天主教輔仁大學跨文化研究所翻譯學碩士論文
A Thesis Presented to the Graduate Institute of Cross-Cultural Studies
Master’s Program in Translation and Interpretation Studies
Fu Jen Catholic University
指導教授：張梵
Advisor: Albert L. Chang
O’Hagan 與 Mangiron 的創譯策略應用初探：
以《上古卷軸五：無界天際》與
《巫師三：狂獵》中的人工語言為例
An Exploratory Review of the Application of O’Hagan and Mangiron’s
Transcreative Strategies:
A Case Study on Constructed Languages in The Elder Scrolls V: Skyrim and
The Witcher 3: Wild Hunt
研究生：周泰榮
撰
Advisee: Tai-Jung Chou
中華民國一○八年六月
June 2019
All thesis and no slacking makes Steve a suicidal. All thesis and no slacking makes Steve
a suicidal. All thesis and no slacking makes Steve a suicidal. All thesis and no slacking makes
Steve a suicidal. All thesis and no slacking makes Steve a suicidal. All thesis and no slacking
makes Steve a suicidal.
All thesis and no slacking makes Steve a suicidal. All thesis and no slacking makes Steve
a suicidal. All thesis and no slacking makes Steve a suicidal. All thesis and no slacking makes
Steve a suicidal. All thesis and no slacking makes Steve a suicidal. All thesis and no slacking
makes Steve a suicidal.
All thesis and no slacking makes Steve a suicidal. All thesis and no slacking makes Steve
a suicidal. All thesis and no slacking makes Steve a suicidal. All thesis and no slacking makes
Steve a suicidal. All thesis and no slacking makes Steve a suicidal. All thesis and no slacking
makes Steve a suicidal.
摘要
電子遊戲產業近年來在全球發展蓬勃，商機龐大。遊戲在地化因此成為遊戲公司
進入各國市場的跳板，也自然受到學界關注。Mangiron 與 O’Hagan 首先援引翻譯學中的
創譯（transcreation）手法，指出遊戲必須適時經過創譯，以便忠實保留遊戲體驗。然而，
近來遊戲開發商的創意卻為二位學者的概括性論述帶來了挑戰。現今遊戲開發商不時會
因 應 劇 情 需 要 ， 設 計 人 工 語 言 （ constructed language ） 並 置 入 遊 戲 資 產 中 。 若 按
Mangiron 與 O’Hagan 的論述，人工語言的文字或許亦能使用六種創譯策略處理，進而保
留遊戲體驗。然而，由於二位作者在論述創譯手法時未能預見人工語言的出現，因此未
能說明或驗證創譯策略能否有效處理含有人工語言的遊戲資產。
本研究以上述發展為基礎，探討創譯策略能否翻譯含有人工語言文字的遊戲資產，
並保留遊戲體驗。本研究以《上古卷軸五：無界天際》與《巫師三：狂獵》中含有人工
語言的遊戲資產為語料，透過前人文獻分析語料中的遊戲體驗要素、遊戲資產類別、人
工語言、翻譯策略，以探討創譯策略是否適合翻譯人工語言。研究分析發現，遊戲資產
內的人工語言鮮少以創譯策略處理，大多採音譯或保留原文。細究後更發現，人工語言
和遊戲資產的用途、遊戲劇情鋪陳、遊戲方式都可能是譯者鮮少使用創譯策略的原因。
因此，本研究建議，使用創譯手法前，須詳加考慮前述環節以及整體遊戲體驗，再慎選
策略。
關鍵詞：人工語言、遊戲體驗、遊戲翻譯、在地化、創譯
iii
Abstract
In recent years, the rapid growth of the video game industry has attracted much scholarly
attention to video game translation. Mangiron and O’Hagan (2006, 2013) borrowed the notion
of transcreation from Translation Studies and wrote that video games must be sometimes
transcreated so as to retain the original gameplay experience. Nevertheless, the authors’
description has been challenged due to the emergence of constructed languages in video games.
Constructed languages are man-made languages that are potentially transcreatable using a group
of six translation strategies. Because such languages only became popular in video games after
Mangiron and O’Hagan wrote about transcreation, their description failed to explain whether the
strategies can be used to translate constructed language text and retain the game’s original
gameplay experience.
The present study investigates whether Mangiron and O’Hagan’s transcreative strategies
can be used to translate constructed languages in game assets and retain the game’s gameplay
experience. The present study analyzes constructed language texts in The Elder Scrolls V: Skyrim
and Witcher 3: Wild Hunt, and categorizes them based on asset type, text type, immersion
components, and translation strategies, in order to determine whether transcreative strategies can
be used to translate constructed language texts. Results show that transcreative strategies are
rarely used for constructed language texts and that the texts are often transliterated or kept
unchanged. The present study concludes by recommending that translators select strategies based
on gameplay experience and the ways constructed languages and game assets are used in games.
Keywords: constructed language, gameplay experience, video game translation, localization,
transcreation
iv
Acknowledgements
感謝爸爸媽媽一直支持著我在學業的道路上前進，謝謝旁人的不看好。
This thesis would never have existed without the help of Professor Albert Chang, Director
Cheng-shu Yang, Professor Oscar Lin, Professor Benny Nieh, Ms. Leigh Lynn, and Eddie Yu.
My heartfelt thanks to all of you!
Mòran taing, Angela, liberi a me.
D3 hadrim lost aus nin do d1r rok
Hind hin sille fen sos1l 4rk ag unsl1d
Inne, inne, f4 hin dinokke zu’u
VLLVM·VERBVM·SINE·AVXILIO·AMOREQVE·ÆMILIÆ·SCRIBERE·NON·POTVI.
SOLIS·MORS·ME·AB·TE·SEPARET.
v
vi
Table of Contents
Abstract…. ............................................................................................................................... iv
Acknowledgements ....................................................................................................................v
List of Tables ........................................................................................................................... ix
Table of Figures ...................................................................................................................... xii
Introduction ...............................................................................................................1
Background .......................................................................................................1
Research question ..............................................................................................5
Research organization .......................................................................................5
Literature Review......................................................................................................7
2.1 Video game translation, video game localization, and gameplay experience ...7
2.2 Game assets and text .......................................................................................15
2.3 Video game translation strategies....................................................................21
2.4 Constructed languages .....................................................................................28
2.5 Summary .........................................................................................................43
Research Methodology ...........................................................................................44
3.1 Measuring immersion in gameplay experience: a modified SCI model .........44
3.2 Classifying game assets and texts: a modified taxonomy ...............................49
3.3 Identifying the strategy: a list of video game translation strategies ................60
3.4 Research material ............................................................................................67
3.4.1 The Elder Scrolls V: Skyrim Special Edition and Witcher 3: Wild Hunt Game of the Year Edition ................................................................................67
3.4.2 Data collection and classification ..........................................................76
3.4.3 Data analysis methods............................................................................82
3.5 Summary .........................................................................................................87
vii
Analysis Results and Discussions ...........................................................................88
4.1 Constructed language assets ............................................................................88
4.2 Aesthetic assets................................................................................................98
4.2.1 The translation of narrative texts and time constraints ........................100
4.2.2 Transcreation as a reflection of game protagonists’ language abilities104
4.3 Shout assets ...................................................................................................115
4.4 Uncertainty assets ..........................................................................................124
4.5 Display assets ................................................................................................138
4.6 Summary .......................................................................................................144
Conclusion ............................................................................................................146
5.1 Research contributions ..................................................................................150
5.2 Limitations.....................................................................................................152
5.3 Recommendations .........................................................................................155
References ..............................................................................................................................160
Gameography .........................................................................................................................175
Appendix A: Constructed language assets in Skyrim ............................................................178
Appendix B: Constructed language assets in Wild Hunt .......................................................260
viii
List of Tables
Table 1.1.1 Constructed languages in video games ................................................................... 4
Table 2.2.1 A taxonomy of game asset and text type .............................................................. 18
Table 2.4.1 Hylian symbols in The Legend of Zelda: A Link to the Past ................................ 37
Table 2.4.2 Use of Dovahzul in The Elder Scrolls V: Skyrim ................................................. 41
Table 3.2.1 A modified taxonomy of game assets and texts ................................................... 51
Table 3.2.2 Using modified taxonomy to classify user interface and its text .......................... 54
Table 3.4.1.1 Dovahzul alphabet, words, and sentence structure ............................................ 70
Table 3.4.1.2 A comparison of Hen Llinge and its variants in Wild Hunt............................... 73
Table 3.4.1.3 In-game texts written in the Hen Llinge languages in Wild Hunt ..................... 75
Table 3.4.1.4 Categorization of constructed languages in Skyrim and Wild Hunt based on the
existing taxonomies ................................................................................................................. 76
Table 3.4.2.1 Classification of constructed language assets in Skyrim and Wild Hunt ........... 79
Table 3.4.2.2 Constructed language assets that had the same source texts ............................. 81
Table 3.4.2.3 Discarded assets that only contain constructed language names ....................... 81
Table 3.4.2.4 Discarded assets with irrelevant constructed language texts ............................ 82
Table 3.4.3.1 Translation strategies and immersion components of constructed language assets
in Skyrim and Wild Hunt .......................................................................................................... 86
Table 4.1.1 Total number of assets, immersion components, transcreative strategies and
translation strategies in Skyrim and Wild Hunt ........................................................................ 89
Table 4.1.2 Asset types and text types in Skyrim and Wild Hunt ............................................ 91
Table 4.1.3 Dual-use constructed language asset in Wild Hunt ............................................... 91
Table 4.1.4 Number of translation strategies use in Skyrim and Wild Hunt ............................ 93
Table 4.1.5 Immersion components constituted by constructed language assets in Skyrim and
Wild Hunt ................................................................................................................................. 95
Table 4.1.6 Immersion components before and after translation strategies were used ........... 96
Table 4.2.1 Aesthetic assets in Skyrim and Wild Hunt ............................................................ 98
ix
Table 4.2.2 Text and immersion components of an aesthetic asset ......................................... 99
Table 4.2.1.1 Aesthetic asset that display narrative texts in Skyrim and Wild Hunt .............. 100
Table 4.2.1.2 An aesthetic asset that displays narrative text in Wild Hunt ............................ 101
Table 4.2.1.3 Translation strategies used to render constructed language texts in aesthetic assets
that display narrative texts in Skyrim and Wild Hunt ............................................................. 102
Table 4.2.1.4 An aesthetic asset that displays narrative text in Wild Hunt ............................ 102
Table 4.2.1.5 Asset W109’s constructed language text transcreated with a reference to the novel
Miecz Przeznaczenia .............................................................................................................. 103
Table 4.2.2.1 Aesthetic asset that display narrative texts in Skyrim and Wild Hunt .............. 105
Table 4.2.2.2 An aesthetic that displays oral/dialogic text in Skyrim .................................... 105
Table 4.2.2.3 Strategies used to render constructed language texts in aesthetic assets that display
oral/dialogic texts in Skyrim and Wild Hunt .......................................................................... 106
Table 4.2.2.4 Examples of constructed language texts transcreated into traditional Chinese107
Table 4.2.2.5 Rendering of asset W122’s constructed language text under different language
settings ................................................................................................................................... 108
Table 4.2.2.6 Immersion components constituted by aesthetic assets before and after
transcreation ........................................................................................................................... 112
Table 4.2.2.7 Examples of using translation strategies to reflect game protagonists’ language
abilities ................................................................................................................................... 114
Table 4.3.1 Source text and immersion components of shout assets in Skyrim..................... 117
Table 4.3.2 Asset types and text types of shout assets in Skyrim .......................................... 118
Table 4.3.3 Strategies used to render constructed language texts in the 116 shout assets in Skyrim
................................................................................................................................................ 118
Table 4.3.4 Examples of the transliteration and retention unmarked strategies .................... 119
Table 4.3.5 A comparison of asset T146’s source text after transcreation and transliteration122
Table 4.4.1 Constructed language asset that creates uncertainty in Skyrim........................... 128
Table 4.4.2 Asset type and text type of uncertainty assets in Skyrim and Wild Hunt ............ 129
Table 4.4.3 Number of translation strategies used for uncertainty assets in Skyrim and Wild Hunt
................................................................................................................................................ 132
x
Table 4.4.4 Strategies used to translate uncertainty assets’ constructed language texts under the
traditional Chinese language setting ...................................................................................... 133
Table 4.5.1 Display assets in Skyrim and Wild Hunt ............................................................. 138
Table 4.5.2 Asset types and text types of display assets in Skyrim and Wild Hunt ............... 139
Table 4.5.3 Number of translation strategies for the 452 display assets in Skyrim and Wild Hunt
................................................................................................................................................ 139
Table 4.5.4 Texts displayed in dragon font and Times New Roman ..................................... 140
Table 4.5.5 Asset T261’s text rendered with two different translation strategies ................. 141
Table 4.5.6 A display asset’s texts and appearance in Wild Hunt ......................................... 143
Table 4.5.7 Asset W42’s texts displayed in Wild Hunt after transcreation and omission ..... 143
Table 5.2.1 Deliberate use of incorrect punctuation marks in Skyrim ................................... 152
Table 5.2.2 Correct form of asset T65’s target text ............................................................... 152
Table 5.2.3 A comparison of asset T146’s source text after transliteration and transcreation154
Table 5.3.1 Constructed language texts in Sethian, Heaven’s Vault and Eloquence............. 156
Table 5.3.2 Transcreation of constructed language text in Wild Hunt................................... 158
xi
Table of Figures
Figure 2.1.1. Ermi and Mäyrä’s SCI model of components of gameplay experience. ............ 13
Figure 2.1.2. Relationship between video game translation, video game localization, and
gameplay experience. ............................................................................................................... 15
Figure 2.2.1. A game asset’s content before and after video game translation and localization.
.................................................................................................................................................. 21
Figure 3.1.1. Modified SCI model of immersion components constituted by game assets. .... 46
Figure 3.1.2. Immersion components constituted by a user interface. .................................... 48
Figure 3.2.1. Examples of asset types and text types............................................................... 49
Figure 3.2.2. Asset displaying text in user interface. ............................................................... 53
Figure 3.2.3. The use of the modified taxonomy with the modified SCI model. .................... 54
Figure 4.2.2.1. Change in asset W122’s immersion components after transcreation. ........... 111
Figure 4.3.1. A comparison of asset T146’s immersion components before and after text
transcreation. .......................................................................................................................... 123
Figure 4.4.1. A model illustrating the creation of uncertainty from context build-up in game
quests...................................................................................................................................... 126
Figure 4.4.2. A model illustrating how asset T456’s constructed language text helps create
uncertainty in the quest “A Blade in the Dark.” .................................................................... 130
Figure 4.4.3. A projection model of how asset T456’s text eliminates uncertainty when the text
is written in English instead of Dovahzul. ............................................................................. 131
Figure 4.4.4. Change in asset T456’s immersion components after transcreation. ............... 135
Figure 4.5.1. Change in display asset’s immersion components after transliteration. ........... 142
xii
Introduction
Background
Since video games first appeared in 1931 as simple, partly-electronic pinball machines,
they have evolved and spread quickly across the world (Bernal-Merino, 2006). Video games
have become an interactive form of entertainment that uses different kinds of media and
computer calculation to enforce game rules and present challenges and rewards to players, who
participate in the games through devices such as controllers, keyboard, and display (BernalMerino, 2015, p. 18; Frasca, 2001, p. 5). In addition, the video game industry has also developed
and thrived. The industry’s global revenue has ascended from US$1 billion in 1971 to more than
US$130 billion in 2018. The amount was higher than the film industry’s global box office
revenue in the same year, US$44 billion (League of Professional esports, 2018; McAloon, 2019;
Nakamura, 2019; Newzoo, 2018; Statista, 2019). Currently, the highest grossing media title of
all time is also a video game; Grand Theft Auto V (Rockstar Games, 2013) has grossed over
US$6 billion with 90 million units sold (Cherney, 2018; OppenheimerFunds Distributor, 2018).
Behind the industry’s immense success is the highly specialized video game localization
industry, which emerged in the 1980s. Before that, video games were rarely localized because
there was not much to localize; early video games only had simple game mechanics and
displayed short texts (Bernal-Merino, 2015, pp. 157-161). In addition, the export of games used
to be insignificant, with Japan and the United States being the only major exporters of video
games (Bernal-Merino, 2011, pp. 12-13). Despite its humble beginnings, the video game
localization industry is now involved in almost every stage of a game’s lifecycle. During a
game’s development stage, project managers create localization kits as a roadmap to guide
localization, outlining details such as personnel, delivery deadlines, and the files to be localized
1
(O’Hagan & Mangiron, 2013, pp. 128-129). As production and localization begin, linguists come
in to translate in-game texts and proofread translations, while art design and sound effects
specialists localize non-text game files and integrate them into the localized game (O’Hagan &
Mangiron, 2013, pp. 130-136). Towards the end of production, testers scrutinize the localized
game and work closely with the above specialists to ensure that the game’s quality meets the
market’s requirements (O’Hagan & Mangiron, 2013, pp. 136-140).
The high levels of task specialization in the video game localization industry have caught
the attention of the academia, which began to study the challenges faced by the industry. In
particular, many studies investigated the challenge of retaining a game’s gameplay experience
in its localized versions, that is, how to maintain a game’s look and feel after localization (Fry,
2003). For instance, O’Hagan and Mangiron (2013) addressed this challenge by putting it in the
context of Translation Studies and borrowing from the post-colonial notion of “transcreation.”
The authors used transcreation to highlight the video game translator’s freedom, granted in
addition to translation, to help plan and even achieve the retention of gameplay experience in
localized games (O’Hagan & Mangiron, 2013, p. 197-201). Most importantly, they
recommended that “video games must sometimes be transcreated to retain the same affective
appeal of the original game” (p. 199). The authors’ recommendation is significant not only
because it reflected the localization industry’s practice of adapting game contents to market
needs (e.g., Dong & Mangiron, 2018; Iaia, 2016; Mangiron & O’Hagan, 2006), but also because
it has opened a window for subsequent studies. For example, van Oers (2014) examined the
localization of the game Beyond Good and Evil (Ubisoft, 2003) and found that around 10% of
the game’s texts was indeed transcreated (p. 146).
2
However, O’Hagan and Mangiron’s recommendation has also left a few things
unclarified. For instance, it remains unclear whether the term “transcreate” is referring to the
transcreation of texts, or that of non-text game contents, such as images and animation. In
practice, the two are different. The transcreation of texts typically refers to the use of specific
translation strategies. For example, Mangiron and O’Hagan (2006) examined the English
translation of Japanese in-game texts and proposed a transcreative strategy named
contextualization by addition, which is to translate a text and add new information based on
context. In this example, the term “transcreation” is discussed from the perspective of
Translation Studies and is referred to as a way of translating in-game texts. On the other hand,
the transcreation of non-text game contents covers a wide area, ranging from censoring sensitive
contents, such as blood and nudity, to adjusting game difficulty and mechanics. In this context,
the notion of transcreation is discussed in the field of video game localization, which considers
games as cultural products and transcreation as an approach that customizes certain game
contents for a specific culture (O’Hagan & Mangiron, 2013, pp. 203, 215).
In addition to what transcreation refers to, the exact timing of transcreating games also
remains unclear; the phrase “must sometimes be transcreated” as O’Hagan and Mangiron wrote,
is unclear. The closest explanation appears to be Bernal-Merino (2007b), who placed
transcreation in the field of Translation Studies and pointed out that when games are based on
completely new ideas, game texts need to be translated with a “rather creative, playful approach”
(p. 3). Nevertheless, this is not clear enough, because “completely new ideas” are difficult to
define. Take constructed languages for example. In recent years, game developers began to
3
create languages for their games in order to enrich the gameplay experience. Such languages
often help create a convincing game world where different ethnic groups and cultures coexist.
Can these constructed languages, also known as artificial languages or invented languages, be
considered as completely new ideas? If so, should games be transcreated when they have
constructed languages? Should in-game texts be transcreated when written in constructed
languages? How to transcreate texts from a constructed language into, for example, traditional
Chinese? These questions are even more challenging when applied to games like The Witcher 3:
Wild Hunt (CD Projekt Red, 2015a) and The Elder Scrolls V: Skyrim Legendary Edition
(Bethesda Game Studios, 2013b), which are critically acclaimed role-playing games in recent
years. As shown in Table 1.1.1 below, both games contain constructed languages that may be
considered as new ideas.
Table 1.1.1
Constructed languages in video games
Game title
The Elder Scrolls V:
Skyrim
The Witcher 3: Wild
Hunt
Texts written in constructed
languages
Pruz1n lun ko K2z1l
los h4drim do dw3n
sil kendav.
Ledwedd varlledu cyall, no ghar.
English translation
The best weapon in Skyrim
is the mind of a steelsouled warrior.
Paintings should convey
emotion, not words.
Currently, it appears that no studies have explored the applicability of transcreation or
sought to explain O’Hagan and Mangiron’s recommendation. At the same time, video games are
slowly integrating constructed languages and other new ideas into their gameplay experience.
For example, The Elder Scrolls V: Skyrim Legendary Edition from above not only contains
several constructed languages, but also allows players to speak one of the languages and use
4
them as voice commands. Due to the newness of the game approach, it appears that no studies
have investigated whether O’Hagan and Mangiron’s recommendation applies. This became the
motivation for the present study. The study seeks to conduct an exploratory review on whether
the notion of transcreation applies to constructed languages in video games. The aim is to
examine and explain when to transcreate video games, so as to retain their original gameplay
experience.
Research question
To help investigate the use of transcreation in video games, the present study will attempt
to answer the following research question: “Can transcreative strategies be used to translate
constructed language texts in video games while retaining the original gameplay experience?”
The question places transcreation in the field of Translation Studies, referring to the term
“transcreation” as a specific group of translation strategies that are used to translate in-game
texts. In addition, the question narrows down the scope of the investigation by focusing on video
games that contain texts written in constructed languages. Answering the question may help
explain when video games can be transcreated so as to retain their original gameplay experience.
Research organization
To investigate the research question and examine when O’Hagan and Mangiron’s
transcreation applies, the present study analyzed the translation strategies for two video games
that contained texts written in constructed languages. Chapter 2 will review the existing studies
and terminologies that are relevant to the investigation, including video game translation, video
game localization, gameplay experience, game assets, texts, text strings, and constructed
languages. Chapter 3 will explain the methodology behind the investigation, including the
5
collection, classification, and analysis of research materials, as well as the conceptual tools and
models that were used. Chapter 4 will provide analysis results and discussions based on the
translation of constructed language texts in the two games. Chapter 5 will present an overall
conclusion pertaining to the research question.
6
Literature Review
This chapter contains four sections. Each Section reviews different existing studies and
conceptual frameworks related to the research question: Can transcreative strategies be used to
translate constructed languages in video games and retain the original gameplay experience?
Section 2.1 reviews existing studies of video game localization, video game translation, and
gameplay experience. The aim is to provide a general context for the research question. Section
2.2 reviews the literature on game assets, texts, text strings, and the frameworks used to
categorize them, in order to understand where constructed languages can be found in a game.
Section 2.3 reviews the literature on the concept of constraints and strategies in video game
translation, in order to understand how previous studies assessed translation strategies. Section
2.4 reviews the existing literature on constructed languages, including video games that use such
languages, in order to provide details to the context of the research question.
2.1
Video game translation, video game localization, and gameplay experience
This section reviews literature on the terminologies that describe the process and purpose
of modifying text in video game localization. The aim is to differentiate video game translation
and video game localization and define gameplay experience, a term often associated with the
purpose of video game translation and localization.
Video game translation and video game localization. In the 1990s, studies began to
discuss the modification of text during the process of localizing video games. Some studies also
included the modification of other elements in games, such as censoring violent game content.
But there was no consensus on the terminologies for describing the modification of texts, nontext elements, or hybrids of both. Terms like game localization and video game translation were
7
proposed, but what they meant differed from study to study. Dietz (1999, 2003) used the term
games localization mainly to refer to translating text in games into a different language. Trainor
(2003) distinguished games localization from text translation, which, as the author pointed out,
was only part of games localization. Trainor wrote that games localization in fact covered
technology and cultural issues, such as enabling the display of double-byte fonts and replacing
red blood with green. Mangiron (2004) and O’Hagan and Mangiron (2004) preferred the term
game localization when discussing the translation of in-game texts from Japanese into English.
Chandler (2005) also used game localization, but referred to it as “translating language assets in
a game into other languages” (p. 4). Mangiron and O’Hagan (2006) later proposed the term
transcreation to describe how text is modified in game localization. According to the authors,
transcreation was part of video game localization and referred to freely translating text into a
different language. At the same time, Bernal-Merino (2006) called for differentiation between
translation, game localization, and transcreation in the field of Translation Studies. BernalMerino did not recommend the use of the term game localization because it sometimes refers to
activities that do not involve translation. Still, no consensus was reached on the terminologies
that described text modification during video game localization. In fact, Mandiberg (2009) even
implied that both game translation and game localization can refer to text modification.
Mandiberg wrote that localization meant making the text feel the same regardless of game
version or the player’s background, whereas translation meant altering text for a justifiable
reason, which would usually lead to a trade-off between certain aspects of the text or the game.
Later, Honeywood and Fung (2011) differentiated game translation from game
localization based on industry practices. According to the authors, game translation referred to
translating text in games from one language into another and was one of the activities that made
8
up game localization, a group of activities dedicated to “creating a product suited to a specific
locale” (pp. 17-19). Subsequent studies echoed Honeywood and Fung. O’Hagan and Mangiron
saw translation as one of the activities carried out in game localization (2013, pp. 128-140).
Bernal-Merino proposed the term the translation of multimedia interactive entertainment
software, or TMIES, and placed it in the field of Translation Studies (2015, pp. 97-99). However,
some later studies still used video game translation and localization interchangeably. For
instance, Iaia (2016) placed his analysis of game text translation in game localization.This shows
that video game translation and video game localization need to be differentiated before
investigating the current study’s research question.
For the purpose of this study, video game translation and video game localization will
not be used interchangeably. Video game translation will refer to preliminary tasks that
linguistically and culturally modify a video game’s text, in order to facilitate other tasks in video
game localization and retain the game’s gameplay experience in its localized versions (BernalMerino, 2006, p. 31; Di Marco, 2007, p. 1; Honeywood & Fung, 2011, pp. 17-19). In this sense,
text in an unlocalized game is the source text in Translation Studies terminology, while the text
in a localized game is the target text. Video game localization will refer to tasks that modify a
video game linguistically, culturally, technically, and legally, in order to retain the game’s
gameplay experience in its localized versions (Bernal-Merino, 2006, p. 31; Di Marco, 2007, p.
1). In other words, video game translation is a group of tasks in video game localization. It
modifies a game’s text, whereas video game localization modifies parts of a game, sometimes
including text.
Although gameplay experience is closely related to video game translation and
9
localization, the term has not been clearly explained or defined in this field (Iaia, 2016, p. 123).
Thus, the rest of this section will review the literature on gameplay experience. Section 2.2 will
review the literature on game assets, texts, and text strings, which are the objects that are
modified in video game translation and localization.
Gameplay experience. Gameplay experience is a concept widely used in video game
translation and localization, often associated with the purpose of modifying game text and game
parts (e.g., Bernal-Merino, 2006, p. 34). The concept came from two similar ideas. First, Fry
(2003) pointed out that an important aspect of localization is to address the “look and feel” of a
product (pp. 3, 5, 11). Second, Dietz (2003) wrote that a positive result of video game localization
is a localized game offering “the same experience as the original” (p. 25). Although the two
authors did not clarify what look and feel and experience meant, their ideas paved the way for
gameplay experience. For instance, Mangiron (2004) wrote that a localized game should feel as
if it was produced in the player’s language. O’Hagan and Mangiron (2004, p. 60) suggested that
the experiences of playing a video game and its localized version should be similar. O’Hagan
(2005, pp. 3, 5) suggested that the aim of video game localization was to re-create the original
game’s gameplay experience in its localized versions. The author’s point of view gained support
from subsequent studies (Hsu, 2016, p. 52; O’Hagan & Mangiron, 2013, p. 199; Šiaučiūnė &
Liubinienė, 2011, p. 46). From a Translation Studies perspective, the retention of gameplay
experience can be seen as achieving dynamic equivalence or achieving the purpose of a
translation activity. According to Nida (1964), dynamic equivalence is achieved in translation
when it clearly conveys “the meaning and intent of the source,” and most importantly, makes
readers feel and respond to the translation in the same way readers of the original work do (pp.
166-167). In video game translation and localization, the emphasis on retaining the original
10
gameplay experience can be seen as an effort to achieve dynamic equivalence; the texts and parts
of a game are modified in order to allow players from different cultural backgrounds to enjoy
the game in the closest way possible (O’Hagan & Mangiron, 2013, pp. 194-199). On the other
hand, according to Reiss and Vermeer (1984), the purpose of a translation activity guides the
manner in which a translation is planned and produced. This can explain the retention of
gameplay experience and mark it as the purpose that guides video game translation and
localization. Given the similarity between O’Hagan’s view on retaining gameplay experience
and dynamic equivalence and the pursuit of translation purpose, this study follows O’Hagan:
The purpose of video game translation and localization is to retain the original game’s gameplay
in its localized versions (O’Hagan, 2005, pp. 3, 5).
However, previous studies have remained vague about what gameplay experience covers
or what produces it, despite the concept’s widespread use in video game translation and
localization. For instance, Mangiron and O’Hagan (2006), Šiaučiūnė and Liubinienė (2011),
Souza (2012), and Czech (2013) pointed to text as part of gameplay experience. But Mangiron
(2006), Di Marco (2007), O’Hagan (2007, 2009), and Szurawitzki (2010) referred to non-text
elements as part of gameplay experience, such as culture, game design, technical issues,
localization model, and gameplay.
Faced with the unclarity in the notion of gameplay experience, Purnomo and Untari (n.d.)
were the first to turn to other disciplines to define gameplay experience. The authors used Ermi
and Mäyrä’s (2009, see Figure 2.1.1 below) model of gameplay experience in the field of Game
Studies to discuss the impacts of video game translation on localized games. This opened the
door to a new variety of studies that can explain gameplay experience: Örtqvist and Liljedahl
11
(2010) proposed a model of gameplay experience based on immersion and player characteristics
(pp. 2-3). Calvillo-Gámez, Cairns, and Cox (2010) built their model based on gameplay, the
environment that the game provides, and the player’s sense of control and ownership over the
game (pp. 55-64). Engl and Nacke (2012) developed their model based on game content, game
hardware, the player’s psychological and biological states, and time (p. 7). Almeida, Roque,
Veloso, and Mealha (2013) used the interaction between the game and the player as the source
of gameplay experience for their model (p. 51). Kors, van der Spek, and Schouten (2015)
illustrated for game developers how game mechanics, signs, narrative, and factors in the real
world contribute to the formation of a persuasive gameplay experience (p. 4). These studies
shared a point of view: Gameplay experience comes from the game and the player together.
From a Translation Studies perspective, the player’s role in gameplay experience is similar to
the reader’s decoding ability and response to a translation. According to Nida (1964), the reader’s
ability to extract meaning from texts can be divided into four levels, which the translator needs
to consider in order to achieve equivalence in response (pp. 158-159). The difference is that
Game Studies tends to focus on players’ physiological data when examining the player’s role in
gameplay experience (e.g., Engl & Nacke, 2012).
12
Figure 2.1.1. Ermi and Mäyrä’s SCI model of components of gameplay experience (2009, p.
103).
Although Game Studies has defined and even measured gameplay experience, the
concept remains unexplored in video game translation and localization and unlinked to the notion
of reader response in Translation Studies. This study thus borrows from Ermi and Mäyrä (2009)
and defines gameplay experience as “an ensemble made up of the player’s sensation, thoughts,
feelings, actions, and meaning-making,” based on what the game offers during gameplay (p. 91).
This study divides what a game offers into game assets and the immersion they create. Game
assets are non-code components of a video game that contain game contents, such as text, image,
and animation (Llopis, 2004, p. 36; Unity Technologies, 2019). These contents allow game assets
13
to create immersion, which is an important source of gameplay experience (Ermi & Mäyrä, 2009,
pp. 94-97; Örtqvist & Liljedahl, 2010). Based on Ermi and Mäyrä (2009), immersion can be
broken down into sensory immersion, challenge-based immersion, and imaginative immersion,
(pp. 101-103). Sensory immersion is created by the use of audiovisual game contents in games.
Challenge-based immersion is created by gameplay elements that require the use of motoric and
cognitive skills. Imaginative immersion is achieved through contents that immerse players
deeper into the game.
In summary, this section reviewed the literature on video game translation, video game
localization, and gameplay experience, as well as defined each of them. Gameplay experience,
in simplified terms, is collectively formed by the player and the game. An important source of
that experience comes from the three types of immersion that game assets create, including
sensory immersion, challenge-based immersion, and imaginative immersion. In this sense, video
game localization refers to modifying game assets linguistically, culturally, technically, and
legally, in order to retain the original game’s gameplay experience in its modified version (i.e.,
localized game). Video game translation refers to linguistically and culturally modifying texts in
game assets, in order to achieve the same purpose. Figure 2.1.2 below illustrates the relationship
between video game translation, video game localization, and gameplay experience. Although
game assets regularly create all three types of immersion in the illustration, this does not apply
to all kinds of video games.
14
Original game
Asset(s)
Sensory
Imaginative
Challenge-based
Video game localization
Text
Video game translation
Localized game
Asset(s)
Sensory
Imaginative
Challenge-based
文字
Figure 2.1.2. Relationship between video game translation, video game localization, and
gameplay experience.
The next section will review the literature on game assets, texts, and text strings, the
objects that are modified in video game translation and localization. Section 3.1 will explain how
to measure the immersion that game assets create, by modifying the SCI model (Ermi & Mäyrä,
2009, p. 103). The method and the modified model were used to investigate whether Mangiron
and O’Hagan’s transcreative strategies could translate constructed languages in games while
retaining their original gameplay experience.
2.2
Game assets and text
This section reviews literature on the terminologies that describe the objects being
modified in video game translation and localization, including game assets, texts, and text strings.
The aim is to differentiate game assets, texts, and text strings and cover how they were
categorized in previous studies. This can help identify the parts of a game that may contain
15
constructed languages.
Game assets, texts, and text strings. In the early 2000s, the field of video game
localization seemed to use a relatively limited terminology to describe the objects being modified
in video game translation. Nearly everything that is translatable in a game was referred to as
texts: Dietz (1999) focused on the translation of texts and word choice in user interface (pp. 5859), Trainor (2003) discussed text translation for subtitles and voiceover scripts (pp. 19-20),
while O’Hagan and Mangiron (2004) examined text in game menus and subtitles (pp. 58-59).
This suggests that texts was an umbrella term that covered nearly everything that is translatable
in video game translation, regardless of how texts were used.
Later, Chandler (2005) expanded the field’s understanding by introducing the concept of
game assets and text strings. The author provided a list of assets found in games, including texts,
audio and voiceover files, art assets, and cinematics. Some game assets contain text strings that
are translatable in video game localization. Although Chandler did not specify what game assets
and text strings are, the author’s terminology became accepted in both the academia and the
industry. For instance, Mangiron (2006) pointed out that game assets are essentially components
of a video game (p. 3); Bernal-Merino (2007a) discussed the translatable parts of a text string in
a game asset (p. 35); and Honeywood and Fung (2011) referred to game assets as the objects
being modified in video game localization.
As Chandler’s (2005) terminology became widely used, subsequent studies began to
classify game assets and texts in games. For instance, Chandler and Deming (2012) added a few
new types of asset (pp. 144-148, 199-209). O’Hagan and Mangiron (2013) proposed a taxonomy
of assets found in narrative-driven games (pp. 153-164). The new taxonomy made a distinction
16
between game assets that are related to the game world, referred to as diegetic assets, and those
that are not related, referred to as non-diegetic assets. In addition, the taxonomy also described
how text functioned for each type of game asset and linked it to the notion of text function
(O’Hagan & Mangiron, 2013, pp. 153-159). According to Reiss (1971/2000), text affects the
translator’s method of translating and can be divided into four types based on its function and
(pp. 16-47). Based on this notion, O’Hagan and Mangiron’s taxonomy recommended different
translation strategies based on text functions (2013, pp. 155-159). On the other hand, BernalMerino (2015) proposed a taxonomy of game assets that can be found in all games, as well as
the types of text that go along with the assets (see Table 2.2.1 below). The taxonomy divides
game assets into five large groups and asset texts into seven types, including narrative,
oral/dialogic, technical, functional, didactic, promotional, and legal. The taxonomies proposed
by Chandler and Deming, O’Hagan and Mangiron, and Bernal-Merino are useful because the
taxonomies also explain how each asset works in games. This not only demonstrated how game
assets create immersion in a game’s gameplay experience, but also provided a better
understanding of how to localize assets. For example, Bernal-Merino demonstrated how font
size affects the translation of subtitles in video games (2015, pp. 110-130).
17
Table 2.2.1
Oral/dialogic
Technical
Functional
Didactic
Promotional
Legal
In-game text: UI, system
messages, game installers
Y
Y
Y
Y
Y
Y
Y
Voiceover and Cinematics:
audio and video scripts
Y
Y
-
Y
Y
-
-
Art: game logo, in-game texture
embedded words
-
-
-
Y
-
Y
-
Glossaries and TMs
-
-
Y
-
-
-
Y
Packaging and promotion:
box, manual, EULA, guarantee,
‘ReadMe’, help files, official
website
-
-
Y
-
Y
Y
Y
Game asset
Text type
Narrative
A taxonomy of game asset and text type (Bernal-Merino, 2015, p. 110)
However, it appears that previous studies have left a few gaps when describing the
objects that video game translation and localization modify. First, previous studies tended to
confuse texts with text strings and game assets. This in turn creates confusion over what is
actually being translated and localized. For instance, in Chandler and Deming’s example of
translating voiceover assets, it is not game assets that are being translated, but voiceover scripts
(see 2012, p. 4).
Second, no studies took gameplay experience into account. Existing taxonomies do not
relate game assets and texts to gameplay experience. But from a technical viewpoint, game assets
and texts are components of a game and therefore play a role in the formation of gameplay
experience. If a taxonomy fails to convey that, it would be difficult for translators who use it to
see how assets and texts relate to gameplay experience. This would likely cause the translators
18
to change their strategies when trying to retain gameplay experience (Bernal-Merino, 2006, p.
34; O’Hagan, 2005, pp. 3, 5; Šiaučiūnė & Liubinienė, 2011, p. 46). Take O’Hagan and
Mangiron’s (2013) taxonomy for example. Because the taxonomy does not relate game menu
text to gameplay experience, it can be difficult to see how that text affects gameplay experience
after it is translated into another language. This could impact how translators translate game
menu text.
Lastly, taxonomies from previous studies often make assumptions about what type of
texts and assets go together. For example, Bernal-Merino (2015) uses identifying marks to
explain what kind of text can be found in an asset (Table 2.2.1). Columns and rows without any
mark suggest that there can be no such asset-text combination. For instance, in column 1, row 3
of the author’s taxonomy, there is no mark. This means that narrative text is not used in art assets,
such as cover art and game logo. Assumptions like this are not always accurate, because game
developers often combine game assets with texts creatively. Take the game logo of The Elder
Scrolls IV: Oblivion (Bethesda Game Studios, 2006) for example. The logo is a letter from an
alphabet used by a fictional race in the game. In other words, the game logo is an art asset that
displays narrative text, which presents information about the game word. If the game logo were
to be categorized using Bernal-Merino’s taxonomy, the asset would be out of place, because the
taxonomy assumes that art assets do not display narrative texts.
Similarly, O’Hagan and Mangiron’s (2013) taxonomy also makes assumptions. For
example, the taxonomy assumes that texts in a game or platform’s system message are always
non-diegetic, meaning that they do not belong to the game world. But in Nier: Automata
(PlatinumGames, 2017), for instance, some system messages that appear after the player
19
completes certain tasks show strong ties to the game world. For example, there is a system
message that reads “Farewell, Pascal,” which is a reference to the fate of a non-player character
with the same name. From the above examples, it can be observed that existing taxonomies are
inadequate in classifying the objects being modified in video game translation and localization.
The taxonomies fail to define the objects and cannot keep up with game developers’ use of game
assets and texts.
For the purpose of the present study, game assets are defined as non-code components of
a video game that contain game contents, such as text, image, and animation (Llopis, 2004, p.
36; Unity Technologies, 2019). As explained in Section 2.1, game assets create different types
of immersion, which is an important source of gameplay experience. On the other hand, text
refers to language in written or spoken form. A text string or a string is any amount of text stored
and used as a group (Heimburg, 2006, p. 139). The text of an asset, as well as other game contents,
determines the types of immersion that game assets create. For instance, assets that contain large
amounts of texts about game characters create imaginative immersion, immersing players deeper
into the game. In other words, game asset is like a container of various game contents, including
images, animation, and text strings, which can also be called text. In this sense, video game
localization modifies game assets and their contents, while video game translation modifies text
and text strings. Before it is translated, the text of an asset is the source text. After translation, it
becomes the target text. Figure 2.2.1 below illustrates a game asset’s contents, including texts
that are written in constructed languages, as well as how video game translation and localization
modify the contents.
20
Text
Image
Game asset
Image
Video game translation
Image
Video game localization
Animation
文字
Animation
文字
Animation
= Text written in
constructed language
Figure 2.2.1. A game asset’s content before and after video game translation and localization.
In summary, this section defined game assets, texts, and text strings, as well as identified
the existing taxonomies’ inadequacy in classifying them. The inadequacy suggests that a
different taxonomy is needed in order to classify the assets and texts in the latest video games.
Therefore, Section 3.2 will propose a modified taxonomy based on Bernal-Merino (2015). The
modified taxonomy was used to classify game assets and texts, as part of the present study’s
investigation into whether transcreative strategies could translate texts that contain constructed
languages while retaining the original gameplay experience. The next section reviews the
literature on strategies that are used to modify texts in video game translation.
2.3
Video game translation strategies
This section reviews the literature on translation constraints and video game translation
21
strategies. The aim is to identify trends in previous studies, cover how translation strategies were
assessed, and identified any potential inadequacies.
From translation constraints to strategies. Early studies of video game localization did
not include translation strategies. Instead, the constraints on translation were a frequent topic of
discussion. Early studies used translation constraints to discuss how to modify texts and thereby
facilitate the localization of a video game. Dietz (1999, 2003) wrote about the limited space for
text in user interfaces and recommended that translators use icons to replace text. Mangiron
(2004) and O’Hagan and Mangiron (2004) added that animation and localization methods can
also become constraints on the translation of onscreen subtitles in video games. The authors used
subtitles in Final Fantasy X (Square, 2001) as an example to discuss how to translate Japanese
subtitles into English so that the translation of the spoken words matches game characters’ lip
movement. The same example was also used to show how the game’s English version affected
other localized versions. Subtitles in the game’s French, Italian, German, and Spanish localized
versions were translated from the English version, instead of the original in Japanese. Chandler
(2005) showed that time management and localization workflow are constraints to be found in
almost every game localization project. According to the author, translation could slow down
due to poor time management and other localization tasks, such as testing and integrating
localized game assets. In retrospect, early studies tended to focus on technical constraints, which
came from outside the act of translating texts into a different language. Thus, solutions were
often developed not only for translation, but also for localization tasks.
The focus on translation constraints gradually shifted to translation strategies. O’Hagan
(2005) was the first to borrow strategies from Translation Studies, in particular Venuti’s (1995)
22
notion of domestication and foreignization, to discuss video game translation. In her analysis of
the translation of subtitles from Final Fantasy X (Square, 2001), O’Hagan wrote that translation
strategies were needed in order to determine what to domesticate or foreignize when translating
texts in games. Mangiron and O’Hagan (2006) further proposed four domesticating strategies,
which, according to the authors, were used to produce acceptable translations in a game and
bring it closer to players. The four domesticating strategies include renaming key terminology,
contextualization by addition, recreation of play on words, and deliberate use of regional
expressions (Mangiron & O’Hagan, 2006, pp. 17-19). The strategies were drawn from the
authors’ analysis of the translation of Japanese game texts into English. The authors proposed
the use of an umbrella term, “transcreation,” to describe a way of translating in-game texts by
using the four domestication strategies. Di Marco (2007) took a similar approach and presented
another strategy that belonged to domestication strategies: compensation. The author compared
a game’s source text in Japanese with its target text in Italian and wrote that the compensation
strategy produces a target text that can compensate for what is not translated from the source
text.
Moving further away from translation constraints, O’Hagan (2007, 2009) implied that
video game translation is an application of skopos theory in Translation Studies. Skopos theory,
proposed by Reiss and Vermeer (1984), is a general theory for the translation of any text
(Munday, 2012, p. 122). In simplified terms, the theory puts emphasis on the skopos of
translation, or the purpose for which a translation is planned and produced, with a few principles
(see Munday, 2012, pp. 122-126; Pym, 2010, pp. 43-46). O’Hagan (2007) used the term skopos
when describing video game translation and localization’s purpose, which, as previously
mentioned in Section 2.1, is to retain the original game’s gameplay experience in its localized
23
versions (p. 4). O’Hagan’s research suggests that the use of video game translation strategies is
in fact centered around the retention of the original gameplay experience (Bernal-Merino, 2015,
p. 244). This has provided future studies a way to assess the use of video game translation
strategies, that is, whether they can produce target texts that retain the original gameplay
experience.
Subsequent studies began to focus on assessing translation strategies, instead of
constraints. Hyttinen (2010) and Szurawitzki (2010) constructed their analysis of in-game text
translation around translation strategies. Using Japanese horror games as their research material,
both authors analyzed the localization of game assets and translation of asset texts, such as
writings on a wall and subtitles on the screen (see Hyttinen, 2010, pp. 54-59; Szurawitzki, 2010,
pp. 52-59). Both authors demonstrated how domestication and foreignization affected gameplay
experience and game mechanism, and vice versa. In contrast, previous studies focused on
translation constraints and solutions, yet failed to analyze how the solutions affected localized
games. Iaia (2016) and Hsiao (2018) analyzed the transcreation of in-game texts and its impacts
on gameplay experience. However, Iaia (2016) failed to measure how transcreation affected
gameplay experience; and Hsiao (2018) failed to define gameplay experience.
Šiaučiūnė and Liubinienė (2011) and van Oers (2014) were the first to carry out
quantitative analysis of video game translation strategies. The authors used corpora of asset text
strings as research material, analyzed how the strings were translated, and incorporated the
number of translation strategies into their analysis results. The results showed that game texts
were often translated with both domesticating and foreignizing strategies (van Oers, 2014, pp.
145-148; Šiaučiūnė & Liubinienė, 2011, p. 53). Šiaučiūnė and Liubinienė and van Oers were the
24
first to assess video game translation strategies based on corpora and the number of strategies
that were used. In contrast, many previous studies failed to mention how frequently a strategy
was used. As a result, those studies failed to tell whether the use of a translation strategy was a
preferred solution or a one-time exception.
In retrospect, early studies of video game translation tended to focus on the constraints
on translation and subsequent solutions. Later, the field borrowed the concept of translation
strategies from Translation Studies and shifted focus to the analysis of translation strategies.
Hyttinen (2010), Szurawitzki (2010), Šiaučiūnė and Liubinienė (2011), and van Oers (2014)
have all developed their own methods for analyzing video game translation strategies, such as
investigating a strategy’s effects on gameplay experience and the number of times the strategy
is used. Nevertheless, previous studies failed to define gameplay experience, as had been the
case in Mangiron and O’Hagan (2006, 2013). As a result, previous analyses of video game
translation strategies failed to precisely record the strategies’ effects on gameplay experience.
For this reason, gameplay experience and the immersion that game assets create were previously
defined in Section 2.1, which also serves as a point of departure for this study. The concept of
immersion in Chapter 3 and Chapter 4 can help assess how translation strategies affect the feel
of constructed language texts and localized games.
Video game translation strategies. As studies of video game translation shifted focus
from translation constraints to strategies, several strategies were proposed, categorized, and
compiled. Mangiron and O’Hagan (2006) proposed four strategies that were used in video game
translation and categorized them as Venuti’s (1995) domesticating strategies, including
renaming key terminology, contextualization by addition, recreation of play on words, and
25
deliberate use of regional expressions (Mangiron & O’Hagan, 2006, pp. 17-19). Di Marco (2007)
added another domesticating strategy and referred to it as “compensation” (pp. 6-7). Chuko
(2013) proposed a three-tier strategy for minimizing translation errors (pp. 46-48). O’Hagan and
Mangiron (2013) divided translation strategies into macro and micro strategies (pp. 153-178).
Macro translation strategies, in simplified terms, were used for localizing game assets or the
entire game, whereas micro strategies were used for processing asset texts (O’Hagan &
Mangiron, 2013, p. 198). To a degree, Mangiron and O’Hagan’s macro and micro strategies are
similar to Translation Studies’ global and local strategies, respectively. Global strategies operate
at a text’s general levels, while local strategies relate to the translation of a designated part of a
text (Kearns, 2009, p. 283). In addition to macro and micro strategies, O’Hagan and Mangiron
also stated that video games must sometimes be localized using the transcreative strategies they
had previously proposed (Mangiron & O’Hagan, 2006; O’Hagan & Mangiron, 2013, p. 199).
The authors believed that doing so helped retain the games’ original gameplay experience.
Nevertheless, the authors never mentioned when and how to use transcreative strategies. This
created several research gaps in video game translation, one of them being whether transcreative
strategies can be used to translate constructed languages in games and retain the original
gameplay experience. This gap was ealier explained in Section 1.2.
Subsequent studies began to compile strategies previously proposed for video game
translation and localization. Costales (2012) and van Oers (2014) both compiled strategies by
reviewing previous studies and in-game texts before and after translation. Costales compiled
seven strategies for translating texts and one for localization. However, the author failed to define
and organize each strategy clearly. By contrast, van Oers (2014) was able to define each
translation strategy based on how the strategies affected text and how strategies were described
26
in Translation Studies (pp. 131-132). For example, van Oers described the context for using a
particular strategy based on Vinay and Darbelnet’s research (see van Oers, 2014, pp. 131-135;
Vinay & Darbelnet, 1995). Furthermore, van Oers also divided strategies into general strategies,
which can be applied in any field, and transcreative strategies, which are more used in video
game translation (p. 138). Nevertheless, van Oers’ strategies showed great inconsistency in the
objects they were applied to. As previously mentioned, the author’s research material was asset
text strings, the length of which could vary from a word to a few sentences (Heimburg, 2006, p.
139). This meant that the translation strategies examined by van Oers could be applied to a word,
a name, or several sentences. These texts often require different strategies to translate. If text
strings contained more names than sentences, the strategies that van Oers found would likely be
those used for translating names. This, as the author herself suggested, could create inconsistency
in analysis results (van Oers, 2014, pp. 146-148). In addition, van Oers also failed to
comprehensively describe the impact of each strategy on the localized game’s gameplay
experience. Her analysis focused on the frequency of a strategy’s usage. But frequency cannot
solely represent a strategy’s impact on gameplay experience and as a result, van Oers’ analysis
results failed to describe in depth how translation strategies affected gameplay experience.
In summary, this section identified two past trends in video game translation. First,
previous studies shifted focus from translation constraints to strategies, some of which were
based on those previously proposed in Translation Studies (e.g., Szurawitzki, 2010). Second, the
study of video game translation strategies has gradually shifted to quantitatively assessing a
strategy’s ability to retain gameplay experience (e.g., van Oers, 2014). Nevertheless, the
following inadequacies have also emerged along the way. First, previous studies failed to define
or measure gameplay experience, hence unable to analyze a strategy’s impact on the experience
27
objectively (e.g., Hyttinen, 2010; Szurawitzki, 2010). Second, previous studies failed to provide
a consistent object for the strategies’ assessment. For example, van Oers (2014) assessed
translation strategies based on text strings, which could vary from a word to a few sentences.
Finally, it remains unclear that how and when Mangiron and O’Hagan’s concept of transcreation
should be to retain gameplay experience. For instance, it remains unclear that whether the
strategies can be used to translate constructed languages in games and retain the original
gameplay experience in the games’ localized versions. This has led to the research question
previously introduced in Section 1.2.
2.4
Constructed languages
To provide context for the study, this section reviews the literature on constructed
languages and their translation. Also covered are examples of constructed languages in video
games.
What constructed languages are. Constructed languages are languages consciously
created, designed, invented, or planned by one or more people for a specific purpose (Arrick,
2013; Mäkelä, 2015, p. 5; Okrent, 2013). The history of language creation can be traced back to
Lingua Ignota in the twelfth century by Hildegard von Bingen, whose purpose of creating the
language remains unknown (Okrent, 2009, pp. 10-11). After Lingua Ignota, numerous
constructed languages have been created and used around the world; the languages are
sometimes referred to as artificial languages, fictional languages, imaginary languages, invented
languages, model languages, or planned languages (Arrick, 2013; Okrent, 2013). Esperanto is a
widely cited example, which was created by Ludwik Lejzer Zamenhof for international
communication (Education@Internet, 2017a). Esperanto has its grammar, syntax, and
28
vocabulary, as can be found in natural languages, such as French and German. Most notably, the
language also has a small group of native speakers (see van Oostendorp, 2000, pp. 5-6).
Nevertheless, constructed languages like Esperanto are different from natural languages, in that
natural languages do not have a creator and usually develop organically from a community of
native speakers (Luu, 2016).
Constructed languages have been widely studied. For example, the Language Creation
Society (2019) has organized international conferences on language creation since 2006. Okrent
(2009) reviewed the history of constructed languages and language creation. Rosenfelder (2010)
and Peterson (2015) discussed the elements and processes of language creation, such as
phonetics and word order. Ryan (2014) and Coker (2016) examined the linguistic features of
constructed languages in literature, in particular the novel The Return of the King (Tolkien, 1955).
In addition to being a subject of study, constructed languages have also been created for literature,
film, games, and other media for different purposes. For example, the novel Nineteen EightyFour (Orwell, 1949) used the constructed language Newspeak to demonstrate a totalitarian
society’s control of the public’s thoughts (Fimi & Higgins, 2017, p. 25). The constructed
language Dovahzul was designed as part of the video game The Elder Scrolls V: Skyrim and even
became the source of a fan-made dictionary (Bethesda Game Studios, 2011; Purnomo, Nababan,
Santosa, & Kristina, 2017; www.thuum.org, 2017). The Dovahzul example in particular is
closely related to the current study, which used Dovahzul to investigate whether constructed
languages can be translated with O’Hagan and Mangiron’s transcreative strategies while
retaining the gameplay experience.
