A large majority of video games are localized from Japan. In the process, a lot of blatant and frustrating mistakes can cause the end product to be well… incomplete. These changes are usually based on the localization team’s opinions on what is acceptable to Western audiences.
These changes can range from story and character overhauls, to the deletion of unique cultural aspects. In the latter case the reasoning is slightly understandable since an explanation of such aspects may require further programming which can become costly.
One aspect of games that almost always undergoes a dramatic change is the cover art of video games. This topic was first brought to my attention while wasting some time on 4chan’s /v/ message board. At first I didn’t think much of it, but then it really began to bug me.
Why do video game companies fear that which is Eastern in origin? Do they really think that we as consumers are incapable of accepting a foreign culture?
Here are 3 covers that were brought to my attention by 4channers and by my own digging:
Suikoden
Publisher: Konami
US release date: 1996
The left cover is the original Japanese cover, and the right is the North American cover. The 90’s are marked by a high level of xenophobia when it comes to localizing games. You can plainly see that the anime style art has been replaced by hideous art western in nature. The localizers may have been trying to pass the game off as a WRPG rather than a JRPG.
Ico
Publisher: Sony Computer Entertainment America
US release date: September 24, 2001
It is important to note here that everywhere but North America received the left cover art. Everywhere. The left cover art puts the emphasis on the castle, the game’s setting, and arguably the most important element of Ico’s story.
Making people the focus of art has long been a western tradition, whereas making people’s surroundings the focus (with little to no emphasis on people) is a common element in Eastern art–especially brush painting and sumie.
The Japanese cover was painted by Fumito Ueda, the creator of both Ico and Shadows of the Colossus. His inspiration for the piece was the surrealist works of Giorgio de Chirico. As for the other piece, I can only think that SCEA wanted to show off the graphics of the game, so they decided to go with CG.
Mystery Dungeon: Shiren the Wnderer
Publisher: Chunsoft, localized by Sega
US release date: March 4, 2008
Here is a game near and dear to my heart. It is the most recent of the 3, possibly making it the most relevant. The Japanese cover art features smooth anime style art complete with tranquil looking characters.
The North American cover art is quite different. All three featured characters (I am including Koppa the weasel) look angry. Even the reddish background suggests rage. Also, the art looks much more western. Even Shiren’s sword doesn’t look like a katana–it appears straight.
The only reasoning I can conclude for these covers to differ so dramatically from their originals is that the localizers fear the game will not be received well, and they won’t make money.
Such a fear today seems ludicrous. Gamers do not purchase a game based on the box art. Speaking for myself, purchasing a game is based on brand loyalty, research, and genre.
Many Western gamers seem to appreciate the influx of Japanese or Eastern culture in their games. Shin Megami Tensei: Persona 3 for example brings the player into the shoes of an (almost) average Japanese school student. All cultural references to Japanese food, religion, etc. were retained, and yet the game was immensely popular.
So c’mon, America! Give gamers some credit. We can’t stand anymore garish cover art!
Related Entries:
Final Fantasy VII as a Reflection of Modern Japanese Society
Know Your Video Game History: Persona: Revelations
, which is always nice.
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Doublejump Books’ Disgaea 3: Absence of Justice Guide Review
I don’t buy guides for most games, and NIS games are certainly not most games. They are literally filled to the brim with hours upon hours of ways to make tiny sprites bash enormous numbers out of each other. This may not sound like much fun to most people, but I daresay it is what I live for.
Making awesome guides is what the guys at DJB live for. Luckily, they happen to have the same taste in games as me. Great minds… or so they say.
When I play a game, I love knowing how things work behind the scenes. This usually means a breakdown of everything numerically, the language of the gods. The guide includes the numbers behind such important features as stealing, weapon mastery, team attacks, maxing out a character, etc. Knowing how to make the numbers work in your favor can be a huge time-saver.
The second thing I love to have handy when playing a game as massive as Disgaea 3 is lists. If I could, I would lie in an aromatic field of lists all damn day. This is probably one of the most space consuming elements of the guide. Yet with so much data, the lists are extremely organized to help the reader find whatever they want as easy as possible.
The last thing (which I already mentioned) that is important to me, is organization. Especially when it comes to a guide for a game I haven’t even played yet. Spoiling anything for myself would surely result in an attempt to locate and terminate any brain cells affected. The layout of the guide makes it clear what sections to avoid in a case like mine. To get a better idea of the guide’s organization i recommend taking a look at a .PDF preview of it here.
As always, DJB puts their own special touches into their guide. This guide in particular contains some fanart as well as a cute comic. I was a tad disappointed that there wasn’t an interview with NIS America. The Disgaea 2, Phantom Brave, and even Makai Kingdom guides all included interviews with the games creators, which was one of my favorite features. I’ll let it slide since it’s obvious the game sucked up a lot of time.
Related Entries:
Disgaea 3 Guide Pre-Order Bonus
Three Disgaea 3 Pre-Order Options
All other Kotowari posts relating to Makai Senki Disgaea 3 can be found here.