to not only translate the meaning of the games' Japanese scripts, but to modify them for different cultural contexts without comprising their original intent, has become a central part of the studio’s design process. The beauty of modern gaming is in the many ways that players have seen increased accessibility, and throughLike a Dragon’s localization, the stories of the series have reached more audiences than ever. Localization plays a crucial part in how a game might shine further, and RGG’s treatment of it is worthy of praise.