Taxonomies of constructed languages. As constructed languages grew in number and
29
variety, taxonomies were proposed to categorize constructed languages in literature, film and
other media. The most widely used taxonomy was that of a priori, a posteriori, and mixed. The
taxonomy divided constructed languages into three groups based on their sources of inspiration,
including a priori, a posteriori, and mixed (Adelman, 2014, pp. 546-547; Arrick, 2013; Libert,
2013; Mäkelä, 2015, p. 28; Okrent, 2013). A priori languages took inspiration from elements
other than natural or existing languages. For example, the Klingon language in film and
television series featured expressions inspired by its creator’s imagination of an alien race (see
Okrand, 1992, pp. 9-11). On the other hand, a posteriori languages took inspiration from
languages that already exist. For instance, Newspeak in Nineteen Eighty-Four (Orwell, 1949)
contained abbreviations based on British English. Finally, mixed languages were inspired by
both languages and non-linguistic elements. The three-part taxonomy was often used to
categorize constructed languages in literature, film, and video games (e.g., Coker, 2016; Fimi &
Higgins, 2017).
Constructed languages were also categorized based on their purpose, such as engineered
languages, auxiliary languages, and artistic languages (Arrick, 2013). According to Arrick (2013)
and Mäkelä (2015), engineered languages were created as an experimentation in logic,
philosophy, or linguistics; auxiliary languages were created as a means to facilitate
communication, for example, Esperanto; and artistic languages were created for aesthetic
purposes, such as for entertainment. Rhiemeier (2012) added three subcategories to artistic
languages, including: fictional languages, spoken by imagined races or nations; personal
languages, created as a representation of individual ideals; and religious and magical languages,
related to the practice of religion or magic. Mäkelä (2015) went on to add three subcategories to
Rhiemeier’s fictional languages, including origin, function, and communicative capability (pp.
30
28-33). The origin subcategory divided fictional languages based on their source of inspiration,
which was obviously borrowed from the aforementioned taxonomy of a priori and a posteriori.
The function category divided languages based on their relevance to the plot. The communicative
capability categorized fictional languages based on whether or not they could be used for
communication. As detailed as these categories are, they have a rather narrow range of
application. Most of the time the categories are only applied to constructed languages in fiction
and non-fiction, excluding languages used in the real-world or other forms of media. In contrast,
the aforementioned taxonomy of a priori and a posteriori could target constructed languages like
Esperanto, which is spoken in the world, and Klingon, which was first used in the film Star Trek:
The Motion Picture (Wise, 1979).
In addition, constructed languages were also categorized based on their communicative
capability. Mäkelä (2015) categorized constructed languages in literature and film based on
whether or not they could be used for fluent conversation (pp. 31-32). Nevertheless, Mäkelä’s
method failed to recognize that some constructed languages have no speakers to prove how well
those languages can facilitate communication. Van Oostendorp (2000) focused on constructed
languages used in real-world and divided them into actual, possible, and impossible languages.
Actual languages have real-world speakers who could express their thoughts in those languages
and communicate with one another without difficulty. Possible languages have few or no
speakers, but have the potential of facilitating fluent expression and communication, which are
the characteristics of an actual language. Take Esperanto for example. The language was created
by Ludwik Lejzer Zamenhof in the 1880s, with some potential of facilitating communication.
Esperanto was a possible language in van Oostendorp’s sense. Now, it has around 2,000 native
speakers around the world (Education@Internet, 2017b; van Oostendorp, 2000, p. 2). On the
31
other hand, impossible languages usually do not have fluent speakers and cannot be used for
communication, because impossible languages typically lack the characteristics that would
enable them to function as a communication tool (van Oostendorp, 2000, p. 2).
Purnomo et al. (2017) believed that medium needed to be taken into account when
categorizing constructed languages. The authors targeted constructed languages in video games
and proposed a complex taxonomy based on several factors, such as game genre, language design,
the relationship between the languages, the player, and the game (Purnomo et al., 2017, pp. 5357). In simplified terms, the taxonomy divided constructed languages into interpretive,
explorative, configurative languages. Interpretive constructed languages turn players into
recipients, who could only interpret information passively after it is given. For example, the
constructed language spoken in Gravity Rush™ Remastered (Sony Computer Entertainment
America, 2015) was purely verbal and did not have any grammar or fixed vocabulary, leaving
players passive in understanding the conversations between game characters. Explorative
languages allow players to explore the languages or use them in a limited way. For example, the
constructed language spoken by cat-like creatures in Monster Hunter: World (Capcom, 2018)
featured suffixes that were easy to learn, yet insufficient for freely expressing one’s thoughts.
Configurative languages give players control and allow them to use the languages to achieve a
specific purpose. For example, the Dovahzul language spoken by dragons in The Elder Scrolls
V: Skyrim (Bethesda Game Studios, 2011) was not only translatable, but also an integral part of
gameplay.
In summary, the taxonomy in Purnomo et al. (2017) is more suitable for the present study.
The taxonomy of a priori and a posteriori is not as suitable because it only focuses on source of
32
inspiration, leaving out medium and communicative capability. Purpose-based categorization is
also not suitable, because constructed languages in video games are, most of the time, created
for entertainment. In contrast, Purnomo et al.’s taxonomy is more suitable because it targets
constructed languages in video games and incorporates van Oostendorp’s (2000) concept of
actual, possible, and impossible languages. Interpretive languages are similar to impossible
languages, both of which fail to achieve an intended purpose (e.g., communication). Explorative
languages are similar to possible languages; both groups have the potential of achieving an
intended purpose. Configurative languages are similar to actual languages, both of which have
proven capable of achieving their own intended purposes. In the case of configurative languages,
the purposes may include immersion, gameplay, and language learning (Purnomo et al., 2017, p.
54). Most importantly, Purnomo et al.’s taxonomy is suitable because it is in some degree
categorizing constructed languages based on Ermi and Mäyrä’s (2009) notion of gameplay
experience. As explained in Section 2.1, an important source of gameplay experience is the
immersion that game assets create. Since Purnomo et al.’s taxonomy targets constructed
languages in games, the languages to some extent are being categorized based on the degree of
immersion. Interpretive languages produce the lowest degree of immersion, making players feel
like an outsider in the game world. Explorative languages produce intermediate immersion and
can also make players feel like an outsider when players’ exploration becomes limited.
Configurative languages produce the highest degree of immersion, leading players deeper into
the game world as they use the languages. Given that Purnomo et al.’s taxonomy has included
some of the merits of previous taxonomies, it is obviously more suitable for the present study.
The taxonomy will be used in Section 3.4 to categorize constructed languages in video games.
Constructed languages and translation. As popular as constructed languages have
33
become in today’s entertainment industry, the translation of constructed languages has remained
relatively unexplored. Among the relatively few studies, Ober (2017), Hsu (2008), and Mäkelä
(2015) are most relevant to the present study. Ober (2017) analyzed the translation of neologisms
in science fiction television series from English into Chinese. The author found that it was
difficult to retain the “newness” when English neologisms were translated word for word into
Chinese (pp. 69-97, 131-148). The author believed that this was because most terms from the
English were compounds, which Chinese native speakers were already relying on for word
formation. Ober’s research is relevant to the present study in that it reported strategies for
translating neologisms, which sometimes bear striking resemblance to constructed languages.
Nevertheless, the author failed to recognize that the neologisms in his research material can be
seen as part of a mixed constructed language, which are inspired by both existing languages and
non-linguistic elements. In this sense, a futuristic English language featuring neologisms, like
the one in Ober’s research material, can be seen as a mixed constructed language inspired by
contemporary English and technology predictions.
Hsu (2008) examined strategies for translating English fantasy novels into Japanese and
Chinese, including constructed languages in literature. Analyzing a sentence written in Tolkien’s
Quenya language, Hsu believed that an ideal way to translate the sentence was to keep the source
text unchanged while adding a literal translation (pp. 70-73). In other words, Hsu’s strategy is a
mixture of Pedersen’s retention unmarked and shift strategies (Pedersen, 2005, pp. 4-5). Hsu’s
research is relevant because the author examined strategies for translating constructed languages
in English fantasy literature into Chinese. The author’s language combination and focus on
translation strategies and constructed languages are in line with those of the present study.
Nevertheless, Hsu was focusing on fantasy novels, not video games. In addition, Hsu only
34
presented one piece of research material, which made the author’s recommendation of translation
strategies less convincing (pp. 71-73).
Finally, Mäkelä (2015) provided a quantitative analysis of how the constructed language
Nadsat in the novel A Clockwork Orange (Burgess, 1995) was translated into Finnish. Having
categorized the constructed language based on its function and source of inspiration, Mäkelä
(2015) discovered that the most frequently used strategy for translating Nadsat was Pedersen’s
(2005) substitution by paraphrase, where Nadsat expressions were either paraphrased into
Finnish, or replaced with similar Finnish expressions. In addition, Mäkelä also discovered a few
instances in which Nadsat expressions were rewritten from scratch and then added into the
Finnish version (pp. 65-66). This translation strategy was named spontaneous artificial language
creation, which to some extent is similar to Mangiron and O’Hagan’s transcreation strategy of
rewriting a text from scratch. Although Mäkelä provided a quantitative analysis of strategies for
translating constructed languages, the research focused on constructed languages in literature,
not video games. In addition, the author’s language combination was different from the present
study’s, which is traditional Chinese and English.
Constructed languages in video games. For studies that specifically focused on
constructed languages in video games, Purnomo et al. (2017) appears to be the only one available.
The authors examined 62 game titles and 94 constructed languages to investigate whether these
languages could be categorized using a priori and a posteriori, as described earlier in this section.
The authors then proposed a new taxonomy that targeted constructed languages in video games,
based on how players use these languages.
Although there is only one study focusing on constructed languages in games, the video
35
game industry has been using the languages for decades. Depending on how and where the
languages appeared in games, the industry’s use of constructed languages can be divided into
three periods: before the 2000s, the 2000s, and from the 2010s to the present. The three periods
show that constructed languages have gone from being part of the story setting, to being part of
the game mechanics and gameplay experience.
36
Before the 2000s, the use of constructed languages in video games was limited, due to
the limited computing power of game hardware. As such, constructed languages often occupied
only a small part of a game’s gameplay experience. Take the Hylian language in The Legend of
Zelda: A Link to the Past (Nintendo EAD, 1991, 1992) for example. The Hylian language only
appeared in the game’s subtitles, which were displayed on the screen using hieroglyph-like
symbols (“Hylian Language,” 2019). Despite its lack of vocabulary and grammar, the
constructed language was part of the game’s story (Devlin, 2017); a player must find a book to
translate the Hylian symbols, in order to open a gateway. Once players find the book, the symbols
are translated into Japanese or English, depending on the game’s version. Table 2.4.1 below
shows the use of Hylian in Japanese and North American versions of The Legend of Zelda: A
Link to the Past.
Table 2.4.1
Hylian symbols in The Legend of Zelda: A Link to the Past
Without book
With book
このセキバンの前で念ずるが
よい。そなたの願い伝われば、道は開
けるであろうよい。
Japanese version
To open the way to go forward,
Make your wish here
And it will be granted.
NA version
The Hylian example suggests two trends in the early use of constructed languages in
games. First, constructed languages during this time were mostly interpretive languages, based
on Purnomo et al.’s (2017) taxonomy. With interpretive languages, players can only interpret
information and do not have control over how to use the languages. In the Hylian example,
players could only read the instructions that came with the hieroglyph-like symbols. Second,
37
early constructed languages only appeared in written form. Because early game hardware was
unable to play high-fidelity voice recordings, constructed languages usually appeared as subtitle
texts. In the Hylian example, the hieroglyph-like symbols appeared as onscreen subtitles.
Nevertheless, it remains unknown that whether the symbols were coded into the game as text or
as images. Finally, a comparison of the symbols in the Japanese and North American versions
shows that the symbols were different. This suggests that before the early 2000s, the video game
localization industry already had some sort of strategies for dealing with constructed languages
like Hylian.
In the 2000s, the use of constructed languages in video games became more diverse.
Constructed languages started to appear in different game assets and take different forms. Take
Old Hylian in The Legend of Zelda: The Wind Waker (Nintendo EAD, 2002, 2003) and Simlish
in The Sims 3 (Maxis, 2009) for example. The Old Hylian language was a more advanced version
of the Hylian language from previous titles in the series. The language appeared as onscreen
subtitles, written in Old Hylian alphabet created based on the Japanese Hiragana syllabary
(Devlin, 2017; IGN, 2002). In other words, the Old Hylian subtitles were translatable into
Japanese. In fact, there was an Old Hylian-Japanese translation chart included in the manual of
the Japanese version of The Legend of Zelda: The Wind Waker. At the other end of the spectrum,
the Simlish language from The Sims 3 (Maxis, 2009) focused on the spoken language. The
constructed language was first created in 2000 based on Tagalog, Ukrainian, and other natural
languages (The Leaderboard, 2018). Simlish appeared in the form of voice and music recordings;
both playable and non-playable characters spoke Simlish and listened to real-world popular
songs sung in Simlish. The game developer hired voice actors to record phrases and expressions
in Simlish and asked experts to translate the lyrics, before inviting musicians to re-record their
38
songs in Simlish (Jackson, 2019; Maxis Label, 2009; The Leaderboard, 2018). In addition to
verbal form, Simlish also had a written form. There was a Simlish alphabet in the game’s
television shows. In contrast, constructed languages like the Hylian language in the previous
period only appeared as subtitles.
The Old Hylian and Simlish examples suggest that constructed languages in the 2000s
have become more complete than in the past. Languages during this time began to have their
own alphabet and verbal form, despite often lacking grammar and syntax. This was likely due to
video game hardware and software’s advancements in playing voice recordings, as well as game
developers’ continued efforts in exploring the different aspects of language (O’Hagan, 2009, pp.
156-157). Furthermore, both examples show that constructed languages in the 2000s were being
used in a variety of game assets. In the Old Hylian example, the language was not only used in
in-game subtitles, but also in the game’s manual. In The Simes 3, Simlish was used in voiceover
assets and in-game texture embedded words. Voiceover assets contain text for voice-acting or
dubbing (Bernal-Merino, 2015, pp. 115-131), and texture embedded words display text in
custom fonts. Most importantly, both Old Hylian and Simlish show that constructed languages
in the 2000s were being integrated into the gameplay experience and were moving toward
becoming explorative languages, in Purnomo et al.’s sense (2017). Constructed languages at the
time started to have elements with which players could explore or use in games. In the Old Hylian
example, players could use the Old Hylian alphabet to translate onscreen subtitles. In The Sims
3, players could pick up phrases that game characters were repeating in the game, such as “dag
dag,” which means “goodbye” (The Leaderboard, 2018). These examples show that constructed
languages in video games were being slowly integrated into the gameplay experience.
39
Starting from 2011, the use of constructed languages in video games became more
innovative. Constructed languages began to appear in a wide variety of game assets, sometimes
with complex linguistic features, such as grammar and even culture. As such, some constructed
languages became an important part of the gameplay experience. Take the Wenja and Izila
languages from Far Cry Primal (Ubisoft Montreal, 2016) and Dovahzul from The Elder Scrolls
V: Skyrim (Bethesda Game Studios, 2011) for example. Wenja and Izila are representative of the
complexity in constructed languages in games during this time. In Far Cry Primal, both
languages appeared mostly in character voice recordings and voiceover assets. In other words,
both languages appeared mostly in verbal form throughout the game, while onscreen subtitles
were in English and other modern-day languages. Wenja and Izila were created by linguists
based on Proto-Indo-European, which was spoken in Europe between 4,500 to 2,500 B.C.
approximately (Apolon, 2016; Truman, 2016). Both languages were more complex than
previous constructed languages in video games, because they are the possible languages that van
Oostendorp (2000) referred to, or languages that can be used like actual languages. For example,
the linguists who created Izila pronunciation, grammar, and vocabulary were able to express
thoughts in the language, as well as teach voice actors how to speak (see Byrd, n.d.; Byrd &
Byrd, n.d.; Kerzner, 2016; Ubisoft, 2016). In contrast, it was more difficult to use earlier
constructed languages to communicate, because earlier languages often lacked vocabulary,
pronunciation, or grammar. For instance, the aforementioned Hylian language was impossible
to use as an actual language.
On the other hand, Dovahzul in The Elder Scrolls V: Skyrim is significant because it was
used in a variety of game assets and was an integral part of gameplay. In the game Dovahzul was
a constructed language spoken mainly by dragons. The language had a set of pronunciation,
40
grammar, vocabulary, and script, created with the dragons in mind. Furthermore, Dovahzul was
used in the game’s user interface, onscreen subtitles, voice recordings, and art assets. In the user
interface, Dovahzul appeared as text composed of numbers and the English alphabet; the text
was displayed in a specific font that made the text look like Dovahzul script. On the screen, the
constructed language was displayed as subtitles. The game used English letters to spell Dovahzul
words and phrases and then displayed them on the screen. In voice recordings, Dovahzul could
be heard in most dragons’ lines, because the game portrayed dragons as native speakers of the
language. Finally, the game also had images of Dovahzul script that were integrated into art
assets, in particular inscriptions on walls. Table 2.4.2 shows the use of a Dovahzul phrase in the
game assets mentioned above.
Table 2.4.2
Use of Dovahzul in The Elder Scrolls V: Skyrim
Game asset type
User interface
Subtitling asset
Voiceover asset
Art asset
Asset contents
Text & number
Text
Text & voice
recording
Image
Asset text
L1s y4 nir
Laas yah nir
Text shown in game
L1s y4 nir
Las yah nir
Laas yah nir
-
-
L1s y4 nir
In addition to being used in game assets, Dovahzul was also an important part of The
Elder Scrolls V: Skyrim’s gameplay: The game allowed players to learn and use Dovahzul words
as magic spells. To learn Dovahzul words, players need to explore the game world and look for
walls with inscriptions written in Dovahzul. Players can learn one Dovahzul word from each
wall inscription. The more words players learn, the more powerful their Dovahzul magic spells
become. To use Dovahzul words to cast magic spells, players press a button on their controller
or a key on their keyboard and the spell will be cast.
41
The above examples of Wenja and Izila and Dovahzul suggest that constructed languages
in video games have become more complex and innovative since the 2010s. In the Far Cry
Primal example, the Wenja and Izila languages demonstrated great complexity in their grammar,
pronunciation, vocabulary, and even communicative capability. By contrast, constructed
languages created before the 2010s often lacked the above linguistic features. On the other hand,
the Dovahzul example has demonstrated that constructed languages have started to appear in a
wide variety of game assets, such as user interface and art assets. In contrast, earlier constructed
languages mostly appeared as subtitles on the screen. Most importantly, Dovahzul shows that
constructed languages in the 2010s have become more integrated into gameplay than previous
constructed languages. Although not every game emphasized constructed languages as much as
The Elder Scrolls V: Skyrim did, Dovahzul shows that constructed languages could become what
Purnomo et al. (2017) referred to as configurative languages, allowing players to use the
languages to achieve a specific purpose and thus occupying an important part of gameplay
experience. This was not the case in earlier constructed languages, which were mostly used to
make games look or feel more exotic.
In summary, this section reviewed literature on constructed languages and the
categorization and translation of constructed languages, in an aim to provide context for the
present study’s investigation. In addition, examples of constructed languages in video games
have also been covered. The examples showed that while most constructed languages are used
to add different layers to the game world and make it more immersive, a few languages are
further tied to gameplay, creating a unique experience for players.
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2.5
Summary
By reviewing the existing literature, this chapter provided a general context behind the
current study’s research question and made the following clarifications: Section 2.1 showed that
the research question is to be addressed in the framework of video game translation; and an
important source of gameplay experience is the immersion that game assets create. Section 2.2
illustrated that video game translation modifies texts, part of which may contain constructed
language texts. In addition, Section 2.2 has also identified the inadequacy in the existing
taxonomies’ ability to categorize game assets and texts. Section 2.3 has identified the inadequacy
in previous attempts to define and assess translation strategies. Section 2.4 has provided a general
overview of constructed languages and the use of them in video games. All of the above serve
as the basis for developing the conceptual tools for solving the current study’s research question.
Moving forward, Chapter 3 explains how different conceptual tools were developed as well as
how these tools helped investigate the research question.
43
Research Methodology
This chapter explains the methodology used in this study. This chapter will first explain
the conceptual tools that were developed based on previous studies and then describe how these
tools were used to investigate the research question. Section 3.1 explains the Ermi and Mäyrä
SCI model (2009) and presents a modified SCI model for measuring the immersion that game
assets create. Section 3.2 explains the modification of taxonomy of game assets and texts
(Bernal-Merino, 2015, pp. 109-154) and how it was used to for categorize assets and texts.
Section 3.3 compiles a list of translation strategies based on Pedersen (2005), Mangiron and
O’Hagan (2006), and van Oers (2014), which were used for analyzing the translation of
constructed language texts. Section 3.4 describes how the above conceptual tools were used in
the investigation and explains the selection, collection, and analysis of research materials.
3.1
Measuring immersion in gameplay experience: a modified SCI model
Gameplay experience is an important concept in video game translation and localization
that has been left unexplored and hence unmeasured. For instance, O’Hagan and Mangiron (2013)
believed that video games must be transcreated in order to retain the original gameplay
experience after localization, but remained vague about what the experience is (p. 199). This
makes it difficult to investigate whether the two authors’ transcreative strategies can be used to
translate constructed languages in games while retaining gameplay experience. To address the
vagueness in the existing literature, this study follows Ermi and Mäyrä (2009) and defines
gameplay experience as “an ensemble made up of the player’s sensation, thoughts, feelings,
actions, and meaning-making” based on what the game offers during gameplay (p. 91) and what
a game offers was divided into game assets and the immersion they create as a source of the
gameplay experience. This section describes the immersion that game assets create as well as
44
how it can be measured.
Based on Ermi and Mäyrä (2009), the immersion created by game assets can be divided
into sensory immersion, challenge-based immersion, and imaginative immersion (p. 103). The
three types of immersion are an important source of the gameplay experience collectively formed
by the player and the game. However, the SCI model has remained vague about what sensory,
challenge-based, and imaginative immersion are (Ermi & Mäyrä, 2009, pp. 101-103). The three
types of immersion alone are inadequate in describing the experience created by complex game
assets in recent times. If the model was used to measure immersion, confusion would likely arise.
As such, the SCI model was modified in the present study in order to quantify and measure the
immersion created by game assets before and after translation. This allows the present study to
compare the amount of immersion created by game assets before and after the translation of
constructed language texts. The following is a description of the modification of the SCI model.
The modified SCI model breaks down the original sensory immersion, challenge-based
immersion, and imaginative immersion into 11 smaller components, as illustrated in Figure 3.1.1
below. A game asset may create any of the 11 immersion components, depending on the use of
sensory stimuli and influence on gameplay and game contents.
45
Imaginative Challenge
Game
Player
Sensory
Asset(s)
Audio stimuli
Audiovisual stimuli
Visual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Implicit information
Character identification
Plot construction
World construction
Figure 3.1.1. Modified SCI model of immersion components created by game assets (cf. Ermi
& Mäyrä, 2009, p. 103).
A game asset creates sensory immersion components when it contains or uses sensory
stimuli. The four components of sensory immersion represent four types of sensory stimuli in
game assets, including audio stimuli, visual stimuli, audiovisual stimuli, and tactile stimuli. The
audio stimuli component appears in game assets that contain music, sound effects, or other audio
stimuli, such as assets that play voice recordings. The component of visual stimuli appears in
assets that display text, image, or other visual stimuli. For example, an asset that displays game
character’s words creates visual stimuli component. The component of audiovisual stimuli
appears in assets that contain both audio and visual stimuli, such as assets that display subtitles
and play voice recordings. The component of tactile stimuli appears in assets that uses real-world
objects to affect the player’s sense of touch. For example, game characters that cause the game
controller to vibrate when the player’s character touches them.
46
An asset creates challenge-based immersion components when it or its contents influence
gameplay. The four components of challenge-based immersion represent the four ways in which
game assets affect gameplay, including contacting gameplay, contactless gameplay, explicit
information, and implicit information. An asset creates component of contacting gameplay when
it requires that a real-world device be manually operated. For example, an asset that displays text
to teach the player how to use a device. An asset creates component of contactless gameplay
when it influences gameplay without the need to manually operate devices. For example, game
assets that display voice commands or trigger specific game mechanisms without the player’s
input. An asset creates component of explicit information when it conveys gameplay-related
information in a way that is unlikely to be misinterpreted, such as an asset that displays game
rules. Game assets create component of implicit information when they convey gameplay-related
information in a way that is likely to be misinterpreted. For example, an asset that displays a
riddle.
An asset creates imaginative immersion components when it deepens the player’s
impression of game contents. The three components of imaginative immersion represent three
types of game content that game assets focus on, including character identification, plot
construction, and world construction. An asset creates component of character identification
when it deepens the impression of game characters, such as an asset that displays a character’s
thoughts. An asset creates component of plot construction when it deepens the player’s
impression of the game plot. For example, assets that display important information in main
quests. An asset creates component of world construction when it deepens the impression of
game contents other than plot and game characters, for example, an asset that displays item
names.
47
To quantify and measure the immersion components created by an asset, the asset’s
contents and influences on gameplay and other game contents should be examined. Take game
user interface for example. To measure the asset’s immersion components, its contents are
examined first, in order to determine and quantify the sensory immersion components it creates.
Next, the asset’s influence on gameplay should be examined to see whether it requires a device
to be manually operated as well as how the asset conveys information. Finally, the asset’s
influence on game contents is examined, in order to determine the kind of contents of which the
player’s impression is deepened by the asset. Figure 3.1.2 below illustrates the immersion
components created by a user interface, an asset that typically displays buttons and items for the
player to choose. Examination suggests that the user interface creates four immersion
components, including visual stimuli, contacting gameplay, explicit information, and world
construction components.
INVENTORY MAP STATS
Health Potion (2)
d
Contacting gameplay
Visual stimuli
Magic Potion (46)
Explicit information
Apple (21)
Coffee (4)
World construction
Figure 3.1.2. Immersion components contained in a user interface.
The modified SCI model can also be used to measure an asset’s immersion components
after translation, by repeating the above examination on the asset. By comparing the immersion
components that game assets create before and after translation, it is possible to tell whether a
48
localized game has the same gameplay experience as its original version. This can help
investigate the effectiveness of video game translation strategies. The above method and the
modified SCI model were used to investigate the applicability of Mangiron and O’Hagan’s
transcreative strategies. They were used to measure the immersion components that game assets
create before and after the translation of constructed language texts. Section 3.4 will cover details
about how the investigation was conducted.
3.2
Classifying game assets and texts: a modified taxonomy
To answer the research question, it is necessary to have a taxonomy that classifies game
assets containing constructed language texts and the texts themselves. Nevertheless, existing
taxonomies appear to be limited in classifying the assets and texts. Thus, this section proposes a
different taxonomy based on Bernal-Merino (2015). The taxonomy was used as a basis because
it applies to any kind of video game (pp. 109-154). In contrast, Mangiron and O’Hagan’s (2013)
taxonomy mainly applies to narrative-driven games (pp. 155-158). Most importantly, BernalMerino (2015) differentiates between game assets and texts, the concept of which can be
illustrated as follows:
User interface
Functional text
Asset type
Text type
Figure 3.2.1. Examples of asset types and text types.
In Bernal-Merino (2015), the name of an asset type indicates how an asset functions in
the game. For instance, user interface indicates that such asset displays “text labels that trigger
specific computer behaviors” (p. 110). On the other hand, the name of a text type indicates the
49
attributes and content of a text. For instance, functional text explains the function that an asset
triggers (p. 109). The concept of asset type and text type in Bernal-Merino is compatible with
the description of assets and texts in the current study, that a game asset contains various game
contents, such as texts and images. Nevertheless, as explained in Section 2.2., Bernal-Merino is
inadequate in classifying the assets and texts in latest video games. Thus, the taxonomy was
modified and is described as follows:
The modified taxonomy defines a game asset as a non-code component of a video game
that contains game contents, including text (Llopis, 2004, p. 36; Unity Technologies, 2019). Text
refers to language in written or spoken form and may be described as a text string, which is any
amount of text stored and used as a group (Heimburg, 2006, p. 139). The contents of an asset
determine the types of immersion the asset creates. Table 3.2.1 below is the modified taxonomy
based on Bernal-Merino (2015).
50
Table 3.2.1
Legal
Didactic
Functional
Technical
Promotional
Game asset type
User interface
System message
Game installer
Voiceover asset
Subtitling asset
Game logo
In-game texture embedded
words
Glossaries and TMs
Box
Manual
EULA and guarantee files
Readme file
Help files
Official website
Oral/dialogic
Text type
Narrative
A modified taxonomy of game assets and texts
The modified taxonomy is different from the original one in two ways. First, the modified
taxonomy has removed the five asset groups in the original taxonomy, including in-game text,
voiceover and cinematics, art, glossaries and translation memories, and packaging and promotion.
This is because not all of the five asset groups contain texts in today’s video games. For example,
the game Abzû (Giant Squid Studios, 2016) does not have texts in the cinematic files or in-game
movies; texts mainly appear as subtitles on screen. If Bernal-Merino’s taxonomy is used to
classify texts in Abzû’s cinematic files, confusion would arise because there is no text in the
assets. For this reason, the modified taxonomy divides game assets into 14 types, instead of five
large asset groups. This could allow translators to focus on game assets that are more likely to
contain text. For instance, using the modified taxonomy, Abzû’s subtitles can be classified as
51
subtitling assets, while the assets’ texts can be classified as narrative texts. Second, the modified
taxonomy has removed the original taxonomy’s identifying marks in rows and columns (cf.
Bernal-Merino, 2015, p. 110). The marks indicate what kind of text can be found in an asset.
Rows and columns without any mark indicate that that there can be no such text-asset
combination. The marks in the original taxonomy are outdated, because today’s video games
often combine different game assets and texts. For example, there is narrative text in the manual
of The Legend of Zelda: The Wind Waker (Nintendo EAD, 2002, 2003), but the original
taxonomy assumes that game manuals do not contain narrative texts. Thus, the modified
taxonomy has removed the identifying marks. It lets the user classify an asset’s type and text
type.
For classifying game assets and texts, the modified taxonomy describes 14 asset types
and seven text types (cf. Bernal-Merino, 2015, pp. 109-110). An asset is usually of one of the 14
asset types, while the text it contains is classified as one of the seven text types. However, there
may be exceptions. For instance, an asset may contain two types of texts, one for voiceover and
the other for subtitling. To classify an asset’s type, how the asset is used within the game should
be examined first. Next, the asset is compared with the descriptions of the 14 asset types, in order
to determine which of the descriptions matches the use of the asset. A match suggests that the
asset is of the asset type being described. To classify an asset’s text type, the content of the text
should be examined, such as its style, tone, word choice, and so on. Next, the text is compared
with the descriptions of the seven text types in the modified taxonomy, in order to determine the
text’s type. Descriptions of the 14 asset types and seven text types are provided at the end of this
section. Figure 3.2.2 below provides an example of a game asset that displays the following text
in user interface: “INVENTORY MAP STATS.”
52
INVENTORY
MAP
STATS
Figure 3.2.2. Asset displaying text in user interface.
The above asset and the text it displays can be classified in the following steps. First, the
game asset is examined and compared with the 14 asset types described in the modified
taxonomy. This reveals that the asset can be classified as a user interface, an asset that displays
text and icons mainly to facilitate the interaction between the game and the player (BernalMerino, 2015, pp. 110-112). Next, the asset’s text is examined and compared with the seven text
types in the taxonomy. This reveals that the asset’s text can be classified as a functional text,
which informs the player about how parts of a game function (Bernal-Merino, 2015, p. 109).
Finally, a dot is put in the box that best describes the asset’s type and text type. Table 3.2.2 below
shows the steps of using the modified taxonomy to classify the asset’s type and text type.
53
Table 3.2.2
Legal
Promotional
Didactic
(2)
Functional
Technical
Game asset type
Narrative
Text type
Oral/dialogic
Using modified taxonomy to classify user interface and its text
(3)
User interface
(1)
System message
Game installer
Voiceover asset
Subtitling asset
Game logo
In-game texture embedded
words
Glossaries and TMs
Box
Manual
EULA and guarantee files
Readme file
Help files
Official website
In addition, the modified taxonomy can be used with the modified SCI model from
Section 3.1 to determine asset types and text types and quantify the immersion components
created by game assets. Take the above user interface asset for example. As shown in Figure
3.2.3 below, the modified taxonomy and SCI model can be used at the same time to classify the
asset and quantify its immersion components:
Visual stimuli
INVENTORY MAP STATS
Explicit information
Asset type: user interface
Text type: functional text
Figure 3.2.3. The use of the modified taxonomy with the modified SCI model.
54
55
The above method of classifying game assets and texts was used in the investigation into
Mangiron and O’Hagan’s transcreative strategies. More specifically, the method was used to
classify game assets with texts that contained constructed languages. The following are
descriptions of the 14 asset types and seven text types, and Section 3.4 will explain how the
investigation was conducted.
Descriptions of asset types and text types. The modified taxonomy describes 14 types
of game asset based on Chandler and Deming (2012) and Bernal-Merino (2015), and seven types
of text based on Bernal-Merino (2006, 2015). As previously mentioned, the descriptions are used
for classifying game assets and the texts they contain. The 14 asset types include user interface,
system message, game installer, voiceover asset, subtitling asset, game logo, in-game texture
embedded words, glossaries and translation memories, box, manual, end-user license agreement
and guarantee files, readme file, help files, and official website. They are explained as follows:
1.
User interface is an asset that displays texts and icons mainly to facilitate the interaction
between the game and the player (Bernal-Merino, 2015, pp. 110-112). For example, the
game Cogmind’s (Grid Sage Games, 2015) user interface features a large amount of text
that informs the player about items, skills, and game characters inside the game. If the
player decides to expand all in-game windows when playing the game, the text-heavy
user interface can take up more than half of the screen.
2.
System message displays texts to inform players about how game platform, hardware, or
software, functions. Sometimes system messages also display texts to congratulate
players on their achievements within the game. For example, Nier: Automata
(PlatinumGames, 2017) has a system message that says “Thank you for playing.” after
players complete every achievement within the game.
56
3.
Game installers are assets that display texts to inform the player about the transfer of
game files to a game platform or hardware (Bernal-Merino, 2015, p. 114).
4.
Voiceover asset contains texts used for voice-acting, voiceover, or dubbing (BernalMerino, 2015, pp. 115-123).
5.
Subtitling assets mainly appear within the game; they display texts on the screen as
subtitles or to provide information about what happens within the game (Bernal-Merino,
2015, pp. 123-130). In practice, both voiceover asset and subtitling asset usually have
more contents than just text. There could be audio files and character names in the assets,
as well as timecodes that specify when an audio file or a subtitle is played (see BernalMerino, 2015, p. 116). Nevertheless, the two asset types are not entirely the same, in that
the text displayed by voiceover asset is oftentimes not displayed within the game. For
example, some assets in Witcher 3: Wild Hunt (CD Projekt Red, 2016b) are hybrids of
voiceover asset and subtitling asset. This means that part of the assets’ text is not shown
on the screen because that part is used for voiceover, while the rest of the text is displayed
on the screen as subtitles.
6.
Game logos are assets that display the name of the game along with artistic style.
7.
In-game texture embedded words are assets that display texts in different font sizes and
styles (Bernal-Merino, 2015, pp. 130-131). For example, The Elder Scrolls V: Skyrim
(Bethesda Game Studios, 2016) features in-game texture embedded words that display
text in a font style that makes the text look like wall inscriptions. Given their artistic
nature, both game logos and in-game texture embedded words may contain images, icons,
or font style files, in addition to text.
8.
Glossaries and translation memories are game assets that display game-related texts to
57
facilitate video game translation and localization (Bernal-Merino, 2015, pp. 132-134).
9.
A box asset usually contains texts and images that may be printed on the game’s box.
The asset’s text and images often provide important information about the game, such as
game rating and zone code (Bernal-Merino, 2015, pp. 134-136).
10.
A manual asset displays texts and images that are designed to help the player understand
how the game works. In today’s video game industry, manual assets often come in digital
form.
11.
EULA and guarantee files are game assets that display texts to provide players with legal
information about their legal rights and responsibilities when using the game (BernalMerino, 2015, pp. 136-137).
12.
A readme file is usually a game asset that displays texts written by the game developer
for players, in order to provide details about the game, such as game version and update
information (Bernal-Merino, 2015, pp. 137-138). Nevertheless, recently some games
integrate their readme files into game installers or the official website. For example, the
game Monster Hunter: World (Capcom, 2018) does not have a readme file available on
game consoles to tell players about the game’s latest version and new updates. Instead,
there is a Section named “Update Information” on the game’s official website that
provides the said information.
13.
A help file is an asset that displays texts to help players solve problems related to the use
of game platform, hardware, and software, such as game freezes and console shutdown.
Generally speaking, a help file addresses problems that are not listed in game manual and
readme file.
14.
An official website is a game asset that displays texts, images, and videos that are related
58
to the game, such as release date, price, and gameplay screenshots (Bernal-Merino, 2015,
p. 138). Some video games may have more than one official website to provide content
that makes close reference to the game. For example, Siren: Blood Curse (Project Siren,
2008) has a second official website that is designed to look like a blog started by one of
the game’s playable characters, Howard Wright (see “Wright Rider: Living Wright in
Japan...,” 2008). On the website are blog posts authored by Wright, with reference to the
events that take place within the game.
The seven types of text described in the modified taxonomy include narrative,
oral/dialogic, technical, functional, didactic, promotional, and legal text (Bernal-Merino, 2015,
pp. 109-110):
1.
Narrative text is text in audible or written format that provides information about the
game world or game characters (Bernal-Merino, 2015, p. 109). For example, a town’s
name on a map is narrative text.
2.
Oral/dialogic text shows what game characters say or hear in the game world and may
come in audible or written form (Bernal-Merino, 2015, p. 109). For instance, the “I love
you” said by a game character to another in O’Hagan and Mangiron’s (2004) case study
is a kind of oral/dialogic text.
3.
Technical text provides information about how a game platform, software, or hardware
works (Bernal-Merino, 2015, p. 109). For example, the warning that appears when a
game is being loaded is a kind of technical text.
4.
Functional text informs the player about how parts of a game function (Bernal-Merino,
2015, p. 109). For instance, the message that explains the difference between each game
difficulty is a functional text.
59
5.
Didactic text guides players to use a game platform, software, or hardware and may come
in audible or written form (Bernal-Merino, 2015, p. 109). For example, the voiceover in
LittleBigPlanet 3 (Sumo Digital, 2017) that tells players what to do in the game’s first
stages is a didactic text in audible form.
6.
Promotional text encourages players to make purchases within and outside the game
(Bernal-Merino, 2015, p. 109). For example, the sales promotion message that appears
in Call of Duty: Black Ops III’s (Treyarch, 2015) menu in multiplayer mode is a
promotional text.
7.
Legal text informs players about their rights and responsibilities when using the game
(Bernal-Merino, 2015, pp. 109-110). For instance, the message that Overcooked 2
displays before entering the main menu is a written legal text, which reads “Please feel
free to use any video footage or screen captures of the game in whatever way you like.”
3.3
Identifying the strategy: a list of video game translation strategies
To investigate what strategies were used to translate in-game texts, Section 2.3 surveyed
the different video game translation strategies. Among the studies, van Oers’ (2014) list of
strategies is the most comprehensive. Nevertheless, the author’s descriptions of the strategies are
inconsistent, in that they do not always apply to the same object; some strategies are applied to
translating names and terms, while others are applied to translating words or expressions. Given
the inconsistency, this section uses Pedersen’s concept of strategy object to compile a list of
strategies that may be used to translate constructed language texts in video games.
Pedersen (2005) examined how extralinguistic culture-bound reference (ECR) was
rendered in subtitles and proposed a taxonomy of strategies for translating ECRs, which the
author defined as:
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reference that is attempted by means of any culture-bound linguistic expression, which
refers to an extralinguistic entity or process, and which is assumed to have a discourse
referent that is identifiable to a relevant audience as this referent is within the
encyclopedic knowledge of this audience. (Pedersen, 2005, p. 2)
In other words, Pedersen’s translation strategies had a relatively more consistent object:
expressions that refer to a real-world entity or process, with attached meanings shared by a
specific audience. For example, the mentioning of Casey Jones in American English to describe
someone who honors work and responsibility more than death (Pedersen, 2005, p. 8). In addition
to ECR, Pedersen has also suggested other kinds of objects for his translation strategies, such as
proverbs and slang (p. 2). Thus, this section proposes the following: First, introduce Pedersen’s
concept of strategy object into van Oers’ descriptions of video game translation strategies.
Second, identify strategy objects as texts written in a constructed language. Finally, put together
strategies proposed by Pedersen (2005) and van Oers (2014) to compile a list of strategies that
may be used to translate constructed language texts in games.
The list has 18 strategies that are targeted at constructed language texts in game assets.
All strategies are “textual” and “local” strategies, meaning that they describe the results of part
of a text after translation (Kearn, 2009, pp. 282-285). By contrast, procedural and global
strategies focus more on how translation is carried out on an entire text and are thus not included
in the list. Strategies 1 to 12 come from Pedersen’s list of strategies, except strategy 5,
transliteration, which is missing in Pedersen’s list. Strategies 13 to 18 are Mangiron and
O’Hagan’s (2006, 2013) transcreative strategies, part of which was cited in van Oers (2014, pp.
131-145). Pedersen’s strategies are included because they cover a different area than do
transcreative strategies, which are more often used in translating texts in video games (van Oers,
61
2014, p.138). In addition, strategies 1 to 8 are foreignizing strategies in Venuti’s sense (1995),
while strategies 9 to 18 are domesticating strategies. The list of strategies is as follows:
1.
Official equivalent: translates constructed language text according to a requirement, such
as glossaries, translation memories, or industry standards (Pedersen, 2005, p. 3). For
example, translating the word “vatt’ghern” into “狩魔獵人” (witcher), according to the
game developer’s requirement. This strategy is comparable to the borrowing of names
(van Oers, 2014, p. 131).
2.
Retention unmarked: leaves constructed language text untranslated and unchanged in the
target text (Pedersen, 2005, p. 4). For example, leaving the word “V3r” (dying)
unchanged under the traditional Chinese language setting. Retention unmarked is
comparable to the borrowing strategy (Vinay and Darbelnet, 1995, pp. 31-32).
3.
Retention marked: leaves constructed language text untranslated and marks it in ways
that are necessary, such as italicization or highlighting the text in a color (Pedersen, 2005,
p. 4). For example, rendering “ceádmil” (hello) as “ceadmil.” Retention marked involves
subtle changes that are not observed in the retention unmarked strategy above (cf. van
Oers, 2014, p. 131).
4.
TL adjust: leaves constructed language text untranslated while making adjustments to it,
such as changing word spelling (Pedersen, 2005, p. 4). For example, turning “Ker’zaer”
(ruler) into “Cer’zaer.”
5.
Transliteration: transliterates constructed language text using a different alphabet or
language. For example, transliterating the word “drem” (patience) into “德萊姆” with
Chinese characters. Transliteration was added to this study as it was missing among the
strategies compiled by Pedersen and van Oers.
62
6.
Specification explicitation: leaves constructed language text untranslated and adds
information directly related to the text itself, such as spelling an acronym or abbreviation
out (Pedersen, 2005, pp. 4-5).
7.
Specification addition: leaves constructed language text untranslated and adds
information not found within the text, such as adding professional title to a person’s name
(Pedersen, 2005, p. 5). For example, turning “Que suecc’s?” into “（精靈語）Que
suecc's?” The added characters indicate that the texts are in elven Hen Llinge.
8.
Calque: translates constructed language text based on linguistic meanings, while ignoring
target language conventions (Pedersen, 2005, p. 5; Vinay & Darbelnet, 1995, pp. 32-33,
as cited in van Oers, 2014, pp. 133-134). For example, translating “bod3s”
(borrowed from) into “被借來的” in traditional Chinese with stress on the verb’s passive
voice, while the standard form is “借來的,” which takes the active voice (Yu, 2010).
9.
Shift: translates constructed language text based on linguistic meanings and adjusts the
text according to target language conventions (Pedersen, 2005, p. 5). For example,
translating “ceádmil” (hello) into “你們好” (hello to you all). The shift strategy is the
same as literal translation (Vinay and Darbelnet, 1995, pp. 33-35).
10.
Generalization: translates constructed language text and then replaces it with something
that is more general (Pedersen, 2005, p. 6). For example, translating “zireael” (swallow)
into “鳥” (bird). Generalization is comparable to the “kernvertaling” strategy, which
means “core translation” (Grit, 1997).
11.
Paraphrase with sense transfer: translates constructed language text and then replaces it
with a paraphrase that keeps the text’s meaning or relevant connotations without
generalizing it (Pedersen, 2005, pp. 8-9). For example, translating “joor” (mere mortal)
63
into “蟲子” (bug) to express a dragon’s contempt for human beings. This strategy is
comparable to the description strategy (Grit, 1997).
12.
Omission: removes constructed language text from the target text (Pedersen, 2005, p. 9).
This strategy is comparable to the “weglating” strategy, which means “omission” (Grit,
1997).
13.
Renaming key terminology: translates key terms written in a constructed language and
renames them with little or no reference to the terms’ original form (Mangiron &
O’Hagan, 2006, pp. 17-18). This strategy is similar to the substitution of target language
ECR, which is to find a similar term in the target language and use it to replace an ECR
in the source text (Pedersen, 2005, pp. 7-8); the difference between the two strategies is
that renaming focuses on nouns, while substitution focuses on expressions that refer to a
real-world entity or process.
14.
Contextualization by addition: translates constructed language text and then adds
information based on the text’s context (Mangiron & O’Hagan, 2006, p. 18). For example,
translating “Ceádmil” into “（精靈語）你好。” The added information in parentheses
indicates that the word is in elven Hen Llinge. This strategy is different from the shift
strategy above, in that the use of contextualization is optional and is focused on providing
context, rather than making adjustments (cf. Pedersen, 2005, p. 5).
15.
Re-creation of play-on-words: translates constructed language text that features wordplay
and replaces it with a paraphrase that features a similar or different wordplay (Mangiron
& O’Hagan, 2006, pp. 18-19). This strategy is similar to situational paraphrase, which is
to replace an ECR with something that fits the context (Pedersen, 2005, p. 9). The
difference between the two strategies is that wordplay recreation is optional, yet requires
64
that a wordplay be present in the constructed language text.
65
16.
Deliberate use of regional expressions: translates constructed language text and modifies
it so that it features an expression used by speakers of the target language (Mangiron &
O’Hagan, 2006, p. 19). For example, translating “p1k” (ashamedness) into “切,” a
traditional Chinese expression for conveying dissatisfaction.
17.
Transcreation: rewrites constructed language text from scratch in target language (van
Oers, 2014, pp. 143-144). Transcreation as a translation strategy appears to be van Oers’
choice, as Mangiron and O’Hagan (2006) originally proposed transcreation to describe a
way of translating texts in games using mainly domesticating strategies (pp. 11, 20). In
addition, Van Oers’ transcreation appears to be highly similar to situational paraphrase,
which is to replace an ECR with something that fits the context (Pedersen, 2005, p. 9).
The difference between the two is that transcreation does not have a specified target,
while situational paraphrase focuses on ECRs. Nevertheless, van Oers’ transcreation will
be included as one of Mangiron and O’Hagan’s transcreative strategies for the purpose
of this study.
18.
Compensation: translates constructed language text and moves one of its features into a
different text (van Oers, 2014, pp. 144-145). Compensation appears to be another strategy
that van Oers’ added to Mangiron and O’Hagan’s transcreative strategies (cf. Mangiron
& O’Hagan, 2006, p. 15). Van Oers’ compensation strategy is different from Di Marco’s
compensation (2007) in that the former affects two target texts at a time, while the latter
affects one.
The above list was used in the present study’s investigation into Mangiron and
O’Hagan’s transcreative strategies, in order to identify the strategies that were used to translate
constructed language texts in games. The following section explains how the list was used to
66
investigate whether transcreative strategies can be used to translate constructed language texts
in video games and retain gameplay experience.
3.4
Research material
The present study set out to investigate whether transcreative strategies can be used to
translate constructed languages in video games while keeping the original gameplay experience.
To achieve this, the study examined two video games that contained constructed languages and
analyzed the translation strategies of constructed language texts in game assets as well as the
strategies’ impact on gameplay experience. Two games were examined, instead of one, because
constructed language texts often occupy only a small amount of a game’s texts and as a result,
analyzing constructed language texts from one game may be insufficient. In addition, van Oers
(2014) also recommended that analyses of translation strategies examine more than one game.
This section explains how the investigation was conducted. Subsection 3.4.1 describes the
selected games and their constructed languages. Subsection 3.4.2 explains how research material
was collected and classified. Subsection 3.4.3 explains how research material was analyzed with
regards to translation strategies and the immersion components that game assets create.
3.4.1 The Elder Scrolls V: Skyrim Special Edition and Witcher 3: Wild Hunt - Game of the
Year Edition
The Elder Scrolls V: Skyrim Special Edition. The first video game in this study was The
Elder Scrolls V: Skyrim Special Edition (Bethesda Game Studios, 2016, Version 1.4.4.0,
hereafter referred to as Skyrim) on PC. An open world action role-playing game, Skyrim is the
fifth major installment in the long-standing The Elder Scrolls series and was also published on
PlayStation 4 and Xbox One (see “The Elder Scrolls V: Skyrim,” n.d.). In addition, Skyrim is a
67
“remastered” game, meaning that the game is produced based on an existing game, which in this
case is The Elder Scrolls V: Skyrim (Bethesda Game Studios, 2011, hereafter referred to as
TESV), with improvements and adjustments added (Abenoja, 2018; Hastings, 2018). In other
words, the two games have the same game mechanics and main quests, which were developed
and written in American English, before being localized into other languages, including
traditional Chinese. Skyrim’s main quests tell the story of the “Dragonborn,” a heroic figure who
is prophesied to defeat Alduin, the evil dragon, by speaking the dragons’ language.
Among video games that contained constructed languages, Skyrim was selected for four
reasons. First, the game was a market success. As of 2017, TESV and other editions of the game,
including Skyrim, have sold over 19 million units worldwide (Peckham, 2014; VGChartz, 2017).
In addition, TESV was also praised in the entertainment industry. According to IMDb (“Awards,”
n.d.), TESV has won the Game of the Year award at the 2012 Game Developer Choice Awards
and the 2012 Interactive Achievement Awards, two of the major awards in the video game
industry. Second, Skyrim includes all three downloadable contents that were released separately
alongside TESV, including Dragonborn, Dawnguard, and Hearthfires (Bethesda Game Studios,
2012a, 2012b, 2013a; Martin, 2016). Using Skyrim allowed the current study to examine the
constructed languages that appeared in the three contents. Third, Skyrim provides the player
access to game mods, or game content created by people who are not members of the game
development team. This could provide more content to investigate the game’s constructed
languages. Finally, Skyrim’s game content is available in traditional Chinese (see Steam, 2016).
This allowed the study to analyze how the game translated constructed language texts into
traditional Chinese. In contrast, TESV reportedly did not provide translations in traditional
Chinese (keppekinosha, personal communication, May 5, 2015). It was not until the release of
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The Elder Scrolls V: Skyrim Legendary Edition (Bethesda Game Studios, 2016) on PlayStation
3 in Asia, that TESV’s content was finally translated into traditional Chinese (Ken, 2012).
Constructed languages in Skyrim. The game development team has created a few
constructed languages for Skyrim, such as Falmer and Dovahzul. The Falmer language is used
by a fictional race called snow elves (“Falmer Language,” n.d.). The language has an alphabet
of 26 letters, including FALMER for “FALMER.” Nevertheless, the present study focused
only on the Dovahzul language, because it is a relatively complete constructed language that
plays an important role in the game’s plot and gameplay.
The Dovahzul language is used by dragons and a few key characters within the game.
The language has an alphabet consisting of 34 runes (Hodgson & Stratton, 2011, p. 645).
Furthermore, it has a relatively well-developed grammar and a vocabulary of more than 300
words. According to Skyrim’s official strategy guide, the words can be divided into different
parts of speech, including adjectives, adverbs, articles, nouns, pronouns, prepositions, verbs,
articles, and even prefixes; and several Dovahzul inscriptions also exist in the game world,
written based on a subject-verb-object sentence structure (see Hodgson & Stratton, 2011, pp.
645-647). In addition to writings, spoken Dovahzul also exists in the game. Friendly non-player
characters, such as members of the Greybeards, use Dovahzul to communicate with one another.
On the other hand, hostile characters, such as dragons and draugrs, speak Dovahzul to cast a kind
of magic spells called dragon shouts. According to the game plot, the protagonist played by the
player also speaks Dovahzul. In fact, the protagonist is among the few who can use spoken
Dovahzul to cast dragon shouts. When game characters speak Dovahzul, the game transliterates
their words using English alphabet and display them as subtitles. Table 3.4.1.1 below shows the
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Dovahzul alphabet and examples of Dovahzul words and sentence structure, based on Elder
Scrolls V: Skyrim: Prima Official Game Guide (Hodgson & Stratton, 2011, pp. 645-647). The
English letters next to the runes that resemble gashes from a dragon’s claw are used in the game
to spell out Dovahzul words.
Table 3.4.1.1
Dovahzul alphabet, words, and sentence structure
Alphabet
Words
Sentence
structure
A A b B c C D D E E F
F G G H H I I
J J K K L L M M N N O
O P P Q Q R R
S S T
T U U V V W W X
X Y Y Z Z 1aa
2ei 3 i i 4ah 5 u u 6 u r 7 i r 8oo 9ey
S4
Kr3
D1r
Sah
Krii
Daar
(N.) “phantom”
(V.) “to kill”
(ART.) “This/These”
S4lokN7
Kr3
D1r
J8rre
Sahloknir
Krii
Daar Joorre
Subject
Verb
Article Object
“Sahloknir, kill these mortals.”
Both spoken and written Dovahzul are an important part of Skyrim’s gameplay, in
particular the dragon shouts. Dragon shouts are magic spells used for combat and defense. Each
shout consists of three Dovahzul words, such as “fus ro d4” (fus ro dah), meaning “force,”
“balance,” and “push,” respectively. Early in the game, the protagonist doesn’t know any shout
words like fus ro d4 or fus ro dah. But as the game moves forward, the protagonist will
learn how to use the shout words in Dovahzul. This is where spoken Dovahzul becomes part of
the gameplay. The protagonist is instructed to say shout words in Dovahzul and use dragon
shouts during combat. When the player presses the button that triggers the casting of a shout, the
protagonist will say the Dovahzul words of that shout. On the other hand, written Dovahzul is
used as an incentive for the player to explore the game world. In the game, the protagonist can
70
learn new dragon shouts or make acquired shouts more powerful by reading Dovahzul
inscriptions on stone walls, which can be found across the game world. This encourages the
player to explore the game world and look for the said inscriptions. When the player approaches
a wall inscription, special sound effects fade in with visual effects, suggesting that the protagonist
is “absorbing” the knowledge of Dovahzul words.
In summary, Skyrim was selected because this critically acclaimed game has a relatively
complete constructed language, Dovahzul, which plays an important role in the game’s narrative
and gameplay. The Dovahzul grammar and vocabulary are sufficient to facilitate communication,
as demonstrated by both friendly and hostile characters in the game. The vocabulary is even
integrated into the dragon shouts, which the player uses for combat and defense. With its content
available in both English and traditional Chinese, Skyrim could help investigate the translation
strategies of constructed languages, as well as the strategies’ impacts on immersion. For instance,
analyzing the translation of Dovahzul shouts could reveal the whether transcreative strategies
can be used to translate the shouts without disrupting gameplay.
The Witcher 3: Wild Hunt - Game of the Year Edition. The second game selected for
analysis was The Witcher 3: Wild Hunt – Game of the Year Edition (CD Projekt Red, 2016b,
Version 1.30, hereafter referred to as Wild Hunt). Also an open world action role-playing game,
Wild Hunt is the third installment in The Witcher series, which is based on Polish author Andrzej
Sapkowski’s best-selling novel series, Wiedźmin. As its name suggests, Wild Hunt is a newer
edition of the game The Witcher 3: Wild Hunt (CD Projekt Red, 2015); the two games share the
same storyline, main quests, and gameplay. According to members of the game development
team, the main storyline of Wild Hunt was written in Polish, before being adapted into English
71
and then localized into other languages, including traditional Chinese (Noclip, 2017). The
storyline tells the adventures of Geralt of Rivia, a witcher who lives by killing man-eating
monsters in a world where different races, ideologies, and languages coexist.
Wild Hunt was selected for three reasons. First, the base game, Witcher 3: Wild Hunt,
currently holds the world record for the most game-of-the-year awards won, with 251 awards
given by renowned members of the video game industry, such as the Game Developers
Conference and IGN (“16th Annual Game Developers Choice Awards,” 2015; IGN, 2015; Leack,
2016). Second, Wild Hunt contains all of the additional contents that were released separately
after Witcher 3: Wild Hunt was launched, including 17 free downloadable contents and two
extension packs, Hearts of Stone and Blood & Wine (CD Projekt Red, 2015b; 2016a). In addition,
Wild Hunt also has a re-designed user interface. With all of the contents in one game, the study
could examine constructed languages more comprehensively. In contrast, examining materials
in Witcher 3: Wild Hunt alone was obviously insufficient. Finally, Wild Hunt’s content has been
localized into traditional Chinese, which allows the current study to analyze the translation
strategies used.
Constructed languages in Wild Hunt. The study focused on the Hen Llinge language
and two of its variants in Wild Hunt, including the elven Hen Llinge and the Nilfgaardian
languages. The Hen Llinge language, or the Elder Speech as some game characters call it, is the
language used by the elves who once dominated Wild Hunt’s game world. They used the
language to communicate and cast magic spells. Later in Wild Hunt’s history the constructed
language split into elven Hen Llinge and Nilfgaardian; only written Hen Llinge remains in use
in the game, while the spoken language is used only for casting spells and rarely for
72
communication. Evidence of this can be found in both the game and the Wiedźmin novel series
that inspired the game. First, items in the game suggest that written Hen Llinge is still in use in
Wild Hunt’s world, such as “Letter written in Elder Speech” and “Elder Speech Pocket
Dictionary.” Second, game characters’ words show that Hen Llinge variants exist. For instance,
in the main quest “Disturbance,” a character mentions that a curse is “uttered in a dialect of Elder
Speech unfamiliar to me.” Finally, the novels that inspired the game suggest that Hen Llinge is
used by elves and Nilfgaardians. For example, in the novel Miecz Przeznaczenia it is mentioned
that elves speak a variant of Elder Speech (i.e., Hen Llinge, see Sapkowski, 1992/2012, p. 306).
In a different novel, Czas Pogardy, a sorcerer who speaks Hen Llinge can understand
Nilfgaardian (Sapkowski, 1995/2014, p. 347). Based on the evidence, Hen Llinge, elven Hen
Llinge, and Nilfgaardian likely come from the same constructed language family. As such, the
present study focused on all three of the constructed languages, instead of Hen Llinge alone.
Table 3.4.1.2 below compares the Hen Llinge languages in Wild Hunt, based on the above
evidence.
Table 3.4.1.2
A comparison of Hen Llinge and its variants in Wild Hunt
Language
Spoken usage
Written usage
Hen Llinge
Casting magic spells
Communication
Documentation
Elven Hen Llinge
Nilfgaardian
Communication
Communication
Unspecified
Unspecified
Used by
Ancient elves,
contemporary elves,
sorcerers, and witches
Elves
Nilfgaardians
The Hen Llinge languages play a key role in Wild Hunt’s plot and can be traced back to
The Witcher 2: Assassins of Kings (CD Projekt Red, 2011). In a main quest named “The Blood
Curse,” the protagonist needs to ask an elf for intel. This event is significant because both
73
characters can be heard speaking Hen Llinge for over two minutes, while subtitles are displayed
using the English and Romanized Hen Llinge alphabets. In Wild Hunt, the Hen Llinge languages
plays an even more important role. Early in the game, the protagonist will come across the
following mysterious sentence in elven Hen Llinge: “Va fail, elaine - caed' mil, folie! glaeddyv
dorne aep t'enaid, bunn'droh ithne i'yachus.” As the game moves forward, the protagonist
eventually understands what the sentence means. Later, a second protagonist will use a magic
spell in Hen Llinge, bringing the game close to its end. In other words, the Hen Llinge languages
are used at the turning points of the game’s plot, pushing the story forward. In addition, Hen
Llinge languages are also used frequently by non-playable characters across the game world.
Friendly characters speak the languages to communicate. For example, elves living in the woods
speak elven Hen Llinge. On the other hand, hostile characters use Hen Llinge languages to send
out threats or cast magic spells. For instance, in the quest “Wandering in the Dark,” an elven
sorcerer will cast spells by saying “Shaent tah'vir” in Hen Llinge. With so many characters
speaking the Hen Llinge languages, the game world feels more immersive to roam around. Most
importantly, the game provides constructed language texts for analysis, because it displays
subtitles on screen when characters speak in constructed languages.
In summary, the industry-famous Wild Hunt was selected because its Hen Llinge
languages play a key role in the game’s plot and provide written texts for analysis. Spoken Hen
Llinge languages are used in some of the game’s important main quests, including “Disturbance”
and “Va Fail, Elaine.” This could help the present study analyze, for example, the impacts of
transcreating Hen Llinge keywords on gameplay experience. On the other hand, written Hen
Llinge languages could provide constructed language texts for analysis. This could help increase
the scope of the analysis. Nevertheless, it should be noted that none of the Hen Llinge languages
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has its own alphabet. Instead, the game uses the Latin alphabet to display Hen Llinge languages,
with the following letters added: á, à, â, è, é, ë, ì, ò, ú, and ù. Table 3.4.1.3 below shows examples
of in-game texts written in the Hen Llinge, elven Hen Llinge, and Nilfgaardian languages.
Table 3.4.1.3
In-game texts written in the Hen Llinge languages in Wild Hunt
Language
Hen Llinge
Elven Hen Llinge
Nilfgaardian
In-game texts
Va fail!
English translation
Farewell!
And Elder Speech will ring from
An Hen Dicen sainne en Anfare
the Great Sea to the Blue
Morhen an Glaes Mynyde…
Mountains…
Tì'lsoë eveigh.
Always faithful.
Categorizing Dovahzul, Hen Llinge, elven Hen Llinge, and Nilfgaardian. The
constructed languages in this study can be categorized with the taxonomies previously explained
in Section 2.4 in order to show the languages’ similarities and differences. With the taxonomy
of a priori and aposteriori, Dovahzul can be categorized as an a priori language for two reasons.
First, the Dovahzul alphabet is designed to look like gashes made with a dragon claw. Second,
the Dovahzul vocabulary has concepts that are clearly inspired by elements other than natural or
existing languages. For example, the word “t5m” means a dragon’s shout or voice (Hodgson
& Stratton, 2011, p. 646). On the other hand, Hen Llinge, elven Hen Llinge, and Nilfgaardian
can be categorized as mixed languages for two reasons. First, the languages are displayed using
the English alphabet. Second, the languages have spellings that are similar to those of natural
languages. For example, compare “E'er y glòir” with “honor and glory.”
With Rhiemeier’s (2012) taxonomy of artistic languages, which are languages used for
entertainment and other aesthetic purposes, all four constructed languages can be categorized as
fictional languages, because all four languages are spoken by imagined races. Using van
75
Oostendorp’s (2000) taxonomy, all four languages can be categorized as possible languages,
because it is possible to use the languages for communication. With Purnomo et al.’s (2017)
taxonomy, Dovahzul is a configurative language, which allows the player to use it to achieve
specific purposes, such as casting dragon shouts or composing a simple sentence. In addition,
Dovahzul is also part of Skyrim’s gameplay. On the other hand, the Hen Llinge languages can
be categorized as explorative languages, which only allow players to use them in a limited way.
This is because, although players can hear Hen Llinge languages in Wild Hunt, the game only
provides a few ways to use them. For instance, the Elder Speech Pocket Dictionary mentioned
above only provides a dozen of words to learn. Table 3.4.1.4 below shows how each constructed
language fits into the taxonomies from Section 2.4.
Table 3.4.1.4
Categorization of constructed languages in Skyrim and Wild Hunt based on the existing
taxonomies
Language
Dovahzul
Hen Llinge
Taxonomy
A priori &
a posteriori
Rhiemeier’s
van Oostendorp’s
Purnomo et al.’s
A priori
language
Elven
Hen Llinge
Nilfgaardian
Mixed language
Fictional language
Possible language
Configurative
language
Explorative language
3.4.2 Data collection and classification
The method of collecting research material was based on Šiaučiūnė and Liubinienė (2011)
and van Oers (2014), who collected in-game texts for analysis. In addition, three adjustments
were made. First, the current study selected two games to collect research material and provided
76
reasons behind the choice. In contrast, Šiaučiūnė and Liubinienė and van Oers used only one
game and failed to explain why the game was selected. Second, only constructed language assets
were collected, which are assets that contained texts written in Dovahzul, Hen Llinge, elven Hen
Llinge, or Nilfgaardian. This was because the study had set out to investigate whether
transcreative strategies can be used to translate constructed languages in games. Finally,
collected assets were classified based on asset type and text type in order to understand how the
materials were used in games. The following are steps for collecting and classifying research
materials:
1.
Game files in the master folders and subfolders of Skyrim and Wild Hunt were examined
to see if there was text inside. The files being examined are those used under the games’
English language settings. The two games do not have localized versions, only different
language settings.
2.
Text files were then examined to see if they contained constructed language assets, or
game assets with texts written in Dovahzul, Hen Llinge, elven Hen Llinge, or
Nilfgaardian. Two pieces of software were used to read the files and examine the assets
and texts inside: sseTranslator (Version 1.0.3; McGuffin, 2012) for Skyrim and The
Witcher 3 String Editor (Version 1.2; Sarcen & Hutou, 2016) for Wild Hunt.
3.
When a potential constructed language asset was found, the following resources were
used to verify whether the texts of the asset were written in constructed languages: The
Elder Scrolls V: Skyrim Prima Official Game Guide (Hodgson & Stratton, 2011) and the
Dragon Language Dictionary (www.thuum.org, 2017) were used for Dovahzul; and an
online Hen Llinge-English dictionary (“Elder Speech,” n.d.) and Hen Linge-Polish
Dictionary (“Słownik Starszej Mowy,” n.d.) were used for the Hen Llinge languages.
77
4.
If an asset contained constructed language text, it was collected as research material.
Collected assets were then numbered and compiled using a dedicated worksheet in
Microsoft Excel workbook (Microsoft Corporation, 2010, Version 14.0.4760.1000). The
following information about the assets was also recorded: source file name, text content,
and string ID, which is a label composed of numbers and letters, used as an asset’s
identification. While some assets concealed explanations of constructed language texts
in addition to text content and string ID, these explanations were not recorded because
they were absent in many assets from Skyrim and all assets from Wild Hunt. If two source
files had the same name, but different contents, they were renamed to avoid confusion.
5.
The collected assets were examined to see if they matched any of the descriptions of 14
asset types and seven text types in the modified taxonomy proposed in Section 3.2. Assets
that matched the descriptions had their asset type and text type classified accordingly.
This information was also recorded in the worksheet in Step 4. If an asset did not match
any of the descriptions, the two games were examined in order to see how the asset works
in games, thereby classifying its asset type and text type.
6.
Steps 1 to 4 were repeated on files used under the games’ traditional Chinese language
settings. Step 5 was not repeated because asset types and text types do not change when
asset go through video game translation or localization.
Table 3.4.2.1 below shows how constructed language assets were collected and then
classified in the worksheet as described in Steps 1 to 5. Asset numbers are based on the game
and order in which assets were collected. Asset W122, for instance, indicates that it was the 122nd
asset collected from Wild Hunt. String ID and source file indicate an asset’s string ID and the
name of the file in which it was found. String ID 113D0 and sr.ils, for instance, indicate that the
78
asset was found in a text strings group named ILSTRINGS inside a file named Skyrim.esm,
numbered 113D0. Recording the information helps avoid confusion, because a file can have tens
of thousands of assets, each with a unique string ID. In addition, source files from Wild Hunt
were renamed since they all had the same file name but different contents. Asset source text and
target text show an asset’s text under English and traditional Chinese language settings,
respectively. They do not represent how the text is displayed in the game. Text type and asset
type indicate the nature of the text and how the asset is used within the game, respectively. The
two categories were based on the descriptions of text types and asset types explained in Section
3.2.
Table 3.4.2.1
Classification of constructed language assets in Skyrim and Wild Hunt
Asset String IDnumber Src file
Asset source text
T21
113D0-sr.ils
But first... dir ko maar.
W122
490912-[0]
N’elaine tedd
a'taeghane.
Asset target text
但是首先……迪爾
酷 瑪律。
（精靈語）別再下雨
了。
Text type &
asset type
oral/dialogic
subtitling asset
oral/dialogic
subtitling asset
Discarded research materials
There were three groups of constructed language assets that were not collected for
analysis and thus discarded. First, assets that had the exact same source texts and target texts.
When two assets had identical source texts and target texts, only one asset was collected. This
was done to prevent the amount of research materials from being inflated. However, if two assets
had the same source text, but different target texts, both assets were collected in order to analyze
why different translation strategies were used. Table 3.4.2.2 below lists two pairs of constructed
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language assets that had the same source texts. Notice that both assets in the second asset pair
were collected because their texts were translated differently.
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Table 3.4.2.2
Constructed language assets that had the same source texts
String ID-src file
Asset source text
Asset target text
Status
04025-sr.ils
Wuld…
唔……
Collected
025EF-db.ils
Wuld…
唔……
Discarded
490922-[0]
Que suecc's?
（精靈語）怎麼回事？
Collected
525266-[0]
Que suecc's?
（精靈語）Que suecc's?
Collected
The second group of discarded assets were those that only contained proper nouns written
in constructed languages. In other words, if an asset’s constructed language text only had place
names or person names, the asset was discarded. This was because names in constructed
languages can often be created easily in a large number; collecting assets that only contained
constructed language names could cause the amount of research materials to become inflated.
Therefore, such assets were discarded. Table 3.4.2.3 below provides two examples of discarded
assets. The constructed language texts of the assets are boxed; they only contain person names
or place names. As such, the assets were discarded.
Table 3.4.2.3
Discarded assets that only contain constructed language names
String ID-src file
488030-[0]
10E9E-sr.dls
Asset source text
Status
Cirilla
Discarded
Volunruud - </font><font
face='$DragonFont'>VOLUNR5D</font><font
face='$HandwrittenFont'> - A Fortified Wooden Hall near
Giants' Gap. Meat and Worked Ivory.
Discarded
The last group of discarded assets were those that contained texts written in constructed
81
languages other than Dovahzul, Hen Llinge, elven Hen Llinge, and Nilfgaardian. This was done
to keep subsequent analysis focused on the translation of the four constructed languages. Table
3.4.2.4 below provides two examples of discarded assets. The first assets’ constructed language
text is written in Vampire Speech, while the second asset’s text is in Falmer, the snow elves’
language.
Table 3.4.2.4
Discarded assets with irrelevant constructed language texts
String ID-src file
1156048-[bob]
02337-db.ils
Asset source text
Asset target text
Status
Zatlath!
（吸血鬼語）Zatlath!
Discarded
Bura warag faaanig.
不拉 哇拉 法尼克
Discarded
3.4.3 Data analysis methods
The current study examined both games’ master folders and subfolders and found 30
game files that contained texts used in Skyrim and 64 files in Wild Hunt. Half of the text files
were used in the games under the English language setting, while the other half were used under
the traditional Chinese language setting. The 15 English text files from Skyrim contained 89,897
assets, which had 1,206,025 words; 488 (0.54%) assets were identified as constructed language
assets and thus collected for analysis. These assets contained texts written in Dovahzul. On the
other hand, the 32 English text files from Wild Hunt contained 106,163 assets, which held
1,197,550 words; 513 (0.48%) assets were collected with their texts written in Hen Llinge, elven
Hen Llinge, and Nilfgaardian. In total, 1,001 constructed language assets were analyzed with
regards to texts, translation strategies, and the immersion components that these assets created
before and after translation.
82
The method of analyzing constructed language assets was also based on Šiaučiūnė and
Liubinienė (2011) and van Oers (2014). As mentioned in Section 2.3, the authors analyzed ingame texts before and after translation to determine the strategies that were used, and then
recorded the number of translation strategies. The current study followed their method and made
three modifications. First, the study only analyzed the translation of constructed language texts
into traditional Chinese; the translation of texts from other languages into traditional Chinese
were excluded. In other words, if an asset had a multilingual text composed of words written in
English and Dovahzul, only the translation of the Dovahzul words was analyzed. This is because
the study set out to investigate the translation of constructed language texts written in Dovahzul,
Hen Llinge, elven Hen Llinge, and Nilfgaardian. Second, strategies for translating constructed
language texts were identified based on a list of 18 video game translation strategies, as
previously explained in Section 3.3. All 18 strategies target constructed language texts (cf. van
Oers, 2014, pp. 131-132). Finally, the analysis of constructed language assets included the
immersion components they created before and after text translation. For this purpose, a
modified version of SCI model was used to determine, quantify, and measure the immersion
components created by the assets (Ermi and Mäyrä, 2009, p. 103). This helps investigate the
impact of translation strategies on immersion and gameplay experience. The following steps
describe how research data were analyzed:
1.
A constructed language asset’s text before translation (i.e., the source text) was examined,
in order to identify texts that were written in constructed languages, including Dovahzul,
Hen Llinge, elven Hen Llinge, and Nilfgaardian.
2.
The same asset’s text after translation (i.e., the target text) was examined, in order to
identify the same constructed language texts after translation.
83
84
3.
Constructed language texts in the source text were compared with their counterparts in
the target text, in order to identify the strategies that were used for translating constructed
language texts. Strategies were identified empirically based on a list of 18 video game
translation strategies previously explained in Section 3.3. When it was difficult to identify
which of two similar strategies was used for translation, previous studies that covered
these strategies were used as reference. Relevant examples from these studies were
compared with the present study’s research materials, in order to identify the strategy
that was used for translating constructed language texts.
4.
Identified strategies were recorded in the same worksheet previously used for collecting
research material. A maximum of three translation strategies was recorded for each asset.
5.
The same constructed language asset from Step 1 was analyzed, focusing on how it works
in the game under English and traditional Chinese language settings. The modified SCI
model was then used to empirically quantify and determine the immersion components
created by the asset under different language settings.
6.
The immersion components of the asset were recorded in the same worksheet from Step
4. Each asset in the worksheet should have two sets of recorded immersion components.
The first set consists of components that the asset creates under the English language
setting. The second set consists of components created under the traditional Chinese
language setting.
7.
Steps 1 to 6 were repeated on the rest of constructed language assets.
Table 3.4.3.1 shows the translation strategies that were used for two constructed language
assets, as well as the immersion components contained in the assets under different language
settings. It should be noted again that the strategies listed in the rightmost column are those used
85
for translating constructed language texts, not English texts. Take asset T21 for example. A
comparison of the asset’s source text and target text shows that the Dovahzul text “dir ko maar”
was transliterated into “ 迪 爾 酷 瑪 律 ” in traditional Chinese. Therefore, the strategy
transliteration was recorded for asset T21.
Table 3.4.3.1
Translation strategies and immersion components of constructed language assets in Skyrim
and Wild Hunt
Asset
number
Asset source
text
T21
But first... dir
ko maar.
W122
N'elaine tedd
a'taeghane.
Asset target
text
但是首
先……迪爾
酷 瑪律。
（精靈語）
別再下雨
了。
Immersion
components in
EN
Immersion
components in
ZH-TW
Translation
strategies
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Transliteration
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Contextualization
by addition
On the other hand, immersion components recorded in the central columns were
identified based on how assets work under English and traditional Chinese language settings,
respectively. Take asset W122 for example. Under Wild Hunt’s English language setting, asset
W122 is used to display non-playable characters’ words with voiceover in elven Hen Llinge.
These characters appear in particular areas in the game and the player is allowed to interact with
them by using mouse and keyboard. A comparison of the asset’s in-game use with the modified
SCI model suggests that the asset’s immersion components include audiovisual stimuli,
contacting gameplay, implicit information, character identification, and world construction.
Audiovisual stimuli come from the asset’s use of text and voiceover. Contacting gameplay comes
from the fact that the player is allowed to use mouse and keyboard to interact game characters
86
when the asset appears. Implicit information comes from the fact that the the text in elven Hen
Llinge conveys information in a vague way that is difficult to comprehend. Character
identification and world construction come from the fact that the asset can deepen the player’s
impression of the game characters who speak elven Hen Llinge in specific places in the game
world. However, when asset W122 appears under Wild Hunt’s traditional Chinese language
setting, the implicit information component becomes explicit information component. This is
because the asset’s elven Hen Llinge text has been translated into traditional Chinese with
information added. Because the translation is unlikely to be misinterpreted, asset W122 creates
explicit information component under the traditional Chinese language setting.
3.5
Summary
This chapter explained the methodology for investigating the current study’s research
question, including the conceptual tools that were developed to help the investigation. Section
3.1 demonstrated how the modified SCI model could be used to quantify and measure the
immersion components created by game assets before and after translation, thereby analyzing
the impacts of translation strategies on gameplay experience. Section 3.2 explained how to
classify game assets and texts with a modified taxonomy, which can help pin down how
constructed language assets and texts are used in the game. Section 3.3 compiled a list of 18
video game translation strategies for analyzing the translation of constructed language texts.
Finally, Section 3.4 described how to analyze the translation of constructed language texts in
game assets as well as the translation strategies’ impact on the immersion components that assets
create. In addition, the section also explained why Skyrim and Wild Hunt were selected as well
as how constructed language assets were collected and classified before being analyzed. Chapter
4 will present the analysis results and discussions based on the results.
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Analysis Results and Discussions
This chapter presents analysis results and discussions based on constructed language
assets collected from Skyrim and Wild Hunt. The aim is to answer the study’s research question:
Can transcreative strategies be used to translate constructed language texts while retaining the
original gameplay experience? Section 4.1 will present an overview of the analysis results. The
subsequent sections will divide collected assets into four groups and analyze the translation
strategies for each group. The four groups include aesthetic assets, shout assets, uncertainty
assets, and display assets. Section 4.2 will analyze the use of translation strategies on aesthetic
assets and discuss the use and non-use of transcreative strategies. Section 4.3 will analyze shout
assets and explore the potential benefits of using transcreative strategies to render texts that are
related to gameplay. Section 4.4 will focus on uncertainty assets and examine the potential
impacts of transcreative strategies on constructed language texts that are tied to game plot and
the creation of uncertainty. Section 4.5 will analyze display assets as well as the impacts of codelike characters on the use of transcreative strategies. Section 4.6 will summarize the findings of
previous sections.
4.1
Constructed language assets
Of the 1,001 constructed language assets, 488 were found in Skyrim and 513 were found
in Wild Hunt. The modified SCI model was used to quantify the immersion that these assets
created for both games’ gameplay experience. Under the English language setting, assets in
Skyrim created 2,638 immersion components, while those in Wild Hunt created 2,513
components. To render the assets’ constructed language texts for the traditional Chinese
language setting, Skyrim used a total of 490 translation strategies, only one of which was a
transcreative strategy. On the other hand, Wild Hunt used 517 translation strategies, 32 of which
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were transcreative strategies. Under the traditional Chinese language setting, the assets in Skyrim
and Wild Hunt also created 2,638 and 2,513 immersion components, respectively. Table 4.1.1
below shows the above findings.
Table 4.1.1
Total number of assets, immersion components, transcreative strategies and translation
strategies in Skyrim and Wild Hunt
Number of assets
Number of immersion
components
Number of
transcreative strategies
Total number of
translation strategies
Skyrim
488 (48.75%)
EN
ZH-TW
2,638
2,638
Wild Hunt
513 (51.25%)
EN
ZH-TW
2,513
2,513
Total
1,001
EN
ZH-TW
5,150
5,150
1
32
33
490
517
1,007
The above results show that in the two games, there was no significant change in the
immersion components before and after video game translation. In other words, translation
strategies did not change the total number of immersion components. This suggests that the
above strategies have helped retain the two games’ original gameplay experience; the strategies
have maintained the same total number of immersion components in both games before and after
translation. This is consistent with previous studies’ claims that the aim of video game translation
and localization is to recreate the original gameplay experience in the game’s localized versions
(O’Hagan, 2005, pp. 3, 5; O’Hagan & Mangiron, 2013, p. 199; Šiaučiūnė & Liubinienė, 2011,
p. 46; Hsu, 2016, p. 52).
As for transcreative strategies, they were only used 33 times and accounted for a mere
3.28% of all translation strategies. This suggests that while transcreative strategies can be used
to translate constructed language texts, they were rarely used. This is somewhat different from
89
van Oers’ (2014) analysis, which found that 497 (18.25%) out of 2,723 translation strategies
were transcreative strategies. Text content may explain the difference. According to van Oers,
when texts contain jokes, transcreative strategies were more likely used (pp. 146-147). However,
the constructed language texts in Skyrim and Wild Hunt do not contain many jokes. Instead,
many of the texts contain magic spells and conversations between game characters. This may
explain why transcreative strategies were used only 33 times.
Asset types and text types. It was found that the majority of the constructed language
assets were subtitling assets; there were 396 and 491 such assets in Skyrim and Wild Hunt,
respectively. The second most common asset type was in-game texture embedded words; there
were 90 such assets in Skyrim and 22 in Wild Hunt, respectively. In addition, Wild Hunt had 371
“dual-use” assets, which were both subtitling assets and voiceover assets at the same time. These
assets displayed texts as subtitles and for recording voiceovers. The most commonly found text
type was oral/dialogic text. Skyrim had 397 assets that displayed such texts and Wild Hunt had
490. The second most common text type in Skyrim was functional text, with 86 assets displaying
such texts. On the other hand, Wild Hunt’s second most common text type was narrative text,
with 23 assets that display such texts. Table 4.1.2 below shows the asset types and text types
found in the two games.
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Table 4.1.2
Asset types and text types in Skyrim and Wild Hunt
Asset type
In-game texture
embedded words
Manual
Subtitling asset
Subtitling asset
Voiceover asset
Text type
Didactic
Functional
Narrative
Oral/dialogic
Skyrim
Wild Hunt
Total
90 / 488 (18.44%)
22 / 513 (4.29%)
112 / 1,001 (11.19%)
2 / 488 (0.41%)
396 / 488 (81.15%)
0 / 513
120 / 513 (23.39%)
2 / 1,001 (0.2%)
516 / 1,001 (51.55%)
0 / 488
371 / 513 (72.32%)
371 / 1,001 (37.06%)
Skyrim
2 / 488 (0.41%)
86 / 488 (17.63%)
3 / 488 (0.61%)
397 / 488 (81.35%)
Wild Hunt
0 / 513
0 / 513
23 / 513 (4.48%)
490 / 513 (95.52%)
Total
2 / 1,001 (0.2%)
86 / 1,001 (8.59%)
26 / 1,001 (2.6%)
887 / 1,001 (88.61%)
Table 4.1.3 below provides an example of the aforementioned dual-use asset in Wild Hunt. The
constructed language text in the curly brackets is for recording voiceover and is not displayed
within the game, while the English text in square brackets is displayed on screen as subtitles.
Table 4.1.3
Dual-use constructed language asset in Wild Hunt
Asset
number
W2
Asset source text
{Hael Ker'zaer!} [Long live the emperor!]
Text type & asset type
oral/dialogic
voiceover asset
subtitling asset
Table 4.1.2 suggests that the majority of constructed language assets in the two games
are subtitling assets that displayed oral/dialogic texts; there were 396 (81.15%) and 490 (95.52%)
such asset-text combinations in Skyrim and Wild Hunt, respectively. In other words, in both
games constructed language texts mostly appear in onscreen subtitles as words spoken by game
characters. In addition, it was found that 33 (3.72%) of the above 886 assets used transcreative
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strategies. This suggests that transcreative strategies may be used on game assets that display
constructed language texts as onscreen subtitles.
Furthermore, the fact that transcreative strategies were used only on assets that display
texts as subtitles echoes Mangiron and O’Hagan’s (2006) description of transcreation. In the
authors’ case study of the translation of in-game texts, three of the four examples of transcreation
were based on game assets that display texts as subtitles (see Mangiron & O’Hagan, 2006, pp.
18-19). This in turn suggests that transcreative strategies may not be applicable in translating
texts of other types of assets. For example, transcreative strategies may not be applicable for
manual assets.
Translation strategies. It was found that the use of strategies in the two games was
significantly different. In Skyrim, the most frequently used strategy was transliteration, with 396
instances; most constructed language texts were transliterated into traditional Chinese. The
second most used strategy was retention unmarked, with 89 instances. Only one transcreative
strategy was used: deliberate use of regional expressions. On the other hand, Wild Hunt used
retention unmarked most frequently, with 417 instances, in which constructed language texts
were left untranslated and unchanged. The second most frequently used strategy was
specification addition, with 41 instances. Next, contextualization by addition was used 31 times.
In total, 32 transcreative strategies were found in Wild Hunt. In other words, 6.19% of the game’s
translation strategies were transcreative. Table 4.1.4 lists all of the translation strategies used in
both games. Transcreative strategies are highlighted in grey.
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Table 4.1.4
Number of translation strategies used in Skyrim and Wild Hunt
Translation strategy
Calque
Contextualization by
addition
Deliberate use of
regional expressions
Omission
Paraphrase: sense
transfer
Retention unmarked
Shift
Specification addition
TL adjust
Transliteration
Total
Skyrim
1 / 490 (0.2%)
Wild Hunt
4 / 517 (0.77%)
Total
5 / 1,007 (0.5%)
0 / 490 (0.0%)
31 / 517 (6.00%)
31 / 1,007 (3.08%)
1 / 490 (0.2%)
1 / 517 (0.19%)
2 / 1,007 (0.2%)
1 / 490 (0.2%)
1 / 517 (0.19%)
2 / 1,007 (0.2%)
2 / 490 (0.42%)
0 / 517 (0.0%)
2 / 1,007 (0.2%)
89 / 490 (18.16%)
0 / 490 (0.0%)
0 / 490 (0.0%)
0 / 490 (0.0%)
417 / 517 (80.66%)
8 / 517 (1.55%)
41 / 517 (7.93%)
9 / 517 (1.74%)
396 / 490 (80.82%)
5 / 517 (0.97%)
490
517
506 / 1,007 (50.25%)
8 / 1,007 (0.79%)
41 / 1,007 (4.07%)
9 / 1,007 (0.89%)
401 / 1,007
(39.82%)
1,007
The above findings suggest that most of the time foreignizing strategies were used to
translate constructed language texts, in particular transliteration and retention unmarked. In
addition, the fact that these two strategies were used significantly more often than others suggests
that they might be the default strategies, or translation strategies that are considered the first
when a translation task appears. In Skyrim, the default strategy was to transliterate constructed
language texts, while in Wild Hunt, the strategy was to leave the texts untranslated and
unchanged. A similar pattern can also be found in van Oers (2014). In her analysis of the
translation of the game Beyond Good and Evil, van Oers found that 65.11% of the game’s
translations strategies was literal translation (p. 146). The high percentage suggests that Beyond
Good and Evil likely took literal translation as its default strategy for translating in-game texts.
This in turn raises a question: Why did none of the games choose transcreative strategies as their
default strategies? The answer to this question may in turn shed light on when should games be
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transcreated, and having an interview with the games’ translators may provide an answer.
Nevertheless, that is beyond the scope of this study.
In addition to default strategies, the transcreative strategies in Table 4.1.4 are somewhat
different from those found in van Oers (2014). Van Oers found that the game Beyond Good and
Evil used all six types of transcreative strategies: compensation, transcreation, re-naming, recreation of wordplay, contextualization by addition, and deliberate use of regional expressions.
However, this study only found contextualization and use of regional expressions. This shows
that while transcreative strategies could indeed be used to translate constructed language texts,
only two of them were actually used.
Nevertheless, the difference may be due to the selection of research materials. Van Oers
did not analyze constructed language texts as does this study. Instead, she analyzed diegetic texts,
or texts that were closely related to the story of Beyond Good and Evil. This includes person
names and place names, which, as previously mentioned, were excluded in this study. It could
lead to a significant difference between van Oers’ analysis and this study, as place names and
person names are often transcreated with the re-naming strategy (e.g., Mangiron & O’Hagan,
2006).
Immersion components before and after video game translation. Although the total
number of immersion components remained the same in both games before and after translation,
the number of two types of components changed after translation. In particular, the number of
explicit information components increased after translation, while the number of implicit
information components decreased. This means that after translation, some constructed language
texts went from being ambiguous and difficult to understand, to being clear and straightforward.
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Table 4.1.5 shows the immersion components created by constructed language assets before and
after translation.
Table 4.1.5
Immersion components created by constructed language assets in Skyrim and Wild Hunt
Immersion components
Audio stimuli
Audiovisual stimuli
Visual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Implicit information
Character identification
Plot construction
World construction
Total
Skyrim
EN
93
388
123
30
476
209
65
401
363
228
262
2,638
ZH-TW
93
388
123
30
476
209
66
400
363
228
262
2,638
Wild Hunt
EN
ZH-TW
0
0
490
490
37
37
0
0
431
431
0
0
395
438
118
75
492
492
115
115
435
435
2,513
2,513
Table 4.1.6 below provides two examples of constructed language assets that had
different immersion components after translation. Before translation, players might misinterpret
the Dovahzul word “joor” (“mortal”) in the text of asset T93, or have difficulty understanding
the entire text of asset W119. Because the information presented by their texts was prone to
misinterpretation, both assets contained implicit information components. However, the same
components turned into explicit information components after the texts were translated into
traditional Chinese. Through the use of different translation strategies, the translated texts
became easy to understand; information was now presented in a clear and straightforward way.
In addition, the contextualization strategy used for asset W119 added the name of the constructed
language to the translated text. This outcome is similar to that of pragmatic explicitation strategy
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in Translation Studies. Both strategies add explanations to translated texts and help target
language audience understand the nuances within the source texts (Klaudy, 2009, pp. 106-107).
Table 4.1.6
Immersion components before and after translation
Asset
number
Asset source Asset target
text
text
T93
You are no
match for
me, joor!
W119
A'Chionn
Radovid aen
a'caelme
tedd
ess'saovine!
Immersion
components in
EN
Immersion
components in
ZH-TW
Translation
strategies
你敵不過我
的，蟲子！
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Paraphrase: sense
transfer
（精靈語）
聽說拉多維
德在策劃陰
謀！
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Contextualization
by addition
The above findings suggest that although the translation strategies in both games were
able to maintain the same total amount of immersion components after translation, the translated
constructed language texts were no longer the same. In particular, the translated texts became
easier to understand than they used to under the original language setting. Although only one
asset in Skyrim went through this change, 43 (8.38%) assets changed in Wild Hunt. This change
was likely due to the use of domesticating translation strategies, such as shift and
contextualization by addition, which were used 8 and 31 times in Wild Hunt, respectively. The
above findings provided a different perspective to look at the concept of retaining the original
gameplay experience (see O’Hagan, 2005, pp. 3, 5). That is, retaining the experience does not
necessarily mean that both the original game and its localized versions must be identical. A few
trade-offs may appear in the localized games instead, such as making ambiguous information
easy to understand. Section 4.2.2 will further analyze the 31 instances where contextualization
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strategies were used and Section 4.4 will discuss how different translation strategies were used
to handle the ambiguity in texts in Skyrim and Wild Hunt.
In summary, this section presented an overview of the analysis results, which may be
used to explain whether transcreative strategies can translate constructed language texts in video
games while retaining the original gameplay experience. The fact that both games did use
transcreative strategies suggests that these strategies can indeed translate constructed language
texts. Nevertheless, only 33 (3.28%) out of 1,007 strategies were transcreative strategies. By
contrast, retention unmarked and transliteration were used 506 times and 401 times, respectively,
occupying more than 90% of all translation strategies. According to O’Hagan and Mangiron
(2013), “video game must sometimes be transcreated” in order to retain the original gameplay
experience (p. 199). Based on the low instances found in this study, it appears that transcreative
strategies were used in very specific circumstances. For instance, findings above showed that
transcreative strategies were only used on subtitling assets that displayed oral/dialogic texts.
In addition, the types of transcreative strategies also suggest that they were used in very
specific circumstances. In the two games, only two types of transcreative strategies were used:
contextualization by addition and the deliberate use of regional expressions. In contrast, van Oers
(2014) found that the game Beyond Good and Evil used all six types of transcreative strategies,
which were used 497 times in total (p. 146). Although the current study’s research material is
different from van Oers’, the difference suggests that transcreative strategies were not used
regularly in Skyrim and Wild Hunt. Instead, the strategies were only used in specific
circumstances, such as when the translation of constructed language texts imposes challenges.
The next section will look into the instances where transcreative strategies were and were not
97
used and discuss why this was the case.
4.2
Aesthetic assets
This section focuses on constructed language assets that share the two following
characteristics. First, the assets include plot construction or world construction immersion
component or both components. Second, the assets use constructed language texts that have an
aesthetic function, which will be explained later using Mäkelä (2015, pp. 28-33). Such assets are
labeled as aesthetic assets, which will be explained in this section first and then analyzed with
regard to the translation strategies that were used to translate constructed language texts.
Description of aesthetic assets. Of the 1,001 constructed language assets found in the
two games, 375 (37.46%) are aesthetic assets. Skyrim has 232 aesthetic assets and Wild Hunt has
143. Of the 375 aesthetic assets, 350 assets (93.33%) are subtitling assets and 25 (6.67%) are ingame texture embedded word assets; 350 assets (93.33%) display oral/dialogic texts, and 25
assets (6.67%) display narrative texts. Table 4.2.1 below shows the asset types and text types of
aesthetic assets in Skyrim and Wild Hunt.
Table 4.2.1
Aesthetic assets in Skyrim and Wild Hunt
Narrative
Text type
Asset type
In-game texture
embedded words
Subtitling asset
Total
Oral/dialogic
Total
Skyrim
Wild Hunt
Skyrim
Wild Hunt
2
22
1
0
25
0
2
1
23
229
230
120
120
350
375
As mentioned above, all aesthetic assets include world construction or plot construction
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components in addition to other immersion components. This characteristic comes from the
assets’ text content: Texts displayed by aesthetic assets are usually related to the plot of the game
or the game world. Take asset W112 for example. The asset’s text is used in one of Wild Hunt’s
main quests. Since the asset helps deepen the player’s impression of the game plot, it creates an
immersion component of plot construction. Table 4.2.2 below shows the asset’s text and
immersion components before translation.
Table 4.2.2
Text and immersion components of an aesthetic asset
Asset number
W112
Asset source text
Immersion components
You are stubborn, dh'oine.
Audiovisual stimuli
Implicit information
Character identification
Plot construction
The second characteristic of aesthetic assets is that they all use constructed language texts
that have an aesthetic function. According to Mäkelä (2015), having an aesthetic function means
that constructed languages are used to add depth to a work, such as a book or a film, while the
audience does not have to understand or translate the languages (pp. 28-33). For example,
Parseltongue in Harry Potter and the Philosopher’s Stone (Rowling, 1997) is used to
demonstrate the protagonist’s language abilities, instead of asking the reader to translate what
the protagonist says in that language. In the two games, it was found that aesthetic assets all use
constructed language texts in a similar manner. Take asset W112 from above for example. Its
constructed language text reads “dh’oine,” which is used to hint the speaker’s background as an
elf, not to ask the player to learn that word.
It was found that strategies used to translate aesthetic assets seemed to vary, depending
99
on the type of text that aesthetic assets display. For example, aesthetic assets that display
narrative texts often had constructed language texts left unchanged, while different strategies
were applied by aesthetic asset assets that display oral/dialogic texts. Given this difference,
findings related to the 375 aesthetic assets will be presented in two separate subsections based
on text types. Section 4.2.1 focuses on aesthetic assets that display narrative texts, and Section
4.2.2 on assets that display oral/dialogic texts.
4.2.1 The translation of narrative texts and time constraints
Of the 375 aesthetic assets in Skyrim and Wild Hunt, 25 assets (6.67.%) contain narrative
texts. Of the 25 assets, 24 assets (96.0%) are in-game texture embedded words and only one
asset (4.0%) is a subtitling asset. Table 4.2.1.1 below shows the types of aesthetic assets that
display narrative texts in the two games. This subsection discusses how the 25 assets’ constructed
language texts were rendered into traditional Chinese.
Table 4.2.1.1
Aesthetic asset that display narrative texts in Skyrim and Wild Hunt
Text type
Asset type
In-game texture
embedded words
Subtitling asset
Total
Narrative
Total
Skyrim
Wild Hunt
2
22
24
0
1
1
2
23
25
As explained in Section 3.2, subtitling assets display texts on screen as subtitles; in-game
texture embedded words display texts in customized font sizes and styles; and narrative text is a
type of text that gives audible or readable information about the game’s story, world, or
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characters (Bernal-Merino, 2015, pp. 109-132). In Skyrim and Wild Hunt, the narrative texts that
aesthetic assets display are all in written form and give information about the game world. Take
asset W114 for example. As shown in Table 4.2.1.2 below, the asset’s narrative text is a notice
board posting written in elven Hen Llinge. A back-translation of the text reads: “Not every
Scoia’tael is dead. All elven sages, come to the woods. Find us and join us. Let us fight the
humans. Now is the time and this is the place [to fight].”
Table 4.2.1.2
An aesthetic asset that displays narrative text in Wild Hunt
Asset number
W114
Asset source text
Neen evelienn Scoia’tael marw. Cáemm aep woedd, holl Aen Seidhe.
Darganfod an uniade ninnau. Ymladda dh’oine. Ess'tedd, esse creasa.
It was found that retention unmarked was used to render constructed language texts into
traditional Chinese for 18 times; transliteration was used three times; calque once; and
specification addition once. In other words, the constructed language texts of 18 assets were left
untranslated; the texts of three assets were transliterated; the text of one asset was translated
literally; and the text of the remaining asset was left untranslated and added with a piece of
information. No transcreative strategies were found. Table 4.2.1.3 below shows the translation
strategies that were used to render constructed language texts into traditional Chinese.
Explanation of the strategies can be found in Section 3.3.
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Table 4.2.1.3
Translation strategies used to render constructed language texts in aesthetic assets that display
narrative texts in Skyrim and Wild Hunt
Translation strategies
Calque
Retention unmarked
Specification addition
Transliteration
Skyrim
0/2
2/2
0/2
0/2
Wild Hunt
1 / 23
18 / 23
1 / 23
3 / 23
Total
1 / 25
20 / 25
1 / 25
3 / 25
It is likely that transcreative strategies were not used because they take a long time to
implement (van Oers, 2014, p. 147). Take the constructed language texts in asset W109 for
example. As shown in Table 4.2.1.4 below, the translation strategy for the asset was to leave the
constructed language texts untranslated, while the rest of the narrative text was translated into
traditional Chinese:
Table 4.2.1.4
An aesthetic asset that displays narrative text in Wild Hunt
Source text
<i>Traveling</i><br><br>N'aen aespar a me
– Don't shoot me.<br>M'aespar que va'en,
ell'ea? – Are you going to shoot me, or
what?<br>Caelm, evellienn! – Calm down,
everyone!<br>Gar'ean! N'te va! – Watch out!
Don't go in there!<br>Glaeddyv vort! – Drop
your sword!<br><br><i>On a romantic
outing</i><br><br>Ess've vort shaente
aen… – Sing me a song about...<br> Va'en
aesledde, ell'ea? – We'll go for a sleigh ride,
all right?<br>Elaine tedd a'taeghane – Lovely
weather we're having.<br>Caen me a'baethe?
– Give me a kiss?<br>N'te dice'en – Don't say
anything.
<br><br><i>Shopping</i><br><br>Mir'me
vara – Show me your goods.<br>Naev'de aen
tvedeane – Ten a dozen.
Target text
<i>旅行</i><br><br>N'aen aespar a me – 不
要射我。<br>M'aespar que va'en, ell'ea? –
你是要不要射我？<br>Caelm, evellienn! –
大家冷靜！<br>Gar'ean! N'te va! – 小心！
不要進去！<br>Glaeddyv vort! – 把劍拋
開 ！ <br><br><i> 浪 漫 約 會
</i><br><br>Ess've vort shaente aen… – 唱
首 … 的 歌 給 我 聽 。 <br> Va'en aesledde,
ell'ea? – 我 們 去 玩 雪 橇 吧 ， 好 嗎 ？
<br>Elaine tedd a'taeghane – 今 天 天 氣 真
好。<br>Caen me a'baethe? – 親我一下？
<br>N'te dice'en – 別說話。<br><br><i>購
物</i><br><br>Mir'me vara – 給我看看你
在賣些什麼。<br>Naev'de aen tvedeane –
十元一打。
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In theory it is possible to transcreate constructed language texts in aesthetic assets such as W109.
A way to do so is using the strategy transcreation, which is to rewrite a text from scratch in the
target language. It is possible to transcreate asset W109’s constructed language texts, by using
the Wiedźmin novels that inspired Wild Hunt. More specifically, the texts could be transliterated
into traditional Chinese in exactly the same way that constructed language texts were
transliterated in the Chinese versions of Wiedźmin novels. Take the Hen Llinge text “Glaeddyv
vort” from the above asset for example. The text means “drop the sword” in English. A way to
transcreate the text is to transliterate it into traditional Chinese, using the same Chinese
characters, punctuation mark, font size, and font style from the novel Miecz Przeznaczenia in
traditional Chinese (see Sapkowski, 1992/2012, p. 304). As Table 4.2.1.5 below shows, doing
so could create intertextuality between the game and the novel, bringing players closer to the
novel series that inspired Wild Hunt and potentially enhancing the game’s gameplay experience.
More importantly, a successful transcreation may support Bernal-Merino and Mangiron and
O’Hagan’s point of view, that translation strategies can enhance gameplay experience (BernalMerino, 2006; O’Hagan & Mangiron, 2013, p. 199).
Table 4.2.1.5
Asset W109’s constructed language text transcreated with a reference to the novel Miecz
Przeznaczenia (Sapkowski, 1992/2012, p. 304)
Asset
number
W109
Reference to
Miecz Przeznaczenia
「格列弟夫沃特！」
Glaeddyv vort! – Drop your 格列弟夫沃特！– 把劍
那個聲音聽起來就像
sword!
拋開！
一陣微風。
Source text
Target text
However, in practice, transcreative strategies like this take a long time to implement. In
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order to create the above transcreation, intensive reading and research into the Wiedźmin novels
are unavoidable. The translator has to read through the novels and look for useful transliterations
of constructed language texts. This would slow down translation as well as other localization
tasks that follow, leading to potential wastes of time and resources. Although there are other
ways to transcreate texts more quickly, the above example has shown that transcreative strategies
were not used likely because they took too long to implement. This echoes with van Oers’ (2014)
analysis: Time influences the use of translation strategies (pp. 146-147).
In addition to time, singability may also explain why transcreative strategies were not
used. It was found that two of the 25 aesthetic assets that display narrative texts have song lyrics
written in constructed language: T258 and T259. Perhaps the constructed language lyrics were
deliberately left unchanged, so that the player can learn how to sing the lyrics. In contrast,
transcreating the lyrics into traditional Chinese may stop the player from learning the lyrics.
However, singability cannot explain why the lyrics were not transliterated into traditional
Chinese. If transliterated, the lyrics would be much easier for players to learn. Although
interviewing the translators of Skyrim may help answer the question, it is nevertheless beyond
the scope of the present study.
4.2.2 Transcreation as a reflection of game protagonists’ language abilities
This subsection focuses the second group of aesthetic assets described at the end of
Section 4.2, that is, the 350 aesthetic assets that display oral/dialogic texts in the two games. Of
the 350 assets, 349 (99.71%) assets are subtitling assets and the remaining one asset (0.29%) is
an in-game texture embedded word asset. Table 4.2.2.1 below shows the distribution of aesthetic
assets that display oral/dialogic texts.
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Table 4.2.2.1
Aesthetic asset that display narrative texts in Skyrim and Wild Hunt
Text type
Asset type
In-game texture
embedded words
Subtitling asset
Oral/dialogic
Total
Skyrim
Wild Hunt
1
0
1 / 350
229
120
349 / 350
Oral/dialogic texts give audible or readable information about what game characters hear
or say in the game world (Bernal-Merino, 2015, p. 109). In the two games, the 350 assets’
oral/dialogic texts all appear in written form as onscreen subtitles. Take asset T37 for example.
As shown in Table 4.2.2.2 below, the asset’s text consists of a character’s spoken words, which
appear in the game as subtitles. A back-translation of text reads: “Rise, Vuljotnaak. The time has
come to serve [me].”
Table 4.2.2.2
An aesthetic that displays oral/dialogic text in Skyrim
Asset number
T37
Asset source text
Alok, Vuljotnaak. Tiid boaan.
It was found that a total of 353 translation strategies were used, including transliteration
(227 instances), specification addition (40 instances), retention unmarked (34 instances), and
contextualization by addition (26 instances). In addition, it was found that the use of translation
strategies varied, depending on the game in which aesthetic assets were found. In Skyrim,
constructed language texts were regularly transliterated into traditional Chinese. In Wild Hunt,
however, the following strategies were used instead:
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1.
Specification addition, which leaves constructed language text unchanged, while addition
new, relevant information to it;
2.
Retention unmarked, which leaves constructed language text unchanged; and
3.
Contextualization, which translates constructed language text into traditional Chinese,
while adding new information based on context.
Table 4.2.2.3 below shows the 353 translation strategies used for aesthetic assets that displayed
oral/dialogic texts. While many strategies previously described in Section 3.3 were only used
once, it is worth noticing that contextualization, a transcreative strategy, was used 31 times in
Wild Hunt. The strategy is listed at the bottom of the table, along with another transcreative
strategy, deliberate use of regional expressions.
Table 4.2.2.3
Strategies used to render constructed language texts in aesthetic assets that display
oral/dialogic texts in Skyrim and Wild Hunt
Translation strategies
Calque
Omission
Paraphrase: sense transfer
Retention unmarked
Shift
Specification addition
TL adjust
Transliteration
Contextualization by addition
Deliberate use of regional
expressions
Skyrim
1 / 232
1 / 232
2 / 232
0 / 232
0 / 232
0 / 232
0 / 232
227 / 232
0 / 232
Wild Hunt
3 / 121
0 / 121
0 / 121
34 / 121
8 / 121
40 / 121
2 / 121
2 / 121
31 / 121
Total
4 / 353
1 / 353
2 / 353
34 / 353
8 / 353
40 / 353
2 / 353
229 / 353
31 / 353
1 / 232
1 / 121
2 / 353
In the 33 instances where transcreative strategies were used, the deliberate use of regional
expressions was applied only once in Skyrim and Wild Hunt. The strategy, as explained in
Section 3.3, involves translating a constructed language text and adding a regional expression to
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it. Take asset T327 for example. As shown in Table 4.2.2.4 below, the Dovahzul word paak
(“ashamedness”) was translated into “切,” an expression often used to express dissatisfaction.
On the other hand, in Wild Hunt the contextualization strategy was used 31 times to translate
constructed language texts into traditional Chinese and add new information based on context.
Take asset W122 for example. As shown in Table 4.2.2.4 below, the text in elven Hen Llinge
was translated and added with the name of the language.
Table 4.2.2.4
Examples of constructed language texts transcreated into traditional Chinese
Asset
number
Transcreative
strategy
W122
Contextualization by
addition
N'elaine tedd a'taeghane.
（精靈語）別再下雨了。
Deliberate use of
regional expressions
I do not know how he came
to be caught. But the
bronjun... the Jarl... was
very proud of his pet. Paak!
我不知道牠是怎麼被抓
的，但是布榮瓊……領主
對他的寵物非常驕傲。
切！
T327
Asset source text
Asset target text
In the 33 instances of transcreation, the use of contextualization strategy appears to be a
deliberate choice. It was found that this transcreative strategy was used only for simplified and
traditional Chinese language settings. When Wild Hunt was set to display text in other languages
such as French, Hungarian, and Russian, contextualization was not used to render constructed
language texts. Instead, retention unmarked was used most of the time, leaving constructed
language texts unchanged, while the rest of asset texts were translated into different languages.
Take asset W122 for example. The asset’s text, which is a complaint about the weather in elven
Hen Llinge, was transcreated using contextualization only when the game was switched to
simplified and traditional Chinese. When the game’s language setting was switched to French,
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Hungarian, and Russian, the same text remained unchanged from that displayed in English and
Polish, which are the languages the game was originally developed in (Noclip, 2017). This
suggests that the use of contextualization was a choice deliberately made for simplified and
traditional Chinese language settings; the use of transcreative strategies can vary, depending on
language settings. Table 4.2.2.5 below shows how asset W122’s elven Hen Llinge text was
rendered under different language settings.
Table 4.2.2.5
Rendering of asset W122’s constructed language text under different language settings
Language setting
English
Polish
French
Italian
German
Spanish – Spain
Czech
Hungarian
Portuguese – Brazil
Russian
Turkish
Arabic
Asset target text
Translation strategies
N'elaine tedd a'taeghane.
-
N'elaine tedd a'taeghane.
Retention unmarked
(أﺗﺎﯾﻐﺎن ﺗﯿﺪ )ﻧﯿﻼن.
ネライン・テッド・アティー
グェン
Transliteration
TL adjust
Korean
[오늘은 할 일이 없어.]
Calque
TL adjust
Simplified Chinese
Traditional Chinese
（精灵语）别再下雨了。
（精靈語）別再下雨了。
Contextualization by addition
Japanese
The use of contextualization strategy to transcreate constructed language texts is worth
examining, because it changes the immersion components created by aesthetic assets and hence
Wild Hunt’s gameplay experience. Under the English language setting, the game does not
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explain or translate constructed language texts in aesthetic assets that display oral/dialogic texts.
There is nothing on the screen that deciphers the constructed languages that game characters hear
or speak. As such, it is difficult for players to fully understand the constructed language subtitles
displayed onscreen. For instance, under the English language setting the game neither translates
nor explains what elves mean when they say “N'elaine tedd a'taeghane” in elven Hen Llinge.
When this sentence appears as subtitles, players can only rely on context and the sentence itself
to guess what it means. This shows that Wild Hunt by default does not make explicit the
constructed language texts in onscreen subtitles; and that the game by default is not playerfriendly in respect of understanding constructed language subtitles on screen. As such, the asset
that displays the subtitle creates an immersion component of implicit information, because the
asset conveys information in a vague way that is prone to misinterpretation.
However, this changes when Wild Hunt runs under the traditional Chinese language
setting. Under this setting, some of the constructed language texts in aesthetic assets are
transcreated with the contextualization strategy. This means some of the constructed language
subtitles are translated into traditional Chinese with new information added. This allows players
to understand some of the constructed language texts, simply by reading the transcreated subtitles
on the screen. Take “N'elaine tedd a'taeghane” from above for example. Under the traditional
Chinese language setting, the sentence is transcreated into （精靈語）別再下雨了。, which
can be back translated into “(Elfish) Stop raining.” This changes the asset’s immersion
components and hence Wild Hunt’s gameplay experience. After transcreation, the asset’s
implicit information component becomes explicit information, because now the asset conveys
information in a clear, straightforward way, allowing players to understand what the sentence
means. This experience does not exist when the game is switched back into English, as
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constructed language texts under this language setting are neither translated into English nor
supplied with information. Such a change in immersion components and gameplay experience
is similar to the outcome of pragmatic explicitation strategy in Translation Studies. According
to Klaudy (2009), the strategy allows target language audience to understand the nuances within
the source texts, by adding explanations to translated texts (pp. 106-107). This is similar to the
use of contextualization to transcreate constructed language texts in Wild Hunt. To some extent,
the strategy has helped players understand the elves’ culture, turning implicit information
components into explicit ones. However, the same strategy has also prevented players from
seeing the original spelling and alphabet of constructed language texts.
The change of an asset’s implicit information component into explicit information can
be illustrated using the modified SCI model, in which game assets create immersion components
as an important of gameplay experience. In theory, game assets should contain the same amount
and types of immersion components before and after video game translation and localization,
thereby retaining the original gameplay experience. But the above findings show that this is not
always the case: Some aesthetic assets contained different immersion components after their
constructed language texts were transcreated into traditional Chinese. After transcreation,
implicit information components within the assets became explicit, because the constructed
language texts were now easy to understand. This has not only allowed players to read
constructed language subtitles after transcreation, but also changed Wild Hunt’s gameplay
experience. Figure 4.2.2.1 below uses asset W122 as an example to illustrate the change in its
immersion components after the constructed language text is transcreated.
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Asset W122
Text: N'elaine tedd a'taeghane.
Voiceover
Audiovisual stimuli
Implicit information
World construction
Contextualization by addition
Asset W122
Voiceover
Audiovisual stimuli
Text: （精靈語）別再下雨了。
Explicit information
World construction
Figure 4.2.2.1. Change in asset W122’s immersion components after transcreation.
From a broader perspective, the above findings suggest that transcreative strategies may
be limited in retaining the immersion components created by aesthetic assets. Table 4.2.2.6
below shows the 33 instances where transcreative strategies were used, as well as the immersion
components contained in aesthetic assets. Before transcreation, aesthetic assets contained a total
of 164 immersion components. After transcreation, the number of immersion components
remained unchanged at 164. At first glance, this shows that transcreative strategies are indeed
capable of retaining Wild Hunt’s gameplay experience, since the total number of immersion
components remained unchanged after translation.
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Table 4.2.2.6
Immersion components contained in aesthetic assets before and after transcreation
Asset type & text type
Deliberate use of regional
expressions
Contextualization by
addition
2
31
Subtitling asset & Oral/dialogic
Immersion components
Audiovisual stimuli
Contacting gameplay
Explicit information
Implicit information
Character identification
Plot construction
World construction
Total immersion components
EN
2
2
2
0
2
1
1
10
ZH-TW
2
2
2
0
2
1
1
10
EN
31
30
0
31
31
0
31
154
ZH-TW
31
30
31
0
31
0
31
154
However, this is not the case. In the 31 instances where contextualization strategies were
used, the immersion components contained in aesthetic assets changed significantly after
transcreation. The assets no longer contained implicit information components after
transcreation. Instead, all contained information became explicit. In other words, the way
information was conveyed in these assets changed because of the contextualization strategy. The
information all went from being difficult to understand to being clear and straightforward. This
shows that although contextualization can retain most immersion components, it is unable to
keep implicit information implicit. If this strategy was used excessively, it could change the
gameplay experience significantly. This in turn suggests that transcreative strategies, at least
those in this study, may be limited in retaining all of an asset’s immersion components, and
hence limited in retaining the original gameplay experience.
112
In addition to immersion components, it remains unclear why contextualization was used
only for simplified and traditional Chinese language settings. A close examination of the 120
aesthetic assets in the game suggests that the choice of such a strategy could be based on the
game protagonists’ language abilities. According to the Wiedźmin novels that have inspired the
game, the game’s protagonists, Geralt and Ciri, both know how to speak Hen Llinge. In addition,
the novels show that the protagonists also know other variants of Hen Llinge, including
Nilfgaardian and elven Hen Llinge. For instance, in the novels Ostatnie Zyczenie (Sapkowski,
2012, pp. 228, 243, 247, 249) and Czas Pogardy (Sapkowski, 1995/2014, pp. 347, 383) both
protagonists not only speak Hen Llinge, but also understand Nilfgaardian and elven Hen Llinge.
This may have inspired the use of contextualization to transcreate constructed language texts in
aesthetic assets. In the 31 instances where the strategy was used, all of the spoken words are
simple, everyday expressions in Hen Llinge or elven Hen Llinge. Given how well the game
protagonists know both languages in the novels, perhaps these simple expressions were
deliberately transcreated, in order to reflect Geralt and Ciri’s ability to understand the
expressions. If this is true, the use of contextualization is not only changing Wild Hunt’s
gameplay experience, but also creating intertextuality between the game and the novels that
inspired the game.
If contextualization was indeed used in order to create intertextuality, the use of other
translation strategies could also be based on the game protagonists’ language abilities. When
aesthetic assets contain curse words or magic spells in constructed languages, retention
unmarked and specification addition were used regularly to render the languages. In other words,
curse words and magic spells in constructed language texts were regularly kept untranslated or
kept untranslated with new information added. This pattern was found in 62 (51.67%) of the 120
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aesthetic assets that display oral/dialogic texts in Wild Hunt. This could also be a choice made
in order to reflect the game protagonists’ language abilities and create intertextuality. Except that
this time the focus is on the protagonists’ inability to understand curse words and magic spells
in constructed languages. Take the magic spells displayed by assets W312 and W340 for
example, as shown in Table 4.2.2.7 below. It is likely that W312’s constructed language text was
left unchanged because Geralt, who is present when this magic spell is cast, is unable to
understand it. On the other hand, asset W340’s text was kept unranslated with new information
added. A back translation of the added text reads: “(Spell)” This is likely because Ciri, the other
protagonist in the game, can only tell that what she hears is a magic spell.
Table 4.2.2.7
Examples of using translation strategies to reflect game protagonists’ language abilities
Asset
number
Rendering
strategies
Source text
Target text
W312
Retention
unmarked
Celain, celain, deffraen!
Celain, celain, deffraen!
W340
Specification
addition
Tetrah... Tetragh...
Tetraglarie!
（咒語）Tetrah…Tetragh…
Tetraglarie！
In summary, this section presents four major findings based on the 375 aesthetic assets
in Skyrim and Wild Hunt. First, time constraints and text singability may have limited the use of
transcreative strategies. In theory, the strategies can be used to translate constructed language
texts. However, in practice, transcreative strategies may not be as fast and effective as other
strategies, such as transliteration and retention unmarked. Second, the use of translation
strategies varied, depending on the game in which aesthetic assets were found. Skyrim frequently
transliterated constructed language texts (227 instances) into traditional Chinese, while Wild
114
Hunt mainly used three strategies, including retention unmarked (52 instances), specification
addition (41 instances), and contextualization (31 instances). Third, after contextualization, the
immersion components contained in aesthetic assets changed; all of the assets’ implicit
information components changed into explicit information components. Lastly, although
transcreative strategies can indeed translate constructed language texts, they may be limited in
retaining the original gameplay experience. This is because transcreative strategies, especially
contextualization strategies, often increase the readability of constructed language texts after
transcreation, and as a result, change how the game feels. In other words, players may find
transcreated texts easier to read than untranslated ones but at the cost of not knowing what the
original texts look like.
In addition, it remains unclear why constructed language texts were transcreated only for
simplified and traditional Chinese language settings. It could be due to the fact that simplified
and traditional Chinese are closer to each other than to other languages. It also remains unclear
why transcreative strategies were only used 32 times in Wild Hunt. It is likely that the game’s
translators deliberately transcreated a small amount of constructed language texts, in order to
reflect the game protagonists’ language abilities. Although having an interview with the
translators of Wild Hunt may provide an answer, it is nevertheless beyond the scope of the present
study. Therefore, it is recommended that future studies interview language service providers and
game translators, in order to discuss similar topics from a different perspective.
4.3
Shout assets
In Skyrim, 116 (23.77%) of the 488 constructed language assets are closely related to
gameplay: Dragon shouts. In this section, these assets are labeled as shout assets and are analyzed
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with regard to translation strategies. Dragon shouts are magic spells used by a small group of
game characters, including the protagonist played by the player. There are more than 25 shouts
in the game, and each consists of three words in the Dovahzul language, or the dragons’ language.
Some shouts are used for combat, while some are used for defense. To use a dragon shout, nonplayer characters may say any of the three Dovahzul words that make up the shout. For example,
the words wuld, nah, and kest make up a shout called Whirlwind Sprint. Saying wuld alone,
which means “whirlwind” in Dovahzul, allows a character to sprint at high speed. Saying all
three words will allow the character to sprint for a longer distance. For the player, using a shout
is not difficult. Under the game’s default setting, the player presses or holds Z on their keyboard
to use a dragon shout. The longer the Z key is held, the more shout words are spoken.
The 116 shout assets are closely related to dragon shouts, in that dragon shout words are
an integral part of the assets’ texts. Table 4.3.1 below provides two examples of shout assets: T7
and T146. Both assets display oral/dialogic text, or text about what game characters say or hear,
as onscreen subtitles. The text of asset T7 centers on the teaching of the Dovahzul word wuld,
while that of T146 indicates the shouts used a game character. The rest of the 116 shout assets
are similar. Their texts revolve around dragon shouts and display shouts for players to read. In
addition, 113 (98.28%) of the 116 shout assets create contacting gameplay components in
addition to other immersion components. This is because when assets like T7 and T146 appear
in the game, the player can use the keyboard to move around, use items, and so on. In contrast,
the rest of the shout assets does not allow the same things; players can only skip subtitles or
pause the game.
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Table 4.3.1
Source text and immersion components of shout assets in Skyrim
Asset
number
Asset source text
Master Borri will teach you “Wuld,” which means
“Whirlwind.”
T7
T146
Krah Diin!
Immersion
components
Audiovisual effects
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Of the 116 shout assets, 112 (96.56%) assets are subtitling assets, two (1.72%) are manual
assets, and the remaining two (1.72%) are in-game texture embedded word assets. Subtitlings
assets display text as subtitles; manual assets display text to explain how to play the game or
how the game works; and texture embedded word assets display texts in custom fonts. In addition,
shout assets display three types text. First, oral/dialogic texts, which shows what game characters
say or hear in the game world. Second, didactic texts, which guide the player to use a game
platform, software, or hardware. Finally, functional texts, which indicate how a platform,
software, or hardware works. Table 4.3.2 below shows the asset types and text types of shout
assets.
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Table 4.3.2
Asset types and text types of shout assets in Skyrim
Text type
Asset type
In-game texture
embedded words
Manual
Subtitling asset
Total
Didactic
Functional
Oral/dialogic
Total
0
2
0
2
2
0
2
0
0
2
0
112
112
2
112
116
A total of 116 translation strategies were used to translate the constructed language texts
of shout assets. Of the strategies, 114 (98.28%) were transliteration and two (1.72%) were
retention unmarked. In other words, the constructed language texts of shout assets were usually
transliterated. There were only two instances where the texts were left unchanged. No
transcreative strategies were found. Table 4.3.3 below lists the strategies used to translate
Dovahzul texts in shout assets.
Table 4.3.3
Strategies used to render constructed language texts in the 116 shout assets in Skyrim
Translation strategies
Transliteration
Retention unmarked
Transcreative strategies
Subtitling
assets
112 / 116
0 / 116
0 / 116
In-game texture
embedded words
2/2
0/2
0/2
Manuals
Total
0/2
2/2
0/2
114 / 116
2 / 116
0 / 116
Table 4.3.4 below provides examples of the two translation strategies. Asset T264’s
source text and target text are excerpts of the original, which is over 200 words long.
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Table 4.3.4
Examples of the transliteration and retention unmarked strategies
Asset
number
Rendering
strategy
T146
Transliteration
Source text
Krah Diin!
Animal Allegiance - “Raan
Mir Tah”
Aura Whisper - “Laas Yah
Nir”
T264
Retention
unmarked
Target text
可啦 丁!
動物效忠 - “Raan Mir Tah”
光環低語 - “Laas Yah Nir”
繳械武器 - “Zun Haal Viik”
Disarm - “Zun Haal Viik”
死亡印記 - “Krii Lun Aus”
Marked For Death - “Krii Lun
Aus”
寒霜吐息 - “Fo Krah Diin”
Frost Breath - “Fo Krah Diin”
閃電風暴 - “Strun Bah Qo”
Storm Call - “Strun Bah Qo”
凱娜的寧靜 - “Kaan Drem
Ov”
Kyne’s Peace - “Kaan Drem
Ov”
延緩時間 - “Tiid Klo Ul”
Slow Time - “Tiid Klo Ul”
輾轉之聲 - “Zul Mey Gut”
Throw Voice - “Zul Mey Gut”
冰之形態 - “Iiz Slen Nus”
Ice Form - “Iiz Slen Nus”
Articulating dragon shouts
The pronunciation of dragon shout words may explain the use of retention unmarked for
shout assets. It is likely that the strategy was used to retain the pronunciation of dragon shout
words in Dovahzul, so as to show players how to say those words. According to the texts
displayed by the two manual assets, T264 and T265, players can use a dragon shout by speaking
in Dovahzul. To do so, players need to hold a button on their controller and say the Dovahzul
words that make up the dragon shout they want to use. The said shout words will then work like
119
voice commands. For instance, to use the dragon shout Whirlwind Sprint, players hold the Left
Bumper button on their controller and say wuld nah kest. Once the game picks up the words, the
protagonist will use the dragon shout immediately. Although this game feature is not supported
by Skyrim, the texts of assets T264 and T265 suggests that dragon shout words were left
untranslated so that players could learn how to speak in Dovahzul. Take asset T264 for example.
As shown in Table 4.3.4 above, the dragon shout words in asset T264’s text were all left
untranslated under the traditional Chinese setting. This is likely done so that players can see how
to pronounce each word in Dovahzul and use them as voice commands.
It is possible that the pronunciation of dragon shout words has also affected the use of
transliteration strategies on the remaining 114 shout assets. Perhaps the Dovahzul texts in these
assets were transliterated into traditional Chinese so that players can mimic and pronounce
Dovahzul words in that language. Take asset T146’s Dovahzul text, krah diin, for example. As
Table 4.3.4 above shows, under the traditional Chinese language setting, the text was
transliterated into “可啦 丁,” which is pronounced as “clah ding.” Clearly, the transliteration is
mimicking the pronunciation of krah diin in Dovahzul. The goal is likely to use traditional
Chinese characters to help players learn how to say the shout words. In fact, there is a need for
players to do so when playing the game, although it is less noticeable. When playing Skyrim on
the computer, players can add voice command feature to the game and use dragon shouts by
speaking Dovahzul to a microphone that is connected to their computer. To do so, players need
to go to the game’s main menu, click “Mods,” and install a game mod that enables voice
commands in the game. Game mods are content created by people who are not members of the
game development team, in order to improve the quality of the game.
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Once the voice command feature is added, players can use shouts by saying Dovahzul
shout words to their microphone. But this added feature requires that players know how to say
the words. This creates a need to transliterate dragon shouts into traditional Chinese: The shouts
were transliterated in case players want to learn and articulate the shouts after they have added
the voice command feature. Transliteration makes it easier for players to read the dragon shout
words that appear as onscreen subtitles. It helps players mimic the words’ pronunciation and
articulate them as voice commands. In this sense, maybe the access to game mods and use of
voice commands were taken into consideration during video game translation. This then led to
the transliteration of dragon shout words in the 114 shout assets, so that players could memorize
how to say those words. On the contrary, if dragon shout words were freely translated or kept
unchanged, it would be difficult for players to learn how to articulate those words. This in turn
makes it difficult for players who use game mods that add the voice command feature, because
they can no longer read the subtitles and mimic the words’ pronunciation.
In theory, the constructed language texts of shout assets can also be transcreated to show
players how to say the shout words. Take asset T146 for example. The constructed language text
of the asset may be transcreated to show players how to pronounce dragon shout words. First,
the text, “Krah Diin!” is rewritten in Dovahzul script in a font size smaller than that of the
original. The exclamation mark is removed to reflect the fact that Dovahzul lacks punctuation
marks. The text now becomes “kr4 d3n.” Next, “Krah Diin!” is transliterated into
traditional Chinese with the exclamation mark. The transliteration is then placed above the
Dovahzul text as a phonetic guide for players, in the same way that Japanese kanjis have phonetic
guides above them. By doing so, players can use the transliteration to learn how to pronounce
dragon shout words in traditional Chinese and enjoy the new look of “kr4 d3n.” Table
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4.3.5 below shows the asset T146’s text after transcreation and compares it with transliteration.
Table 4.3.5
A comparison of asset T146’s source text after transcreation and transliteration
Asset
Asset source text
number
T146
Krah Diin!
Transcreation
Transliteration
可
可啦 丁!
啦 丁！
Kr4 D3n
There is another benefit to using the transcreation strategy. Take asset T146 for example.
After transcreation, the strategy adds an immersion component to the asset, thereby enhancing
gameplay experience. Before transcreation, the asset consists of seven immersion components,
including audiovisual stimuli, tactile stimuli, contacting gameplay, contactless gameplay,
implicit information, character identification, and plot construction. Audiovisual stimuli come
from the asset’s text and the voiceover, which appear simultaneously when in the game. Tactile
stimuli come from the fact that the asset will trigger connected controllers to vibrate, if this
feature is supported. Contacting and contactless gameplay refer to the fact that when the asset is
used, players can use devices or voice commands to do things such as moving around, casting
shouts, and so on. Implicit information comes from the asset’s text, which presents information
in a way that is difficult to understand. Character identification comes from the fact that the
asset’s text is displayed alongside a character’s name, deepening the player’s impression of that
character. Lastly, plot construction comes from the fact that asset T146 is used in a main quest.
Since it deepens the player’s impression of the main plot, the asset creates a plot construction
component. Asset T146 does not include visual stimuli component because the asset does not
appear with any visual effects in the game. In fact, when the asset’s Dovahzul text is displayed,
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it may be confused with other English texts. However, the transcreation strategy can help asset
T146 create a visual stimuli component. This is because after transcreation, the text becomes
“kr4 d2n” and looks a lot different from regular subtitles in English or traditional Chinese.
This turns the transcreated text into a visual stimulus and thereby gives asset T146 an immersion
component of visual stimuli. This also makes dragon shout words more fun to read for players.
Figure 4.3.1 below compares asset T146’s immersion components before and after transcreation.
Contacting gameplay
Asset T146
Text: Krah Diin!
Contactless gameplay
Voiceover
Character identification
World construction
Implicit information
Audiovisual stimuli
Transcreation
Contacting gameplay
Asset T146
Text: Kr4 D3n
Contactless gameplay
Voiceover
Audiovisual stimuli
Character identification
Visual stimuli
World construction
Implicit information
Figure 4.3.1. A comparison of asset T146’s immersion components before and after text
transcreation.
In summary, this section presents three major findings based on the 116 shout assets in
Skyrim. First, the assets’ constructed language texts were consistently translated with
transliteration and retention unmarked under the traditional Chinese language setting. In other
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words, dragon shout words were either transliterated or kept untranslated. No transcreative
strategies were used at all. Second, the use of translation strategies on shout assets appears to be
related to gameplay. It appears that transliteration and retention unmarked were used so that
players can learn how to say dragon shout words. This may be done in case players want to use
shout words as voice commands after installing game mods. Lastly, in theory, transcreative
strategies can translate the constructed language texts of shout assets and achieve similar results.
The end of this section demonstrated how to transcreate dragon shout words without sacrificing
the opportunity for players to learn how to articulate the words. In fact, the use of transcreation
strategy may even allow the shout assets to create new immersion components, thereby
enhancing Skyrim’s gameplay experience. This echoes Bernal-Merino’s (2007) point of view
that video game translation should enhance gameplay experience (p. 3). However, it remains
unclear why transcreative strategies were never used to translate the Dovahzul texts of shout
assets. It also remains unclear why other translation strategies, such as retention marked and
other transcreative strategies, were never used. Although having an interview with the translators
or language service providers of Skyrim may provide answer, it is nevertheless beyond the scope
of the present study.
4.4
Uncertainty assets
Of the 1,001 constructed language assets found in Skyrim and Wild Hunt, 55 (5.49%)
assets share two characteristics. First, they contain immersion components of implicit
information. Second, the constructed language texts of these assets impact game plot and how
players play because the texts are used to create uncertainty in game quests. These assets are
referred to as the uncertainty assets. This section will first explain how uncertainty assets help
create uncertainty, followed by a discussion on how uncertainy may have affected the use of
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translation strategies.
Game quests and the creation of uncertainty. In Skyrim and Wild Hunt, quests are a
form of challenge that players complete in order to get a reward. Almost every game quest has
three elements: context, action point, and action. Context is the information about a quest, such
as game characters, key items, hints, map, or subtitles on the screen. Action point refers to the
point in time when players are prompted to take action during a quest. Action point arrives, for
example, when a quest displays instructions on the screen, such as “escape the room.” It can also
arrive when a quest provides choices for players to make, such as “help the robot” and “leave
the robot alone.” Action refers to the things that players do in order to complete a quest, such as
looking for an exit or helping a game character.
In both games, quests typically move forward by building up context, before introducing
action points. A quest starts by giving a player bits of information. Once there is enough context,
action points are introduced, prompting the player to perform a number of actions in order to
complete the quest. Take the very first quest in Skyrim for example. It starts by providing context
about who and where the protagonist is, before introducing action points that instruct the player
on how to perform in-game actions, such as running and attacking enemies.
Context build-up before introducing action points often creates a period of uncertainty,
which affects player behavior. Before action points arrive, players only have context, which does
not prompt them to take any actions. As a result, players tend to perform a limited number of
actions, because they are not sure what actions are relevant. This period of uncertainty adds fun
to games by inviting players to take part in context build-up without knowing the outcome
(Power, Denisova, Papaioannou, & Cairns, 2017, p. 2840; To, Ali, Kaufman, & Hammer, 2016,
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pp. 11-12). But when an action point arrives, players start to perform more actions because now
they know what to do in order to complete the quest. In other words, the introduction of action
points eliminates uncertainty in game quests. Based on Freytag’s pyramid (“Freytag’s pyramid,”
1995, p. 438) for analyzing the plot of a five-act play, the model below illustrates how uncertainty
is created, starting from the build-up of context. Note that a quest may build up context and
introduce action points more than once, depending on the length and design of the quest.
Volume
Action point arrives;
uncertainty disappears.
Player is uncertain about
what to do.
Quest starts.
Quest ends and
reward is given.
Time
Given context
Actions performed
Figure 4.4.1. A model illustrating the creation of uncertainty from context build-up in game
quests.
In the above model, the vertical axis, volume, is an abstract representation of the amount
of context and the number of actions that players perform. The line with an arrow represents the
amount of context that players receive, while the dotted line represents the number of actions
that players perform. The higher the two lines go along the vertical axis, the more context players
receive and actions to perform. The horizontal axis, time, abstractly marks the beginning and
end of a quest. The closer the two lines go towards the right of the time axis, the closer players
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are to finishing the quest. The gray area between the line with an arrow and the dotted line marks
the time when uncertainty is created in a quest. In this area, context continues to build up, no
action points are introduced, and player action is limited as players are uncertain about what they
should do. As soon as the actions point arrives at the peak of context build-up, the number of
player-performed actions increases, while the amount of given context decreases. This is because
an action point prompts players to take actions in order to complete the quest, and context usually
stops mounting up during this process so as not to distract players. Later in the quest, the number
of player-performed actions decreases, because players are now wrapping up what they were
prompted to do earlier. Finally, the quest ends as the amount of given context reaches the bottom
of the vertical axis and the number of player-performed actions returns to the level before the
quest starts.
Uncertainty assets and the creation of uncertainty. In Skyrim and Wild Hunt,
uncertainty is sometimes created using constructed language assets. These are referred to as
uncertainty assets, which are typically used to build up context, before action points arrive. Take
the quest “A Blade in the Dark” in Skyrim for example. Towards the end of the quest, uncertainty
assets are used to display subtitles to give players context about a conversation between two
characters. At this point, there are no instructions for players. Table 4.4.1 below provides an
example of uncertainty asset in “A Blade in the Dark.” Note that one of the asset’s immersion
components is implicit information, which comes from the fact that the text conveys information
in a vague, implicit way.
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Table 4.4.1
Constructed language asset that creates uncertainty in Skyrim
Asset
number
T384
Asset text
Sahloknir! Ziil gro dovah
ulse!
English translation
Sahloknir! Your soul is bound
to me for eternity!
Immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
In the quest, assets like T384 help create uncertainty and build up context. When uncertain assets
appear and display text, players usually perform few actions because they are still grasping the
context based on the displayed texts. In addition, the game has not yet given any instructions. As
soon as the quest finishes building up context, instruction appears on screen and asks players to
perform actions. This is when an action point is introduced. At this point, the uncertainty created
by constructed language assets disappears, because players now have an instruction and are no
longer unsure of what they should do.
Of the 1,001 constructed language assets in both games, 55 assets are used to create
uncertainty, such as the Skyrim example from above. All uncertainty assets are subtitles in the
form of oral/dialogic text. In other words, the 55 constructed language assets display subtitles on
screen when game characters hear or say something in a constructed language. At the same time,
these assets also build up context and help create uncertainty before action points arrive in game
quests. To some degree, these assets control players’ behaviors. Table 4.4.2 below shows the
asset type and text type of uncertainty assets in both games.
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Table 4.4.2
Asset type and text type of uncertainty assets in Skyrim and Wild Hunt
Asset type
Text type
Oral/dialogic text
Subtitling asset
Skyrim
Wild Hunt
52
3
Total
55
The success of using uncertainty assets to create uncertainty in game quests appears to
rely heavily on the constructed language texts. A close examination of the texts reveals that if
the texts were written entirely in English instead of constructed languages, uncertainty would be
eliminated. Take the text displayed by asset T456 from Skyrim for example. The text is a line of
subtitle written in Dovahzul: “Alduin, thuri! Boaan tiid vokriiha suleyksejun kruziik?” It is used
in a quest named “A Blade in the Dark.” Towards the end of the quest, players need to listen in
on a conversation between two dragons. The conversation is where asset T456’s Dovahzul text
appears as a line of subtitle on the screen. The text, along with other uncertainty assets, gives
players context about the conversation, despite that everything is written in Dovahzul. The text
also creates uncertainty, since at this point players are not yet instructed to do anything. As the
conversation comes to an end, instruction appears on the screen and asks players to kill one of
the two dragons. The quest ends with the dragon’s death and a reward is given. The model below
illustrates how asset T456’s text helps create uncertainty in “A Blade in the Dark.”
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Volume
Instruction:
Kill Dragon 2.
Player is uncertain
about what to do.
Time
Quest starts.
Given context
Quest ends with Dragon 2's
death and reward is given.
Actions performed
Figure 4.4.2. A model illustrating how asset T456’s constructed language text helps create
uncertainty in the quest “A Blade in the Dark.”
Texts in constructed languages are crucial to the creation of uncertainty. If asset T456’s
text was written in English instead of Dovahzul, it would read: “Alduin, my lord! Has the time
come to restore your lordship?” Thus it would give away the alliance between the two conversing
dragons. The exposed information would then eliminate the uncertainty before players are
instructed to kill; players would become cautious of the dragons as soon as subtitles appear, even
though they had not received any instructions. Some players might start attacking the dragons
early in the conversation. This suggests that uncertainty disappears if asset T456’s text was
written in English. This suggests that constructed language texts are crucial to creating
uncertainty because they convey important information in a vague, implicit way. Without the
texts, players may take actions before action points even arrive. Reacting early often allow
players to complete quests earlier. As a result, game difficulty and gameplay experience change.
The model below is a projection of how asset T456’s text would eliminate uncertainty in “A
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Blade in the Dark” if the text was written in English. Compared with the previous model, the
model below projects a smaller area of uncertainty and a higher number of player-performed
actions, as a result of giving away key information before players receive instruction. This would
change game difficulty and affect gameplay experience, because players can guess what they’re
about to do based on the English subtitles. Some players may attack the dragons before the
instruction is given. As a result, the game becomes easier and the quest ends earlier.
Volume
Instruction: Kill
Dragon 2.
Time
Quest starts
Given context
Quest ends early and
reward is given.
Actions performed
Figure 4.4.3. A projection model of how asset T456’s text eliminates uncertainty when the text
is written in English instead of Dovahzul.
It appears that the crucial role of the 55 uncertainty assets in creating uncertainty in
Skyrim and Wild Hunt has affected the use of translation strategies, and transliteration and
retention unmarked were the most common strategies. In other words, when the two games were
set to traditional Chinese, the constructed language texts were either transliterated or left
untranslated. No transcreative strategies were found. In addition, constructed language texts from
Skyrim were all transliterated, while the texts from Wild Hunt were all left unchanged. Table
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4.4.3 below lists the translation strategies that were used for uncertainty assets.
Table 4.4.3
Number of translation strategies used for uncertainty assets in Skyrim and Wild Hunt
Translation strategies
Retention unmarked
TL adjust
Transcreative strategies
Transliteration
Skyrim
0 / 52
0 / 52
0 / 52
52 / 52
Wild Hunt
3/4
1/4
0/4
0/4
Total
3 / 56
1 / 56
0 / 56
52 / 56
What transliteration and retention unmarked have in common is that they do not translate
word meanings. Transliteration only keeps what a constructed language text sounds like when it
is read aloud. Take asset T456’s text for example. The text is written in Dovahzul and is
displayed as a line of subtitle during a game quest. When the text is displayed under the
traditional Chinese language setting, the text is transliterated. The transliteration captures what
each Dovahzul word sounds like, even though the words look meaningless in traditional Chinese.
On the other hand, retention unmarked only keeps the look of constructed language texts.
Take asset W198 from Wild Hunt for example. The asset’s constructed language text is written
in Hen Llinge and is also displayed as a line of subtitle. Under the traditional Chinese setting,
the asset’s constructed language text was left completely unchanged. This allows players to
experience what the text originally looks like when the game is played under the English
language setting. Table 4.4.4 below presents the source text and target text of assets T456 and
W198.
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Table 4.4.4
Strategies used to translate uncertainty assets’ constructed language texts under the traditional
Chinese language setting
Asset
number
Translation
strategies
Asset source text
T456
Transliteration
Alduin, thuri! Boaan tiid
vokriiha suleyksejun kruziik?
W198
Retention
unmarked
Went like this: "Va fail, elaine,
ceàdmil folie! Glaeddyv dorne
aep t'enaid, bunn'droh ithne
i'yachus."
Asset target text
奧杜因，蘇瑞！波恩 提德 沃
克理哈 蘇雷克西昂 克魯茲
克？
大概是這樣：「Va fail,
elaine, ceàdmil folie!
Glaeddyv dorne aep t'enaid,
bunn'droh ithne i'yachus」。
The crucial role that uncertainty assets play in the creation of uncertainty may explain
why transliteration and retention unmarked were the most common strategies for translating
constructed language texts. The strategies were likely used to hide key information and retain
uncertainty until action points are introduced. Take the constructed language text from asset
T456 for example. It is possible that the text was deliberately transliterated into traditional
Chinese, so as not to give away the key information hidden in the text, which was the alliance
between two hostile dragons. This could be a decision made based on the ability of transliteration
to retain the sound but not expose the meaning. This not only helps retain the uncertainty in the
original constructed language texts of asset T456 and other uncertainty assets, but also helps
manage the number of player-performed actions before action points arrive.
On the other hand, players could react differently if constructed language texts were
rendered using a different strategy. For instance, players would likely become suspicious if asset
T456’s text was transcreated into “奧杜因，吾王啊！助您重返霸權之日來臨了嗎？” A
back-translation of the transcreated text reads: “Alduin, my lord! Has the time come to help you
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restore your lordship?” Obviously, the transcreated text easily gives away the alliance between
the two dragons, one of which would soon attack players. As a result, players would likely
become suspicious of the dragons. Some players might even attack the dragons before the game
instructs them to. This could lead to the same outcome as projected in Figure 4.4.3, which shows
a reduced area of uncertainty and a higher number of player-performed actions before players
are instructed to attack as a result of pre-exposing important information. It in turn changes game
difficulty and gameplay experience, because the transcreated text has hinted players what they
should do next.
Such impact of transcreative strategies on gameplay experience can be illustrated using
the modified SCI model. Take asset T456 for example. Before transcreation, the asset creates an
immersion component of implicit information, because its text conveys information in a vague
way that is prone to misinterpretation. After transcreation, the component becomes an explicit
information component, because the transcreated text now conveys information in a plain,
straightforward manner. Figure 4.4.4 below illustrates how transcreative strategy would change
the types of immersion components contained in asset T456.
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Asset T456
Voiceover
Audiovisual stimuli
Text: Alduin, thuri! Boaan tiid vokriiha suleyksejun
kruziik?
Implicit information
Plot construction
Transcreation
Asset T456
Voiceover
Audiovisual stimuli
Text: 奧杜因，吾王啊！助您重返霸權之日來臨
了嗎？
Explicit information
Plot construction
Figure 4.4.4. Change in asset T456’s immersion components after transcreation.
The above change would ultimately lead to the outcome that Figure 4.4.3 previously
projected: Skyrim’s game difficulty and gameplay experience change under the traditional
Chinese language setting. Players may attack the dragons early in their conversation. This in turn
suggests that transcreative strategies may have limited use in translating constructed language
texts that are related to the game plot and the creation of uncertainty. As explained in Section
4.2, because transcreative strategies change the way information is conveyed, they may preexpose important information and thus cause the localized game to lose the original gameplay
experience.
In addition to retaining uncertainty, there could be other reasons why transliteration and
retention unmarked were used for the 55 uncertainty assets. For instance, consistency.
Consistency of style is the key to ensure smooth team translation and keep in-game texts
immersive (Chandler and Deming, 2012, p. 111; O’Hagan and Mangiron, 2013, p. 130). A style
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guide that suggests translation strategies can often help maintain consistency (e.g., Chandler &
Deming, 2012, pp. 115-116). As previously mentioned in Section 4.1, transliteration and
retention unmarked accounted for 80% of the translation strategies used in Skyrim and Wild Hunt,
respectively. This suggests that the two strategies might be the default strategies for translating
all constructed language texts, including those displayed by the 55 uncertainty assets. Further
evidence lies in Table 4.4.3 above, which shows that all uncertainty assets in Skyrim were
transliterated into traditional Chinese and that all three assets in Wild Hunt were left unchanged.
This suggests that the two translation strategies were likely used for consistency. It is vital to
localizing text-heavy games like Skyrim and Wild Hunt. Without a consistent use of translation
strategies, team translation would be difficult to execute and the translated texts would make
games feel less immersive (Chandler & Deming, 2012, p. 111). In addition, inconsistency could
also delay other localization tasks. As explained in Section 2.1, video game translation is usually
followed by other localization tasks. Debugging, for instance, may follow translation in order to
prevent translated texts, which will be displayed in many different languages, from crashing or
freezing the localized games (O’Hagan & Mangiron, 2013, pp. 137-138; Hsu, 2016, p. 153). If
texts were translated inconsistently, they may cause problems and delay debugging and
subsequent tasks. This in turn reflects the importance of using translation strategies consistently.
Based on the above, it is likely that the 55 uncertainty assets’ texts were rendered with
transliteration and retention unmarked not because the assets are crucial to the creation of
uncertainty, but because the two strategies were used consistently to render constructed language
texts.
In summary, this section presents three major findings based on the translation of 55
uncertainty assets in Skyrim and Wild Hunt. First, for uncertainty assets, the constructed language
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texts were translated mainly using two translation strategies: transliteration and retention
unmarked. No transcreative strategies were found. Second, a close examination of the 55 assets
suggests that the assets’ role in the creation of uncertainty may have an impact on the selection
of translation strategies. It is likely that transliteration and retention unmarked were used to retain
the uncertainty in game quests and manage how players play, thereby retaining the original
gameplay experience. Lastly, transcreative strategies were not used likely because they would
eliminate the uncertainty originally created by constructed language texts. More specifically,
transcreating the texts would pre-expose crucial information and thus eliminate the uncertainty
in quests. For instance, transcreating game characters’ words about their identity and attitude
could motivate the player to attack them before instructions are shown on screen. As a result,
game difficulty and gameplay experience change after transcreation. This in turn shows that
game plot and uncertainty may limit the use of transcreative strategies. In other words,
transcreative strategies may be limited in translating constructed language texts that are related
to uncertainty and game plot.
However, other factors could also be at play, such as consistency. It is possible that
transliteration and retention unmarked were the default strategies in the two games. They were
used to translate all constructed language texts, regardless of the uncertainty that these texts
created. This suggests that, when there is a default translation strategy in place, transcreative
strategies are often not used. At the moment, however, there is no evidence to show whether
transcreative strategies were passed over because they would eliminate uncertainty, or because
they were not the default choice. Therefore, it is recommended that future studies interview
translators or language service providers, in order to take the discussion further.
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4.5
Display assets
Of the 1,001 constructed language assets in the two games, 452 (45.15%) assets contain
numbers, symbols, and letters in the English alphabet; their constructed language texts are
displayed in different ways. For instance, assets in Skyrim contain numbers and letters that are
displayed in a custom font, while assets in Wild Hunt contain curly brackets that make
constructed language texts invisible on screen. In this study, those assets are referred to as display
assets. Translation strategies that were used on display assets are analyzed in order to investigate
the use of transcreative strategies on constructed language texts. Table 4.5.1 below provides
examples of display assets in both games.
Table 4.5.1
Display assets in Skyrim and Wild Hunt
Asset number
T144
W133
Asset source text
L1s
{Ess've vairich? Corpail'ear Cerid ess marv. } [Did you hear? Corporal
Cerid is dead.]
Of the 452 display assets, 85 (18.81%) assets were found in Skyrim and 367 (81.19%) in
Wild Hunt. With regard to asset type, 85 assets were in-game texture embedded words, which
display texts in custom fonts, while 367 were both subtitling asset and voiceover asset at the
same time. These were the “dual assets” mentioned in Section 4.1. They display texts both as
subtitles and as script for recording voiceovers. As for text type, the 367 assets from Wild Hunt
displayed oral/dialogic texts. In Skyrim, 84 assets displayed functional texts, and one displayed
narrative text. Table 4.5.2 below shows the asset types and text types of all display assets.
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Table 4.5.2
Asset types and text types of display assets in Skyrim and Wild Hunt
Text type
Narrative
Functional
Oral/dialogic
Total
Asset type
Subtitling asset
Voiceover asset
In-game texture
embedded words
Total
Skyrim
Wild
Hunt
Skyrim
Wild
Hunt
Skyrim
Wild
Hunt
0
0
0
0
0
367
1
0
84
0
0
0
1
(0.22%)
0
84
(18.58%)
0
0
367
(81.19%)
367
(81.19%)
85
(18.81%)
452
Retention unmarked was used to translate the constructed language texts in most display
assets. In fact, retention unmarked accounted for more than 98% of all translation strategies that
were used on display assets. In total, there were 447 retention unmarked strategies and only six
TL adjust. No transcreative strategies were found. Table 4.5.3 below lists the strategies that were
used to translate display assets’ constructed language texts.
Table 4.5.3
Number of translation strategies for the 452 display assets in Skyrim and Wild Hunt
Translation strategies
Retention unmarked
TL adjust
Transcreative strategies
Skyrim
85 / 85 (100%)
0 / 85
0 / 85
Wild Hunt
362 / 368 (98.37%)
6 / 368 (1.63%)
0 / 368
Total
447 / 453 (98.68%)
6 / 453 (1.32%)
0 / 453
A close examination reveals that the way constructed language texts are displayed in the
games may explain the absence of transcreation. In Skyrim, constructed language texts are
sometimes displayed in a custom font named the dragon font. The font turns Hindu-Arabic
numbers and letters in the English alphabet into runes in the Dovahzul alphabet. For example,
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“j8r” is displayed as “j8r” (mortal). As explained in Section 3.4.1, runes such as “j8r” are
used to compose inscriptions. In other words, display assets in Skyrim were used to display texts
in the dragon font. The texts all consist of numbers and letters, which become Dovahzul runes
that spell Dovahzul words when displayed in the dragon font. Take asset T144 from above for
example. Its text reads “L1s.” In the game, the same text becomes “L1s” and means “life” in
Dovahzul. In addition, it appears that the dragon font can only display numbers and letters. Take
traditional Chinese characters for example. In the game they become hollow squares when
displayed in the dragon font. Table 4.5.4 below shows how different texts are displayed in the
dragon font, compared with Times New Roman.
Table 4.5.4
Texts displayed in dragon font and Times New Roman
Text
Font
Dragon font
Times New Roman
Hindu-Arabic numbers & letters in
the English alphabet
Traditional Chinese characters
L1s
L1s
□□
臘斯󠄀
The way Skyrim displays texts in the dragon font has obviously limited the use of
transcreative strategies. Since Dragon font cannot display texts other than numbers and English
letters, it is not feasible to transcreate the constructed language texts of display assets into
traditional Chinese. In fact, even transliteration, which accounts for more than 80% of the
strategies used in the game, would impact the gameplay experience negatively. Take asset T261
for example. Transliterating the asset’s Dovahzul texts into traditional Chinese is not feasible,
because it would cause the transliterations to display incorrectly in the game. As a result, players
would be unable to read the texts, which now display as “□” in the dragon font. By contrast,
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retention unmarked appears to be the only strategy that is suitable. This explains why retention
unmarked was the only strategy used by display assets in Skyrim. Table 4.5.5 below demonstrates
how retention unmarked and transliteration affect asset T261’s constructed language texts after
translation.
Table 4.5.5
Asset T261’s text rendered with two different translation strategies
Asset
number
T261
Asset source text
Retention unmarked
Transliteration
HET NOK KOPR1N DO
IGLIF 3Z SOS WO
GRIND OK OBL1N NI
KO MOROK2 VUK2N
NUZ 4ST MUNAX
H1LVUT DO L3V
KRAS1R
HET NOK
KOPR1N DO
IGLIF 3Z SOS
WO GRIND OK
OBL1N NI KO
MOROK2 VUK2N
NUZ 4ST
MUNAX H1LVUT
DO L3V
KRAS1R
□□□ □□□ □□□□□□ □□
□□□□□ □□ □□□ □□
□□□□□ □□ □□□□□ □□
□□ □□□□□□ □□□□□ □□
□□□ □□□□□ □□□□□□
□□ □□□ □□□□□□
Figure 4.5.1 below uses the modified SCI to illustrate how transliteration may affect display
asset T144’s immersion components. Before transliteration, the asset has a component of visual
stimuli in the game, which comes from the dragon runes in its text. After transliteration, however,
the same component disappears, because the text now displays incorrectly in the dragon font. As
a result, the asset’s immersion components change after transliteration and undermine the overall
gameplay experience. Using transcreative strategies will likely lead to the same outcome,
because they involve translation and the use of traditional Chinese characters. This suggests that
Skyrim’s method of displaying constructed language texts may have prevented the use of
transcreative strategies.
141
Sound effects
Asset T144
Audio stimuli
Text: L1s
Visual stimuli
Contacting gameplay
Implicit information
World construction
Transliteration
Sound effects
Audio stimuli
Contacting gameplay
Asset T144
Visual stimuli
Text: □□□
Implicit information
World construction
Figure 4.5.1. Change in display asset’s immersion components after transliteration.
On the other hand, Wild Hunt’s method of displaying constructed language texts may
have also limited the use of transcreative strategies. In the game, display assets contain two kinds
of texts: constructed language texts and English texts. In addition, the assets also contain two
kinds of symbols: curly brackets and square brackets. Curly brackets are used to hide texts on
screen, while square brackets do not seem to have any effects on texts. In other words, texts
inside curly brackets are not displayed in the game; only texts in square brackets are displayed.
An examination of display assets shows that constructed language texts appear regularly inside
curly brackets, while English texts appear regularly inside square brackets. This means that the
constructed language texts are not displayed in the game. Only English texts are displayed. Take
asset W42 for example. As shown in Table 4.5.6 below, the asset’s constructed language texts
are not displayed in the game.
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Table 4.5.6
A display asset’s texts and appearance in Wild Hunt
Asset full text
{Glaeddyv vort. } [Throw down your blade!]
Displayed inside the game
[Throw down your blade!]
Wild Hunt’s use of curly brackets has limited the use of transcreative strategies. When
constructed language texts are not displayed because of curly brackets, transcreative strategies
become ineffective. Rewriting the texts does not make any difference, unless the curly brackets
are removed. This also applies to other translation strategies. As long as constructed language
texts remain inside curly brackets, the use of any strategy is ineffective and would only produce
one result: the texts are simply not displayed. Take the above asset for example. As Table 4.5.7
below shows, no matter what strategies are used to render the constructed language texts, the
texts are not displayed due to the curly brackets.
Table 4.5.7
Asset W42’s texts displayed in Wild Hunt after transcreation and omission
Asset source text
Full text
Displayed inside
the game
{Glaeddyv vort. }
[Throw down your
blade!]
Contextualization by
addition
{（精靈語）把劍丟
開！ } [Throw down
your blade!]
Omission
[Throw down your
blade!]
[Throw down your blade!]
In summary, this section presents three major findings. First, retention unmarked was
used regularly to render the constructed language texts of display assets in the two games. Second,
the use of transcreative strategies are limited because of two reasons. First, Skyrim’s use of
dragon font would cause transcreated texts in traditional Chinese to display incorrectly,
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undermining gameplay experience. Second, Wild Hunt’s use of curly brackets made constructed
language texts invisible in the game, leaving any attempt to transcreate the texts fruitless. The
last finding is that code-like characters, such as numbers, letters, and symbols, may limit the use
of transcreative strategies. When such characters appear in constructed language texts, they
change how the texts are displayed and thus limit the use of transcreative strategies. To some
degree, this is similar to the handling of game programming codes, which control how game
mechanisms work. According to Bernal-Merino (2015), video game translators are
recommended not to alter texts embedded in codes, or the game could crash (pp. 145-146).
Similarly, the numbers, letters, and symbols contained in display assets also work like game
codes. Changing these code-like characters could cause constructed language texts to display
incorrectly in the two games. As such, the use of transcreative strategies is limited when there
are code-like characters inside constructed language texts. Instead, the above findings show that
retention unmarked is the most suitable strategy.
In addition, the above findings suggest that the translators of Skyrim and Wild Hunt knew
how constructed language texts were displayed in both games. In other words, the translators
likely had access to the games during the translation process. This echoes previous studies’ call
on giving translators access to games, so that they can formulate translation strategies (Chandler
& Deming, 2012, pp. 109, 112; Dietz, 2007, p. 2). However, this cannot be confirmed because
this study does not include interviews of translators or language service providers. It is therefore
recommended that future studies interview the above personnel.
4.6
Summary
This chapter has attempted to answer the research question by analyzing the translation
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strategies that were used on constructed language assets in Skyrim and Wild Hunt. Section 4.1
showed that transliteration and retention unmarked accounted for more than 90% of all
translation strategies used in the two games. On the other hand, transcreative strategies only
accounted for 3.28%. Section 4.2 showed that the use of transcreative strategies could be limited
due to time constraints; and that the strategies may be used to represent game characters’ ability
to understand constructed languages. Section 4.3 showed that transliteration and retention
unmarked were likely used to show players how to pronounce words in constructed languages.
Section 4.4 showed that the two strategies were used to retain the uncertainty originally created
by constructed language texts. Section 4.5 demonstrated that retention unmarked was used due
to the ways in which texts were displayed in the two games.
Based on the above, it can be observed that transcreative strategies were only used in
very specific circumstances; and that most of the time transliteration and retention unmarked
were used to translate constructed language texts. In addition, Section 4.2.2 showed that the use
of transcreative strategies could change the immersion components created by game assets and
thus change the overall gameplay experience. All of the above suggests that transcreative
strategies are limited in translating constructed languages in video games while retaining the
original gameplay experience.
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Conclusion
The research question of this study is “Can transcreative strategies be used to translate
constructed language texts in video games while retaining the original gameplay experience?”
By examining the translation of constructed language texts that mostly appear in battles and
conversations between game characters in Skyrim and Wild Hunt, the study found that only two
types of transcreative strategies were used, with 33 instances accounting for 3.28% of all
translation strategies. The two strategies were contextualization by addition, which was used in
Wild Hunt to add language names to constructed language texts after translation, and the
deliberate use of regional expressions in traditional Chinese to replace constructed language texts
in both games. Both strategies were used on constructed language texts that appear in
conversations between players and non-player characters. The low instances suggest that
transcreative strategies have a limited applicability in translating constructed language texts in
video games. This may be explained by using the notion of risk-management in Translation
Studies (Pym, 2005). According to Pym, risk is “the probability of an undesirable outcome” and
translators tend to avoid risks at work (pp. 4-5). When translating constructed language texts in
games, using transcreative strategies may increase the risk of working longer hours, because
translators have to spend time checking the constraints that may eliminate the effects of
transcreative strategies, such as code-like characters that hide texts. As such, translators tend to
use the more common strategies, such as transliteration and retention unmarked, to translate
constructed language texts, unless there is a high-risk translation problem that requires
transcreation. For instance, jokes, puns, humor, and space limitations in role-playing games are
more likely to require transcreation as they could lead to undesirable outcomes if handled
carelessly (O’Hagan, 2009, 154; van Oers, 2014, p. 146-147).
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In addition to translating constructed language texts, the study also found that
transcreative strategies have a limited applicability in retaining Wild Hunt’s original gameplay
experience. In the 31 instances where the contextualization strategy was used, all implicit
information components were made explicit. Although this suggests that contextualization
changed Wild Hunt’s original gameplay experience and that transcreative strategies may be
limited in retaining the experience, it also shows that contextualization is a strategy that tends to
make information explicit. In fact, contextualization’s ability to make implicit information
explicit is compatible with the explicitation strategies in Translation Studies. According to
Klaudy (2009), explicitation strategies make “explicit in the target text information that is
implicit in the source text” (p. 104). While there are many explicitation strategies and concepts
of explicitness and implicitness (e.g., Murtisari, 2016, pp. 65-69; Tang, 2018, p. 35), the one that
best describes the contextualization strategy appears to be pragmatic explicitation that uses
classifiers. Pragmatic explicitation explains something in the source language culture to
members of the target language culture, who may not know due to cultural differences (Klaudy,
2009, pp. 106-107). Classifier, on the other hand, refers to a particular subclass used to describe
something (Tang, 2018, p. 35). In Wild Hunt, the contextualization strategy was used to specify
the names of constructed languages and add them to translated constructed language texts. The
added language names are classifiers for the translated texts. This way of translating constructed
language texts can be seen as a pragmatic explicitation strategy implemented especially for those
who play under simplified and traditional Chinese language settings. As Section 4.2.2 mentioned,
the same strategy was not used under other language settings and as such, contextualization could
be a way to help Chinese-speaking players visualize a game world where different languages
mix and mingle. The above suggests that while contextualization limits Wild Hunt’s original
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gameplay experience, from a Translation Studies perspective, the strategy has made translated
texts easier to read. This implies that the translation of in-game texts also follows Klaudy’s (2001)
asymmetry hypothesis, which postulates that when translators have a choice, they prefer to use
strategies that involve explicitation. The contextualization strategy used in Wild Hunt follows
this pattern. It makes explicit what was implicit, making constructed language texts in the
localized game easier to understand.
In this study, the research question was an attempt to explain O’Hagan and Mangiron’s
(2013) recommendation, that “video games must sometimes be transcreated in order to retain
the original affective appeal” (p. 199). Based on the strategies that were used to translate
constructed language texts in Skyrim and Wild Hunt, it appears that transcreative strategies have
a limited applicability in translating constructed language texts while retaining gameplay
experience. The strategies are limited likely because of the risk they entail as well as the
constraints that may increase the risk of using the strategies. For example, game features that
display English letters and numbers in custom fonts are a constraint that increases the risk of
transcreation.
Finally, based on the analysis and discussions, there are a few practical recommendations
on how to render constructed language texts. First, access to the game is strongly recommended,
so that the translator may understand how the game uses and displays constructed language texts
(Chandler & Deming, 2012, pp. 109, 112). For example, in Skyrim and Wild Hunt most
constructed language texts appear in conversations between players and game characters; most
texts appear on the screen only once or within a very short time. Knowing this allows translators
to select the best strategies for translating the texts. Therefore, it is recommended that game
148
developers and publishers provide translators with aceess to the game being localized. Game
developers can also add explanations to strings that contain constructed language texts, giving
translators context and even a translation of the texts. This approach, as explained in Section 3.4,
was adopted by the developers of Skyrim, hence providing more evidence of its effectivenss.
Second, constructed language texts should be analyzed carefully during localization in
order to assess their integration into gameplay and the game plot. Game developers can also help
in this aspect by adding information to text strings. Translators should use caution if constructed
language texts are closely integrated into gameplay or the plot; translation strategies that have
the least impact on plot and gameplay should be prioritized. For example, constructed language
texts were left untranslated in Wild Hunt, in order to hide information that is crucial to the game’s
main quests. However, if constructed language texts are not tied to gameplay or do not affect the
plot, it is recommended to assess the texts and look for ways to translate them. For example, as
mentioned in Section 4.2.2, transcreative strategies may be used to recreate a game character’
ability to understand constructed languages.
Finally, it is not recommended to transcreate constructed language texts that contain
code-like characters, such as numbers, letters, and symbols. This is because these characters may
cause transcreative strategies to become ineffective. Section 4.5 demonstrated that transcreative
strategies had no effect on the translated texts if the texts were not displayed properly or remained
invisible in the game; thus, it is more efficient to leave the texts unchanged. This in turn shows
the importance of communication between game developers, publishers, language service
providers, and translators. It is recommended that game developers explain how code-like
characters affect constructed language texts to publishers and language service providers, who
149
can then remind translators and help them decide which translation strategy is more applicable.
5.1
Research contributions
The current study has three contributions. First, the study has proposed a way to quantify
immersion in gameplay experience and examine how video game translation strategies affects
immersion. As mentioned in Section 2.1, gameplay experience is a concept widely used to
describe the ideal outcome of video game translation and localization; a game’s gameplay
experience should remain the same after the game is localized. In other words, video game
translation and localization should retain the look and feel of the original game. Nevertheless,
previous studies remained vague about what gameplay experience is. Currently, it appears that
only Purnomo and Untari (n.d.) used Ermi and Mäyrä’s SCI model (2009) to describe the impacts
of translation on gameplay experience. As a result, no studies tested the retention of gameplay
experience after video game localization.
The current study offers additional explanation on gameplay experience, based on Ermi
and Mäyrä’s SCI model. Furthermore, the study also proposes the use of modified SCI model to
quantify immersion, turning this important source of gameplay experience into immersion
components. Another potential contribution is the use of the modified model. The modified
model was used to measure how translation strategies may have affected gameplay experience.
This is significant in that the model allowed the current study to finally measure the retention of
gameplay experience after translation; Section 4.1 found that translation strategies can indeed
keep the total number of a game’s immersion components unchanged. To some degree, this
suggests that translation strategies can indeed keep a game’s gameplay experience unchanged.
Although this is an initial exploration of the potential limitations of transcreative strategies, it is
150
hoped that above method may contribute to the field of video game localization, providing a way
to quantify and measure gameplay experience.
Second, the current study has explored instances where transcreation were used, an area
which was less investigated in previous studies. Previous discussions on transcreation tended to
focus on its process and impact on gameplay experience. For example, O’Hagan (2012) and
O’Hagan and Mangiron (2013) covered how to transcreate in-game texts; and Mangiron and
O’Hagan (2006) and Costales (2012) discussed how transcreative strategies kept the fun of the
original game. By contrast, it appears that only van Oers (2014) chose to analyze how often
transcreative strategies were used. Van Oers’ analysis is significant, in that it focuses on a less
studied aspect of transcreation. This study follows van Oers and has investigated when
transcreative strategies should be used; that is, when high-risk translation problems occur and
may undermine the use of most translation strategies. In conjunction with van Oers, this study
helps expand video game localization and the use of transcreative strategies.
Finally, the current study hopes to help expand the understanding of the translation of
constructed language. Currently, constructed language has become increasingly popular in
literature, film, and video games. However, constructed language has received less attention in
the academia and even less academic attention has been directed to the translation of constructed
languages (e.g., Mäkelä, 2015; Ober, 2017; Hsu, 2008). The current study can potentially
contribute to this area with its findings and discussions related to the translation of constructed
languages in video games. Although the findings need more supporting evidence and research,
they may provide a direction for future studies of constructed languages, as these languages
become more widely studied.
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5.2
Limitations
The current study has several limitations. First, the six transcreative strategies that were
used to analyze the translation of constructed language texts are insufficient, in that none of them
focuses on punctuation marks. It was found that Skyrim had 191 assets that deliberately added
incorrect punctuation marks to the translated constructed language texts. Take asset T65 for
example. As Table 5.2.1 below shows, in the asset’s target text are a few half-width spaces
between the traditional Chinese characters. An examination of the text shows that the spaces are
added in order to separate the characters, which are transliterations of the source text.
Table 5.2.1
Deliberate use of incorrect punctuation marks in Skyrim
Asset number
T65
Asset source text
Nust wo ni qiilaan fen kos duaan.
Asset target text
納斯󠄀特 沃 倪 奇蘭 芬 克斯󠄀 都安。
The 191 assets’ use of half-width spaces is curious because formal traditional Chinese
composition does not use spaces to separate characters or words. Instead, Chinese characters
come one after another and are followed by full-width punctuation marks. This in turn suggests
that the assets’ use of half-width spaces was incorrect. Table 5.2.2 below shows the correct form
of asset T65’s target text:
Table 5.2.2
Correct form of asset T65’s target text
Asset number
T65
Asset source text
Nust wo ni qiilaan fen kos duaan.
Asset target text
納斯󠄀特沃倪奇蘭芬克斯󠄀都安。
Skyrim’s use of half-width spaces to separate characters is reminiscent of the concept of
eye dialect as described in Brett (2009). According to Brett, eye dialect refers to the use of
152
unconventional ways of spelling to represent “variations of pronunciation from the standard in
one language and modifications of the standard orthography of the same” (p. 50). In addition,
Brett found that in translation, eye dialects could be omitted or recreated with a different set of
phonemes. Skyrim’s use of spaces to separate characters appears to be similar to Brett’s finding
of using different phonemes to recreate eye dialect. It is likely that half-width spaces were
deliberately used to separate traditional Chinese characters, which were transliterated from
Dovahzul, in order to visually recreate the original pronunciation of Dovahzul words. Without
the spaces, all of the Chinese characters would be placed together and the player would be unable
to tell if the characters are a long sentence in Dovahzul, or several words. However, because
none of the six transcreative strategies focuses on punctuation marks, Skyrim’s deliberate use of
incorrect punctuation marks was not included in the discussions. This became an apparent
limitation for the study.
The second limitation is that the translators’ decision-making process was not included
in the analysis of the translation of constructed language texts. In Sections 4.2.1 and 4.3, it was
found that it was feasible to transcreate constructed language texts and retain the immersion
created by game assets. Transcreative strategies could achieve results that are similar to those
produced by transliteration and retention unmarked. Take asset T146 for example. As Table 5.2.3
below shows, it was feasible to transcreate the asset’s constructed language text by transliterating
it into both traditional Chinese and the Dovahzul language. This could enhance the text’s
appearance.
153
Table 5.2.3
A comparison of asset T146’s source text after transliteration and transcreation
Asset
number
T146
Asset source text
Asset target text
Transcreation
Krah Diin!
可啦 丁!
Kr4 D3n
可
啦 丁！
Although it was feasible to transcreate constructed language texts, the translators of Skyrim never
did so. Instead, the texts were consistently transliterated into traditional Chinese. Take asset
T146’s target text for example, as shown in Table 5.2.3 above. The analysis was unable to answer
why transcreative strategies were never used on assets like T146. This is because the analysis
only focused on the strategies that were used translate constructed language texts. As a result, it
did not take other factors into consideration, such as the translators’ decision-making process or
the game developers’ requirements. This has limited the scope of the analysis, forcing it to only
focus on the results of video game translation, instead of the whole process.
The third limitation was default strategies. It remains unclear why transliteration and
retention unmarked accounted for over 90% of the strategies that were used for translating
constructed language texts. Given that other strategies could also achieve similar results, such as
retention marked and specification addition, it is likely that transliteration and retention
unmarked were the default strategies in Skyrim and Wild Hunt. The notion of having a default
translation strategy may have limited the use of transcreative strategies. When there is a default
strategy for translating constructed language texts, translators may use it more often because it
helps them maintain consistency and reduce the time spent on looking for a different strategy.
As a result, transcreative strategies may be used less often. Nevertheless, because the current
study did not interview translators, it is limited in verifying the formulation and existence of
154
default strategies, as well as their impact on the use of transcreative strategies.
Finally, the amount of constructed language texts was also a limitation for the study.
Section 3.4 explained that constructed language assets in Skyrim and Wild Hunt accounted for
0.54% and 0.48% of all assets with texts, respectively. This means that the current study has only
analyzed less than 1% of both games’ texts, or less than 16,000 words written in constructed
languages. By contrast, van Oers’ (2014) research materials included more than 20,000 Dutch
words (p. 146). Clearly, the small amount of constructed language texts has become a limitation
for the study. When constructed language texts occupy such a small portion of a game’s texts, it
is difficult to tell how much immersion would be actually affected by the transcreation of texts,
let alone the overall gameplay experience.
5.3
Recommendations
Given the limitations outlined above, the study has three recommendations for future
studies. First, it is recommended that future studies look beyond and expand the existing
definitions of transcreative strategies. In this study, transcreative strategies are defined based on
previous studies of transcreation, as well as whether or not a text is translated; if the text is not
translated, transcreation is not involved. However, this is not always precise, as translators often
have creative ways to deal with texts. For instance, in his study of the translation of the Nadsat
language in the novel A Clockwork Orange (Burgess, 1995), Mäkelä found a strategy that
involves translation and creation: The translator created new Nadsat words for the novel’s
Finnish translation (Mäkelä, 2015, pp. 65-66). This strategy, which Mäkelä referred to as
“spontaneous artificial language creation” (p. 65), is a transcreative strategy to some extent.
However, it is not found in previous studies of transcreation. In light of this, it is recommended
155
that future studies expand the existing definitions of transcreative strategies, so that the strategies
can better describe the translators’ creative ways of translating texts.
The second recommendation is to analyze constructed languages that are central to the
gameplay experience. In this study, the constructed languages being analyzed occupy a very
small percentage of the games’ texts. Less than 1% of Skyrim and Wild Hunt’s texts are written
in the constructed languages. Since constructed language texts are so rare, it is difficult to
determine how would transcreating the texts affect the games’ overall gameplay experience.
Thus, it is recommended that future studies analyze video games that use large amounts of
constructed languages. Take the games Sethian (Duang! Games, 2016), Heaven’s Vault (Inkle,
2019) and Eloquence (Multiverse Narratives, unpublished) for example. All three games contain
constructed languages and invite the player to read and translate texts written in constructed
languages. Thus, there is a significant amount of constructed language texts available for analysis.
In contrast, constructed languages are not the center of Skyrim and Wild Hunt’s gameplay
experience. Table 5.3.1 below lists some of the constructed language texts found in Sethian,
Heaven’s Vault, and Eloquence.
Table 5.3.1
Constructed language texts in Sethian, Heaven’s Vault and Eloquence
Game
Sethian
Heaven’s Vault
Eloquence
Constructed language text
□
—
—
⬠
ur.)pr
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English translation
“What is this place?”
“palace”
“Hello” (literally, “I greet you”)
By analyzing constructed languages in games like the above, it would be easier to see
how transcreative strategies affect the overall gameplay experience. Nevertheless, not all games
display constructed language texts that are editable on a computer. Some games display
constructed language texts from inside a layer of image files and some games simply use images
to represent constructed language texts (Chandler & Deming, 2012, p. 126). For example, in
Skyrim the Dovahzul runes that appear in wall inscriptions are images, not actual texts. It is
recommended that future studies avoid analyzing constructed language texts based on image
files, because technically speaking there is no text available for analysis.
Finally, it is recommended that future studies interview video game translators after
analyzing their translation of constructed language texts. In Chapter 4, analysis results could not
fully explain why some constructed language texts were or were not transcreated. There were
other factors at play, such as the translators’ decisions. While interviewing translators could help
make the study’s investigation more comprehensive, the amount of constructed language texts
to be analyzed was too great to allow time for such interviews. It is therefore recommended that
future studies take this into consideration and interview the translators after analyzing their
translations. For instance, Szurawitzki (2010) and Hsu (2016) interviewed professionals in the
video game localization industry and used interview findings to analyze translation strategies.
Nevertheless, both authors failed to present interview questions based on their interviewees’
translations. This would make it difficult to investigate why some strategies were used and some
were not. Therefore, it is recommended that future studies analyze the translation of constructed
language texts, prepare interview questions based on the results, and then interview the
translators who produced the translations. A string of text from asset W122 may be used as an
example:
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Table 5.3.2
Transcreation of constructed language text in Wild Hunt
Asset
number
W122
Transcreative
strategy
Contextualization by
addition
Source text
N'elaine tedd a'taeghane.
Target text
（精靈語）別再下雨
了。
After analyzing the translation, the following questions may be asked:
1.
Please describe your strategy for translating asset W122’s constructed language text.
2.
Was this the default strategy for translating all constructed language texts in the game?
3.
Were there other factors that influenced your choice of translation strategies, such as the
game developer’s request?
4.
Did you have a dictionary or anything similar to translate the constructed language text? If
so, who provided it?
5.
Why did you add an explanation to the target text and tell the player that the constructed
language being spoken is elven Hen Llinge?
6.
Please look at asset W437 in the table below and compare it with asset W122 from above.
Why did you use different strategies?
Asset
number
W437
Transcreative strategy
Specification addition
Source text
Que suecc's?
Target text
（精靈語）Que suecc's?
The above recommendations can be used as a reference for future studies that aim at
investigating O’Hagan and Mangiron’s (2013) transcreation or looking further into the
translation of constructed languages in video games. In particular, it is recommended that future
158
studies analyze the whole process of translating constructed language texts into traditional
Chinese or other languages and measure its impacts on gameplay experience. To measure
changes in gameplay experience, it is recommended that future studies use or modify the
modified SCI model proposed in Section 3.1, or use completely different tools. The aim is to
further investigate when is the optimal time to apply O’Hagan and Mangiron’s recommendation.
That is, “video games must sometimes be transcreated to retain the same affective appeal of the
original game” (p. 199).
159
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Appendix A: Constructed language assets in Skyrim
Table A1
Constructed language assets in Skyrim
Asset
number
String ID
Source File
T1
0BC3F-sr.str
T2
Ro means "Balance" in the dragon tongue.
07DC4-sr.str Combine it with Fus - "Force" - to focus your
Thu'um more sharply.
T3
0A4FC-sr.ils
T4
0EB0C-sr.ils Lo...Sah!
T5
0E083-sr.ils
Asset source text
Master Einarth will now teach you "Ro," the
second Word in Unrelenting Force.
Fiik…
As part of your initiation, Master Einarth will
allow you to tap into his understanding of
"Ro."
Asset target text
Text type &
Asset type
愛納斯󠄀大師現在要教你「洛」，冷酷之 Oral/dialogic
Subtitling asset
力的第二個符文。
洛其實是龍語中「平衡」的意思。把它
和伏斯󠄀——「威力」——結合在一起，
會使你的吐姆更為精準。
Oral/dialogic
Subtitling asset
啡克……
Oral/dialogic
Subtitling asset
洛…薩！
Oral/dialogic
Subtitling asset
作為你入門的一部分，愛納斯󠄀大師會與 Oral/dialogic
Subtitling asset
你分享他對於「洛」的認知。
178
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
Oral/dialogic
Subtitling asset
T6
056EB-sr.ils
Ro…
洛……
T7
04822-sr.ils
Master Borri will teach you "Wuld," which
means "Whirlwind."
博瑞大師將教會你「勿」，也就是「旋 Oral/0dialogic
Subtitling asset
風」。
T8
12507-sr.ils
Ru...Maar!
魯……瑪！
T9
0B3AC-sr.ils
Approach Master Borri and he will gift you his 到博瑞大師身邊去吧，他會教授你
knowledge of "Wuld."
「戊」的知識。
Oral/dialogic
Subtitling asset
T10
0263E.sr.ils
Wuld…
勿……
Oral/dialogic
Subtitling asset
T11
0214F-sr.ils
Nah…Kest!
吶...凱斯󠄀！
Oral/dialogic
Subtitling asset
Oral/dialogic
Subtitling asset
179
EN immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
ZH-TW immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
T12
0B3AB-sr.ils
Approach Master Borri and he will gift you his 到博瑞大師身邊去吧，他會教授你
knowledge of "Nah."
「吶」的知識。
Oral/dialogic
Subtitling asset
T13
0B3A9-sr.ils
Approach Master Borri and he will gift you his 到博瑞大師身邊去吧，他會教授你「凱
knowledge of "Kest."
斯󠄀」的知識。
Oral/dialogic
Subtitling asset
T14
0D797-sr.ils
Even we who ride the currents of Time cannot
see past Time's end. Wuldsetiid los tahrodiis.
即使我們能駕馭時間洪流，也無法預見
時間的盡頭。伍德斯󠄀迪德 洛斯󠄀 塔羅蒂
斯󠄀。
Oral/dialogic
Subtitling asset
T15
0415D-sr.ils
Ro fus... maybe you only balance the forces that 洛 福斯󠄀……也許你僅僅平衡了加速世界 Oral/dialogic
work to quicken the end of this world.
Subtitling asset
毀滅的力量。
T16
096EE-sr.ils
You will release me - ro laan - if in return I
promise to take you to Skuldafn and stop
helping Alduin?
你放了我 - 洛 蘭恩 - 作為回報，我答應
帶你去斯󠄀庫達芬，並且不再幫助奧杜
因。
Oral/dialogic
Subtitling asset
T17
0D7D6-sr.ils
Use both Fus and Ro. Together, they will make 伏斯󠄀和洛一起用，它們組合在一起會讓
the Shout more powerful.
龍吼更加有力。
Oral/dialogic
Subtitling asset
T18
004D1-sr.str
N4
N4
Functional
In-game texture
embedded words
T19
00511-sr.str
Od
Od
Functional
Asset source text
Asset target text
180
Text type &
Asset type
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Retention
unmarked
Retention
unmarked
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
In-game texture
embedded words
T20
124F1-sr.ils
Haal...Viik!
哈…唯克！
Oral/dialogic
Subtitling asset
T21
113D0-sr.ils
But first... dir ko maar.
但是首先……迪爾 酷 瑪律。
Oral/dialogic
Subtitling asset
T22
00516-sr.str
T3d
T3d
Functional
In-game texture
embedded words
T23
0EC8C-sr.ils
Feim…
費姆……
Oral/dialogic
Subtitling asset
T24
0724F-sr.ils
Feim!
費姆！
Oral/dialogic
Subtitling asset
T25
0EFA5-sr.ils
Will I teach you, Dovahkiin? What Word calls 需要我教你嗎，都瓦克因？哪一系符文
you to deeper understanding? There are three to 能喚起你更深的認同感？有三種可以學
master: Fus, Feim, and Yol.
習：伏斯󠄀，費姆，尤。
Oral/dialogic
Subtitling asset
T26
0F0A8-sr.ils
Which calls to you, Dovahkiin? Fus, Feim, or
Yol?
都瓦克因，你要學什麼？伏斯󠄀、費姆，
還是約？
Oral/dialogic
Subtitling asset
181
EN immersion
components
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
ZH-TW immersion
components
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Translation
strategies
Transliteration
Transliteration
Retention
unmarked
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
Oral/dialogic
Subtitling asset
T27
0E526-sr.ils
Ro...Da!
洛……達！
T28
06C96-sr.ils
Brit grah. I had forgotten what fine sport you
mortals can provide!
布瑞 格拉。我都忘了你們這些凡人能帶 Oral/dialogic
Subtitling asset
來多好的運動！
T29
0051C-sr.str
Klo
Klo
T30
08337-sr.ils
對一條龍來說爭論與戰鬥沒什麼區別。
There is no distinction between debate and
Oral/dialogic
combat to a dragon. Tinvaak los grah. For us it 汀瓦克 洛斯󠄀 格拉。對我們來說，它們是
Subtitling asset
is one and the same.
同一件事。
T31
0AB69-sr.ils
Zu'u ni tahrodiis. It was you that lured me here 祖烏 倪 塔羅蒂斯󠄀。是你誘捕我的……沃
Oral/dialogic
and took me prisoner... vobalaan grahmindol. I
Subtitling asset
巴蘭 格拉明多。我並沒有欺騙過你。
have done nothing to earn your distrust.
T32
00526-sr.str
Hun
T33
0C360-sr.ils
Lot krongrah. You truly have the Voice of a
洛 克隆格拉。你的確擁有都瓦之吼。奧 Oral/dialogic
dovah. Alduin's allies will think twice after this
Subtitling asset
杜因的盟友會在這次勝利後三思的。
victory.
Functional
In-game texture
embedded words
Functional
In-game texture
embedded words
Hun
182
EN immersion
components
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Translation
strategies
Transliteration
Transliteration
Retention
unmarked
Transliteration
Transliteration
Retention
unmarked
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T34
00527-sr.str
K1l
K1l
Functional
In-game texture
embedded words
T35
0052B-sr.str
Z8r
Z8r
Functional
In-game texture
embedded words
T36
045C3-sr.ils
Alduin always was pahlok - arrogant in his
power. Uznahgar paar. He took domination as
his birthright.
奧杜因一直都是帕洛—傲慢。伍茲吶嘎
帕。牠生來即欲稱霸 。
Oral/dialogic
Subtitling asset
T37
05E92-sr.ils
Alok, Vuljotnaak. Tiid boaan.
阿羅，福爵納克。提德博安。
Oral/dialogic
Subtitling asset
T38
065EA-sr.ils
Drem Yol Lok. Greetings, wunduniik. I am
Paarthurnax.
德萊姆 約 洛。你好，翁都尼克。我是帕 Oral/dialogic
Subtitling asset
圖納克斯󠄀。
T39
085AE-sr.ils
Wuld!
勿！
Oral/dialogic
Subtitling asset
T40
028AE-sr.ils
Kaal...Zoor!
卡爾…祖！
Oral/dialogic
Subtitling asset
T41
0F757-sr.ils
Bahloki nahkip sillesejoor. My belly is full of
the souls of your fellow mortals, Dovahkiin.
巴羅基 吶基 希爾斯󠄀月。我肚子裡填滿了 Oral/dialogic
Subtitling asset
凡人的靈魂，都瓦克因。
183
EN immersion
components
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
ZH-TW immersion
components
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Translation
strategies
Retention
unmarked
Retention
unmarked
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T42
04025-sr.ils
Wuld…
唔……
Oral/dialogic
Subtitling asset
T43
12512-sr.ils
Haal!
哈！
Oral/dialogic
Subtitling asset
T44
0052D-sr.str
Fo
Fo
Functional
In-game texture
embedded words
T45
00531-sr.str
D3n
D3n
Functional
In-game texture
embedded words
T46
0710F-sr.ils
Sahloknir, krii daar joorre.
撒洛克尼爾，克理達爾喬睿。
Oral/dialogic
Subtitling asset
T47
00543-sr.ils
Aus
Aus
Functional
In-game texture
embedded words
T48
07D61-sr.ils
Alok, Viinturuth. Tiid boaan.
阿羅，維因圖盧茲。提德博安。
Oral/dialogic
Subtitling asset
184
EN immersion
components
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Explicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
ZH-TW immersion
components
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Explicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Translation
strategies
Transliteration
Transliteration
Retention
unmarked
Retention
unmarked
Transliteration
Retention
unmarked
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
Oral/dialogic
Subtitling asset
T49
0CAFD-sr.ils Fent ni filok.
T50
0CAFE-sr.ils
我只能帶你到這裡。克理夫 沃茨 阿克
This is far as I can take you. Krif voth ahkrin. I
林。我會等待你的歸來，或是奧杜因
will look for your return, or Alduin's.
的。
T51
0EDAD-sr.ils
Evenaar bahlok. There are many hungers it is
better to deny than to feed.
T52
08359-sr.ils
Come, Dovahkiin. Nin Yol. Strike me with the 來吧，都瓦克因。寧 約爾。用你的吐姆 Oral/dialogic
fire of your Thu'um.
Subtitling asset
之火洗禮我吧。
T53
0294A-sr.ils
Dovahkiin, vosaraan! Use Dragonrend before
Alduin consumes you!
T54
07DCA-sr.ils Faaz! Paak! Dinok!
芬特 倪 費洛克。
Oral/dialogic
Subtitling asset
依文那 巴羅。飢餓的人太多了，遺忘他 Oral/dialogic
Subtitling asset
們比餵養他們好。
都瓦克因，沃薩蘭！在奧杜因吞噬你之
前使用龍魂撕裂！
Oral/dialogic
Subtitling asset
法茲！派克！迪諾克！
Oral/dialogic
Subtitling asset
185
EN immersion
components
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character information
Plot construction
Translation
strategies
Transliteration
Transliteration
Transliteration
mistranslation
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T55
0110E-sr.ils
Odahviing will come to your challenge. Boziik. 傲達威英會來挑戰你。波茲。基洛。牠
Krilot. He will not be able to resist your call,
在都瓦之山上是無法拒絕你的召喚
from the Hill of the Dovah itself... he will
的……牠會來的。
come.
Oral/dialogic
Subtitling asset
T56
0F024-sr.ils
Zii...Gron!
資…格隆！
Oral/dialogic
Subtitling asset
T57
025F4-db.ils
Grah...Dun!
格拉……頓！
Oral/dialogic
Subtitling asset
T58
00555-sr.str
Qo
Qo
Functional
In-game texture
embedded words
T59
09864-sr.ils
You have won a mighty victory. Sahrot
krongrah - one that will echo through all the
ages of this world for those who have eyes to
see.
你獲得了一個偉大的勝利。薩羅特 克羅
Oral/dialogic
格拉——那將會在這世界的文明裡永遠
Subtitling asset
流傳下去。
T60
09409-sr.ils
My... eagerness to meet you in battle was my... 我的……渴望與你在戰場相見是我
undoing, Dovahkiin. I salute your, hmm, low
的……失敗原因，都瓦克因。我敬佩
cunning in devising such a grahmindol 你，嗯，想出這麼一個狡猾的計謀。
strategem.
Oral/dialogic
Subtitling asset
T61
09032-sr.ils
Grah!
Oral/dialogic
Subtitling asset
格拉！
186
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
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Translation
strategies
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unmarked
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number
String ID
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Asset target text
Text type &
Asset type
T62
124FF-sr.ils
Zun…
蘇恩……
Oral/dialogic
Subtitling asset
T63
1099B-sr.ils
Pruzah wundunne wah Wuth Gein. I wish the
old one luck in his... quest.
普魯紮 烏獨內 瓦爾 烏斯󠄀 蓋因。希望那
老傢伙一切順利吧。
Oral/dialogic
Subtitling asset
T64
08535-sr.ils
You are bold, wunduniik. You dare enter a
Dovah's home without permission.
你很魯莽，翁都尼克。你膽敢未經允許
進入都瓦的家。
Oral/dialogic
Subtitling asset
T65
109BB-sr.ils
Nust wo ni qiilaan fen kos duaan.
納斯󠄀特 沃 倪 奇蘭 芬 克斯󠄀 都安。
Oral/dialogic
Subtitling asset
T66
109C2-sr.ils
Hin sil fen nahkip bahloki.
辛 斯󠄀爾 芬 納克珀 巴羅克。
Oral/dialogic
Subtitling asset
T67
109C3-sr.ils
Di kiirre fen alok.
迪 克瑞 芬 阿洛克。
Oral/dialogic
Subtitling asset
T68
109C8-sr.ils
Fen du hin sille ko Sovngarde!
芬 都 辛 斯󠄀勒 科 松文迦德！
Oral/dialogic
Subtitling asset
187
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
T69
0055A-sr.str
K1n
K1n
Functional
In-game texture
embedded words
T70
0055C-sr.str
Drem
Drem
Functional
In-game texture
embedded words
T71
089AD-sr.ils
Alok, Nahagliiv. Tiid boaan.
阿羅，納哈格立夫。提德博安。
Oral/dialogic
Subtitling asset
T72
089AB-sr.ils
Vuljotnaak! Ziil gro dovah ulse!
福爵納克！吉爾格洛都瓦烏瑟！
Oral/dialogic
Subtitling asset
T73
089A7-sr.ils
Nahagliiv! Ziil gro dovah ulse!
納哈格立夫！吉爾格洛都瓦烏瑟！
Oral/dialogic
Subtitling asset
T74
089A6-sr.ils
Viinturuth! Ziil gro dovah ulse!
維因圖盧茲！吉爾格洛都瓦烏瑟！
Oral/dialogic
Subtitling asset
T75
119D8-sr.ils
Are you ready to see the world as only a dovah 你準備好從都瓦的角度看這個世界了
can?
嗎？
Asset source text
Asset target text
188
Text type &
Asset type
Oral/dialogic
Subtitling asset
EN immersion
components
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contactless gameplay
Contacting gameplay
ZH-TW immersion
components
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contactless gameplay
Contacting gameplay
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strategies
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unmarked
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那麼。你來到這裡，見我。對於約
爾……凡人……來說不是件容易的事
Oral/dialogic
情。甚至對於一位都瓦 索斯󠄀……龍之血 Subtitling asset
脈……來說也是如此。
T76
0F49C-sr.ils
So. You have made your way here, to me. No
easy task for a joor... mortal. Even for one of
Dovah Sos. Dragonblood.
T77
07389-sr.ils
Ah. I forget. You do not have the dovah speech. 啊。我忘了。你不會都瓦語言。
Oral/dialogic
Subtitling asset
T78
124EE-sr.ils
Zun!
蘇恩！
Oral/dialogic
Subtitling asset
T79
00F34-sr.ils
Vah...Koor!
瓦…庫爾
Oral/dialogic
Subtitling asset
T80
06FA5-sr.ils
Koor...
庫爾…
Oral/dialogic
Subtitling asset
T81
0713F-sr.ils
Meyz mul, Dovahkiin. You have become
strong.
梅 姆，都瓦克因。你變強了。
Oral/dialogic
Subtitling asset
T82
00562-sr.str
M9
M9
Functional
In-game texture
embedded words
189
EN immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
ZH-TW immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Retention
unmarked
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number
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Text type &
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T83
0F659-sr.ils
那就是「尤」的真正含義。蘇列，力
That is the true meaning of "Yol." Suleyk.
量。你和所有的龍一樣都擁有力量。但
Power. You have it, as do all dov. But power is
是不加選擇、不以行動的力量，就是怠
inert without action and choice.
惰。
T84
02A12-sr.ils
A gift, Dovahkiin. Yol. Understand Fire as the
dov do.
送你。都瓦克因。尤。和都瓦一樣了解
火焰。
Oral/dialogic
Subtitling asset
T85
0056A-sr.str
3z
3z
Functional
In-game texture
embedded words
T86
06B2D-sr.ils
A gift, Dovahkiin. Shul. Understand Sun as the 送你，都瓦克因。蘇爾。和都瓦一樣了
dov do.
解太陽。
Oral/dialogic
Subtitling asset
T87
00FC0-db.ils
Ven…
文……
Oral/dialogic
Subtitling asset
T88
00566-sr.str
Gut
Gut
Functional
In-game texture
embedded words
T89
0CF70-sr.ils
牠去英靈殿回復牠的力量，吞噬西列薩
He has travelled to Sovngarde to regain his
尤……死去人類的靈魂。一個牠不願分
strength, devouring the sillesejoor... the souls of
享的特權……
190
Oral/dialogic
Subtitling asset
Oral/dialogic
Subtitling asset
EN immersion
components
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
ZH-TW immersion
components
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Translation
strategies
Transliteration
Transliteration
Retention
unmarked
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Retention
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the mortal dead. A privilege he jealously
guards...
T90
0A4BC-sr.ils
Ruth wah nivahriin joor!
如斯󠄀、破甘、那拉斯󠄀、沃瑞、瓦迥！
Oral/dialogic
Subtitling asset
T91
08341-sr.ils
Joor mey! What are you doing back there?
約爾 梅！你在後面做什麼？
Oral/dialogic
Subtitling asset
T92
081DB-sr.ils
嗯。用你們的語言怎麼描述？都瓦人的
Hmm. How to explain in your tongue? The dov
語言裡有表達這類事物的詞彙而你們的
have words for such things that joorre do not.
語言裡沒有。
Oral/dialogic
Subtitling asset
T93
06AC2-sr.ils
You are no match for me, joor!
你敵不過我的，蟲子！
Oral/dialogic
Subtitling asset
T94
04CCF-sr.ils
Your kind - joorre - mortals - created it as a
weapon against the dov... the dragons.
你的族類……約爾……凡人……把它塑
造成對抗都瓦……龍的武器。
Oral/dialogic
Subtitling asset
T95
109A9-sr.ils
Face me, then! Zu'u Alduin!
面對我！祖烏 奧杜因！
Oral/dialogic
Subtitling asset
T96
109B1-sr.ils
I have already defeated your friends once.
Beyn. I do not fear them.
我曾擊敗過你的朋友。貝印。我不怕他
們。
Oral/dialogic
Subtitling asset
191
EN immersion
components
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
ZH-TW immersion
components
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
Calque
Paraphrase:
sense transfer
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
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Text type &
Asset type
T97
109B7-sr.ils
Dovahkiin, you should not have come here. Nu 都瓦克因，你不該來這的。努 辛 瑟爾
hin sil dii.
迪。
Oral/dialogic
Subtitling asset
T98
0056E-sr.str
Nus
Functional
In-game texture
embedded words
T99
1084D-sr.ils
You are persistent, Dovahkiin. Pruzah ol aar. A 你真固執，都瓦克因。普魯紮 奧爾 亞。 Oral/dialogic
fine slave you would have made.
Subtitling asset
你會是個好奴隸的。
T100
0C4B8-sr.str
As for myself, you've proven your mastery
twice over. Thuri, Dovahkiin. I gladly
acknowledge the power of your Thu'um.
對於我來說，你已經兩次證明了你的才
能。圖維，都瓦克因。我很高興能承認
你那吐姆的力量。
Oral/dialogic
Subtitling asset
T101
00144-db.str
Gol
Gol
Functional
In-game texture
embedded words
T102
09A28-sr.ils
Yes. Vahzah. You speak true, Dovahkiin.
Forgive me.
是的。瓦紮。你說得對，都瓦克因。原
諒我。
Oral/dialogic
Subtitling asset
T103
03244-sr.ils
It has been long since I held tinvaak with a
stranger. I gave in to the temptation to prolong
our speech.
我上次和陌生人進行汀瓦是很久之前的
事了。我屈從於誘惑延長我們這次談
話。
Oral/dialogic
Subtitling asset
Nus
192
EN immersion
components
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Translation
strategies
Transliteration
Retention
unmarked
Transliteration
Transliteration
Retention
unmarked
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T104
041C5-sr.ils
Zah...Frul!
紮…弗魯！
Oral/dialogic
Subtitling asset
T105
00145-db.str
H4
H4
Functional
In-game texture
embedded words
T106
00080-sr.str
Zah!
紮！
Oral/dialogic
Subtitling asset
T107
0CCD4-sr.ils
Hun!
呼！
Oral/dialogic
Subtitling asset
T108
0016E-db.str
Dov
Dov
Functional
In-game texture
embedded words
T109
0EBE1-sr.ils
Kaal!
卡！
Oral/dialogic
Subtitling asset
T110
0078A-db.str
D3v
D3v
Functional
In-game texture
embedded words
193
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Translation
strategies
Transliteration
Retention
unmarked
Transliteration
Transliteration
Retention
unmarked
Transliteration
Retention
unmarked
Asset
number
String ID
Source File
T111
0A1DB-sr.ils
Od - Ah - Viing. "Winged Snow Hunter," as I
read it.
傲-達-威英。「高飛冰雪獵人」，應該
是這意思。
Oral/dialogic
Subtitling asset
T112
065AA-sr.ils
But Odahviing, he is... headstrong? Boziik.
Rash. Even among the dov, he was known for
this.
但是傲達威英，牠是不是……很頑強？
波茲。拉什。即使在都瓦之中，牠也是
以強大著稱的。
Oral/dialogic
Subtitling asset
T113
057D2-sr.ils
Ah...Viing!
阿...維！
Oral/dialogic
Subtitling asset
T114
05637-sr.ils
Now - hear his name. Odahviing. Taste it on the 現在，聽一下牠的名字。傲達威英。傾
wind. Od-ah-viing. Know it in your su'um. Od- 聽一下風中的回聲。傲-達-威英。用你
ah-viing!
的蘇姆來感受。傲-達-威英！
Oral/dialogic
Subtitling asset
T115
0082B-db.str
Q4
Q4
Functional
In-game texture
embedded words
T116
023D7-sr.ils
Zu'u Odahviing. Call me when you have need,
and I will come if I can.
祖．傲達威英。你要是有需要就叫我，
我會盡力趕來的。
Oral/dialogic
Subtitling asset
T117
00CF3-db.str
Sh1n
Sh1n
Functional
In-game texture
embedded words
T118
0EC00-sr.ils
Raan!
啦！
Oral/dialogic
Subtitling asset
Asset source text
Asset target text
194
Text type &
Asset type
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Retention
unmarked
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unmarked
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number
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Source File
Asset source text
Asset target text
Text type &
Asset type
T119
But I believe the Scroll's bond with the Tiid0D0DB-sr.ils Ahraan will allow you a... a seeing, a vision of
the moment of its creation.
但是我相信卷軸與提德-阿蘭的聯繫將使
Oral/dialogic
你獲得……一種視覺，一種感知它創造
Subtitling asset
之初情景的能力。
T120
0CC47-sr.ils
Sovngarde saraan!
松文迦德 薩蘭！
T121
0CB1E-sr.ils
Return it here, to the Tiid-Ahraan. Then... Kelle 帶到這裡……提德·阿蘭……來。然
Oral/dialogic
後……凱勒 沃明多克。事情會如何演變
vomindok. Nothing is certain with such
Subtitling asset
things…
誰也不知…
T122
07FD0-sr.ils
You will see them... wuth fadonne... my friends 你將會看到他們……烏斯󠄀 法多恩……我 Oral/dialogic
- Hakon, Gormlaith, Felldir.
Subtitling asset
的朋友－哈孔、葛拉斯󠄀、費迪爾。
T123
0B077.sr.ils
Saraan uth - I await your command, as
promised. Are you ready to see the world as
only a dovah can?
撒然 烏茲——我在等你的命令，說好
的。你準備好從都瓦的角度看這個世界
了嗎？
Oral/dialogic
Subtitling asset
T124
0ABC1-sr.ils
Mindoraan, pah ok middovahhe lahvraan til. I
surely do not need to warn you that all his
remaining strength is marshalled there.
明多蘭。帕歐卡 米多瓦 拉夫蘭 提爾。
我相信不需要去提醒你，牠剩餘的所有
力量都集中在那。
Oral/dialogic
Subtitling asset
T125
0A1C7-sr.ils
Goraan! I feel younger than I have in many an
age.
戈拉恩！我覺得自己比以前年輕多了。
Oral/dialogic
Subtitling asset
Oral/dialogic
Subtitling asset
195
EN immersion
components
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
ZH-TW immersion
components
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
Ven
Functional
In-game texture
embedded words
It was said to force a dragon to experience the
concept of Mortality. A truly vonmindoraan...
incomprehensible idea to the immortal dov.
據說是強迫一條龍體驗死亡的意象。一
個真正的沃明多蘭……對於不朽的都瓦
來說是不可理解的。
Oral/dialogic
Subtitling asset
079DB-sr.ils
Ahrk fin norok paal graan fod nust hon zindro
zaan, Dovahkiin, fah hin kogaan mu draal!
阿克 芬 諾羅 帕爾 古蘭 佛 努斯󠄀 洪 金德 Oral/dialogic
In-game texture
羅 贊，都瓦克因，法 辛 克甘 姆 德阿爾
embedded words
T129
0D3BF-sr.ils
Strun…
純……
Oral/dialogic
Subtitling asset
T130
096B5-sr.ile
Many of the dovahhe are now scattered across
Keizaal. Without Alduin's lordship, they may
yet bow to the vahzen... rightness of my
Thu'um.
現在很多都瓦都散落在凱紮。沒有奧杜
因的統治，牠們尚未臣服於瓦紮恩……
我的吐姆。
Oral/dialogic
Subtitling asset
T131
01453-sr.ils
Ahraan. You wound me, Dovahkiin. I may not
tell the whole truth, but I am no liar.
阿然。你傷了我，都瓦克因。我可能沒
有說出全部真相，但也絕沒撒謊。
Oral/dialogic
Subtitling asset
T132
00F1A-sr.ils
If you brought that Kel, that Elder Scroll back
here... to the Tiid-Ahraan, the Time-Wound...
如果你帶那個科爾，上古卷軸回到這裡
的話……帶到提得·阿倫，時間傷痕的
話……
Oral/dialogic
Subtitling asset
T133
09C91-sr.ils
Ful, losei Dovahkiin? Zu'u koraav nid nol dov
do hi.
福爾，羅塞都瓦克因？祖烏克拉夫尼德
諾爾多夫多希。
Oral/dialogic
Subtitling asset
T126
00E6A-db.str Ven
T127
07FB6-sr.ils
T128
196
EN immersion
components
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
ZH-TW immersion
components
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Translation
strategies
Retention
unmarked
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T134
0968D-sr.ils
Mu los vomir
姆 羅斯󠄀 沃墨
Oral/dialogic
Subtitling asset
T135
04C73-sr.ils
Mir!
米爾！
Oral/dialogic
Subtitling asset
T136
00C59-sr.ils
Mir...Tah!
米爾…塔！
Oral/dialogic
Subtitling asset
T137
00B04-db.ils
Hail, thuri. Shall we fly together?
吐瑞，你好。我們一起飛翔吧？
Oral/dialogic
Subtitling asset
T138
0CF69-sr.ils
Horvutah med kodaav. Caught like a bear in a
trap...
霍夫塔 麥 克達。像是落入陷阱的熊……
Oral/dialogic
Subtitling asset
T139
Nivahriin joorre! What have you done? What
0ABA5-sr.ils twisted Words have you created?! Tahrodiis
Paarthurnax! My teeth to his neck!
尼瓦林 約銳!！你做了什麼？你創造了什
Oral/dialogic
麼瘋狂的龍語？！塔羅蒂斯󠄀 帕圖納克
Subtitling asset
斯󠄀！我的牙穿透他的頸！
T140
113A1-sr.ils
咳呀！
Hyah!
Oral/dialogic
Subtitling asset
197
EN immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
ZH-TW immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T141
110F2-sr.ils
Yah!
呀！
Oral/dialogic
Subtitling asset
T142
0CC14-sr.ils
Laas!
啦！
Oral/dialogic
Subtitling asset
T143
00541-sr.str
Kr3
Kr3
Functional
In-game texture
embedded words
T144
0053E-sr.str
L1s
L1s
Functional
In-game texture
embedded words
T145
0EBD8-sr.ils
Yah...Nir!
呀…尼爾！
Oral/dialogic
Subtitling asset
T146
0261C-db.ils
Krah Diin!
可啦 丁!
Oral/dialogic
Subtitling asset
198
EN immersion
components
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Translation
strategies
Transliteration
Transliteration
Retention
unmarked
Retention
unmarked
Transliteration
Transliteration
Asset
number
String ID
Source File
T147
0054A-sr.str
Strun
Strun
Functional
In-game texture
embedded words
T148
0053D-sr.str
T4
T4
Functional
In-game texture
embedded words
T149
00533-sr.str
Zun
Zun
Functional
In-game texture
embedded words
T150
0053A-sr.str
V3k
V3k
Functional
In-game texture
embedded words
T151
0053C-sr.str
M7
M7
Functional
In-game texture
embedded words
T152
0C42D-sr.ils
Lun!
侖！
Oral/dialogic
Subtitling asset
T153
00542-sr.str
Lun
Lun
Functional
In-game texture
embedded words
T154
04D42-sr.ils
Bah!
巴！
Oral/dialogic
Subtitling asset
Asset source text
Asset target text
199
Text type &
Asset type
EN immersion
components
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
ZH-TW immersion
components
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Translation
strategies
Retention
unmarked
Retention
unmarked
Retention
unmarked
Retention
unmarked
Retention
unmarked
Transliteration
Retention
unmarked
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T155
05C0B-sr.ils
是，卻也不儘然。維克 納茲 尼 科隆。
Yes and no. Viik nuz ni kron. Alduin was not
奧杜因也沒有真正被擊敗。不然你今天
truly defeated, either. If he was, you would not
也不會來這裡，找尋……擊敗牠的方
be here today, seeking to... defeat him.
法。
T156
0214C-sr.ils
Thu'um wah Thu'um!
吐姆，哇，吐姆！
Oral/dialogic
Subtitling asset
T157
0F915-sr.ils
Krii!
呵哩！
Oral/dialogic
Subtitling asset
T158
0BE03-sr.ils
Daar sul thur se Alduin vokrii. Today Alduin's
lordship will be restored.
達爾 蘇 瑟爾 賽 奧杜因 沃基。今天奧
杜因的統治將會重現。
Oral/dialogic
Subtitling asset
T159
00CDC-sr.ils
Arngeir. Rok los Dovahkiin, Strundu'ul. Rok
fen tinvaak Paarthurnax.
艾恩蓋爾。雷克洛斯󠄀都瓦克因，斯󠄀圖杜
烏爾。雷克芬霆瓦阿克帕圖納克斯󠄀。
Oral/dialogic
Subtitling asset
T160
0EBEF-sr.ils
Lun…
侖……
Oral/dialogic
Subtitling asset
T161
0A06A-sr.ils
Who are you? What brings you to my
strunmah... my mountain?
你是誰？你為何來到我的斯󠄀特倫馬……
我的山脈……？
Oral/dialogic
Subtitling asset
T162
09F84-sr.ils
This is the most sacred mountain in Skyrim.
這是天際省最神聖的山。佐克 雷瓦克 斯󠄀 Oral/dialogic
Zok revak strunmah. The great mountain of the
Subtitling asset
狀馬克。世界上的偉大山脈之一。
world.
200
Oral/dialogic
Subtitling asset
EN immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contactless gameplay
Implicit information
Character identification
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
ZH-TW immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contactless gameplay
Implicit information
Character identification
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T163
0298B-sr.ils
Arngeir. Rek los Dovahkiin, Strundu'ul. Rek
fen tinvaak Paarthurnax.
艾恩蓋爾。雷克洛斯󠄀都瓦克因，斯󠄀圖杜
烏爾。雷克芬霆瓦阿克帕圖納克斯󠄀。
Oral/dialogic
Subtitling asset
T164
0C6D4-sr.ils
Bah...Qo!
巴…科！
Oral/dialogic
Subtitling asset
T165
0844E-sr.ils
Hmm. Yes. They are very protective of me.
Bahlaan fahdonne.
嗯。是的。他們對我的保護意識很強
烈。巴拉恩 法赫杜恩。
Oral/dialogic
Subtitling asset
T166
0EEA4-sr.ils
Qostiid sahlo aak. Just because you can do a
thing, does not always mean you should.
科斯󠄀提德 薩洛 阿克。你有能力做，並不 Oral/dialogic
Subtitling asset
意味著你就應該做。
T167
0793F-sr.ils
True... But qostiid - prophecy - tells what may
be, not what should be.
的確……但是 科斯󠄀提德——預言——只 Oral/dialogic
Subtitling asset
告訴我們可能性，而不是必要性。
T168
0EC01-sr.ils
Tiid!
提德！
Oral/dialogic
Subtitling asset
T169
0D22A-sr.ils
I can be trusted. I know this. But they do not.
Onikaan ni ov dovah. It is always wise to
mistrust a dovah.
我值得信賴。我很清楚。而牠們則不
然。奧尼坎 尼 歐 都瓦克。不相信一名
都瓦是明智之舉。
Oral/dialogic
Subtitling asset
201
EN immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
ZH-TW immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
Oral/dialogic
Subtitling asset
T170
124B9-sr.ils
Slen!
T171
015B6-sr.ils
The Blades are wise not to trust me. Onikaan ni 刀鋒衛士不信任我是明智之選。奧尼坎
ov. I would not trust another dovah.
尼 歐。是我也不會相信另一名都瓦。
T172
0EE85-sr.ils
Aaah... yes! Sossedov los mul. The
啊…是的！索瑟都瓦 洛斯󠄀 目爾。你體內
dragonblood runs strong in you. It is long since
Oral/dialogic
湧動著龍血。我很久沒跟同類如此開心
I had the pleasure of speech with one of my
Subtitling asset
地交談了。
own kind.
T173
12504-sr.ils
Iiz…
利資……
Oral/dialogic
Subtitling asset
T174
00E74-db.str
V6
V6
Functional
In-game texture
embedded words
T175
0FC23-sr.ils
Perhaps now you have some insight into the
也許你已深刻領悟了塑造這維納賽迪埃
forces that shape the vennesetiid... the currents
德的……時間洪流。
of Time.
T176
0C66A-sr.ils
Tiid krent. Time was... shattered here because
of what the ancient Nords did to Alduin.
T177
0A981-sr.ils
Aam? Serve you? ...no. Ni tiid. If and when you 啊？效忠你？……不。尼 提得。如果你 Oral/dialogic
defeat Alduin, I will reconsider.
Subtitling asset
擊敗了奧杜因，我會重新考慮。
斯󠄀侖！
Oral/dialogic
Subtitling asset
Oral/dialogic
Subtitling asset
提得 克倫特。由於古代諾德人對奧杜因 Oral/dialogic
所做的事，在這裡時間是……破碎的。 Subtitling asset
202
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Conacting gameplay
Implicit information
Character identification
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components
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提德……
Oral/dialogic
Subtitling asset
G1r
Functional
In-game texture
embedded words
You have it. The Kel - the Elder Scroll. Tiid
kreh... qalos. Time shudders at its touch.
你拿到它了，克爾－－上古卷軸。提德
克雷……伽羅斯󠄀。時間在它的觸摸下也
會顫抖。
Oral/dialogic
Subtitling asset
Even I cannot see past Time's ending to what
comes next. Niid koraav zeim dinoksetiid. We
must do the best we can with this world.
連我也看不透時空終結以後，將會迎來
些什麼？尼埃德 克拉夫 澤埃姆 蒂諾可
賽迪埃德。我們必須盡力去幫助世界。
Oral/dialogic
Subtitling asset
0FDBD-sr.ils Klo...Ul!
克羅…勿！
Oral/dialogic
Subtitling asset
T183
0F50E-sr.ils
Mey!
梅！
Oral/dialogic
Subtitling asset
T184
12502-sr.ils
Iiz!
利資！
Oral/dialogic
Subtitling asset
Tiid…
T178
03A13-sr.ils
T179
00EDC-db.str G1r
T180
073DA-sr.ils
T181
05F7E-sr.ils
T182
203
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components
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Contacting gameplay
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Contacting gameplay
Implicit information
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String ID
Source File
T185
066EB-sr.ils
Among ourselves, of course. Mu ni meyye.
None were yet ready to openly defy him.
我們之中，當然。姆 尼 梅耶。還沒有一 Oral/dialogic
Subtitling asset
個準備好公開反對牠。
T186
05210-sr.ils
Mey...Gut!
梅…加！
Oral/dialogic
Subtitling asset
T187
10554-sr.ils
Daal...Vus!
達……烏斯󠄀！
Oral/dialogic
Subtitling asset
T188
00023-DG.str D6
D6
Functional
In-game texture
embedded words
T189
06461-sr.ils
Lok…
洛克……
Oral/dialogic
Subtitling asset
T190
0B746-sr.ils
I warned them against such a rash action. Even 我警告他們不要進行這麼一個魯莽的行
Oral/dialogic
動。甚至我都無法預見後果。拉斯󠄀特 泥
I could not foresee its consequences. Nust ni
Subtitling asset
hon. They would not listen.
轟。他們不聽。
T191
00025-DG.str Neh
Asset source text
Asset target text
Text type &
Asset type
Functional
In-game texture
embedded words
Neh
204
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T192
07D7D-sr.ils
It is an... artifact from outside time. It does not
exist, but it has always existed. Rah wahlaan.
They are...hmm... fragments of creation.
它是一個…來自時間之外的神器。它不
Oral/dialogic
存在，但它總是已經存在。拉爾 瓦蘭。
Subtitling asset
它們是……嗯……造物留下的餘料。
T193
0C68C-sr.ils
Dreh ni nahkip. Discipline against the lesser
aids in qahnaar... denial of the greater.
德萊 尼 納吉。對弱者的處罰有助於…… Oral/dialogic
Subtitling asset
對強者的節制。
T194
0E6D4-sr.ils
Tell me. Why do you come here, volaan? Why 告訴我。你為什麼來這裡，沃蘭。為什
do you intrude on my meditation?
麼打擾我冥想。
Oral/dialogic
Subtitling asset
T195
0C4E7-sr.ils
Drem. Patience. I am answering, in my way.
德萊姆。耐心點。我正在以我的方式回
答。
Oral/dialogic
Subtitling asset
T196
078E0-sr.ils
Drem. Patience. There are formalities which
德萊姆。耐心點。在兩個都瓦第一次會
must be observed, at the first meeting of two of
面時，必須遵守禮儀。
the dov.
Oral/dialogic
Subtitling asset
T197
0D37B-sr.ils
The Nords of those days used the Dragonrend
Shout to cripple Alduin. But this was not
enough. Ok mulaag unslaad.
那個時代的諾德人使用「龍魂撕裂」來
Oral/dialogic
遏制奧杜因。但是這是不夠的。歐克 馬
Subtitling asset
拉戈 昂斯󠄀拉得。
T198
012B7-sr.ils
It was the Kel - the Elder Scroll. They used it
to... cast him adrift on the currents of Time.
是柯爾－－上古卷軸。他們用來……把 Oral/dialogic
Subtitling asset
牠放逐在時間的洪流之中。
T199
0006A-DG.str V3r
Asset source text
Asset target text
Text type &
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Functional
In-game texture
embedded words
V3r
205
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components
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components
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String ID
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T200
002FC-DG.str R3
R3
Functional
In-game texture
embedded words
T201
005BB-DG.str Zol
Zol
Functional
In-game texture
embedded words
T202
0B4CF-sr.ils
Slen...Nus!
斯󠄀侖…吶斯󠄀！
Oral/dialogic
Subtitling asset
T203
03DC6-sr.str
Yol.
尤。
Oral/dialogic
Subtitling asset
T204
10551-sr.ils
Nahl…
吶爾……
Oral/dialogic
Subtitling asset
T205
0268F-db.ils
Toor...Shul!
拖…蘇！
Oral/dialogic
Subtitling asset
T206
0C5A6-sr.ils
Ah. I have expected you. Prodah.
啊。我一直在等你。普洛達。
Oral/dialogic
Subtitling asset
206
EN immersion
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components
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Contacting gameplay
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Contacting gameplay
Contactless gameplay
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T207
083F5-sr.ils
You would not come all this way for tinvaak
with an old dovah. No. You seek your weapon
against Alduin.
你千里迢迢來此不會只是為了與一條老
都瓦汀瓦克吧。不。你是來找到對抗奧
杜因的武器。
Oral/dialogic
Subtitling asset
T208
0844D-sr.ils
But I do not know the Thu'um you seek. Krosis. 但我不知道你要找的那個吐姆。克羅西
It cannot be known to me.
斯󠄀。我不可能知道這個。
Oral/dialogic
Subtitling asset
T209
03576-sr.ils
Our hadrimme, our minds cannot even...
comprehend its concepts.
我們的哈德梅，我們的思維……完全無
法領會它的原理。
Oral/dialogic
Subtitling asset
T210
0C5C2-sr.ils
Drem. All in good time. First, a question for
you. Why do you want to learn this Thu'um?
錐姆。別著急。我首先要問你個問題。
為什麼你要學這個吐姆？
Oral/dialogic
Subtitling asset
T211
087C0-sr.ils
Alduin believes that he will prevail, with good
reason. Rok mul.
奧杜因堅信他有足夠的理由獲勝。洛克
目爾。
Oral/dialogic
Subtitling asset
T212
0C5B3-sr.ils
Pruzah. As good a reason as any. There are
many who feel as you do, although not all.
普拉紮。理由很充分。有很多人和你有
同樣感受，儘管不是所有人。
Oral/dialogic
Subtitling asset
T213
0A57F-sr.ils
Perhaps this world is simply the Egg of the next 也許這個世界只是下一個卡帕的起源？
Oral/dialogic
凱恩 沃辛？你會去阻止下個世界的誕生
kalpa? Lein vokiin? Would you stop the next
Subtitling asset
world from being born?
嗎？
T214
0C5BC-sr.ils
Paaz. A fair answer.
Oral/dialogic
Subtitling asset
帕茲。你的回答很有道理。
207
EN immersion
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components
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T215
016D7-sr.ils
But you have indulged my weakness for speech 你聽我說了這麼多，我很滿意。克洛西
long enough. Krosis. Now I will answer your
斯󠄀。現在我將回答你問題。
question.
Oral/dialogic
Subtitling asset
T216
07579-sr.ils
Dah…
達……
Oral/dialogic
Subtitling asset
T217
05A6E-sr.ils
Vahrukt unslaad... perhaps none but me now
remember how he was defeated.
瓦拉科特 昂斯󠄀拉得……或許現在只有我 Oral/dialogic
Subtitling asset
能想起他是怎麼被擊敗的了。
T218
081E9-sr.ils
Not intentionally. Some hoped he would be
gone forever, forever lost. Meyye.
但不是有意為之。有一些人希望他永遠
離開，永遠消失。梅伊。
T219
081E7-sr.ils
我當時就知道了。提德 波 阿瑪拉夫。時
I knew better. Tiid bo amativ. Time flows ever
Oral/dialogic
間之河總是向前流動。總有一天牠會浮
onward. One day he would surface.
Subtitling asset
上水面
T220
02946-sr.ils
Krosis. No. I know little of what has passed
below in the long years I have lived here.
克洛斯󠄀。不。我對山下的事所知不多，
我住在這裡已經很多年了。
Oral/dialogic
Subtitling asset
T221
03D8D-sr.ils
But no, Dovahkiin. Others do not come here to 不是的，都瓦克因。不會有其他人來這
train anymore. Saraan. You are the first in over 裡受訓了。撒然。你是近百年來第一個
a hundred years.
進來的人。
Oral/dialogic
Subtitling asset
208
Oral/dialogic
Subtitling asset
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components
Audiovisual stimuli
Contacting gameplay
Implicit information
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Plot construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Explicit information
Character identification
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ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Explicit information
Character identification
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Contacting gameplay
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strategies
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number
String ID
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EN immersion
components
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Contacting gameplay
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components
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Translation
strategies
T222
0E160-sr.ils
I meditate on the Rotmulaag - the Words of
Power. I counsel in their use. It is enough for
me.
我在冥想力量之語魯姆拉格。我對它們
的使用提出建議。這就足夠了。
T223
03DA8-sr.ils
That is "Fus." Let its meaning fill you. Su'um
ahrk morah. You will push the world harder
than it pushes back.
是「伏斯󠄀」。讓它的奧義填滿你。蘇姆
Oral/dialogic
阿克 莫拉。你要向外界施加比其更強大
Subtitling asset
的力量。
T224
05DC1-sr.ils
I cannot tell you in detail. I never heard it used. 我沒辦法跟你說得很細。我從未聽過有
Kogaan. It was the first Thu'um created solely 人使用它。克甘。第一個由凡人創造的
by mortals.
吐姆。
Oral/dialogic
Subtitling asset
T225
0582B-sr.ils
Vomindok. I do not know. Perhaps in the very 沃多明。我不知道。或許使用它後甚至
doing they erased the knowing of it from Time
刪除了時間本身對它的認知。
itself.
Oral/dialogic
Subtitling asset
T226
09B0D-sr.ils
Yes. There were a few of us that rebelled
against Alduin's thur... his tyranny. We aided
the humans in his overthrow.
是的。我們的一些同伴反抗奧杜因的瑟
爾……反抗他的暴政。我們幫助人類推
翻他。
Oral/dialogic
Subtitling asset
T227
0EAF2-sr.ils
But they did not trust us. Ni ov. Their inner
councils were kept hidden from us.
但是他們不相信我們。你 沃。他們的內 Oral/dialogic
Subtitling asset
部會議對我們完全隔離。
02C02-sr.ils
在他們那個時代，他們個個都是絕頂高
They were mighty, in their day. Even to attempt 手。他們甚至去挑戰巨龍奧杜因……沙
Oral/dialogic
哈洛特 哈尼。諾德人從那個時代以來出
to defeat Alduin... sahrot hunne. The Nords
Subtitling asset
have had many heroes since, but none greater. 過很多偉大的英雄，但是始終沒有一個
人能超過他們。
Audiovisual stimuli
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Transliteration
073D9-sr.ils
There is no question. You are doom-driven.
Kogaan Akatosh. The very bones of the earth
are at your disposal.
Audiovisual stimuli
Contacting gameplay
Implicit information
Character idenfication
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T228
T229
Oral/dialogic
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毫無疑問。你是毀滅驅策者。克甘‧阿卡 Oral/dialogic
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托什。大地之骨任你處置。
209
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004CB-sr.str
Lo
羅
Functional
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embedded words
T231
004CC-sr.str
Sah
沙赫
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T232
004CE-sr.str
Wuld
Wuld
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T233
004D9-sr.str
Kest
Kest
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T234
004DE-sr.str
Gron
Gron
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T235
004AD-sr.str
Fus
Fus
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T236
004B5-sr.str
Ro
Ro
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T237
004BA-sr.str
Yol
Yol
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T238
004E4-sr.str
Ru
Ru
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T239
004F0-sr.str
Su
Su
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T240
004F5-sr.str
Lok
Lok
Functional
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T241
02A65-db.ils
Grah Dun!
葛拉杜恩!
Oral/dialogic
Subtitling asset
T242
018E3-db.ils
Bein Rotmulaagge! What foul Words are these?
貝因 羅特姆拉格！這是什麼邪惡的語
言？
Oral/dialogic
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T243
00B87-db.ils
How can I serve you, thuri?
我要如何服侍你，吐瑞？
Oral/dialogic
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T244
00747-db.ils
Qah!
加!
Oral/dialogic
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T245
008D2-db.ils
Qah Diiv!
加地夫!
Oral/dialogic
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T246
02601-db.ils
Qah Diiv!
卡 迪夫！
Oral/dialogic
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T247
004DD-sr.str
Z3
Z3
Functional
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embedded words
T248
004E0-sr.str
F1s
F1s
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T249
026C7-db.ils
Nah...Kest!
吶……凱斯󠄀！
Oral/dialogic
Subtitling asset
T250
02AB8-db.ils Nah Kest!
納柯斯󠄀!
Oral/dialogic
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T251
004F6-sr.str
V4
Functional
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embedded words
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V4
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T252
0263A-db.ils
Hah Dov!
哈 都夫！
Oral/dialogic
Subtitling asset
T253
004FD-sr.str
J8r
J8r
Functional
In-game texture
embedded words
T254
00509-sr.str
Z4
Z4
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T255
00510-sr.str
Frul
Frul
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T256
005FA-DG.str L4
L4
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T257
00995-DG.str V1z
V1z
FunctionalIn-game
texture embedded
words
T258
1062C-sr.dls
Asset source text
[pagebreak]<p align="center">Songs Of
SkyrimCompiled byGiraud GemaineHistorian
of the Bards CollegeSolitude</p>[pagebreak]<p
align="left"><img
src='img://Textures/Interface/Books/Illuminate
d_Letters/R_letter.png'>agnar the Red is a
traditional song of Whiterun. Despite the grim
final image the song is generally regarded as
light and rollicking and a favorite in inns across
Asset target text
Text type &
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[pagebreak]<p align='center'>
天際省
歌集
獨孤城 詩人學院歷史學家
吉勞德．格瑪尼 編著</p>
Narrative
[pagebreak]<p align='left'><img
In-game texture
src='img://Textures/Interface/Books/Illumi
embedded words
nated_Letters/R_letter.png'>《紅衣拉格
納》是白漫城傳統的歌謠。儘管結局看
起來有些恐怖，但是這首歌謠通常被認
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stimuliContacting
gameplayImplicit
informationWorld
construction
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components
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Contactless gameplay
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Skyrim.</p><p align="center">Ragnar The
RedThere once was a hero named Ragnar the
Red, who came riding to Whiterun from ole
Rorikstead!And the braggart did swagger and
brandish his blade, as he told of bold battles and
gold he had made!But then he went quiet, did
Ragnar the Red, when he met the shieldmaiden
Matilda who said...Oh, you talk and you lie and
you drink all our mead! Now I think it's high
time that you lie down and bleed!And so then
came the clashing and slashing of steel, as the
brave lass Matilda charged in full of zeal!And
the braggart named Ragnar was boastful no
moooooree... when his ugly red head rolled
around on the floor!</p>[pagebreak]<p
align="left">The Dragonborn Comes has been
handed down from generation to generation of
bards. The Dragonborn in Nord culture is the
archetype of what a Nord should be. The song
itself has been used to rally soldiers and to
bring hope.</p><p align="center">The
Dragonborn ComesOur hero, our hero, claims a
warrior's heart.I tell you, I tell you, the
Dragonborn comes.With a Voice wielding
power of the ancient Nord art.Believe, believe,
the Dragonborn comes.It's an end to the evil, of
all Skyrim's foes.Beware, beware, the
Dragonborn comes.For the darkness has passed,
and the legend yet grows.You'll know, You'll
know the Dragonborn's
come.</p>[pagebreak]<p align="left">The Age
of Oppression and The Age of Aggression are
variants of one song. It isn't known which of the
two was written first but the tune, with loyalty
appropriate lyrics, is quite popular on both sides
of the war.</p><p align="center">The Age of
OppressionWe drink to our youth, and to days
come and gone. For the age of oppression is
now nearly done.We'll drive out the Empire
from this land that we own. With our blood and
our steel we will take back our home.All hail to
Asset target text
為是歡快諧趣的，並且在天際省的各家
旅館廣為流傳。</p><p align='center'>
《紅衣拉格納》 曾經有個來自古老的
洛利克鎮的英雄叫紅衣拉格納，他騎著
駿馬來到了白漫城！ 當他講述自己參
加過的著名戰鬥經歷和取得的成就的時
候，他總是揮舞著長劍自吹自擂！ 但
是當他遇見了盾牌女僕瑪提爾達的時
候，他立即閉上了嘴，保持安靜。她
說…… 哦，你這個傢夥撒謊，還喝光
了我們所有的蜂蜜酒！現在正是你受到
懲罰的時候了！ 當勇敢的少女瑪提爾
達提盾上前的時候，隨即傳來了鋼鐵的
叮鐺碰撞聲！ 拉格納再也不能自吹自
擂了……因為他醜陋的紅色頭顱已經滾
落在地！</p>[pagebreak]<p align='left'>
《龍裔歸來》已經在吟遊詩人口中代代
相傳。在諾德文化中，龍裔是諾德人的
原型。這首歌一直被用來鼓舞士氣，帶
給民眾希望。</p><p align='center'>
《龍裔歸來》 我們的英雄，你有一顆
勇士的心臟。 讓我來告訴你，龍裔即
將歸來。 他運用古老諾德文明的力量
宣喻世人。 請一定相信，龍裔即將歸
來。 他蕩滌邪惡，戰勝所有的敵人。
請一定注意，龍裔即將歸來。 黑暗已
經過去，傳奇已經開始。 到那一日，
世人終將知道，龍裔已經歸來。
</p>[pagebreak]<p align='left'> 《壓迫
的年代》和《侵略的年代》是同一首曲
調的不同版本。哪首歌曲最先出現已經
不可考，但這首曲子配以恰當的歌詞在
戰爭雙方中廣為流傳。</p><p
align='center'> 《壓迫的年代》 為青
春乾杯，為昨天和明天乾杯。因為壓迫
的年代已經結束。 我們將把皇帝從我
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Ulfric! You are the High King! In your great
honor we drink and we sing.We're the children
of Skyrim, and we fight all our lives. And when
Sovngarde beckons, every one of us dies!But
this land is ours and we'll see it wiped clean. Of
the scourge that has sullied our hopes and our
dreams.The Age of AggressionWe drink to our
youth, to days come and gone. For the age of
aggression is just about done.We'll drive out the
Stormcloaks and restore what we own. With our
blood and our steel we'll take back our
home.Down with Ulfric the killer of kings. On
the day of your death we'll drink and we'll
sing.We're the children of Skyrim, and we fight
all our lives. And when Sovngarde beckons,
every one of us dies!But this land is ours and
we'll see it wiped clean. Of the scourge that has
sullied our hopes and our
dreams.</p>[pagebreak]<p align="left">The
following is an ancient song we've only recently
been able to translate. Without a tune or a sure
pronunciation the song is lost to time. It's
included here to show the deep history of song
here in Skyrim. The original version...</p><p
align="center">Dovahkiin, Dovahkiin, naal ok
zin los vahriin, wah dein vokul mahfaeraak ahst
vaal! Ahrk fin norok paal graan fod nust hon
zindro zaan, Dovahkiin, fah hin kogaan mu
draal!Huzrah nu, kul do od, wah aan bok
lingrah vod, Aahrk fin tey, boziik fun, do fin
gein!Wo lost fron wah ney dov, ahrk fin reyliik
do jul, voth aan suleyk wah ronit faal
krein!Ahrk fin zul, rok drey kod, nau tol
morokei frod, rul lot Taazokaan motaad voth
kein!Sahrot Thu'um, med aan tuz, vey zeim
hokoron pah, ol fin Dovahkiin komeyt ok
rein!Ahrk fin Kel lost prodah, do ved viing ko
fin krah, tol fod zeymah win kein meyz
fundein!Alduin, feyn do jun, kruziik vokun
staadnau, voth aan bahlok wah diivon fin
lein!Nuz aan sul, fent alok, fod fin vul dovah
們自己的土地上驅逐出去。拿起武器，
用我們鮮血奪回這一切。 烏弗瑞克萬
歲！您是至高王！在您的榮耀之下，我
們會開懷暢飲，放聲歌唱。 我們是天
際子民，我們拼死戰鬥。當英靈殿召喚
的時候，我們每個人都會死！ 但我們
是這片陸地的主人，我們希望一切玷污
我們希望與理想的壓迫將被驅除。
《侵略的年代》 為青春乾杯，為昨天
和明天乾杯。因為侵略的年代已經結
束。 我們將趕走烏弗瑞克恢復我們的
統治。拿起武器，用我們鮮血奪回這一
切。 打倒國王的劊子手烏弗瑞克。在
你死亡的時候，我們開懷暢飲，放聲歌
唱。 我們是天際子民，我們拼死戰
鬥。當英靈殿召喚的時候，我們每個人
都會死！ 但我們是這片陸地的主人，
我們希望一切玷污我們希望與理想的壓
迫將被驅除。</p>[pagebreak]<p
align='left'> 以下是一首最近才翻譯出
來的上古時代歌謠。由於年代久遠，並
沒有一個確定的曲調或是唱法。它被記
錄於此，反映了天際省悠久的歷史。
原始的版本是……</p><p align='center'>
Dovahkiin, Dovahkiin, naal ok zin los
vahriin, wah dein vokul mahfaeraak ahst
vaal! Ahrk fin norok paal graan fod nust
hon zindro zaan, Dovahkiin, fah hin kogaan
mu draal! Huzrah nu, kul do od, wah aan
bok lingrah vod, Aahrk fin tey, boziik fun,
do fin gein! Wo lost fron wah ney dov,
ahrk fin reyliik do jul, voth aan suleyk wah
ronit faal krein! Ahrk fin zul, rok drey
kod, nau tol morokei frod, rul lot
Taazokaan motaad voth kein! Sahrot
Thu'um, med aan tuz, vey zeim hokoron
pah, ol fin Dovahkiin komeyt ok rein!
215
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nok, fen kos nahlot mahfaeraak ahrk ruz!Paaz
Keizaal fen kos stin nol bein Alduin jot,
Dovahkiin kos fin saviik do muz!</p><p
align="left">And the translation...</p><p
align="center">Dragonborn, Dragonborn, by
his honor is sworn, To keep evil forever at
bay!And the fiercest foes rout when they hear
triumph's shout, Dragonborn, for your blessing
we pray!Hearken now, sons of snow, to an age,
long ago, and the tale, boldly told, of the
one!Who was kin to both wyrm, and the races
of man, with a power to rival the sun!And the
Voice, he did wield, on that glorious field,
when great Tamriel shuddered with war!Mighty
Thu'um, like a blade, cut through enemies all,
as the Dragonborn issued his roar!And the
Scrolls have foretold, of black wings in the
cold, that when brothers wage war come
unfurled!Alduin, Bane of Kings, ancient
shadow unbound, with a hunger to swallow the
world!But a day, shall arise, when the dark
dragon's lies, will be silenced forever and
then!Fair Skyrim will be free from foul Alduin's
maw, Dragonborn be the savior of men!</p
T259
106BF-sr.dls
Ahrk fin Kel lost prodah, do ved viing ko
fin krah, tol fod zeymah win kein meyz
fundein! Alduin, feyn do jun, kruziik
vokun staadnau, voth aan bahlok wah
diivon fin lein! Nuz aan sul, fent alok, fod
fin vul dovah nok, fen kos nahlot
mahfaeraak ahrk ruz! Paaz Keizaal fen
kos stin nol bein Alduin jot, Dovahkiin kos
fin saviik do muz!</p><p align='left'> 歌
詞大意是……</p><p align='center'> 以
他的榮耀起誓，龍裔一族，將會永遠以
消滅邪惡為任！ 我們向您祈福，龍裔
一族，即使是兇殘的敵人聽見你勝利的
咆哮也會退縮不前！ 請聽，雪之子的
歷史已經塵封，而龍裔一族的傳說正在
展開！ 他們是龍族和人類的後裔，與
日可爭輝！ 他們發揮力量咆哮於充滿
榮耀的大地之時，強大的泰姆瑞爾也會
在戰爭中顫慄！ 強大的吐姆如劍刃一
般橫掃所有的敵人，因為龍裔已經怒
嚎！ 卷軸已經預示蘇瑞利兄弟發動戰
爭的時候，龍裔就會在冷風中張開黑色
之翼！ 甦醒的上古惡魔，國王的剋星
奧杜因，饑餓地準備吞噬世界！ 但總
有一天邪龍會倒下，世界從此將永遠恢
復安寧！ 美麗的天際省將會從邪惡的
奧杜因口中獲得解救，龍裔一族就是人
類的救世主！</p>
[pagebreak]<p align="center">Songs Of
[pagebreak]<p align='center'>
天際省
SkyrimRevised EditionCompiled byGiraud
歌集 修訂版 獨孤城 詩人學院歷史
GemaineHistorian of the Bards
學家 吉勞德．格瑪尼 編著</p>
CollegeSolitude</p>[pagebreak]<p
[pagebreak]<p align='left'><img
Narrative
align="left"><img
src='img://Textures/Interface/Books/Illumi In-game texture
src='img://Textures/Interface/Books/Illuminate
nated_Letters/R_letter.png'>《紅衣拉格
embedded words
d_Letters/R_letter.png'>agnar the Red is a
traditional song of Whiterun. Despite the grim 納》是白漫城傳統的歌謠。儘管結局看
起來有些恐怖，但是這首歌謠通常被認
final image the song is generally regarded as
light and rollicking and a favorite in inns across 為是歡快諧趣的，並且在天際省的各家
EN immersion
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216
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Skyrim.</p><p align="center">Ragnar The
RedThere once was a hero named Ragnar the
Red, who came riding to Whiterun from ole
Rorikstead!And the braggart did swagger and
brandish his blade, as he told of bold battles and
gold he had made!But then he went quiet, did
Ragnar the Red, when he met the shieldmaiden
Matilda who said...Oh, you talk and you lie and
you drink all our mead! Now I think it's high
time that you lie down and bleed!And so then
came the clashing and slashing of steel, as the
brave lass Matilda charged in full of zeal!And
the braggart named Ragnar was boastful no
moooooree... when his ugly red head rolled
around on the floor!</p>[pagebreak]<p
align="left">The Dragonborn Comes has been
handed down from generation to generation of
bards. The Dragonborn in Nord culture is the
archetype of what a Nord should be. The song
itself has been used to rally soldiers and to
bring hope.</p><p align="center">The
Dragonborn ComesOur hero, our hero, claims a
warrior's heart.I tell you, I tell you, the
Dragonborn comes.With a Voice wielding
power of the ancient Nord art.Believe, believe,
the Dragonborn comes.It's an end to the evil, of
all Skyrim's foes.Beware, beware, the
Dragonborn comes.For the darkness has passed,
and the legend yet grows.You'll know, You'll
know the Dragonborn's
come.</p>[pagebreak]<p align="left">The Age
of Oppression and The Age of Aggression are
variants of one song. It isn't known which of the
two was written first but the tune, with loyalty
appropriate lyrics, is quite popular on both sides
of the war.</p><p align="center">The Age of
OppressionWe drink to our youth, and to days
come and gone. For the age of oppression is
now nearly done.We'll drive out the Empire
from this land that we own. With our blood and
our steel we will take back our home.All hail to
旅館廣為流傳。</p><p align='center'>
《紅衣拉格納》 曾經有一個英雄叫紅
衣拉格納，他騎馬從洛利克鎮來到了白
漫！ 並且他大搖大擺的揮舞著自己的
劍，吹噓他在戰場上是多麼的英勇，號
稱獲得了大量的金幣。 但是當他遇到
人稱盾牌女僕瑪提爾達時，他安靜了下
來。 啊，你欺騙了我們並且喝光了我
們的蜂蜜！現在是時候為你的謊言付出
代價了！ 此刻發生了大規模的暴亂，
勇敢的瑪蒂爾達參與其中。 當拉格納
那醜陋的紅色頭顱滾落下樓梯的時候，
他再也不能吹噓自己的強大了。
</p>[pagebreak]<p align='left'> 《龍裔
歸來》由吟遊詩人一代又一代的傳誦下
來。在北風的文明中龍裔是諾德人的原
型。這首詩歌本身是用來團結士兵並為
他們帶來希望的。</p><p align='center'>
《龍裔歸來》 英雄，英雄，勇者無
懼。 看啊，看啊，龍裔延續。 諾德
技藝，龍吼回歸。 沒錯，沒錯，他是
龍裔。 終結邪惡，敵人的末日。 當
心，當心，龍裔出世。 黑暗消逝，傳
奇之曲正在譜。 你會發現，龍裔已經
立於山巔。</p>[pagebreak]<p
align='left'> 《壓迫的年代》和《侵略
的年代》是同一首曲調的不同版本，我
們不知道哪首歌先被製作出來，但是歌
的曲調，和合適的歌詞讓它們在戰爭雙
方之間非常流行。</p><p align='center'>
《壓迫的年代》 舉杯為了青春，為了
我們的自尊，苦日子一路狂奔。 驅逐
帝國找回自我。用鮮血和盔甲重建國
家。 啊，至高的國王是你！啊，對烏
弗瑞致敬！我們為你的榮耀舉杯歡慶。
我們是天際的子民，一輩子在戰鬥。只
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Ulfric! You are the High King! In your great
honor we drink and we sing.We're the children
of Skyrim, and we fight all our lives. And when
Sovngarde beckons, every one of us dies!But
this land is ours and we'll see it wiped clean. Of
the scourge that has sullied our hopes and our
dreams.The Age of AggressionWe drink to our
youth, to days come and gone. For the age of
aggression is just about done.We'll drive out the
Stormcloaks and restore what we own. With our
blood and our steel we'll take back our
home.Down with Ulfric the killer of kings. On
the day of your death we'll drink and we'll
sing.We're the children of Skyrim, and we fight
all our lives. And when Sovngarde beckons,
every one of us dies!But this land is ours and
we'll see it wiped clean. Of the scourge that has
sullied our hopes and our
dreams.</p>[pagebreak]<p align="left">The
following is an ancient song we've only recently
been able to translate. Without a tune or a sure
pronunciation the song is lost to time. It's
included here to show the deep history of song
here in Skyrim. The original version...</p><p
align="center">Dovahkiin, Dovahkiin, naal ok
zin los vahriin, wah dein vokul mahfaeraak ahst
vaal! Ahrk fin norok paal graan fod nust hon
zindro zaan, Dovahkiin, fah hin kogaan mu
draal!Huzrah nu, kul do od, wah aan bok
lingrah vod, Aahrk fin tey, boziik fun, do fin
gein!Wo lost fron wah ney dov, ahrk fin reyliik
do jul, voth aan suleyk wah ronit faal
krein!Ahrk fin zul, rok drey kod, nau tol
morokei frod, rul lot Taazokaan motaad voth
kein!Sahrot Thu'um, med aan tuz, vey zeim
hokoron pah, ol fin Dovahkiin komeyt ok
rein!Ahrk fin Kel lost prodah, do ved viing ko
fin krah, tol fod zeymah win kein meyz
fundein!Alduin, feyn do jun, kruziik vokun
staadnau, voth aan bahlok wah diivon fin
lein!Nuz aan sul, fent alok, fod fin vul dovah
要松嘉德一招手，我們的命都被收！
這是我們的土地，萬分潔淨！找回希望
與夢想，我們一定。
《侵略的年
代》 舉杯為了青春，為了我們的自
尊，為了侵略年代即將結束而乾杯。
驅逐帝國找回自我。用鮮血和盔甲重建
國家。 啊，至高的國王是你！啊，對
烏弗瑞致敬！我們為你的榮耀舉杯歡
慶。 我們是天際的子民，一輩子在戰
鬥。只要松嘉德一招手，我們的命都被
收！ 這是我們的土地，萬分潔淨！找
回希望與夢想，我們一定。
</p>[pagebreak]<p align='left'> 以下是
我們剛剛才能翻譯的古代歌曲。因為沒
有曲調和確切的發音，這首歌已經失
傳，將這首歌展示出來讓人們瞭解天際
過去的歷史。 原版…</p><p
align='center'> Dovahkiin, Dovahkiin,
naal ok zin los vahriin, wah dein vokul
mahfaeraak ahst vaal! Ahrk fin norok
paal graan fod nust hon zindro zaan,
Dovahkiin, fah hin kogaan mu draal!
Huzrah nu, kul do od, wah aan bok lingrah
vod, Aahrk fin tey, boziik fun, do fin gein!
Wo lost fron wah ney dov, ahrk fin reyliik
do jul, voth aan suleyk wah ronit faal krein!
Ahrk fin zul, rok drey kod, nau tol morokei
frod, rul lot Taazokaan motaad voth kein!
Sahrot Thu'um, med aan tuz, vey zeim
hokoron pah, ol fin Dovahkiin komeyt ok
rein! Ahrk fin Kel lost prodah, do ved
viing ko fin krah, tol fod zeymah win kein
meyz fundein! Alduin, feyn do jun,
kruziik vokun staadnau, voth aan bahlok
wah diivon fin lein! Nuz aan sul, fent
alok, fod fin vul dovah nok, fen kos nahlot
mahfaeraak ahrk ruz! Paaz Keizaal fen
kos stin nol bein Alduin jot, Dovahkiin kos
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nok, fen kos nahlot mahfaeraak ahrk ruz!Paaz
Keizaal fen kos stin nol bein Alduin jot,
Dovahkiin kos fin saviik do muz!</p><p
align="left">And the translation...</p><p
align="center">Dragonborn, Dragonborn, by
his honor is sworn, To keep evil forever at
bay!And the fiercest foes rout when they hear
triumph's shout, Dragonborn, for your blessing
we pray!Hearken now, sons of snow, to an age,
long ago, and the tale, boldly told, of the
one!Who was kin to both wyrm, and the races
of man, with a power to rival the sun!And the
Voice, he did wield, on that glorious field,
when great Tamriel shuddered with war!Mighty
Thu'um, like a blade, cut through enemies all,
as the Dragonborn issued his roar!And the
Scrolls have foretold, of black wings in the
cold, that when brothers wage war come
unfurled!Alduin, Bane of Kings, ancient
shadow unbound, with a hunger to swallow the
world!But a day, shall arise, when the dark
dragon's lies, will be silenced forever and
then!Fair Skyrim will be free from foul Alduin's
maw, Dragonborn be the savior of
men!</p>[pagebreak]<p align="left">Tale of
the tongues is a newer song. One that has come
in to favor since the Dragonborn put down
Alduin. It actually describes the events of the
first battle against the dragons. </p><p
align="center">Tale of the TonguesAlduin's
wings, they did darken the sky. His roar fury's
fire, and his scales sharpened scythes.Men ran
and they cowered, and they fought and they
died. They burned and they bled as they issued
their cries.We need saviors to free us from
Alduin's rage. Heroes on the field of this new
war to wage.And if Alduin wins, man is gone
from this world. Lost in the shadow of the black
wings unfurled.But then came the Tongues on
that terrible day. Steadfast as winter, they
entered the fray.And all heard the music of
fin saviik do muz!</p><p align='left'> 譯
文…</p><p align='center'> 龍裔，龍
裔，以他的榮耀宣誓，讓邪惡永遠無法
現世。 當兇猛的敵人聽到勝利的呼喊
時，他們終將潰敗，龍裔，我們祈求你
的賜福！ 現在傾聽這些吧，雪域之
子，在過去很長的時間內，這都是一段
傳說！ 作為龍族和人族的後代，有強
大的力量與太陽一戰！ 當它發出聲音
時，連在這片榮耀土地戰鬥的偉大的泰
姆瑞爾人都會感到顫抖！ 有威力的吐
姆，就像一把尖刀，摧毀一切敵人，此
時龍裔發出了它的咆哮！ 這些卷軸已
經預言道，冷風中的黑色翼爪的出現，
兄弟間的戰爭便將展開！ 奧杜因，國
王們的痛苦之源，古代之影被召喚了出
來，饑餓著吞噬整個世界！ 但勝利的
日子終將到來，但黑暗之龍倒下的時
候，世界將會永遠回歸平靜！ 美麗的
天際將會從奧杜因的身體中重歸自由，
龍裔將是這個救世主！
</p>[pagebreak]<p align='left'> 《聲的
傳說》是一首較新的歌曲。自從龍裔打
倒奧杜因，這首歌為人民所喜愛。這首
歌描述了與龍之間的第一場戰爭。
</p><p align='center'> 《聲的傳說》
奧杜因的翅膀，它們使天空黑暗。它的
咆哮充滿了怒火，它的鱗片，鋒利無
比。 人們逃跑並且退縮了，他們戰
爭，迎來的只有死亡。他們不停的哭喊
當他們被灼傷或流血時。 我們需要救
世主將我們從奧杜因的憤怒中拯救出
來。戰場中的英雄們，快來開啟這場新
的戰爭。 如果奧杜因勝利了，人類將
不復存在。在黑色翼爪伸展開時永遠處
於黑暗中。 但當那厄運的日子來臨的
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Alduin's doom. The sweet song of Skyrim, skyshattering Thu'um.And so the Tongues freed us
from Alduin's rage. Gave the gift of the Voice,
ushered in a new Age.If Alduin is eternal, then
eternity's done. For his story is over and the
dragons are... gone.</p>
T260
T261
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時候，聲音隨之而來。冬堡的戰士們，
他們加入了戰爭。 所有人都聽到了奧
杜因的末日的旋律。天際那甜美的歌，
天空為吐姆而顫抖。 所以聲音將我們
從奧杜因的憤怒中拯救了出來。作為聲
音的禮物，開啟了新的年代。 如果奧
杜因是永恆的，那麼永恆已經失去了意
義。因為他的故事已經結束，龍族也已
經離開了我們。</p>
Oral/dialogic
Subtitling asset
068A3-sr.ils
Alduin sizaan midroti.
奧杜因 斯󠄀贊 米佐提。
1055B-sr.dls
[pagebreak]<p align="center">Dragon
Language:Myth no MorebyHela ThriceVersed</p>[pagebreak]<p align="left"><img
src='img://Textures/Interface/Books/Illuminate
d_Letters/D_letter.png'>ragon.The very word
conjurs nightmare images of shadowed skies,
hideous roaring, and endless fire. Indeed, the
dragons were terrifying beasts that were once as
numerous as they were deadly.But what most
Nords don't realize is that the dragons were in
fact not simple, mindless beasts. Indeed, they
were a thriving, intelligent culture, one bent on
the elimination or enslavement of any nondragon civilization in the entire world.It
therefore stands to reason that the dragons
would require a way to communicate with one
another. That they would need to speak. And
through much research, scholars have
determined that this is exactly what the dragons
did. For the mighty roars of the beasts, even
when those roars contained fire, or ice, or some
other deadly magic, were actually much more they were words. Words in an ancient, though
decipherable, tongue.Nonsense, you say? Sheer
folly on the part of some overeager academics?
[pagebreak]<p align='center'>
龍語大
揭秘
赫拉．三韻 著</p>
[pagebreak]<p align='left'><img
src='img://Textures/Interface/Books/Illumi
nated_Letters/D_letter.png'>龍。 這個字
的出現通常伴隨著這樣一些聯想：陰霾
的天空，暴躁的咆哮還有無盡的火焰。
的確，龍是恐怖的物種，數量眾多而且
極度危險。 但有一點諾德人無法理
解，龍並不只是簡單而無腦的野獸。事
實上，龍的文化是一種蓬勃發展、充滿 Narrative
智慧的文化，並且致力於在世界上消滅 In-game texture
或奴役其他文明。 按理來說，龍也需 embedded words
要一種方式來互相溝通，即語言。有研
究顯示，龍是這樣溝通的。那些傢夥發
出震耳欲聾的吼聲，甚至充斥著寒流、
火焰或其他致命的魔法，而牠們的語言
也就自然而然的伴隨其中。牠們的語言
雖然十分古老，但仍可以被翻譯為人類
的語言。 你認為我在胡說八道？還是
相信那些被嫉妒左右的所謂專家的意
見？我看那些專家都在胡扯。但後來有
傳聞說，無論是勇往直前的冒險家，還
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I thought precisely the same thing. But then I
started hearing rumors. The odd snippet of a
conversation from some brave explorer or goldcoveting crypt diver. An always, always, it was
the same word repeated:Wall.So I listened
more. I began to arrange the pieces of the
puzzle, and slowly unravel the mystery.Spread
throughout Skyrim, in ancient dungeons, burial
grounds, and other secluded places, there are
walls. Black, ominous walls on which is written
a script so old, so unknown, none who had
encountered it could even begin its
translation.In my heart, I came to know the
truth: this was proof of the ancient dragon
language! For what else could it possibly be? It
only made sense that these walls were
constructed by the ancient Nords, Nords who
had lived in the time of the dragons, and out of
fear or respect, had somehow learned and used
the language of the ancient beasts.But at that
point, all I had was my own gut instinct. What I
needed was proof. Thus began the adventure of
my life. One spanning 17 months and the deaths
of three courageous guides and two sellsword
protectors. But I choose not to dwell on those
grim details, for the end result was so glorious,
it made any hardship worth it.In my travels, I
found many of the ancient walls, and every
suspicision proved true.It did in fact appear as if
the ancient Nords had copied the language of
the dragons of old, for the Characters of that
language very much resemble claw marks, or
scratches. One can almost envision a majestic
dragon using his great, sharp talons to carve the
symbols into the stone itself. And a human
witness - possibly even a thrall or servant learning, observering, so that he too could use
the language for his own ends. For as I
observed the walls I found, I noticed something
peculiar about some of the words. It was as if
they pulsed with a kind of power, an unknown
是貪得無厭的盜墓者，他們的口述中都
存在一個奇怪的語段，其中，一個詞一
遍又一遍被重複著： 壁。 於是我開
始了取證和調查，去研究那神秘的隻言
片語，希望能夠解開其中的奧秘。 無
論在天際省的任何一個角落，這些石壁
的存在都可能被發現，它們可能出現在
古老的地牢、陰森的墓地甚至人跡罕至
的絕地。黑漆漆而又神秘充斥著預兆的
石壁表面存在著一些符文，它們古老而
又神秘，沒有人可以解釋它們的涵義。
我心中突然冒出一個想法：這正是一門
古老的龍語！還有可能是其他的什麼解
釋嗎？唯一的可能就是在那個古老的年
代，與龍同存於世的諾德人建造了這些
石壁。出於畏懼亦或者崇拜，他們學習
了這種古老物種的語言。 但所有提到
的這些都只是我的猜測。我需要證據。
於是，我開始了長達 17 個月求索之路，
其中我的 3 個英勇的嚮導和傭兵都因此
犧牲。但我沒有膽怯，儘管那些歷程恐
怖而又危險，我認為得來的光榮成果讓
這一切都十分有價值。 旅程中，我發
現了許多古老的石壁，所有的猜測都得
到了證實。 大概是諾德人複製了古老
龍的語言，那些字跡的形狀特點像極了
爪子造成的各種抓痕。駐足於前，宛如
見到了巨龍在用牠威猛的而又鋒利的爪
子將符號刻在石頭上。而旁邊不知出於
何種目的窺測的人類，可能是奴隸或者
僕人吧，注視著石頭上的字元，銘記於
心。 當我凝望著剛剛發現的一面石壁
時，我注意到了其中的部分詞語有些怪
異。那些詞語似乎含有某種未知的力
量，以至於在微微顫動著，如果有人能
夠解鎖其中的力量的話，力量肯定會依
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energy that, if unlocked, might be harnessed by
the reader. That sounds like nonsense, I know,
but if you had stood by these walls - seen their
blackness, felt their power - you would
understand that of which I speak.Thankfully,
although entranced, I was able to retain enough
sense to actual transcribe the Characters I saw.
And, in doing so, I began to see patterns in the
language - patterns that allowed me to decipher
what it was I was reading.For example, I
transcribed the following passage:<font
face='$DragonFont'>HET NOK YNGNAVAR
G1F KOD1V WO DR1 Y4 MORON AU
FROD DO KROSIS NUZ SINON S3V DINOK
4RK DUK1N</font>Assigning those
scratchings to actual Tamrielic langauge
Characters, I further translated what I saw into
this:Het nok Yngnavar Gaaf-Kodaav, wo drey
Yah moron au Frod do Krosis, nuz sinon siiv
dinok ahrk dukaan.Which translates into the
Tamrielic as follows:Here lies Yngnavar GhostBear, who did Seek glory on the Battlefield of
Sorrows, but instead found death and
dishonor.Then, in another crypt, I encountered a
wall with this transcription:<font
face='$DragonFont'>HET NOK KOPR1N DO
IGLIF 3Z SOS WO GRIND OK OBL1N NI
KO MOROK2 VUK2N NUZ 4ST MUNAX
H1LVUT DO L3V KRAS1R</font>Which
translates into:Het nok kopraan do Iglif Iiz-Sos,
wo grind ok oblaan ni ko morokei vukein, nuz
ahst munax haalvut do liiv krasaar.Which
ultimately translates into the Tamrielic as:Here
lies the body of Iglif Ice-Blood, who met his
end not in glorious combat, but at the cruel
touch of the withering sickness.And there you
see the pattern. The repeated words "Here lies"
- which could only mean one thing: those walls
marked actual ancient Nord burial grounds.You
can imagine my nearly uncontainable
excitement. It all started to make sense. The
附於他。這聽起來挺玄的，但你面對著
那面石壁，用心去感受它那黑暗的力
量，你就知道我是不是信口開河了。
謝天謝地，雖然這些字元很容易讓人沉
湎其中，我仍能保持足夠的意識來抄寫
我所看到的東西。過程中，我看出了這
些字元的一些特點，我漸漸覺得自己有
資訊能夠翻譯這些資訊了。 舉個例
子，我翻譯了這些字元：<font
face='$DragonFont'>HET NOK
YNGNAVAR G1F KOD1V WO DR1 Y4
MORON AU FROD DO KROSIS NUZ
SINON S3V DINOK 4RK DUK1N</font>
為了進一步將其轉化為泰姆瑞爾的通用
語言，我首先將上述石頭上的爪痕以泰
姆瑞爾語的字元表示出來，即： Het
nok Yngnavar Gaaf-Kodaav, wo drey Yah
moron au Frod do Krosis, nuz sinon siiv
dinok ahrk dukaan. 然後，我們就能以
泰姆瑞爾語來解釋這些字元的含義了：
依格那瓦．鬼熊長眠於此，血戰沙場換
來的不是榮耀，而是死亡和侮辱。 後
來，我在另一個地穴裡，發現了另一個
石壁，並將上面的爪痕翻譯了過來：
<font face='$DragonFont'>HET NOK
KOPR1N DO IGLIF 3Z SOS WO GRIND
OK OBL1N NI KO MOROK2 VUK2N
NUZ 4ST MUNAX H1LVUT DO L3V
KRAS1R</font> 表達為： Het nok
kopraan do Iglif Iiz-Sos, wo grind ok
oblaan ni ko morokei vukein, nuz ahst
munax haalvut do liiv krasaar. 以泰姆瑞
爾語譯作： 依格里夫．冰血長眠於
此，悔恨無法戰死沙場，卻被病魔折
磨。 如你所見，共同的「長眠於此」
這麼一句話說明了一件事情：此地為古
諾德人的墓地。 這一切都有跡可循，
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anicent Nords used the dragon langauge for
these walls for very specific reasons. One of
them was obviously to mark the grave of some
important figure. But what else? Were they all
graves, or did they serve other purposes as
well?I set off to find out, and was well
rewarded for my efforts. Here is what I
discovered.This passage:<font
face='$DragonFont'>HET M4 T4ROD3S
TAF3R SKORJI LUN SINAK WEN KLOV
GOV9 N1L RINIK H4KUN ROK TOG1T W4
G4ROT</font>Translates into this:Het mah
tahrodiis tafiir Skorji Lun-Sinak, wen klov
govey naal rinik hahkun rok togaat wah
gahrot.Which in Tamrielic translates into
this:Here fell the treacherous thief Skorji
Leech-Fingers, whose head was removed by the
very axe he was attempting to steal.So here we
see a wall that marks the spot where some
significant ancient Nord died.This
passage:<font
face='$DragonFont'>QETHSEGOL V4RUKIV
D1NIK F4L3L K3R DO GRAV5N FROD, WO
BOVUL KO M1R NOL KINZON Z4KR3 DO
KRUZ3K HOKORON</font>Translates into
this:Qethsegol vahrukiv daanik Fahliil kiir do
Gravuun Frod, wo bovul ko Maar nol kinzon
zahkrii do kruziik hokoron.Which in Tamrielic
translates into this:This stone commemorates
the doomed elf children of the Autumn Field,
who fled in Terror from the sharp swords of the
ancient enemy.This wall seems to
commemorate some ancient, long-forgotten
event in Tamrielic history. Whether that event
occurred on or near the place where the wall
was erected, we will probably never know.And
finally, this passage:<font
face='$DragonFont'>AESA W4L1N
QETHSEGOL BR3N43 V4RUKT THOHILD
FIN T8R WEN SMOL3N AG FRIN OL S4QO
H2M</font>Which translates into this:Aesa
你可以想像我欣喜若狂的樣子。古諾德
人在這些石壁上使用龍語是有特殊原因
的。其中一種顯然是墓誌銘，但還有
呢？在這些墳墓中，它們究竟是否還有
別的作用？ 在經過一番搜尋之後，我
付出的努力沒有白費。這些就是我所發
現的。 這段話：<font
face='$DragonFont'>HET M4 T4ROD3S
TAF3R SKORJI LUN SINAK WEN
KLOV GOV9 N1L RINIK H4KUN ROK
TOG1T W4 G4ROT</font> 表達為：
Het mah tahrodiis tafiir Skorji Lun-Sinak,
wen klov govey naal rinik hahkun rok
togaat wah gahrot. 以泰姆瑞爾語譯作：
狡猾的賊斯󠄀科傑．水蛭之指斃命於此，
他的腦袋被他想偷的斧頭砍掉。 從這
裡，我們可以看出這塊石壁標記的是這
些古諾德人的死地。 這段話：<font
face='$DragonFont'>QETHSEGOL
V4RUKIV D1NIK F4L3L K3R DO
GRAV5N FROD, WO BOVUL KO M1R
NOL KINZON Z4KR3 DO KRUZ3K
HOKORON</font> 表達為：
Qethsegol vahrukiv daanik Fahliil kiir do
Gravuun Frod, wo bovul ko Maar nol
kinzon zahkrii do kruziik hokoron. 譯作
泰姆瑞爾語： 此石為紀念因對敵人利
劍的恐懼，而在逃難中不幸喪命的秋境
精靈孩子們。 這塊石壁似乎是為紀念
歷史上那些非常古老、被人遺忘的事件
而建立的。無論是事情本身還是所提到
的地點是否就在附近，都無人知曉。
最後還有著一段：<font
face='$DragonFont'>AESA W4L1N
QETHSEGOL BR3N43 V4RUKT
THOHILD FIN T8R WEN SMOL3N AG
FRIN OL S4QO H2M</font> 表達為：
Aesa wahlaan qethsegol briinahii vahrukt,
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wahlaan qethsegol briinahii vahrukt, Thohild
fin Toor, wen smoliin ag frin ol Sahqo
Heim.Which in Tamrielic translates into
this:Aesa raised this stone for her sister,
Thohild the Inferno, whose passion burned hot
as the Red Forge.This wall (and I encountered
quite a few like this) was obviously
commissioned or built by a specific person, to
honor someone important to them. What was
the significance of the location? Was it
important to the person who died? Or is it the
actual location of that person's death? Again,
those answers are probably lost to time, and
will never be know.And so you see, the ancient
dragon language is, indeed, myth no more. It
existed. But better yet, it still exists, and
probably will until the end of time, thanks to the
ancient Nords and their construction of these
many "word walls."But don't take my word for
it. For the walls are there for the discovering, in
Skyrim's dangerous, secret places. They serve
as a bridge between the realm of the ancient
Nords, and our own. The dragons may never
return to our world, but now we can return to
theirs. And someday, someday, we may even
unlock the strange, unknown power hidden in
their words.
Thohild fin Toor, wen smoliin ag frin ol
Sahqo Heim. 譯作泰姆瑞爾語： 艾莎
為自己妹妹索希爾德．地獄火立下此
碑，她的熱情好似紅色熔爐一般火熱。
這塊石壁（我認為它十分與眾不同）很
明顯是被某一個人物所委託或建立，目
的是紀念某個對他們而言重要的人物。
但提到的地方在哪裡呢？是對死去的人
意義重大？還是他在此長眠？我們又一
次走進了死胡同，這些問題的答案早已
隨時間逝去，無跡可尋。 如你所見，
這些古老的龍語並不只存在於神話中，
它們的確存在。更加幸運的是，現在它
們仍被保留著，並可能永遠流傳下去，
這要感謝古諾德人和他們所建立的「符
文之牆」。 不要迷信我的發現。石壁
存在於天際省危險而又神秘的地方。它
們是連接我們和古諾德人生活的橋樑。
龍也許不會再次降臨，但我們卻可以以
此瞭解牠們。 相信總會有一天，我們
能夠以牠們的語言解鎖其中蘊藏的力
量。
Text type &
Asset type
T262
02594-sr.ils
Rinik vazah. An apt phrase. Alduin bovul. One 裡尼克 瓦茲。問得好。奧杜因 布沃。我
Oral/dialogic
響應你召喚的一個理由是我自己想測試
reason I came to your call was to test your
Subtitling asset
Thu'um for myself.
你的吐姆。
T263
00377-sr.ils
Ahrk fin Kel lost prodah, do ved viing ko fin
krah, tol fod zeymah win kein meyz fundein!
阿克 芬 克 洛斯󠄀 帕羅，度 韋德 維 克 芬 Oral/dialogic
Subtitling asset
克卡，托 佛 澤伊 溫 凱恩梅 方戴恩！
00010-up.dls
Only usable during main gameplay. You must
have the shout unlocked to the level you want
to use, and you can say the Shout in English or
in Dragon Language.1. English Language:
僅適用於主要遊玩畫面。你必須解鎖龍
吼才能使用。使用英語或龍語皆可以施
展龍吼。1. 英語：使用時不需按住 RB
按鈕。只需說出名稱，例如：
T264
224
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Contacting gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Visual stimuli
Explicit information
Visual stimuli
Explicit information
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number
T265
String ID
Source File
00013-up.dls
Asset source text
Asset target text
Available without holding RB. Just say the
name. e.g. UNRELENTING FORCE, and the
highest known level of the shout will trigger.2.
Dragon Language: Only available when holding
RB. Note: To use Shouts or Powers while
Kinect is enabled using the controller, press LB
+ RB at same time.Unrelenting Force - "Fus Ro
Dah"Dismaying Shout - "Faas Ru
Maar"Become Ethereal - "Feim Zii
Gron"Whirlwind Sprint - "Wuld Nah
Kest"Elemental Fury - "Su Grah Dun"Clear
Skies - "Lok Vah Koor"Fire Breath - "Yol Toor
Shul"Dragonrend - "Joor Zah Frul"Call of
Valor - "Hun Kaal Zoor"Call Dragon - "Od Ah
Viing" (No 1st or 2nd level variations of this
shout)Animal Allegiance - "Raan Mir
Tah"Aura Whisper - "Laas Yah Nir"Disarm "Zun Haal Viik"Marked For Death - "Krii Lun
Aus"Frost Breath - "Fo Krah Diin"Storm Call "Strun Bah Qo"Kyne’s Peace - "Kaan Drem
Ov"Slow Time - "Tiid Klo Ul"Throw Voice "Zul Mey Gut"Ice Form - "Iiz Slen Nus"
KINECT COMMANDSTurn on Kinect
functionality by going to SETTINGS>GAMEPLAY and check USE KINECT
COMMANDS. Be sure to calibrate your Kinect
sensor for sound first.MAIN
GAMEPLAY"Quick Items" - Opens inventory
menu"Quick Magic" - Opens magic
menu"Quick Skills" - Opens stats menu"Quick
Map" - Opens map menu"Quick Save" - Quicksaves the game"Quick Load" - Quick-loads the
game"New Save" - Saves the game into a new
save slot"Pause Game" - Pauses the
gameCHARACTER MENU"Items" - Opens
inventory menu"Magic" - Opens magic
menu"Skills" - Opens skills menu"Map" Opens map menuFAVORITES MENU"Assign
<hotkey command>" - Sets the selected item to
the spoken hotkey"Health Potion""Magicka
Potion""Stamina
「UNRELENTING FORCE」，即可施展
目前已知最高等級的龍吼。2. 龍語：使
用時需按住 RB 按鈕。提示：當 Kinect
作用時，欲使用控制器施展龍吼或特殊
能力，需同時按住 LB＋RB 按鈕。冷酷
之力 - "Fus Ro Dah"挫志咆哮 - "Faas Ru
Maar"虛體變換 - "Feim Zii Gron"旋風衝
刺 - "Wuld Nah Kest"元素之怒 - "Su Grah
Dun"澄澈天空 - "Lok Vah Koor"烈焰吐息
- "Yol Toor Shul"龍魂撕裂 - "Joor Zah
Frul"勇氣召喚 - "Hun Kaal Zoor"龍之召
喚 - "Od Ah Viing" （使用此龍吼的第一
或第二等級。）動物效忠 - "Raan Mir
Tah"光環低語 - "Laas Yah Nir"繳械武器 "Zun Haal Viik"死亡印記 - "Krii Lun Aus"
寒霜吐息 - "Fo Krah Diin"閃電風暴 "Strun Bah Qo"凱娜的寧靜 - "Kaan Drem
Ov"延緩時間 - "Tiid Klo Ul"輾轉之聲 "Zul Mey Gut"冰之形態 - "Iiz Slen Nus"
Text type &
Asset type
KINECT 指令請前往「設定」->「遊戲
設定」勾選「使用 KINECT 指令」以使
用 Kinect 機能。使用前請先校正
KINECT 感應器偵測語音。主要遊玩畫
面"Quick Items" - 開啟物品欄選單"Quick
Magic" - 開啟法術選單"Quick Skills" - 開
啟技能選單"Quick Map" - 開啟地圖選單
"Quick Save" - 快速儲存遊戲進度"Quick Didactic
Load" - 快速載入遊戲進度"New Save" - Manual
將遊戲進度儲存在新的儲存資料空位
"Pause Game" - 暫停遊戲角色選單"Items"
- 開啟物品欄選單"Magic" - 開啟法術選
單"Skills" - 開啟技能選單"Map" - 開啟地
圖選單偏好項目選單"Assign <hotkey
command>" - 將此快捷鍵指定給選擇的
物品"Health Potion""Magicka
225
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Potion""Poison""Sword""Mace""Axe""Dagger"
"Bow""Shield""Dual Wield Left""Dual Wield
Right""Soul
Trap""Greatsword""Battleaxe""Warhammer""F
ire Spell""Frost Spell""Lightning Spell""Ward
Spell""Ritual Spell""Bound Weapon""Summon
Spell""Armor Spell""Calm Spell""Frenzy
Spell""Healing Spell""Light"HOTKEY
EQUIPPINGOnly usable during main
gameplay"Equip <hotkey command>" - Equips
item in the default hand"Equip Left <hotkey
command>" - Equips item in the Left hand, if
possible."Equip Right <hotkey command>" Equips item in the Right hand, if
possible."Equip Dual <hotkey command>" Equips the item in both hands, if possible.See
above for definition of <hotkey
command>"Equip Sword And Shield" - Equips
the item with the Sword hotkey in the right
hand, and the item with the Shield hotkey in the
left handAlso: "Equip Mace and Shield""Equip
Axe and Shield""Equip Dagger and
Shield""Equip Dual Weapons" - Equips the
item with the DualWieldLeft hotkey in the left
hand, and the item with the DualWieldRight
hotkey in the left hand.FOLLOWER
COMMANDSOnly usable during main
gameplay. Only valid if you have a
follower."Ally Follow" or "Ally Follow Me" Ally follows you as if you told them "Follow
me.""Ally Wait" or "Ally Wait Here" - Ally
stays where they are"Ally Trade" or "Ally
Items" - Opens the Teammate menu"Ally
Open" - Commands the ally to open the
container / door you’re looking at."Ally Stand"
- Commands the ally to stand at the spot you’re
looking at."Ally Retrieve" - Commands the ally
to pick up the item you’re looking at."Ally
Attack" - Commands the ally to attack the NPC
you’re looking at."Ally Interact" or "Ally Use"
- Does a generic Interact command with the
Potion""Stamina
Potion""Poison""Sword""Mace""Axe""Dag
ger""Bow""Shield""Dual Wield Left""Dual
Wield Right""Soul
Trap""Greatsword""Battleaxe""Warhamme
r""Fire Spell""Frost Spell""Lightning
Spell""Ward Spell""Ritual Spell""Bound
Weapon""Summon Spell""Armor
Spell""Calm Spell""Frenzy Spell""Healing
Spell""Light"快捷換裝僅適用於主要遊玩
畫面"Equip <hotkey command>" - 將物品
裝備於預設的手上"Equip Left <hotkey
command>" - 若情況允許，將物品裝備
於左手。"Equip Right <hotkey
command>" - 若情況允許，將物品裝備
於右手。"Equip Dual <hotkey
command>" - 若情況允許，將物品裝備
於雙手。詳請見<快捷鍵指令>說明
"Equip Sword And Shield" - 將指定給
「劍快捷鍵」的物品裝備於右手，並將
指定給「盾牌快捷鍵」的物品裝備於左
手。以下指令規則同上： "Equip Mace
and Shield""Equip Axe and Shield""Equip
Dagger and Shield""Equip Dual Weapons"
- 將指定給「雙持左快捷鍵」的物品裝備
於左手，並將指定給「雙持右快捷鍵」
的物品裝備於右手。追隨者指令僅適用
於主要遊玩畫面。玩者必須要有一名追
隨者。"Ally Follow" 或 "Ally Follow Me"
- 同伴將追隨你，就如同你下達了「跟隨
我」指令。"Ally Wait" 或 "Ally Wait
Here" - 同伴將留在原地"Ally Trade" 或
"Ally Items" - 開啟隊友選單"Ally Open" 命令同伴開啟你檢視的容器／門。"Ally
Stand" - 命令同伴站在你檢視的位置。
"Ally Retrieve" - 命令同伴拾取你檢視的
物品。"Ally Attack" - 命令同伴攻擊你檢
226
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ally. Same as if you entered Command mode
and pressed A. What the ally does is dependent
on what you’re looking atSHOUTSOnly usable
during main gameplay. Unrelenting Force "Fus Ro Dah"Dismaying Shout - "Faas Ru
Maar"Become Ethereal - "Feim Zii
Gron"Whirlwind Sprint - "Wuld Nah
Kest"Elemental Fury - "Su Grah Dun"Clear
Skies - "Lok Vah Koor"Fire Breath - "Yol Toor
Shul"Dragonrend - "Joor Zah Frul"Call of
Valor - "Hun Kaal Zoor"Call Dragon - "Od Ah
Viing" (No 1st or 2nd level variations of this
shout)Animal Allegiance - "Raan Mir
Tah"Aura Whisper - "Laas Yah Nir"Disarm "Zun Haal Viik"Marked For Death - "Krii Lun
Aus"Frost Breath - "Fo Krah Diin"Storm Call "Strun Bah Qo"Kyne’s Peace - "Kaan Drem
Ov"Slow Time - "Tiid Klo Ul"Throw Voice "Zul Mey Gut"Ice Form - "Iiz Slen
Nus"INVENTORY
MENU"Favorites""All""Weapons""Apparel" or
"Armor""Potions""Scrolls""Food""Ingredients"
"Books""Keys""Miscellaneous""Sort By
Name" - Sorts the item list by name, increasing.
If the list is already sorted by name
increasingly, sorts it decreasingly."Sort By
Weight" - Sorts the item list by weight,
decreasing. If the list is already sorted by
weight decreasingly, sorts it increasingly."Sort
By Value" - Sorts the item list by value,
decreasing. If the list is already sorted by value
decreasingly, sorts it increasingly."Close Menu"
- Closes the menuBARTER MENUVendor
categories - Open the item list for the spoken
vendor category"Their Items""Their
Weapons""Their Apparel""Their
Potions""Their Scrolls""Their Food""Their
Ingredients""Their Books""Their Keys""Their
Miscellaneous"Player categories - Opens the
item list for the spoken player category"My
Items" or "All""My Weapons" or
視的非玩家角色。"Ally Interact" 或 "Ally
Use" - 對同伴下達一般互動式指令。等
同於進入指令模式並且按下 A。同伴的
行動取決於玩者檢視的目標。龍吼僅適
用於主要遊玩畫面。 冷酷之力 - "Fus Ro
Dah"挫志咆哮 - "Faas Ru Maar"虛體變換
- "Feim Zii Gron"旋風衝刺 - "Wuld Nah
Kest"元素之怒 - "Su Grah Dun"澄澈天空
- "Lok Vah Koor"烈焰吐息 - "Yol Toor
Shul"龍魂撕裂 - "Joor Zah Frul"勇氣召喚
- "Hun Kaal Zoor"龍之召喚 - "Od Ah
Viing" （使用此龍吼的第一或第二等
級。）動物效忠 - "Raan Mir Tah"光環低
語 - "Laas Yah Nir"繳械武器 - "Zun Haal
Viik"死亡印記 - "Krii Lun Aus"寒霜吐息
- "Fo Krah Diin"閃電風暴 - "Strun Bah
Qo"凱娜的寧靜 - "Kaan Drem Ov"延緩時
間 - "Tiid Klo Ul"輾轉之聲 - "Zul Mey
Gut"冰之形態 - "Iiz Slen Nus"物品欄選單
"Favorites""All""Weapons""Apparel" 或
"Armor""Potions""Scrolls""Food""Ingredie
nts""Books""Keys""Miscellaneous""Sort
By Name" - 按物品名稱首字依升序排
列。若已依升序排列，則改以降序排
列。"Sort By Weight" - 按物品重量依降
序排列。若已依降序排列，則改以升序
排列。"Sort By Value" - 按物品價值依降
序排列。若已依降序排列，則改以升序
排列。"Close Menu" - 關閉選單交易選單
商人選項 - 聲控開啟商人選項的物品清
單"Their Items""Their Weapons""Their
Apparel""Their Potions""Their
Scrolls""Their Food""Their
Ingredients""Their Books""Their
Keys""Their Miscellaneous"玩者選項 - 聲
控開啟玩者選項的物品清單"My Items"
227
Text type &
Asset type
EN immersion
components
ZH-TW immersion
components
Translation
strategies
Asset
number
String ID
Source File
Asset source text
Asset target text
"Weapons""My Apparel" or "Apparel" or
"Armor""My Potions" or "Potions""My Scrolls"
or "Scrolls""My Food" or "Food""My
Ingredients" or "Ingredients""My Books" or
"Books""My Keys" or "Keys""My
Miscellaneous""Sort By Name""Sort By
Value""Sort By Weight""Close
Menu"CONTAINER MENU"Their
Items""Their Weapons""Their Apparel""Their
Potions""Their Scrolls""Their Food""Their
Ingredients""Their Books""Their Keys""Their
Miscellaneous"Player categories - Opens the
item list for the spoken player category"My
Items" or "All""My Weapons" or
"Weapons""My Apparel" or "Apparel" or
"Armor""My Potions" or "Potions""My Scrolls"
or "Scrolls""My Food" or "Food""My
Ingredients" or "Ingredients""My Books" or
"Books""My Keys" or "Keys""My
Miscellaneous""Set Loot Limit <value>" - Sets
the value that the "Loot Items" voice command
should use.<value> can be 0, 5, 10, 25, 50 or
100."Loot Items" - Takes all items from a
container whose value-to-weight ratio is greater
than or equal to the loot limit. If the limit is 0,
only takes weightless items with value, i.e.
gold."Sort By Name""Sort By Value""Sort By
Weight""Close Menu"MAGIC
MENU"Favorites""All""Alteration""Illusion""
Destruction""Conjuration""Restoration""Shouts
""Powers""Active stimuli" or "stimuli"MAP
MENU"<city name>" - Centers the camera on
that city. Following cities (9 hold capitals) are
implemented:"Windhelm""Falkreath""Dawnsta
r""Morthal""Solitude""Markarth""Riften""Whit
erun""Winterhold""Player" or "Where am I" Centers camera on the player."Waypoint" Centers camera on player-set marker, if
available"Quest Marker" or "Quest" - Centers
camera on active quest target. Saying it
multiple times will cycle through
或 "All""My Weapons" 或 "Weapons""My
Apparel" 或 "Apparel" or "Armor""My
Potions" 或 "Potions""My Scrolls" 或
"Scrolls""My Food" 或 "Food""My
Ingredients" 或 "Ingredients""My Books"
或 "Books""My Keys" 或 "Keys""My
Miscellaneous""Sort By Name""Sort By
Value""Sort By Weight""Close Menu"容器
選單"Their Items""Their Weapons""Their
Apparel""Their Potions""Their
Scrolls""Their Food""Their
Ingredients""Their Books""Their
Keys""Their Miscellaneous"玩者選項 - 聲
控開啟玩者選項的物品清單"My Items"
或 "All""My Weapons" 或 "Weapons""My
Apparel" 或 "Apparel" 或 "Armor""My
Potions" 或 "Potions""My Scrolls" 或
"Scrolls""My Food" 或 "Food""My
Ingredients" 或 "Ingredients""My Books"
或 "Books""My Keys" 或 "Keys""My
Miscellaneous""Set Loot Limit <value>" 設定聲控時，「獲取物品」的價值。 <
價值> 可為 0、5、10、25 或 100。"Loot
Items" - 從容器中拾取「價值重量比」大
於或等於獲取物品限制值的。若限制值
為 0，則只會拾取無重量的物品，例
如：金幣。"Sort By Name""Sort By
Value""Sort By Weight""Close Menu"法術
選單
"Favorites""All""Alteration""Illusion""Dest
ruction""Conjuration""Restoration""Shouts
""Powers""Active stimuli" 或 "stimuli"地
圖選單"<city name>" - 將畫面對準該城
市中央。適用於以下城市（九大領地的
首府）：
"Windhelm""Falkreath""Dawnstar""Mortha
l""Solitude""Markarth""Riften""Whiterun"
228
Text type &
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ZH-TW immersion
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strategies
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number
String ID
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Asset source text
Asset target text
targets.STATS MENU"One Handed""Two
Handed""Archery""Block""Smithing""Heavy
Armor""Light
Armor""Pickpocket""Lockpicking""Sneak""Alc
hemy""Speech""Alteration""Conjuration""Dest
ruction""Illusion""Restoration""Enchanting"
"Winterhold""Player" 或 "Where am I" - 將
玩者置於畫面中央。"Waypoint" - 若情況
允許，將玩者標記置於畫面中央。
"Quest Marker" 或 "Quest" - 將進行中任
務目標置於畫面中央。重述指令將變換
目標。技能選單"One Handed""Two
Handed""Archery""Block""Smithing""Hea
vy Armor""Light
Armor""Pickpocket""Lockpicking""Sneak"
"Alchemy""Speech""Alteration""Conjurati
on""Destruction""Illusion""Restoration""E
nchanting"
Text type &
Asset type
T266
00CA0-DG.str G1n
G1n
Functional
In-game texture
embedded words
T267
02077-db.ils
Nahkriin fah zaamhus!
納克林 法 薩姆斯󠄀！
Oral/dialogic
Subtitling asset
T268
01F50-db.ils
Zu'u ni zaamiil. You cannot command me
forever.
祖 尼 薩米里。你不能永遠指揮我。
Oral/dialogic
Subtitling asset
T269
02036-db.ils
Zu'u ni zaamiil, Miraak! I am free from your
service!
祖 尼 薩米爾，秘拉克！我掙脫你的束縛 Oral/dialogic
Subtitling asset
了！
T270
02237-db.ils
Bo pruzaan. Better to fly.
布 布參因。用飛的好。
Oral/dialogic
Subtitling asset
T271
00CF6-DG.str H1s
H1s
Functional
In-game texture
embedded words
229
EN immersion
components
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
ZH-TW immersion
components
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Translation
strategies
Retention
unmarked
Transliteration
Transliteration
Transliteration
Transliteration
Retention
unmarked
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
艾弗吉．安斯󠄀拉德終於來了。那被稱為
「不終之季」的戰爭......永無止境。
Oral/dialogic
Subtitling asset
01C93-DG.str D3l
D3l
Functional
In-game texture
embedded words
T274
01EAF-DG.str Z1m
Z1m
Functional
In-game texture
embedded words
T275
02608-db.ils
Yol…
尤……
Oral/dialogic
Subtitling asset
T276
124B2-sr.ils
Fus!
伏斯󠄀！
Oral/dialogic
Subtitling asset
T277
01FD3-db.ils
Yes, thuri. Wah golt. I will land at once.
是的，吐瑞。瓦 哥特。我會立刻降落。
Oral/dialogic
Subtitling asset
T278
01E65-db.ils
Sahrotaar, ziil los dii du!
薩羅塔，吉爾 羅斯󠄀 帝 都！
Oral/dialogic
Subtitling asset
T272
0F497-sr.ils
T273
Evgir Unslaad has come at last. The "Season
Unending." War... without end.
230
EN immersion
components
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
phyical stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
ZH-TW immersion
components
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
phyical stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Translation
strategies
Transliteration
Retention
unmarked
Retention
unmarked
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T279
01ED8-db.ils Relonikiv, ziil los dii du!
雷隆尼基夫，吉爾 羅斯󠄀 帝 都！
Oral/dialogic
Subtitling asset
T280
01EE8-db.ils
Kruziikrel, ziil los dii du!
克魯齊克，吉爾 羅斯󠄀 帝 都！
Oral/dialogic
Subtitling asset
T281
020F6-db.ils
As you command. Mu daal wah golt.
謹遵號令。姆 達 瓦 哥特。
Oral/dialogic
Subtitling asset
T282
02AE0-db.ils Zii Gron!
西岡!
Oral/dialogic
Subtitling asset
T283
00B03-db.ils
Zu'u fent aam. I am at your command.
祖 芬特 啊。我聽你指揮。
Oral/dialogic
Subtitling asset
T284
0203F-db.ils
Zu'u nis krif tol. It cannot be done.
祖 尼斯󠄀 克理夫 圖。辦不到。
Oral/dialogic
Subtitling asset
231
EN immersion
components
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
World construction
ZH-TW immersion
components
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
World construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
T285
02072-db.ils
At once. Zu'u fen al.
立刻。祖 芬 阿洛。
Oral/dialogic
Subtitling asset
T286
0218F-db.ils
Zu'u nis. I cannot do that.
祖 尼斯󠄀。我無法這樣做。
Oral/dialogic
Subtitling asset
T287
124B3-sr.ils
Ru!
魯！
Oral/dialogic
Subtitling asset
T288
124BA-sr.ils
Toor!
突！
Oral/dialogic
Subtitling asset
T289
124C1-sr.ils
Fus…
伏斯󠄀……
Oral/dialogic
Subtitling asset
T290
124C9-sr.ils
Fo!
弗！
Oral/dialogic
Subtitling asset
T291
124C2-sr.ils
Faas!
法斯󠄀……
Oral/dialogic
Subtitling asset
Asset source text
Asset target text
232
Text type &
Asset type
EN immersion
components
Visual stimuli
Audio stimuli
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
ZH-TW immersion
components
Visual stimuli
Audio stimuli
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
T292
01FC3-db.ils
Wundun oblaan. We have arrived.
翁都 傲布蘭。我們抵達了。
T293
01FDA-db.ils
We are here. Wundun oblaan. How else can I
serve you?
我們到了。翁都 傲布蘭。我接下來要如 Oral/dialogic
Subtitling asset
何服侍你？
T294
01457-db.ils
My thuri Miraak is the only true Dovahkiin.
我的吐瑞，秘拉克，是唯一真正的都瓦
克因。
Oral/dialogic
Subtitling asset
T295
018E2-db.ils
No dovah would stoop to such vile tahrovin.
沒有都瓦會臣服於如此骯髒的塔羅文之
下。
Oral/dialogic
Subtitling asset
T296
018E4-db.ils
You are strong, Dovahkiin. Rinik mul. But not
strong enough.
你很強大，都瓦克因。裡尼克 目爾。但 Oral/dialogic
Subtitling asset
是不夠強大。
T297
01FE3-db.ils
Vobalaam in! Dovahkiin los nu thuri!
沃巴蘭 因！都瓦克因 洛斯󠄀 奴 蘇力！
T298
02114-db.ils
Thu'um se Dovahkiin inhus, Miraak. Hin
suleyksejun oblaan.
吐姆 瑟 都瓦克因 因乎，秘拉克。辛 蘇 Oral/dialogic
Subtitling asset
力克瑟君 傲布蘭。
Asset source text
Asset target text
233
Text type &
Asset type
Oral/dialogic
Subtitling asset
Oral/dialogic
Subtitling asset
EN immersion
components
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
ZH-TW immersion
components
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
T299
01E83-db.ils
T300
02B0C-db.ils Vur!
烏爾!
Oral/dialogic
Subtitling asset
T301
02B4E-db.ils
Vur Shaan!
烏山!
Oral/dialogic
Subtitling asset
T302
01A97-db.ils
Aam uv dir. Those that will not serve Miraak
must die.
啊 烏夫 迪爾。不服從秘拉克必須死。
Oral/dialogic
Subtitling asset
T303
018F2-db.ils
Krin mey. You are a fool to challenge Miraak.
His thu'um is supreme.
克因 梅。挑戰秘拉克是愚蠢的行為。他 Oral/dialogic
Subtitling asset
的吐姆無與倫比。
T304
00A5B-db.ils
Hail, thuri. Your thu'um has the mastery. Climb 吐瑞，你好。我屈服於你的吐姆。爬上
aboard and I will carry you to Miraak.
來，我帶你去找秘拉克。
T305
01E8C-db.ils
I have served you for long enough. Tiidi do
ahmik oblaan.
T306
02A5E-db.ils Toor Shul!
Asset source text
Your thu'um is stronger than Miraak's.
Vobalaan in. I serve you now.
Asset target text
Text type &
Asset type
你的吐姆比秘拉克的強大。沃巴蘭 因。 Oral/dialogic
Subtitling asset
我現在服侍你。
Oral/dialogic
Subtitling asset
我已經侍奉你夠久了。提地 度 阿秘克
傲布蘭。
Oral/dialogic
Subtitling asset
托爾書!
Oral/dialogic
Subtitling asset
234
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contactless gameplay
Contacting gameplay
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contactless gameplay
Contacting gameplay
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
T307
01E6F-db.ils
Miraak has forced me to serve him for too long. 秘拉克強迫我服侍他太久了。納克林 薩
Oral/dialogic
Nahkriin saraan lingrah. Let us destroy him
Subtitling asset
蘭 靈拉。讓我們一起摧毀他。
together.
T308
01F38-db.ils
Ahmik oblaan. My service to you is over.
阿秘克 傲布蘭。我不再侍奉你。
Oral/dialogic
Subtitling asset
T309
018E8-db.ils
Soon Miraak will return to resume his rightful
junaar over Solstheim.
秘拉克很快就會回來，重拾他對索瑟海
姆的約納爾。
Oral/dialogic
Subtitling asset
T310
00E71-db.str
Nos
Nos
Functional
In-game texture
embedded words
T311
00D47-db.ils
Gaar Nos!
加爾諾斯󠄀!
Oral/dialogic
Subtitling asset
T312
02055-db.ils
Mu het. We are here.
姆 海特。我們到了。
Oral/dialogic
Subtitling asset
T313
02151-db.ils
Mu fen krif.
姆 芬 基夫。
Oral/dialogic
Subtitling asset
Asset source text
Asset target text
235
Text type &
Asset type
EN immersion
components
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audio stimuli
Audiovisual stimuli
ZH-TW immersion
components
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audio stimuli
Audiovisual stimuli
Translation
strategies
Transliteration
Transliteration
Transliteration
Retention
unmarked
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
T314
0085D-db.ils
Mul!
姆爾！
Oral/dialogic
Subtitling asset
T315
008CF-db.ils
Mul…
姆爾……
Oral/dialogic
Subtitling asset
T316
025F3-db.ils
Mul…
姆……
Oral/dialogic
Subtitling asset
T317
00783-db.str
Mul
Mul
Functional
In-game texture
embedded words
T318
0214A-db.ils
Krosis, thuri. That is impossible.
克洛斯󠄀，吐瑞。不可能。
Oral/dialogic
Subtitling asset
T319
023A5-db.ils
Maa.....
麻……
Oral/dialogic
Subtitling asset
T320
0224B-db.ils
Yes, thuri.
是的，吐瑞。
Oral/dialogic
Subtitling asset
Asset source text
Asset target text
236
Text type &
Asset type
EN immersion
components
Tactile stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
ZH-TW immersion
components
Tactile stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
Retention
unmarked
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
T321
00F96-db.str
T322
Asset source text
Asset target text
Text type &
Asset type
Mid
Functional
In-game texture
embedded words
02B3D-db.ils Mid…
米德……
Oral/dialogic
Subtitling asset
T323
02C96-db.ils
Mid!
米德！
Oral/dialogic
Subtitling asset
T324
124B6-sr.ils
Yol!
尤！
Oral/dialogic
Subtitling asset
T325
0A057-sr.ils
You did what was necessary. Alduin had flown 你做了你該做的事。奧杜因已經在錯誤
far from the path of right action in his pahlok - 的路途上飛得太遠——牠對自己的力量
the arrogance of his power.
過於自負。
T326
01BD0-sr.ils
Yes. This was ages ago, you understand. There 那是很久前的事了，那時我族人口眾
Oral/dialogic
were more of us then. Before the bruniikke - the 多。直到布魯尼克-阿卡維爾—殺光我的
Subtitling asset
Akaviri - came and killed all my zeymah.
澤瑪。
0A2CE-sr.ils
I do not know how he came to be caught. But
the bronjun... the Jarl... was very proud of his
pet. Paak!
T327
Mid
我不知道牠是怎麼被抓的，但是布榮
瓊……領主對他的寵物非常驕傲。切！
237
Oral/dialogic
Subtitling asset
Oral/dialogic
Subtitling asset
EN immersion
components
Contactless gameplay
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
ZH-TW immersion
components
Contactless gameplay
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Translation
strategies
Retention
unmarked
Transliteration
Transliteration
Transliteration
Omission
Transliteration
TransliterationD
eliberate use of
regional
expressions
Asset
number
String ID
Source File
T328
0FCD7-sr.ils
The hofkahsejun has been known as
Dragonsreach ever since.
霍夫卡瑟瓊因此被又被稱作龍臨堡。
Oral/dialogic
Subtitling asset
T329
0B3E5-sr.ils
Lok!
羅呵！
Oral/dialogic
Subtitling asset
T330
006F7-DG.ils Gaan!
岡……
Oral/dialogic
Subtitling asset
T331
00E72-DG.ils Gaan…
岡……
Oral/dialogic
Subtitling asset
T332
0A7E2-sr.str
D4
Functional
In-game texture
embedded words
T333
Hear now the second word of Soul Tearing:
00B83-DG.ils "Vaaz"- meaning to tear your enemy's soul
from its living vessel.
聽清楚靈魂撕裂的第二個力量之語：
「瓦茲」。將敵人的靈魂從原本活生生
的肉體撕扯出來。
Oral/dialogic
Subtitling asset
T334
01E6A-DG.ils Vaaz...Zol!
瓦茲……佐爾！
Oral/dialogic
Subtitling asset
Asset source text
D4
Asset target text
238
Text type &
Asset type
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Retention
unmarked
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T335
0248D-DG.ils Vaaz!
瓦茲！
Oral/dialogic
Subtitling asset
T336
0EEE4-sr.str
M1r
M1r
Functional
In-game texture
embedded words
T337
00734-sr.ils
Alduin, feyn do jun, kruziik vokun staadnau,
voth aan bahlok wah diivon fin lein!
奧杜因，費 都 瓊，克孜 沃坤 薩塔惱，
沃斯󠄀 安 巴羅 瓦 迪翁 芬 雷恩！
Oral/dialogic
Subtitling asset
T338
0073E-sr.ils
Zok frini grind ko grah drun viiki, Dovahkiin.
左 裡尼 林 克 格拉 如恩 威基，都瓦克
因。
Oral/dialogic
Subtitling asset
T339
007C2-sr.ils
But once Alduin is defeated - then it will be the 但是奧杜因一旦被擊敗，接下來就輪到 Oral/dialogic
Empire's turn. Remember - "Evgir Unslaad."
帝國了。記住，「艾弗吉 安斯󠄀拉德」。 Subtitling asset
T340
00E75-sr.ils
Alduin mahlaan
T341
00F07-sr.ils
But I forget myself. Krosis. So los mid fahdon. 我失態了，克洛西斯󠄀。索 羅斯󠄀 米得 法
爾頓。都瓦很容易陷入憂鬱的陷阱之
Melancholy is an easy trap for a dovah to fall
into.
中。
T342
01306-sr.ils
Happy? No, I am not happy. Zeymahi lost ont
du'ul Bormahu. Alduin was once the crown of
our father Akatosh's creation.
Oral/dialogic
Subtitling asset
奧杜因 馬蘭
Oral/dialogic
Subtitling asset
高興？不，我一點都不高興。澤瑪西 洛
Oral/dialogic
斯󠄀特 奧 杜烏 博瑪胡。奧杜因曾是我們
Subtitling asset
父親手下最優秀的存在。
239
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Translation
strategies
Transliteration
Retention
unmarked
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T343
01416-sr.ils
Dov wahlaan fah rel. We were made to
dominate. The will to power is in our blood.
You feel it in yourself, do you not?
都 瓦拉 法 瑞爾。我們註定要成為主
宰。我們的血液中流淌著對權力的渴
望。你也感覺到了，不是嗎？
Oral/dialogic
Subtitling asset
T344
02EBA-sr.ils
Strun!
純！
Oral/dialogic
Subtitling asset
T345
0182B-sr.ils
Alduin mah nol thur.
奧杜因 瑪 諾爾 蘇利。
Oral/dialogic
Subtitling asset
T346
0199E-sr.ils
Geh, Sahloknir, kaali mir.
嘎，薩洛克尼爾，卡利 米爾。
Oral/dialogic
Subtitling asset
T347
0215C-db.ils
Krosis, the land below us is empty of prey.
克洛斯󠄀。下方沒有獵物。
Oral/dialogic
Subtitling asset
T348
02376-sr.ils
Dovahkiin los ok dovahkriid
都瓦克因 羅斯󠄀 歐克 都瓦克理德
Oral/dialogic
Subtitling asset
T349
024A8-sr.ils
And he is no fool. Ni mey, rinik gut nol. Far
from it. He began as the wisest and most farseeing of us all.
他不是笨蛋。倪 玫，日尼克 古特 諾
爾。而且遠非如此，他是我們中最明智
最有遠見的。
Oral/dialogic
Subtitling asset
240
EN immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T350
024B1-sr.ils
Dir volaan!
德 沃蘭！
Oral/dialogic
Subtitling asset
T351
02031-db.ils
Drem. There is no prey here.
錐姆。這裡沒有獵物。
Oral/dialogic
Subtitling asset
T352
02A98-sr.ils
Perhaps. At least it will continue to exist. Grik
los lein.
也許吧。至少它會繼續存在。格理克 羅 Oral/dialogic
Subtitling asset
斯󠄀 雷恩。
T353
02D40-sr.ils
And, as you told me once, the next world will
have to take care of itself. Ful nii los. Even I
cannot see past Time's ending.
而且，正如你曾說過的那樣，下個時代
Oral/dialogic
的人民只能自求多福了，福爾 尼 羅斯󠄀。
Subtitling asset
連我也看不透時空的終結。
T354
03100-sr.ils
Zok morokei! More souls to feed my master's
hunger.
左 莫洛凱！還要更多的靈魂來填飽我主 Oral/dialogic
Subtitling asset
人的肚子。
T355
031E6-sr.ils
Ni faas, Dovahkiin!
尼 法斯󠄀，都瓦克因！
T356
0348E-sr.ils
Wo lost fron wah ney dov, ahrk fin reyliik do
jul, voth aan suleyk wah ronit faal krein!
沃 洛斯󠄀 榮 瓦 內 都瓦，阿克 芬 銳利 都
Oral/dialogic
瓊，沃斯󠄀 安 蘇萊克 瓦 尼特 法爾 克瑞
Subtitling asset
恩！
T357
03B54-sr.ils
I have tasted the voices of Alduin's allies on the 我感覺到了風中傳來的奧杜因同夥的聲
wind. Pogaan nahlaas, vokrii wah jun.
音。破甘 那拉斯󠄀，沃瑞 瓦 炯。
Oral/dialogic
Subtitling asset
241
Oral/dialogic
Subtitling asset
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character information
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T358
03BF7-sr.ils
That is "Feim." Let that meaning fill you. Su'um 是「費姆」。讓它的奧義填滿你。蘇姆
Oral/dialogic
ahrk morah. You will find that your spirit will 阿克 莫拉。你會發現你的靈魂會給予你
Subtitling asset
give you more strength.
更多的力量。
T359
03F36-sr.ils
Of course. Alduin wahlaan daanii. I would not
have helped you if I thought otherwise.
T360
0402B-sr.ils
But I cannot celebrate his fall. Zu'u tiiraaz ahst 但我無法慶祝牠的死。祖 烏 提艾拉茲
Oral/dialogic
阿斯󠄀 烏克 瑪。好歹牠曾是我的兄弟，一
ok mah. He was my brother once. This world
Subtitling asset
will never be the same.
切都已經變了。
T361
04198-sr.ils
You are brave. Balaan hokoron. Your defeat
brings me honor.
你很勇敢。巴蘭 霍克榮。你的戰敗讓我 Oral/dialogic
Subtitling asset
感到光榮。
T362
043EA-sr.ils
Master Borri will teach you "Nah" - "Fury" the second word of Whirlwind Sprint.
博瑞大師將教會你「吶」 —— 「怒火」 Oral/dialogic
Subtitling asset
—— 旋風衝刺的第二個力量之語。
T363
04425-sr.ils
Zu'u lost ofan hin laan... now that I have
answered your question, you will allow me to
go free?
祖 洛斯󠄀 歐凡 辛 蘭……現在我已經回答
了你的問題，你可以放我走了？
Oral/dialogic
Subtitling asset
T364
04AE0-sr.ils
Kren sosaal!
克倫 索薩！
Oral/dialogic
Subtitling asset
T365
04C60-sr.ils
Boziik, Dovahkiin. Nuz mey.
波茲，都瓦克因。怒 梅。
Oral/dialogic
Subtitling asset
確實。奧杜因瓦藍 達尼埃。要非我想法 Oral/dialogic
Subtitling asset
跟你一致，我不會幫你的。
242
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character information
Plot construction
Audiovisual stimuli
Contacting gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T366
04C63-sr.ils
Het siiv nunon dinok.
海特 西弗 儂昂 迪諾。
Oral/dialogic
Subtitling asset
T367
04C66-sr.ils
Alduin saraan hin sil ko Sovngarde!
奧杜因 薩蘭 辛 希爾 科 松文迦德！
Oral/dialogic
Subtitling asset
T368
04CBA-sr.ils
Ponder the meaning of spirit. Unslaad zii.
Where mortal flesh may wither and die, the
spirit endures.
思考一下靈魂的含義。安斯󠄀拉 茲。在凡 Oral/dialogic
人血肉枯萎和死去的地方，靈魂永存。 Subtitling asset
T369
04D3F-sr.ils
Hin laas los dii.
辛 拉斯󠄀 羅斯󠄀 帝。
Oral/dialogic
Subtitling asset
T370
04F1A-sr.ils
Ni liivrah hin moro. True, this is not the final
krongrah - victory. But not even the heroes of
old were able to defeat Alduin in open battle.
尼 力夫拉 辛 摩羅。的確是，這還不是
最終克隆格拉—勝利。但即使是上古的
戰士也無法正面擊敗奧杜因。
Oral/dialogic
Subtitling asset
T371
10528-sr.ils
Zu'u ni faas gaaffesejul.
祖烏 倪 法斯󠄀 加法瑟鳩。
Oral/dialogic
Subtitling asset
T372
05448-sr.ils
Dovahkiin zol mul. Zu'u gahvon miri Alduin.
都瓦克因 佐爾 目爾。祖烏 加萬 米裡 奧 Oral/dialogic
Subtitling asset
杜因。
243
EN immersion
components
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
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World construction
Audiovisual stimuli
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Contactless gameplay
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Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
ZH-TW immersion
components
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
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Transliteration
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Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T373
05717-sr.ils
No day goes by where I am not tempted to
return to my inborn nature. Zin krif horvut se
suleyk.
我無時無刻不經受著回歸本性的誘惑。
辛 克理夫 赫瓦特 西 蘇雷克。
Oral/dialogic
Subtitling asset
T374
05E51-sr.ils
Do vah kiin!
都 瓦 克因！
Oral/dialogic
Subtitling asset
T375
0967F-sr.ils
Thu'umii los nahlot
吐姆伊 羅斯󠄀 納洛特
Oral/dialogic
Subtitling asset
T376
05FCA-sr.ils
Alduin, thuri!
奧杜因， 蘇瑞！
Oral/dialogic
Subtitling asset
T377
065A5-sr.ils
Ah, I forget how little you know of the dov. Our 啊，我忘記你不大瞭解都瓦了。我們的
names are always made up of three Rotmulaag - 名字一向是由 3 個魯姆拉格 - 也就是力
Words of Power.
量之語，組成的。
Oral/dialogic
Subtitling asset
T378
068E1-sr.ils
Amativ! Mu bo kotin stinselok.
亞瑪提夫！目 博 克汀 斯󠄀汀瑟洛克。
Oral/dialogic
Subtitling asset
T379
06A2B-sr.ils
Bahloki nahkip sillesejoor.
巴邏輯 納吉普 西列薩尤。
Oral/dialogic
Subtitling asset
T380
109B8-sr.ils
Zu'u lost kriaan hi ont, nu hin sille fen nahkip
suleyki.
祖烏 洛斯󠄀特 克然 呵 恩特，努 辛 斯󠄀勒
芬 納克珀 蘇雷克。
Oral/dialogic
Subtitling asset
244
EN immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
ZH-TW immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Character identification
Plot construction
Audiovisual stimuli
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Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Translation
strategies
Transliteration
Transliteration
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Asset
number
String ID
Source File
T381
06ABE-sr.ils
Maar saraan ko Sovngarde.
瑪律 薩蘭 寇 松文迦德。
T382
06B17-sr.ils
Meyye! Tahrodiis aanne! Him hinde pah liiv!
Zu'u hin daan!
梅耶！塔羅迪斯󠄀 安尼！西姆 亨德 帕 裡 Oral/dialogic
Subtitling asset
夫！祖 辛 丹！
T383
06B19-sr.ils
Faal Kel...?! Nikriinne…
法爾 凱爾……？！尼奎尼……
Oral/dialogic
Subtitling asset
T384
06CB4-sr.ils
Sahloknir! Ziil gro dovah ulse!
撒洛克尼爾！澤爾 葛洛 都瓦克 奧斯󠄀！
Oral/dialogic
Subtitling asset
T385
108F5-sr.ils
Daar Lein los dii.
達爾 雷恩 洛斯󠄀 迪。
Oral/dialogic
Subtitling asset
T386
06EA8-sr.ils
Slen Tiid Vo!
斯󠄀冷 提德 沃！
Oral/dialogic
Subtitling asset
Asset source text
Asset target text
Text type &
Asset type
Oral/dialogic
Subtitling asset
245
EN immersion
components
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Implicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Tactile stimuli
Implicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
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Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T387
10803-sr.ils
Zu'u Alduin, zok sahrot do naan ko Lein.
祖烏 奧杜因，佐克 薩洛特 都 楠 克 雷
恩。
Oral/dialogic
Subtitling asset
T388
10865-sr.ils
Kel drey ni viik.
科爾 德瑞 倪 威克。
Oral/dialogic
Subtitling asset
T389
073C3-sr.ils
Aav uv dir. Join me or perish with your mortal
friends.
奧 烏 德爾。加入我，否則就和你的凡人 Oral/dialogic
Subtitling asset
朋友們一起死。
T390
0756B-sr.ils
Lingrah krosis saraan Strundu'ul, voth nid
balaan klov praan nau.
靈嘎 克羅西斯󠄀 撒然 斯󠄀特朗度．烏爾，
沃斯󠄀 聶德 巴蘭 克羅夫 普蘭 惱。
Oral/dialogic
Subtitling asset
T391
106E3-sr.ils
Pahlok joorre! Hin kah fen kos bonaar.
帕洛克 祖爾！辛 喀 芬 克斯󠄀 博納爾。
Oral/dialogic
Subtitling asset
T392
107E8-sr.ils
Zu'u lost daal.
祖烏 羅斯󠄀特 達爾。
Oral/dialogic
Subtitling asset
T393
As promised, I now teach you the first word of 正如所承諾的，現在要教你靈魂撕裂的
第一個力量之語：「罹」。那是敵人生
00571-DG.ils Soul Tearing: "Rii" - the essence of your
enemy's life force.
命力的精華。
246
Oral/dialogic
Subtitling asset
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
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Asset
number
String ID
Source File
T394
0020E-DG.ils
My desire to speak with you was born from the 跟你交戰以後，我萌生了想與你對話的
result of our battle, Qahnaarin.
念頭，加納林。
Oral/dialogic
Subtitling asset
T395
0056C-sr.ils
Slen
Slen
Functional
In-game texture
embedded words
T396
0779F-sr.ils
Nuz aan sul, fent alok, fod fin vul dovah nok,
fen kos nahlot mahfaeraak ahrk ruz!
惱 安 蘇爾，分特 阿羅，佛 芬 沃爾 都瓦
Oral/dialogic
諾 ，芬 科斯󠄀 那羅 瑪法拉克 阿克 魯
Subtitling asset
茲！
T397
077BB-sr.ils
Kreh zini! The freedom of the sky beckons! Yet 克然 自倪！自由的天空真是誘人啊！不 Oral/dialogic
I stay here, nau gol, as promised.
Subtitling asset
過我要留在這，納 古爾，說好的。
T398
07DF0-sr.ils
Zu'u uth nall thurri dein daar miiraak.
T399
0829A-sr.ils
博瑞大師將教會你「凱斯󠄀」 —— 「風 Oral/dialogic
Master Borri will teach you "Kest" "Tempest"- the third word of Whirlwind Sprint. 暴」 ——旋風衝刺的第三個力量之語。 Subtitling asset
T400
1095A-sr.ils
Zu'u unslaad! Zu'u nis oblaan!
T401
08455-sr.ils
Alduin komeyt tiid. What else would you seek? 奧杜因 科邁 提德。你還能找到什麼？奧 Oral/dialogic
Alduin and Dovahkiin return together.
Subtitling asset
杜因和都瓦克因是同時回歸的。
Asset source text
Asset target text
祖烏 烏茲 納爾 蘇瑞 德因 達爾 米拉克。
祖 安斯󠄀拉德！祖 尼斯󠄀 傲布蘭！
247
Text type &
Asset type
Oral/dialogic
Subtitling asset
Oral/dialogic
Subtitling asset
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Translation
strategies
Transliteration
Retention
unmarked
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
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Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T402
0895C-sr.ils
You have reconsidered my offer, hmm?
Onikaan kron?
T403
08A27-sr.ils
And you can trust me. Zu'u ni tahrodiis. Alduin 你可以相信我。祖烏 倪 塔羅帝斯󠄀。奧杜
Oral/dialogic
因證明了自己沒有統治的資格。我現在
has proven himself unworthy to rule. I go my
Subtitling asset
own way now.
要走自己的路了。
T404
08A8F-sr.ils
Dez motmahus. Even to the dov, who ride the
currents of Time, destiny is elusive.
德茲 漠特瑪哈斯󠄀。即使對龍來說，對凌
Oral/dialogic
駕於時間洪流的龍來說，命運都是無法
Subtitling asset
捉摸的。
T405
09667-sr.ils
Sahrot thur qahnaraan
沙洛特 瑟爾 卡納蘭
T406
0985D-sr.ils
Indeed, you saw more clearly than I - certainly 確實，你看得比我更清楚——當然也比
more clearly than Alduin. Rok funta koraav.
奧杜因更清楚。洛克 方塔 克拉夫。
Oral/dialogic
Subtitling asset
T407
09865-sr.ils
I am glad you believe that. At least it will
continue to exist. Grik los lein.
我很高興你能夠相信。至少它會繼續存
在。格理克 羅斯󠄀 雷恩。
Oral/dialogic
Subtitling asset
T408
09BF2-sr.ils
Ven Mul Riik!
文 目爾 日克！
Oral/dialogic
Subtitling asset
你考慮了我的條件，嗯？奧倪坎 可隆？
Oral/dialogic
Subtitling asset
Oral/dialogic
Subtitling asset
248
EN immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contactless gameplay
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
ZH-TW immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contactless gameplay
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
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Asset
number
String ID
Source File
T409
0A1BC-sr.ils
Drem Yol Lok. Greetings.
錐姆 尤 洛克，你好。
Oral/dialogic
Subtitling asset
T410
0A342-sr.ils
Master Wulfgar will now gift you with his
knowledge of "Dah."
沃夫加大師現在將賦予你 「達」 的知
識。
Oral/dialogic
Subtitling asset
T411
0A73B-sr.ils
Daanik Kendov!
達尼克 肯多夫！
Oral/dialogic
Subtitling asset
T412
0A963-sr.ils
Wo meyz wah dii vul junaar?
烏 梅茲 瓦 沃 裘納？
Oral/dialogic
Subtitling asset
T413
0A964-sr.ils
Nivahriin muz fent siiv nid aaz het.
尼瓦琳 馬茲 芬特 席夫 尼德 啊茲 海特。
Oral/dialogic
Subtitling asset
T414
0AAE2-sr.ils
Think of this as the fire builds in your su'um, in 把這個當作是你存在於你的蘇姆之中，
Oral/dialogic
your breath. Su'um ahrk morah. What will you 在你的呼吸之中。蘇姆 阿克 莫拉。你會
Subtitling asset
burn? What will you spare?
燃燒什麼，會放過什麼？
T415
0E444-sr.ils
Suleyki mulaag, Paarthurnax. My power has
waxed, while yours has waned.
Asset source text
Asset target text
Text type &
Asset type
蘇利 穆拉，帕圖納克斯󠄀。我的力量在增 Oral/dialogic
Subtitling asset
長，而你的在消失。
249
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character information
Plot construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
T416
0AC75-sr.ils
T417
0ADA5-sr.ils Sosaal fah hin vothaarn.
T418
0AE4C-sr.ils
Paaz Keizaal fen kos stin nol bein Alduin jot,
Dovahkiin kos fin saviik do muz!
T419
0AE4D-sr.ils
Sahrot Thu'um, med aan tuz, vey zeim hokoron 薩羅 吐姆，梅 安 圖，維 則姆 霍酷容
pah, ol fin Dovahkiin komeyt ok rein!
帕，哦 芬 都瓦克因 科邁 噢 雷恩！
Oral/dialogic
Subtitling asset
T420
0B402-sr.ils
Lok, Thu'um.
洛克， 蘇．烏姆。
Oral/dialogic
Subtitling asset
T421
0B5F6-sr.ils
Unslaad hokoron! Never again!
安斯󠄀拉 克榮！不可能！
Oral/dialogic
Subtitling asset
T422
0BC33-sr.ils
Huzrah nu, kul do od, wah aan bok lingrah vod, 呼拉 努，酷 都 歐 ，瓦 安 伯 靈拉 沃， Oral/dialogic
Aahrk fin tey, boziik fun, do fin gein!
Subtitling asset
阿克 芬 泰，波茲 芬，都 芬 蓋恩！
T423
0BCEE-sr.ils
Meyz nu Ysmir, Dovahsebrom. Dahmaan daar 梅 怒 伊斯󠄀米爾，都瓦瑟布羅姆。達曼
rok.
達爾 洛克。
Asset source text
Hmm, yes. I have been pondering on exactly
that question. Lingrah morah.
Asset target text
Text type &
Asset type
嗯，是的。我一直在思考那個問題。靈
嘎 莫拉。
Oral/dialogic
Subtitling asset
索薩 法 辛 沃薩安。
Oral/dialogic
Subtitling asset
帕茲 凱紮 芬 科斯󠄀 斯󠄀汀 諾 貝恩 奧杜因 Oral/dialogic
約，都瓦克因 科斯󠄀芬 撒維克 都 姆茲！ Subtitling asset
250
Oral/dialogic
Subtitling asset
EN immersion
components
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Implicit information
ZH-TW immersion
components
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Visual stimuli
Contacting gameplay
Implicit information
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Audio stimuli
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Audiovisual stimuli
Tactile stimuli
Implicit information
Translation
strategies
Transliteration
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number
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Source File
T424
0BD00-sr.ils
So this is how you defeated Alduin. Ruth... zu'u 原來你就是這樣打敗奧杜因的。如
ni Alduin.
斯󠄀……祖 尼 奧杜因。
Oral/dialogic
Subtitling asset
T425
0BEE8-sr.ils
Thurri du hin sille ko Sovngarde!
Oral/dialogic
Subtitling asset
T426
0C2FC-sr.ils
但我是奧-杜-因，阿卡托什的長子！穆
But I am Al-du-in, Firstborn of Akatosh!
Mulaagi zok lot! I cannot be slain here, by you 拉基 左 洛！我不會在這裡，被你們殺
or anyone else!
死！
T427
0C3AA-sr.ils Su'um ahrk morah.
T428
0637A-sr.ils
T429
T430
Asset source text
Asset target text
圖瑞 都 辛 西爾 克 松文迦德!
Text type &
Asset type
Oral/dialogic
Subtitling asset
蘇．烏姆 亞克 莫拉。
Oral/dialogic
Subtitling asset
So, it is done. Alduin dilon. The Eldest is no
more, he who came before all others, and has
always been.
劃下句點了吧，奧杜因狄龍。最年長者
已逝，前無來者，永恆存在 。
Oral/dialogic
Subtitling asset
07DA7-sr.str
N7
N7
Functional
In-game texture
embedded words
0CB02-sr.ils
Onikaan koraav gein miraad. It is wise to
recognize when you only have one choice.
喔倪坎 克拉瓦 格因 米拉德。知道自己
只有一個選項是很明智的。
Oral/dialogic
Subtitling asset
251
EN immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Character identification
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Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Character identification
Implicit information
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Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
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Implicit information
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Translation
strategies
Transliteration
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unmarked
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String ID
Source File
T431
0CB03-sr.ils
Zok brit uth! I warn you, once you've flown the 左克 伯特 烏茲！我警告你，等你飛過了
Oral/dialogic
skies of Keizaal, your envy of the dov will only 凱澤的天空，你對都瓦的羨慕會只增不
Subtitling asset
increase.
減。
T432
0CC41-sr.ils
Aav dilon!
T433
Asset source text
Asset target text
Text type &
Asset type
阿夫 狄龍！
Oral/dialogic
Subtitling asset
01F0B-DG.ils Qoth...Zaam!
扣……嘶安！
Oral/dialogic
Subtitling asset
T434
0CC49-sr.ils
Qiilaan us dilon!
基蘭恩 阿斯󠄀 狄龍！
Oral/dialogic
Subtitling asset
T435
0CC4C-sr.ils
Bolog aaz, mal lir!
波洛格 阿茲，瑪律 里爾！
Oral/dialogic
Subtitling asset
T436
10961-sr.ils
Dovahkiin, hin kah fen kos bonaar.
都瓦克因，辛 喀 芬 克斯󠄀 博納爾。
Oral/dialogic
Subtitling asset
T437
0CD0F-sr.ils
Hind siiv Alduin, hmm? No doubt you want to 辛德 西弗 奧杜因，嗯？你一定是想知道 Oral/dialogic
know where to find Alduin?
Subtitling asset
在哪找到奧杜因？
T438
0CDA4-sr.ils
But I honor your courage. Krif voth ahkrin. Die 但是我佩服你們的勇氣。基夫 沃斯󠄀 阿
now, in vain.
林。白白送死吧。
252
Oral/dialogic
Subtitling asset
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Character identification
Implicit information
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Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Character identification
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Character identification
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Character identification
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Character identification
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Character identification
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Contacting gameplay
Translation
strategies
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number
String ID
Source File
T439
0CF6A-sr.ils
Zu'u bonaar. You went to a great deal of trouble 祖 伯納。你費了一番功夫來困住我…… Oral/dialogic
to put me in this... humiliating position.
Subtitling asset
羞辱我。
T440
0CF71-sr.ils
Unslaad krosis. Innumerable pardons. I digress.
安斯󠄀拉 克羅西斯󠄀。無數的寬恕。我離題 Oral/dialogic
Subtitling asset
了。
T441
0CF7D-sr.ils
Indeed. Alduin wahlaan daanii.
確實。奧杜因瓦藍 達尼埃。
Oral/dialogic
Subtitling asset
T442
0D22D-sr.ils
Lost funt. You are too late, Alduin!
洛斯󠄀 泛特，太遲了，奧杜因！
Oral/dialogic
Subtitling asset
T443
0D66D-sr.ils
Indeed. Orin brit ro. I cannot leave here until
you defeat Alduin, which you cannot do
without my help.
的確。奧林 布裡特 若。你打敗奧杜因之
Oral/dialogic
前我不能離開，但沒有我的幫助你也無
Subtitling asset
法打敗他。
T444
0D6DC-sr.ils Faas nu, zini dein ruthi ahst vaal.
法斯󠄀 怒，基尼 德恩魯斯󠄀 阿斯󠄀 瓦。
Oral/dialogic
Subtitling asset
T445
0D7A2-sr.ils
昂斯󠄀拉德 克洛西斯󠄀！
Oral/dialogic
Subtitling asset
Asset source text
Unslaad Krosis!
Asset target text
253
Text type &
Asset type
EN immersion
components
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Character identification
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character idenification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contactless gameplay
Contacting gameplay
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Character identification
Implicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character idenification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contactless gameplay
Contacting gameplay
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character information
Plot construction
Translation
strategies
Transliteration
Transliteration
Transliteration
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number
String ID
Source File
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Text type &
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T446
0D860-sr.ils
I used to visit him from time to time. Nearly
crazed by loneliness and captivity. Tiiraz
sivaas. He did not even remember his own
name.
我曾經經常去拜訪牠。牠在孤獨和囚禁
Oral/dialogic
中幾乎瘋了。提拉茲 西瓦，牠連自己的
Subtitling asset
名字都忘卻了。
T447
0DA8A-sr.ils
Hin aar, orin nu. And yet here I am, still your
prisoner.
辛 亞爾，奧然 努。但是我現在還在呀， Oral/dialogic
Subtitling asset
仍然是你的階下囚。
T448
Feel the last word of Soul Tearing within
00472-DG.ils yourself: "Zol" - the unlife that results when a
soul is imprisoned in dead flesh.
親身感受靈魂撕裂的最後一個力量之
語：「索爾」。當靈魂被封印在死掉肉
驅時產生的反生命。
Oral/dialogic
Subtitling asset
T449
0DD38-sr.ils
Nivahriin joorre!
尼瓦林 約銳！
Oral/dialogic
Subtitling asset
T450
0DD52-sr.ils
Naal Thu'umu, mu ofan nii nu, Dovahkiin, naal 吶爾 吐姆，姆 歐法 尼 努，都瓦克因，
Oral/dialogic
suleyk do Kaan, naal suleyk do Shor, ahrk naal 吶爾 蘇牙 都 坎，吶爾 蘇牙 都 朔爾，阿
Subtitling asset
suleyk do Atmorasewuth.
克 吶爾 蘇牙 都 阿莫拉斯󠄀巫。
T451
0E42C-sr.ils
Ahrk fin zul, rok drey kod, nau tol morokei
frod, rul lot Taazokaan motaad voth kein!
阿克 芬 祖爾，洛 德雷 克，惱 圖 摩洛克
Oral/dialogic
仿若，如爾 洛 塔左坎莫塔德 沃斯󠄀 凱
Subtitling asset
恩！
T452
00A6F-sr.ils
Fiik!
啡克！
Oral/dialogic
Subtitling asset
T453
0CF68-sr.ils
Nid!
尼德！
Oral/dialogic
Subtitling asset
254
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Implicit information
Character identification
Plot construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audio stimuli
Visual stimuli
Audiovisual stimuli
Tactile stimuli
Implicit information
Character identification
Plot construction
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Translation
strategies
Transliteration
Transliteration
Transliteration
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Transliteration
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Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T454
0F381-sr.ils
But this is only a small part of their power.
Zofaas suleyk.
但這只是它們的力量的一小部分。佐法
斯󠄀 蘇牙。
Oral/dialogic
Subtitling asset
T455
0F4A9-sr.ils
Skuldafn fen kos dinok.
斯󠄀庫達芬 芬 科斯󠄀 迪諾。
Oral/dialogic
Subtitling asset
T456
0F94B-sr.ils
Alduin, thuri! Boaan tiid vokriiha suleyksejun
kruziik?
奧杜因，蘇瑞！波恩 提德 沃克理哈 蘇
雷克西昂 克魯茲克？
Oral/dialogic
Subtitling asset
T457
0FF0A-sr.ils
你自己去看看吧。祖烏 倪 博 諾爾 赫
Go and see for yourself. Zu'u ni bo nol het. I
will be here... unless Alduin returns before you 特。我會在這等著……除非奧杜因比你
do.
先回來。
Oral/dialogic
Subtitling asset
T458
0E432-sr.str
F2m
F2m
Functional
In-game texture
embedded words
T459
0ADDB-sr.str Gr4
Gr4
Functional
In-game texture
embedded words
T460
0DDDE-sr.str Dun
Dun
Functional
In-game texture
embedded words
255
EN immersion
components
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
ZH-TW immersion
components
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character information
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Retention
unmarked
Retention
unmarked
Retention
unmarked
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T461
06906-sr.str
K8r
K8r
Functional
In-game texture
embedded words
T462
0010C-sr.str
T8r
T8r
Functional
In-game texture
embedded words
T463
01F2E-DG.str Qoth
Qoth
Functional
In-game texture
embedded words
T464
07025-sr.str
Shul
Shul
Functional
In-game texture
embedded words
T465
0F93C-sr.str
4
4
Functional
In-game texture
embedded words
T466
0FD56-sr.str
Kr4
Kr4
Functional
In-game texture
embedded words
T467
07228-sr.str
V3ng
V3ng
Functional
In-game texture
embedded words
T468
011B0-sr.str
R1n
R1n
Functional
In-game texture
embedded words
256
EN immersion
components
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
ZH-TW immersion
components
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Translation
strategies
Retention
unmarked
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unmarked
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unmarked
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number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T469
0586C-sr.str
Y4
Y4
Functional
In-game texture
embedded words
T470
06D03-sr.str
H1l
H1l
Functional
In-game texture
embedded words
T471
091AF-sr.str
B4
B4
Functional
In-game texture
embedded words
T472
08124-sr.str
Ov
Ov
Functional
In-game texture
embedded words
T473
03CDD-sr.str Ul
Ul
Functional
In-game texture
embedded words
T474
050EE-sr.str
Zul
Zul
Functional
In-game texture
embedded words
T475
08D62-sr.ils
Ah. Well. Hmm... krosis. There is one... detail
about Skuldafn I neglected to mention.
啊。好吧。嗯……克洛西斯󠄀。有一
個……關於斯󠄀庫達芬的細節我忘了說。
Oral/dialogic
Subtitling asset
T476
0CF73-sr.ils
Hmm... krosis. There is one... detail about
Skuldafn I neglected to mention.
嗯……克羅西斯󠄀。有一個……有關斯󠄀庫
達芬的細節，我忘了說了。
Oral/dialogic
Subtitling asset
257
EN immersion
components
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audio stimuli
Visual stimuli
Contacting gameplay
Implicit information
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Translation
strategies
Retention
unmarked
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unmarked
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unmarked
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number
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Text type &
Asset type
T477
0859A-sr.ils
Fo…
弗……
Oral/dialogic
Subtitling asset
T478
08451-sr.ils
But, I do not know the Thu'um you seek.
Krosis. It cannot be known to me.
但是，我不知道你要找的那個吐姆。克
羅西斯󠄀。我不可能知道這個。
Oral/dialogic
Subtitling asset
T479
00425-DG.ils
I therefore honor-name you "Qahnaarin," or
Vanquisher in your tongue.
因此我尊稱你為「加納林」。用你們的
話來說就是征服者。
Oral/dialogic
Subtitling asset
T480
In my language, the Qahnaarin is the
0102C-DG.ils Vanquisher, the one who has bested a fellow
dovah in battle.
在我的語言中，加納林就是征服者。曾
經在戰鬥中擊敗另一個都瓦的都瓦。
Oral/dialogic
Subtitling asset
T481
Cursed, not dead. Doomed to exist in this form 被詛咒，但沒死，注定以這個型態苟活
直到永遠。被困在「拉」與「迪諾
0053C-DG.ils for eternity. Trapped between laas and dinok,
between life and death.
克」，生命跟死亡之間！
Oral/dialogic
Subtitling asset
T482
Do me this simple honor and I will fight at your 替我做這件簡單的事，我就跟你並肩作
Oral/dialogic
戰，當你的「葛拉–澤曼辛」，也就是你
004DD-DG.ils side as your Grah-Zeymahzin, your Ally, and
Subtitling asset
teach you my Thu'um.
的同盟，並教你我的吐姆。
T483
I began to explore what the dovah call "Alok00357-DG.ils Dilon," the ancient forbidden art that you call
necromancy.
T484
008A4-DG.ils
Stay your weapons. I would speak with you,
Qahnaarin.
我開始研究都瓦稱之為「阿洛克–狄龍」
Oral/dialogic
的古老禁忌之術。你們稱之為死靈法
Subtitling asset
術。
放下武器。我想跟你交談，加納林。
258
Oral/dialogic
Subtitling asset
EN immersion
components
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
ZH-TW immersion
components
Audiovisual stimuli
Tactile stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Translation
strategies
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Transliteration
Asset
number
String ID
Source File
Asset source text
Asset target text
Text type &
Asset type
T485
079F2-sr.ils
Krif krin. Pruzah!
克瑞 克因 如紮!
Oral/dialogic
Subtitling asset
T486
073C9-sr.ils
He is too strong on the wing! Bring him to gol
with Dragonrend!
牠的翅膀太強壯了！用龍魂撕裂將牠逼
下來！
Oral/dialogic
Subtitling asset
T487
017F4-sr.ils
Yes... one of his allies could tell us.
Motmahus... But it will not be so easy to...
convince one of them to betray him.
對……牠的某個盟友可以告訴我們。姆
馬胡斯󠄀……但想說服牠們背叛牠也並非
易事。
Oral/dialogic
Subtitling asset
T488
0BD73-sr.ils
Perhaps the hofkahsejun - the palace in
Whiterun... Dragonsreach. It was originally
built to house a captive dovah.
也許霍夫卡瑟瓊—白漫城的宮殿……龍 Oral/dialogic
Subtitling asset
臨堡。原本就是建來捕獲都瓦的。
259
EN immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character idenification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Contactless gameplay
Implicit information
Character idenification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Translation
strategies
Transliteration
Paraphrase:
sense transfer
Transliteration
Transliteration
Appendix B: Constructed language assets in Wild Hunt
Table B1
Constructed language assets in Wild Hunt
Asset
String ID
number Source File
W1
1080919[0]
Asset source text
After a long battle against illness, yesterday saw
the passing into the next life of C’enfanenh beloved grandfather, father and
husband.<br><br>Elaine blath,
Feainnewedd<br>Dearme aen a'caelme
tedd<br>Eigean evelienn deireadh<br> Que'n
esse, va en esseath<br> Feainnewedd, elaine
blath!
Text type &
Asset type
Asset target text
跟病魔奮戰已久後，昨天晚上我們親愛
的祖父、父親和丈夫森法奈離開了人
Narrative
世。<br><br>Elaine blath,
In-game texture
Feainnewedd<br>Dearme aen a'caelme
embedded words
tedd<br>Eigean evelienn deireadh<br>
Que'n esse, va en esseath<br>
Feainnewedd, elaine blath!
W2
478888-[0]
{Hael Ker'zaer!} [Long live the emperor!]
{Hael Ker'zaer!} [皇帝萬歲！]
Oral/dialogic
Subtitling asset
Voiceover asset
W3
478892-[0]
{A’anval neen orde!} [Attack at will!]
{A’anval neen orde!} [格殺勿論！]
Oral/dialogic
Subtitling asset
Voiceover asset
W4
480542-[0]
{Ceadmill aen hoael aep evell’caer.} [Welcome {Ceadmill aen hoael aep evell’caer.} [歡
to the arsehole of the World.]
迎來到這世界的屁洞。]
W5
480546-[0]
{Gloir aen Ker'zaer!} [Glory to the Emperor!]
{Gloir aen Her'zaer!} [皇帝萬歲！]
260
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
EN immersion
components
ZH-TW immersion
components
Visual stimuli
Implicit information
Character identification
World construction
Visual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Translation
strategies
Retention
unmarked
Retention
unmarked
Retention
unmarked
Retention
unmarked
TL adjust
Asset
String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
{Ess’creasa tilleadh aen deaghlach, n’ees
hwre, aen wilde caer ess’iare tuvean…}
[我應該待在家陪家人，而不是在這塊
蠻荒之地找死…]
W6
{Ess’creasa tilleadh aen deaghlach, n’ees hwre,
aen wilde caer ess’iare tuvean…} [Should be
513851-[0]
home with my family, not here, seeking death in
this barbarous land…]
W7
513856-[0]
{Tròcair…} [Mercy…] Spare me…
Oral/dialogic
{Tròcair…} [求你大發慈悲…] 饒了我… Subtitling asset
Voiceover asset
W8
513858-[0]
{Neen ratreut!} [Do not retreat!]
{Neen ratreut!} [不准撤退！]
Oral/dialogic
Subtitling asset
Voiceover asset
W9
513860-[0]
{Esse'ortha!} [He's casting spells!]
{Esse'ortha!} [他在施咒！]
Oral/dialogic
Subtitling asset
Voiceover asset
W10
513862-[0]
{Aen Ard Feain!} [By the Great Sun!]
{Aen Ard Feain!} [我向烈日發誓！]
Oral/dialogic
Subtitling asset
Voiceover asset
W11
{Esse’gràin an caer… Vooil, fàile lòn y
{Esse’gràin an caer… Vooil, fàile lòn y
513889-[0] vear'thainn.} [I hate this land… Naught but filth, vear'thainn.} [我討厭這塊土地…髒的要
moldy food and rain.]
命、食物發霉，整天下雨。]
W12
W13
1202320[bob]
1176189[bob]
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Hael Geralt aep Rivia!
利維亞的傑洛特萬歲！
-I-<br><br>Syanna gave me a card today with
headless blood-stained people on it. I asked why
she had drawn it. The princess answered that it
was a scene from nightmares that have been
-I-<br><br>席安娜今天給了我一幅畫， Narrative
畫的是滿是鮮血的斷頭屍體。我問她為 In-game texture
什麼要畫這種東西。 公主說那是一直纏 embedded words
繞在她夢境裡頭、揮之不去的夢魘。席
261
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Visual stimuli
Implicit information
Character identification
World construction
Visual stimuli
Implicit information
Character identification
World construction
Translation
strategies
Retention
unmarked
Retention
unmarked
Retention
unmarked
Retention
unmarked
Retention
unmarked
Retention
unmarked
Calque
Transliteration
Asset
String ID
number Source File
Text type &
Asset type
Asset source text
Asset target text
haunting her since she can remember. It is true
that Syanna awakes each night with a scream unless she is sleeping in the same bed as
Anarietta.<br><br>-II-<br><br>The girls
quarreled today. Unfortunately, I must note that
they did not behave in a manner becoming for
young ladies: there were fisticuffs! Anna
Henrietta was first to hit her sister, but Syanna
didn't wait long to reply. Before I could break
them apart, little Anarietta had lost two milk
teeth, and she ran straight to her parents to
complain. His Grace the Duke couldn't believe
his ears when I told him what had happened.
Syanna got the whole blame and was suitably
punished. Anarietta then tried to ease the
situation, but the Duke and Duchess were
resolute.<br><br>-III-<br><br>Today for the
first time I accompanied the girls to the Land of a
Thousand Fables, where we spent half a day.
First we played with Thumbelina and then with
Redbeard, who was extremely gallant for a
highwayman. I am thoroughly impressed by what
the master Artorius Vigo has achieved. He has
proved that he has no equal in magical mysteries.
The girls said that if I wish to go there by myself,
all I have to do is open the book Land of a
Thousand Fables and say out loud the spell:
Expecto ludum!<br><br>-IV-<br><br>Today,
Syanna was tested by the mages sent by the
Chapter. I don't know what conclusions they
drew, but His Grace the Duke is clearly worried.
I asked the Duke what awaits the princess. He
didn't reply.<br><br>-V-<br><br>I tutored the
girls in Nilfgaardian today. Syanna applies
herself so, though she has great difficulty
memorizing new vocabulary. Lady Anarietta
seems more gifted in this regard, yet also prone
to impish behavior. When she thought me out of
earshot, she called me a 'bloede kusse.' She and
Syanna laughed so hard they almost choked.<br>
安娜幾乎每天晚上都會尖叫醒來，只有
跟安莉葉塔一起睡時不會。<br><br>-II<br><br>姊妹倆今天起了口角。不幸她
們今天沒有表現出未來女王陛下的風
範，兩個人後來開始動了手。安娜_亨莉
葉塔先出手打了她姊姊，席安娜也全力
回擊。我好不容易把她們分開，安莉葉
塔少了兩顆牙齒。她跑去跟爸媽告狀。
公爵陛下不相信我說的故事。他把錯都
怪到席安娜頭上，而且發誓要嚴格懲罰
女兒⋯安莉葉塔在旁勸說減輕她姊姊的
懲罰，但公爵和公爵夫人心意已決。
<br><br>-III-<br><br>今天我第一次陪姊
妹倆到童話國度。我們在那裡待了半
天。我們先跟拇指姑娘玩了一會兒、接
著又碰上了巴巴羅殺，他雖然是個土
匪，卻充滿魅力呢。我向亞托列司_薇歌
大師致了敬。他在古代法術圈可是無人
能敵。姊妹倆告訴我如果我想自己去的
話，只需要打開《童話國度》然後大聲
說出咒語『童話現身！』<br><br>-IV-秘
密集會派來的法師今天到了，他們來調
查席安娜的。我不知道他們下了什麼結
論，但陛下現在似乎很不開心。我鼓起
勇氣問公爵他女兒會怎麼樣。他沒有回
答。<br><br>-V-<br><br>我今天教了姊
妹倆尼弗迦德語。席安娜自主學習，但
是她不太會背單字。安莉葉塔似乎比較
有天分，但是老愛惡作劇。她以為我聽
不到時，就會叫我『布雷庫斯󠄀』。她跟
席安娜兩人笑到快嗆到。
262
EN immersion
components
ZH-TW immersion
components
Translation
strategies
Asset
String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
W14
513905-[0]
Oral/dialogic
{Gloir aen Ard Feain.} [Glory to the Great Sun.] {Gloir aen Ard Feain.} [光榮的烈日呀。] Subtitling asset
Voiceover asset
W15
513916-[0]
{Aecáemm aen me!} [Follow me!]
{Aecáemm aen me!} [跟我來！]
Oral/dialogic
Subtitling asset
Voiceover asset
W16
490920-[0]
N'te mire daetre!
（精靈語）鬼話連篇！
Oral/dialogic
Subtitling asset
W17
513924-[0]
{Ard Feain!} [Great Sun!]
{Ard Feain!} [為了烈日而戰！]
Oral/dialogic
Subtitling asset
Voiceover asset
W18
514083-[0]
{Ruit'reigmeid n'va aen tedd a'taeghane.} [Our
cavalry will get stuck in this mud…]
{Ruit'reigmeid n'va aen tedd a'taeghane.}
[我們的騎兵會被困在泥巴裡…]
Oral/dialogic
Subtitling asset
Voiceover asset
W19
503741-[0]
Tearde.
（精靈語）幸會
Oral/dialogic
Subtitling asset
W20
514093-[0]
{A'vean ker'zaer ess Deithwen Addan yn
{A'vean ker'zaer ess Deithwen Addan yn Carn
aep Morvudd!} [Our ruler is Deithwen Addan yn Carn aep Morvudd!} [我們的首領是戴斯󠄀
Carn aep Morvudd!]
文‧阿登‧因‧卡恩‧艾普‧莫伍德！]
W21
514107-[0]
{Adhart Nilfgaard!} [Forward, Nilfgaard!]
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
{Adhart Nilfgaard!} [尼弗迦德，前進！] Subtitling asset
Voiceover asset
263
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual
stimuliContacting
gameplayExplicit
informationCharacter
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual
stimuliContacting
gameplayExplicit
informationCharacter
Translation
strategies
Retention
unmarked
Retention
unmarked
Contextualization
by addition
Retention
unmarked
Retention
unmarked
Contextualization
by addition
Retention
unmarked
Retention
unmarked
Asset
String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
Oral/dialogic
Subtitling asset
Voiceover asset
W22
514111-[0]
{Gar'ean! Geas!} [Watch out! Spellcraft!]
{Gar'ean! Geas!} [小心，是巫術！]
W23
514115-[0]
{Que ae’iarr her’zaer aep ann luith?} [What
could the emperor want with such scum?]
{Que ae’iarr her’zaer aep ann luith?} [皇帝 Oral/dialogic
Subtitling asset
找這人渣幹嘛？]
Voiceover asset
W24
490709-[0]
Que?
（精靈語）幹嘛？
Oral/dialogic
Subtitling asset
W25
514121-[0]
{Esse'lath sei’fyll!} [Loose formation!]
{Esse'lath sei’fyll!} [散開隊形！]
Oral/dialogic
Subtitling asset
Voiceover asset
W26
514238-[0]
{Dyaebl aep arse…} [Bugger the devil…]
{Dyaebl aep arse…} [王八蛋…]
Oral/dialogic
Subtitling asset
Voiceover asset
W27
514246-[0]
{Hael aen se'ege!} [Onward to victory!]
{Hael aen se'ege!} [邁向勝利之路！]
Oral/dialogic
Subtitling asset
Voiceover asset
W28
514248-[0]
{Gloir aen Ard Feain!} [Glory to the Great Sun!]
{Gloir aen Ard Feain!} [將榮耀獻給烈
日！]
Oral/dialogic
Subtitling asset
Voiceover asset
W29
490924-[0]
Vatt’ghern.
（精靈語）狩魔獵人。
Oral/dialogic
Subtitling asset
264
EN immersion
components
identificationWorld
construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
ZH-TW immersion
components
identificationWorld
construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Translation
strategies
Retention
unmarked
Retention
unmarked
Contextualization
by addition
Retention
unmarked
Retention
unmarked
Retention
unmarked
Retention
unmarked
Contextualization
by addition
Asset
String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
W30
514254-[0]
{Va vort!} [Begone!]
{Va vort!} [滾開！]
Oral/dialogic
Subtitling asset
Voiceover asset
W31
514258-[0]
{Esse’ve tro’cayr a me!} [Have mercy!]
{Esse’ve tro’cayr a me!} [大發慈悲啊！]
Oral/dialogic
Subtitling asset
Voiceover asset
W32
545965-[6]
Thank you, Aen Saevherne. Va fail.
謝謝你。（精靈語）精靈女術士，再
會。
Oral/dialogic
Subtitling asset
W33
514264-[0]
{Dal sei’fyll!} [Tighten the line!]
{Dal sei’fyll!} [緊密隊形！]
Oral/dialogic
Subtitling asset
Voiceover asset
W34
514266-[0]
{Yeá, awr!} [Yes, sir!]
{Yeá, awr!} [遵命，先生！]
Oral/dialogic
Subtitling asset
Voiceover asset
W35
514268-[0]
{Es Geas!} [A spell!]
{Es Geas!} [是咒語！]
Oral/dialogic
Subtitling asset
Voiceover asset
W36
514276-[0]
{Esse’ionndrainn aep me caer…} [I miss my
home.]
{Esse’ionndrainn aep me caer…} [我好想 Oral/dialogic
Subtitling asset
家。]
Voiceover asset
W37
514320-[0]
A d'yaebl aep arse…
（精靈語）A d'yaebl aep arse…
265
Oral/dialogic
Subtitling asset
EN immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
ZH-TW immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Translation
strategies
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by addition
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Asset
String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
W38
526283-[0]
Que'ss aen me dicette?
（精靈語）Que'ss aen me dicette？
Oral/dialogic
Subtitling asset
W39
555247-[0]
{Dearme! } [Good night!]
{Dearme! } [安息吧！]
Oral/dialogic
Subtitling asset
Voiceover asset
W40
555249-[0]
{Vedrai! Enn'le! } [Comrades! Get him!]
{Vedrai! Enn'le! } [各位，抓住他！]
Oral/dialogic
Subtitling asset
Voiceover asset
W41
555253-[0]
{D'yaebl! } [Devil!]
{D'yaebl! } [惡魔！]
Oral/dialogic
Subtitling asset
Voiceover asset
W42
555277-[0]
{Glaeddyv vort. } [Throw down your blade!]
{Glaeddyv vort. } [把劍丟開！]
Oral/dialogic
Subtitling asset
Voiceover asset
W43
555283-[0]
{Caelm… } [Calmly, now…]
{Caelm... } [冷靜點…]
Oral/dialogic
Subtitling asset
Voiceover asset
W44
555285-[0]
{Gar'ean! } [Watch out!]
{Gar'ean } [小心！]
Oral/dialogic
Subtitling asset
Voiceover asset
W45
555316-[0]
{Elaine deireadh. } [A lovely end.]
{Elain deireadh. } [真是美好的結局。]
Oral/dialogic
Subtitling asset
Voiceover asset
266
EN immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit informationPlot
construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
ZH-TW immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Translation
strategies
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Asset source text
Text type &
Asset type
Asset target text
W46
555318-[0]
{Spar'le! } [Shoot them!]
{Spar'le! } [射他們！]
Oral/dialogic
Subtitling asset
Voiceover asset
W47
555322-[0]
{Geas! } [Curse you!]
{Geas! } [詛咒！]
Oral/dialogic
Subtitling asset
Voiceover asset
W48
555330-[0]
{Bloede d'yaebl. } [Bloody devil.]
{Bloede d'yael. } [混帳。]
Oral/dialogic
Subtitling asset
Voiceover asset
W49
592201-[0]
{Hael. } [Greetings.]
{Hael. } [你好。]
Oral/dialogic
Subtitling asset
Voiceover asset
W50
592203-[0]
{Neen te mire daetre. } [Stop staring.]
{Neen te mire daetre. } [看什麼看。]
Oral/dialogic
Subtitling asset
Voiceover asset
W51
592205-[0]
{Gar'ean. } [Watch it.]
{Gar'ean. } [小心。]
Oral/dialogic
Subtitling asset
Voiceover asset
W52
592207-[0]
{Esse've iare moe'itë? } [Looking for trouble?]
{Esse've iare moe'itë? } [找麻煩嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
W53
592209-[0]
{N'ess aedragh a me. } [You'd best not provoke
me.]
{N'ess aedragh a me. } [最好別惹我。]
Oral/dialogic
Subtitling asset
Voiceover asset
267
EN immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
ZH-TW immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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number Source File
W54
Asset source text
Dh’oine have captured Cerbin. They keep him on
a leash, like a dog. Two bandits guard him
constantly, so I cannot attack, or else they might
hurt him... And I have no intention of negotiating
with dh'oine.<br><br>But Cerbin has a good
head on his shoulders. The dh'oine force him to
drink alcohol, make him sing. He then insults
1076861-[0]
them or calls out to us in Elder Speech. His voice
carries over the swamps, so we hear every word.
We know these humans' routine. We know when
they change watches. What weapons they have. I
take note of it all. When I know enough, I shall
strike. Quickly. When they are not expecting and where it will hurt the most.
Text type &
Asset type
Asset target text
人類把賽爾賓給抓了起來，把他當條
狗，用鍊子綁住。他身邊一直都有兩個
強盜在看守他，所以我不能出擊，不然
他們可能會傷害他…而且我一點也不想
跟人類協商。<br><br>但賽爾賓的頭還
在，他可聰明的了。人類逼他喝酒，逼
他唱歌。他會用古老語罵他們或向我們
求救。他的聲音傳遍沼澤，所以我們每
個字都聽到了。我們知道這些人類的時
程，知道他們哪時候換班，還知道他們
有什麼武器。收集夠情報之後，我就會
出擊。動作要快，殺個他們措手不及，
讓他們大敗。
Narrative
In-game texture
embedded words
{A'vean ker'zaer ess Deithwen Addan yn
Carn aep Morvudd! } [戴斯󠄀文．阿登．
因．卡恩．艾普．莫伍德是我們的領
袖！]
Oral/dialogic
Subtitling asset
Voiceover asset
W55
592225-[0]
{A'vean ker'zaer ess Deithwen Addan yn Carn
aep Morvudd! } [Deithwen Addan yn Carn aep
Morvudd is our ruler!]
W56
592227-[0]
{Se'ege na tuvean. } [Victory or death.]
{Se'ege na tuvean. } [不成功便成仁。]
Oral/dialogic
Subtitling asset
Voiceover asset
W57
592231-[0]
{Va calm, Nordling. } [Calm down, Nordling.]
{Va calm, Nordling. } [冷靜點，北方
人。]
Oral/dialogic
Subtitling asset
Voiceover asset
W58
592233-[0]
{Aen Ard Feain! Esse've iare me vor tuvean. }
[By the Great Sun! You seek death.]
{Aen Ard Feain! Esse've iare me vor
tuvean. } [太陽啊！你在尋死吧。]
Oral/dialogic
Subtitling asset
Voiceover asset
W59
592235-[0]
{Va vort! } [Begone!]
{Va vort! } [滾！]
Oral/dialogic
Subtitling asset
Voiceover asset
268
EN immersion
components
Character identification
World construction
ZH-TW immersion
components
Character identification
World construction
Visual stimuli
Explicit information
Character identification
World construction
Visual stimuli
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
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Asset source text
W60
526067-[4]
W61
Five weeks have now passed since I was hired by
that "Prince Valgridovt of a far-off land" to help
guide his family safely to Beauclair. At first I
merely suspected it, but now I am certain: our
ship is being followed.<br><br>We've charted a
course for shore. The captain wants to replenish
supplies in a small village called Ursten, and then
sail up the Pontar. The masts of the ship which
sails after us are constantly visible on the
horizon.<br><br>The worst is upon us. We shall
drown. The shore was within our reach when a
horrible wind blew us back. The gale tossed our
ship against the rocks. We're taking on water.
The yard fell and crushed my legs. I don't know
1021750-[0] what will come to pass now. I have failed them,
have failed the heirs to the royal dynasty whom I
was charged to escort safely to Beauclair... The
sealed letters were in the chest which the sailors
tossed overboard when the ship began to
sink.<br><br>If they ever wash ashore, if anyone
ever finds them and this journal, know that they
need to be given to a woman answering to the
name Viki. She does not know the local tongue,
but if you read the words "Viedhog latrut alame
hoir," she will know what to do. I hope she has
survived - luckily, she and the child sail in
another ship. The elder insisted we travel
separately. He was right. I don't know who
chases us... I only know that I shall soon die...
W62
Veloë! Take him from behind!
1056933-[4] Rhunu duku! Djabba djar! Akunda mundulus!
Text type &
Asset type
EN immersion
components
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
ZH-TW immersion
components
World construction
Audiovisual stimuli
Explicit information
Character identification
World construction
「遙遠國度來的拉格拉里王子」雇用我
把他的家族安全帶到鮑克蘭，今天已經
是第五天了。好像有人在跟蹤我們的
船，一開始我只是懷疑，但我現在相當
確定。<br><br>我們已經選好路徑準備
靠岸，船長想在一座叫做伍斯󠄀坦的小村
莊補點貨，接著再沿著龐塔爾河往上航
行。海的另一頭一直都有船在跟著我
們。<br><br>最慘的事情發生了，這下
肯定要溺死了。我們原本快要靠岸，卻
被強風往後吹。風把我們的船朝岩石
吹，船進水了。護欄倒下來壓斷了我的
腿。我不知道該怎麼辦才好。我辜負了 Narrative
In-game texture
他們，辜負了皇家王朝的子嗣，沒能把
embedded words
他們安全護送到鮑克蘭⋯船開始下沈時，
水手把小寶箱丟下了船，彌封好的信就
在裡頭。<br><br>如果信件被沖上岸，
如果有人找到信，讀到這個日誌，請記
得把那些信交給一個叫「薇奇」的女
人。她不會說當地話，但如果你對她說
「Viedhog latrut alame hoir」，她就會知
道是怎麼回事了。幸好她跟她的孩子搭
了另一艘船，希望她活了下來。長者堅
持我們分頭行動，他說的果然沒錯。我
不知道是誰在追我們⋯我只知道我很快就
要死了⋯
Visual stimuli
Implicit information
Character identification
World construction
Visual stimuli
Implicit information
Character identification
World construction
Retention
unmarked
Rhunu duku! Djabba djar! Akunda
mundulus!
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Retention
unmarked
Asset target text
Oral/dialogic
Subtitling asset
Voiceover asset
快點！從後面攻擊他！
269
Oral/dialogic
Subtitling asset
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W63
{Gwynn haar, tve glaeddyven... Esseath aen
1027399-[0] vatt'ghern Geralt!}[White hair, two swords why, you're witcher Geralt!]
{Gwynn haar, tve glaeddyven... Esseath
aen vatt'ghern Geralt! } [白頭髮，兩把
劍... 你是狩魔獵人傑洛特！]
Oral/dialogic
Subtitling asset
Voiceover asset
W64
1027403-[0] {Glaeddyv vort! } [Drop your weapon!]
{Glaeddyv vort! } [放下武器！]
Oral/dialogic
Subtitling asset
Voiceover asset
W65
1027405-[0]
{Gar'ean, vatt'ghern. Va caelm. } [小心，
狩魔獵人。放尊重點。]
Oral/dialogic
Subtitling asset
Voiceover asset
W66
1029272-[0] {Ratreut!} [Retreat!]
{Ratreut!} [撤退！]
Oral/dialogic
Subtitling asset
Voiceover asset
W67
1202322[bob]
Bloede hanses… It's good you drove them off,
witcher!
W68
1029290-[0]
{Aen Midaete ess'tuath esse aen Novigrad.} Oral/dialogic
{Aen Midaete ess'tuath esse aen Novigrad.} [By [最遲在盛夏之前，我們就會攻下諾維格
Subtitling asset
Midaete at the latest, Novigrad will be ours.]
Voiceover asset
瑞。]
W69
490922-[0]
Que suecc's?
W70
1029298-[0] {Gar'aen, evellienn!} [Everyone, watch out!]
{Gar'ean, vatt'ghern. Va caelm. } [Careful,
witcher. Behave.]
該死的商人工會⋯幸好你把他們趕走了， Oral/dialogic
Subtitling asset
狩魔獵人！
（精靈語）怎麼回事？
Oral/dialogic
Subtitling asset
{Gar'aen, evellienn!} [大家小心！]
Oral/dialogic
Subtitling asset
Voiceover asset
270
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Translation
strategies
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by addition
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Text type &
Asset type
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Oral/dialogic
Subtitling asset
Voiceover asset
W71
1029306-[0]
{Ess'deireadh Nordling!} [This is your end,
Nordling!]
{Ess'deireadh Nordling!} [今天就是你的
末日，北方人！]
W72
1029330-[0]
{Evelienn dòchas aen ker'zaer. } [All our hope
lies in the emperor.]
{Evelienn dòchas aen ker'zaer. } [我們的希 Oral/dialogic
Subtitling asset
望都寄託在皇帝身上了。]
Voiceover asset
W73
1029338-[0] {Ess'waen le'evend! } [I want him alive!]
{Ess'waen le'evend! } [活捉他！]
Oral/dialogic
Subtitling asset
Voiceover asset
W74
1029340-[0] {A’anval! } [Attack!]
{A’anval! } [攻擊！]
Oral/dialogic
Subtitling asset
Voiceover asset
W75
1029344-[0] {Tuvean y gloir! } [Death and glory!]
{Tuvean y gloir! } [光榮戰死！]
Oral/dialogic
Subtitling asset
Voiceover asset
W76
1029346-[0] {Va vort. } [Go away.]
{Va vort. } [走開。]
Oral/dialogic
Subtitling asset
Voiceover asset
W77
1037156-[0] {Quess'aen? } [What's new?]
{Quess'aen? } [有新鮮事嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
W78
1040841-[0] Ess'tedd, esse creasa.
Ess'tedd, esse creasa. [時候到了，該來就 Oral/dialogic
Subtitling asset
是會來。]
Voiceover asset
271
EN immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
ZH-TW immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
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Text type &
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{Cáedmil. } [妳好。]
Oral/dialogic
Subtitling asset
Voiceover asset
范格堡的葉奈法、白狼，你們好。
Oral/dialogic
Subtitling asset
Behold! For nigh is the Time of the Sword and
Axe, the Age of the Wolven Blizzard. Nigh is the
Time of the White Frost and White Light, the
Time of Madness and Disdain, Tedd Deireádh the Final Age.<br><br>The World shall perish
amidst ice and be reborn with the new sun.
1058784-[0] Reborn of the Elder Blood, of Hen Ichaer, of a
planted seed. A seed that will not sprout but burst
into flames!<br><br>Ess'tuath esse! So shall it
be! Watch for the signs! And I say unto you what
signs they shall be: first the earth will run with
the blood of the Aen Seidhe, the Blood of the
Elves…
看哪！劍斧紀元已經接近，又名狼之暴
風雪、白霜與白光的紀元。這是瘋狂與
失控的時間，泰德．戴爾瑞，最後紀
元。<br><br>世界將在冰霜中毀滅，伴
隨著新的太陽重生。長者之血、漢．伊
夏種下的種子將會重生。種子不會萌
芽、而會爆成火焰！<br><br>Ess'tuath
esse！這是命運註定！注意跡象！我現
在就告訴你們，會有怎麼樣的跡象：首
先，是艾恩．西迪精靈之血將會血流成
河…
Narrative
In-game texture
embedded words
W82
1059707-[0] Ann Gal Scam'Hanach!
Ann Gal Scam'Hanach!
Oral/dialogic
Subtitling asset
W83
1063204-[0] Aen N'og Mab Taedh'morc
Aen N'og Mab Taedh'morc
Narrative
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embedded words
W84
(book is burned, only a few pages still
intact)<br><br>Yviss,<br><br>Yviss,
m'evelienn vente caelm en tell<br>Elaine
1063208-[0]
Ettariel,<br>Aep cor me lode deith
ess'viell<br>Yn blath que me darienn<br>Aen
minne vain tegen a me<br>Yn toin av muireann
（書被燒了，只有剩下幾頁）
<br><br>Yviss,<br><br>Yviss, m'evelienn
Narrative
vente caelm en tell<br>Elaine
In-game texture
Ettariel,<br>Aep cor me lode deith
embedded words
ess'viell<br>Yn blath que me
darienn<br>Aen minne vain tegen a
W79
1018539-[4] {Cáedmil. } [Greetings.]
W80
531984-[6]
W81
Cáed'mil, Yennefer aep Vengerberg.
Gwynbleidd.
272
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que dis eveigh e aep llea...<br><br><br>L'eassan
Lamm faeinne renn, ess'ell,<br>Elaine
Ettariel,<br>Aep cor aen tedd teviel e
gwen<br>Yn blath que me darienn<br>Ess yn e
evellien a me<br>Que shaent te caelm a'vean
minne me striscea...
me<br>Yn toin av muireann que dis eveigh
e aep llea...<br><br><br>L'eassan Lamm
faeinne renn, ess'ell,<br>Elaine
Ettariel,<br>Aep cor aen tedd teviel e
gwen<br>Yn blath que me darienn<br>Ess
yn e evellien a me<br>Que shaent te caelm
a'vean minne me striscea...
W85
"Ladd nahw! Kill them! Litter the earth with
1065081-[0]
their entrails!"
W86
312072-[10]
W87
<i>What's the difference between a Sage and a
sorcerer? Same as between a campfire and a
volcano, dear.</i><br>--Millegarda of Redania,
lecturer at the Aretuza School of
Sorceresses<br><br>The term "Sage" is a rather
loose translation of the elven expression "Aen
Saevherne". Humans often think it's a synonym
for the word "sorcerer" -- but they are gravely
mistaken. The enigmatic Aen Saevherne do of
1068523-[0] course use Power, and with great proficiency, but
at the same time possess an impressive
knowledge regarding not just magic, but also
medicine, art and -- as I was told -- other Worlds,
dimensions and time itself. <br><br> Even
within the elven society, Sages form a separate,
mysterious but also greatly respected caste. They
follow their own moral code, the basic premise
of which, it seems, is the well-being of their
people.
W88
1071760-[0]
Crevan Espane aep Caomhan Macha and the
witcher of Rivia. Ceádmil.
{Esse claidheamh glaeddyv. } [Sheathe your
sword.]
「Ladd nawh! 殺了他們！讓他們的五臟 Narrative
In-game texture
六腑灑滿地！」
embedded words
柯曼．瑪卡的可里凡．艾司平和利維亞
的狩魔獵人，你們好。
Oral/dialogic
Subtitling asset
<i>賢者和術士有什麼差別？親愛的，就
像是營火和火山的差別。<i><br>──瑞
達尼亞的米莉加達，亞瑞圖札女術士學
校ˋ講師<br><br>「賢者」是精靈語中
「Aen Saevherne」的約略翻譯。人類常
以為這是「術士」的同義詞，但此言差
矣。神秘的 Aen Saevherne 當然會用法 Narrative
In-game texture
術，也十分擅長，但是他們擅長的還有
embedded words
醫藥、藝術，還有──我聽說──其他的
世界、次元，還有時間本身。<br><br>
即使是在精靈的社會中，賢者也構成一
個獨立、神秘，但十分受敬重的階層。
他們跟隨自己的道德規範，這個規範似
乎是奠基在精靈族群的安定上。
{Esse claidheamh glaeddyv. } [把劍收起
來。]
273
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{Esse deireadh zèamach. } [This is your last
warning.]
Text type &
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{Esse deireadh zèamach. } [這是你最後一 Oral/dialogic
Subtitling asset
次警告。]
Voiceover asset
W89
1071762-[0]
W90
1071764-[0] {Aan'dara tod. } [Put it away.]
{Aan'dara tod. } [快收起來。]
Oral/dialogic
Subtitling asset
Voiceover asset
W91
1071766-[0] {Esse'earala. } [Last warning.]
{Esse'earala. } [這是最後警告。]
Oral/dialogic
Subtitling asset
Voiceover asset
W92
1071773-[0]
W93
1071775-[0] {Ess'diccette, caelm! } [I told you, calm down!]
W94
1072365-[0]
{Va dolmaach ess iom'tha. } [This behavior is
inappopriate.]
{Va dolmaach ess iom'tha. } [這行為不妥 Oral/dialogic
Subtitling asset
當。]
Voiceover asset
{Ess'diccette, caelm! } [我告訴過你了，
快冷靜點！]
Oral/dialogic
Subtitling asset
Voiceover asset
{Quess'aen a va?} [What do you think you're
doing?]
{Quess'aen a va?} [你以為你在幹嘛？]
Oral/dialogic
Subtitling asset
Voiceover asset
W95
1072368-[0] {Esse tuv'en a va.} [And now I will kill you.]
{Esse tuv'en a va.} [我要把你給宰了。]
Oral/dialogic
Subtitling asset
Voiceover asset
W96
1072395-[0]
{Glaeddyv vort, Nordling.} [Away with your
sword, Nordling.]
{Glaeddyv vort, Nordling.} [把劍收起來， Oral/dialogic
Subtitling asset
北方人。]
Voiceover asset
274
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components
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{[Aen Ard Feain! Ess'quad a me!} [我向烈 Oral/dialogic
Subtitling asset
日發誓，你完蛋了！]
Voiceover asset
W97
1072397-[0]
{Aen Ard Feain! Ess'quad a me!} [By the Great
Sun, that does it!]
W98
1072425-[0]
Oral/dialogic
{Ess'earala a va. Vedrai! Enn'le!} [I warned you. {Ess'earala a va. Vedrai! Enn'le!} [我警告
Subtitling asset
Men! Grab him!]
過你了。來人啊！抓住他！]
Voiceover asset
W99
1072443-[0]
{Esse ragha a va. Tuvean!} [You made your
choice. Die!]
{Esse ragha a va. Tuvean!} [你做出選擇
了，死吧！]
{Esse'meal aen reusanth.} [Reasonable, thank
you.]
{Esse'meal aen reusanth.} [理性和平，謝 Oral/dialogic
Subtitling asset
謝。]
Voiceover asset
W100 1072858-[0]
Oral/dialogic
Subtitling asset
Voiceover asset
W101 1072864-[0] {Esse'va dhut.} [Lucky you did that.]
{Esse'va dhut.} [算你幸運。]
Oral/dialogic
Subtitling asset
Voiceover asset
W102 490918-[0]
（精靈語）你好。
Oral/dialogic
Subtitling asset
Ceádmil.
EN immersion
components
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components
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盯好那些流浪者、獨自一人的旅客、喝
Keep an eye out for castaways. Lone travelers.
醉的士兵。把他們帶到地窖來找我。古
Drunk warriors. Bring them to me, to the cellar.
W103 1075208-[0]
The Ancient One craves blood.<br><br>Ph'nglui 老之人渴望鮮血。<br><br>Ph'nglui
mglw'nafh Cthulhu R'lyeh wgah'nagl
mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn.
fhtagn.
Narrative
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W104 1075819-[0] Gvialen!
Oral/dialogic
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Gvialen!
275
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W105 1075823-[0] Er'chyl vatt'ghern!
Jester had one task. ONE. To write incantations
on the ribbons used in creating the golem. And
what did he do? Made a dog's dinner of it, of
course - and as a result, instead of a guard we
have a murderer walking our lab. And I asked,
"Did you double check the incantations?" "Oh,
aye, yessiree.""Are you sure?" "Sure as shooting,
aye." And yet the results prove otherwise. To
think that I could have had one of my students do
W106 1076446-[0] it instead of that imbecile...<br><br>We've
barricaded ourselves in, but he'll get us, it's only
a matter of time. At least I can dull the horror of
my last minutes with fisstech - prime quality
stuff, at that. We would have garnered top coin
for it... had Jester not been a complete, and
probably illiterate, idiot. Well, guess I didn't have
many years left in me anyways, and better to go
out with a bang than to die slowly in a hospital.
So I suppose it's <i>va faill</i>, cruel World!
They say you can't catch an elf in the woods. Oh,
you can, in fact. You just gotta try real hard.
We've got living proof in our camp - a Scoia'tael
archer. I thought we'd eliminated all those
vermin after the last Nilfgaard war, but it seems
we missed some.<br><br>I'd rather hang the
W107 1076858-[0] long-ears right off. Well, maybe after a couple
days of torture, but still, hanging's what he needs.
Thing is, Cula says as long as we have him alive
and in our camp, the other Squirrels won't attack
us, outta fear we'll kill him before they can stop
us.<br><br>I listened to his advice - and so far I
don't regret it. Used to be an arrow'd come flying
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Subtitling asset
Er'chyl vatt'ghern…
那小丑就只有一個工作，就一個而已。
在用來創造魔像的緞帶上寫下咒文。結
果咧，他做了什麼好事？亂寫一通，想
當然耳，結果我們的實驗室裡冒出來了
個殺人機器。我問他：「你確認過咒文
了嗎？」「是的，先生。」「你確定
嗎？」「確定得不得了。」結果根本不
是這麼一回事。我大可找個學生做，結
果竟然找了那個廢物...<br><br>我們把
自己關在房間裡頭，但他肯定會逮到我
們，只是時間問題。至少我可以用麻藥
粉讓我的最後時光不那麼害怕，這還是
頂級品質的咧。我們原本可以賺大錢...
如果那不識字的小丑沒那麼笨的話。我
猜我沒剩下幾個年頭可活裡，那乾脆轟
轟烈烈的離開人世，至少比老死在醫院
還好吧。<i>Va fail</i>，再見了，這殘
忍的世界！
聽說在森林裡抓不到精靈。才怪，其實
抓得到呢，只是需要多努力點罷了。我
們的營區裡就有個活生生的例子，是個
松鼠黨的弓箭手。我以為最後一次尼弗
迦德戰爭時，我們已經把這些害蟲全都
清除乾淨了，看來還有些漏網之魚。
<br><br>我恨不得把那長耳朵的直接吊
死。不對，要先折磨個幾天，然後再吊
死。不過，古拉說只要他還活著，人在
我們的營區裡，其他松鼠就不會攻擊我
們，深怕在他們阻止我們之前，我們就
把他殺了。<br><br>我聽了他的建議，
276
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towards your arse every two steps, now it's dead
quiet. That elf stays calm, doesn't eat much, and
when you get some vodka in him, he even sings
in that language of theirs, pretty good, too.
"Bl’oede dh’oine, aespere evellienn,” or
something like that. Must be about flowers,
sunshine - they love that shite.
到現在還沒什麼好後悔的。以前每走兩
步就有支箭朝你的屁股飛過來，現在這
裡一片死寂。那精靈不太掙扎，也不吃
東西，把他灌點伏特加，他甚至還會用
他們的語言唱歌，還很好聽的咧。
「Bl'oede dh'oine, aespere evellienn」大概
是這樣吧。大概是跟什麼花朵陽光有
關，他們最愛這些鬼玩意。
<i>N'arache aen woed endicen [Let sleeping
arachasae lie].</i><br>– Elven
proverb<br><br>Powerful pincers, a maw filled
with razor-sharp teeth and venom glands packed
W108 1077284-[0] with deadly toxins – these constitute the arachas'
deadly arsenal. Since people and farm animals
make up an important part of these creatures'
diet, contracts on arachasae in turn constitute an
important source of witcher coin.<br>
<i>Traveling</i><br><br>N'aen aespar a me –
Don't shoot me.<br>M'aespar que va'en, ell'ea? –
Are you going to shoot me, or what?<br>Caelm,
evellienn! – Calm down, everyone!<br>Gar'ean!
N'te va! – Watch out! Don't go in
there!<br>Glaeddyv vort! – Drop your
sword!<br><br><i>On a romantic
outing</i><br><br>Ess've vort shaente aen… –
W109 1077518-[0] Sing me a song about...<br> Va'en aesledde,
ell'ea? – We'll go for a sleigh ride, all
right?<br>Elaine tedd a'taeghane – Lovely
weather we're having.<br>Caen me a'baethe? –
Give me a kiss?<br>N'te dice'en – Don't say
anything.
<br><br><i>Shopping</i><br><br>Mir'me vara
– Show me your goods.<br>Naev'de aen
tvedeane – Ten a dozen.
<i>N’arache aen woed endicen [別喚醒睡
著的蟹蜘蛛]。</i><br>–精靈諺語
<br><br>強力的鉗子、長滿尖牙的嘴、 Narrative
滿是劇毒的毒腺–蟹蜘蛛的致命武器非常 In-game texture
多。人類與農田動物是這種生物的重要 embedded words
食物，所以獵捕蟹蜘蛛的工作也是狩魔
獵人的重要收入來源。<br>
<i>旅行</i><br><br>N'aen aespar a me –
不要射我。<br>M'aespar que va'en, ell'ea?
– 你是要不要射我？<br>Caelm,
evellienn! – 大家冷靜！<br>Gar'ean! N'te
va! – 小心！不要進去！<br>Glaeddyv
vort! – 把劍拋開！<br><br><i>浪漫約會
</i><br><br>Ess've vort shaente aen… –
唱首…的歌給我聽。<br> Va'en aesledde,
ell'ea? – 我們去玩雪橇吧，好嗎？
<br>Elaine tedd a'taeghane – 今天天氣真
好。<br>Caen me a'baethe? – 親我一下？
<br>N'te dice'en – 別說話。<br><br><i>
購物</i><br><br>Mir'me vara – 給我看看
你在賣些什麼。<br>Naev'de aen tvedeane
– 十元一打。
古代語詞彙表<br><br>諸多作者合著。
A work by many authors.<br><br>Aard –
<br><br>Aard – 高山，多山的<br>Aark –
mountain, mountainous, upper<br>Aark –
浮冰<br>Addan – 跳舞<br>Aen – 從，去
W110 1077521-[0] floe<br>Addan – dancing<br>Aen – from,
to<br>Aep – of, in<br>Arse – rump<br>Beanna <br>Aep – 我<br>Arse – 後臀<br>Beanna
– woman<br>Blath – flower<br>Bleidd –
– 女人<br>Blath – 花<br>Bleidd – 狼
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wolf<br>Bloed – blood<br>Bloede – bloody
(also used in oaths)<br>Caer – castle,
keep<br>Caerme – fate, destiny<br>Ceádmil –
greetings<br>Deith – flame<br>Deireadh –
end<br>Dh’oine – human<br>Dhu –
black<br>Dice – to speak<br>Elaine –
beautiful<br>Evall – horse<br>Foilé –
mad<br>Gláeddyv – sword<br>Gvalch’ca – shefalcon<br>Hen – old, elder<br>Ichaer –
blood<br>Muire – sea<br>Modron –
mother<br>Morvud – enemy<br>Neén –
no<br>Seidhe – elf<br>Sor’ca – sister<br>Tedd
– time<br>Tor – tower<br>Va fail –
farewell<br>Vatt’ghern – witcher<br>Woed –
forest<br>Zireael – swallow
<br>Bloed – 血<br>Bloede – 鮮血的（也
用在誓言中）<br>Caer – 城堡、堡壘
<br>Caerme – 命運<br>Ceádmil – 打招呼
<br>Deith – 火焰<br>Deireadh – 白色
<br>Dh'oine – 人類<br>Dhu – 黑色
<br>Dice – 說<br>Elaine – 漂亮<br>Evall
– 馬<br>Foilé – 生氣<br>Gláeddyv – 劍
<br>Gvalch'ca – 隼<br>Hen – 老的
<br>Ichaer – 血<br>Muire – 海
<br>Modron – 母親<br>Morvud – 敵人
<br>Neén – 不<br>Seidhe – 精靈
<br>Sor'ca – 姊妹<br>Tedd – 時間
<br>Tor – 高塔<br>Va fail – 再會
<br>Vatt'ghern – 狩魔獵人<br>Woed – 森
林<br>Zireael – 燕子
<i>Ne t'aervenne comm Nordling!（別像
<i>Ne t'aervenne comm Nordling! [Don't you
behave like a Nordling!]</i><br>--Nilfgaardian 個北方佬一樣！）</i><br>—尼弗迦德俗
expression<br><br>"Nordling" is an umbrella
話<br><br>「北方佬」是所有北方各國
term for all inhabitants of the Northern Realms, 的人的統稱，通常是尼弗迦德人會用的
Narrative
used mostly by Nilfgaardians and, more rarely,
詞，偶爾史凱利傑人會用。這個詞非常 In-game texture
W111 1078325-[0]
the people of Skellige. It is a highly offensive
不禮貌，背後暗示著懶惰、奸詐、野蠻 embedded words
name, which implies laziness, treachery,
barbarity and excessive lust. I would like to say 與過高的性慾。我很想說我們不該有這
that we do not deserve such a damning reputation 樣的刻板印象──但我的原則是盡量不說
謊。
-- however, I generally try not to lie.
W112 592402-[4]
You are stubborn, dh'oine.
W113 1080601-[0] Darl'len, Aen Seidhe!
Neen evelienn Scoia’tael marw. Cáemm aep
W114 1080602-[0] woedd, holl Aen Seidhe. Darganfod an uniade
ninnau. Ymladda dh’oine. Ess'tedd, esse creasa.
W115 517520-[6]
Ceádmil, Aen Saevherne.
你很頑固，人類。
Oral/dialogic
Subtitling asset
Darl'len, Aen Seidhe!
Narrative
In-game texture
embedded words
Neen evelienn Scoia’tael marw. Cáemm
Narrative
aep woedd, holl Aen Seidhe. Darganfod an
In-game texture
uniade ninnau. Ymladda dh’oine. Ess'tedd,
embedded words
esse creasa.
Oral/dialogic
（精靈語）精靈女術士，你好。
Subtitling asset
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Hael Her'zaer! E'er y gloir. Ard Feain ess na'ar!
<br><br>Don't understand what you just read?
No wonder - it's in Nilfgaardian! And soon half
W116 1080897-[0] the World will be speaking this mysterious
tongue! So you'd best start learning it now - and
yours truly can help you with that, for a very
modest fee.<br><br>–Ernest of Vicovaro
W117 555324-[0]
{Bloeeeeeed! } [Blooood!]
W118 1040836-[0] Bloede dh'oine…
W119 490914-[0]
W120
1162005[patch1]
Text type &
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Hael Her'zaer! E'er y gloir. Ard Feain ess
na'ar! <br><br>看不懂嗎？當然了，這是
尼弗迦德語！不久後世界上一半的地方 Narrative
In-game texture
都會說這種神秘語言了！建議您現在就
embedded words
開始學習，在下可以以低廉價格當您的
家教。<br>—維可瓦洛的恩司特
{Bloeeeeeed! } [血！]
Oral/dialogic
Subtitling asset
Voiceover asset
Bloede dh'oine…
Oral/dialogic
Subtitling asset
A'Chionn Radovid aen a'caelme tedd ess'saovine! （精靈語）聽說拉多維德在策劃陰謀！
Janne,<br><br>Dean Marcellus has made it clear
that as a specialist in postconjunctive species I
am to provide you with all the help necessary in
preparing for the trip you are planning. Maybe I
will start with a warning: it's pure madness.
Assuming that you survive teleportation -- and
opening a stable portal several dozen meters
above the ground is, as you know, highly risky -you will then be torn to shreds. As much as
Vampires Superiores are actually rational
creatures with developed cognitive and analytical
functions, other species may be less open to
attempts to make contact.<br><br>If by chance
you do live to have an audience with this Unseen
Elder, do the following immediately: genuflect,
珍恩：<br><br>因為我是天球交會後物
種的專家，馬賽拉斯󠄀院長指派我盡力協
助你規劃這一趟旅程。首先我該給你一
個警告：這計劃簡直太瘋狂了。即使你
活過傳送過程——如你所知，在離地好
幾十公尺的地方打開穩定的傳送門風險
非常高——你也很快會被撕得粉身碎
骨。雖然高等吸血鬼是理性的生物，具
有高度發展的認知與分析能力，但其他
物種對你可能不會有如此包容的態度。
<br><br>如果你十分幸運，真的見到了
這位暗影長者，請你立刻下跪，用他們
語言打招呼：「eclthi, lautni ama」，然
後獻出我隨信附上的哈克蘭霰石水晶作
279
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say words of greeting in their language -- "eclthi,
lautni ama" -- and place on the ground the
attached Haakland aragonite crystal as a gift.
Then, and only then, is there the slightest chance
that you will be heard. But, by the gods, speak
quickly and don't waste your words.<br><br>Jochen Brandt
為禮物。完成以上步驟，你才稍稍有一
點機會能與暗影長者說到話。但千萬千
萬長話短說，別講廢話。<br><br>-喬辰‧
布蘭特
Tomas Moreau, professor<br>Ellas k'havani
allder aen Dol Naev'de, ellas allder n'corrason.
Glorsann a'Aelirenn.
托瑪斯󠄀‧莫呂教授<br>「Ellas k'havani
allder aen Dol Naev'de, ellas allder
n'corrason. Glorsann a'Aelirenn.」
Narrative
Subtitling asset
W122 490912-[0]
N'elaine tedd a'taeghane.
（精靈語）別再下雨了。
Oral/dialogic
Subtitling asset
W123 546802-[2]
{Coltais grìffean ess'a'anval. } [They say the
griffin attacked again.]
{Coltais grìffean ess'a'anval. } [獅鷲獸又
開始攻擊人了。]
Oral/dialogic
Subtitling asset
Voiceover asset
W124 546803-[2]
{Aep thorp? } [In the village?]
{Aep thorp? } [在村莊裡嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
W125 553820-[2]
{Esse go'deff? Math. Tha seo tuveaann esse'cuir
aep klu. Evan, sàbh a me. } [That hurts? Good.
The necrosis has stopped at your knee. Evan,
saw, please.]
{Esse go'deff? Math. Tha seo tuveaann
esse'cuir aep klu. Evan, sàbh a me. } [痛
嗎？很好，看來細胞壞死的情況只有到
膝蓋。伊凡 ，請給我鋸子。]
Oral/dialogic
Subtitling asset
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W126 553821-[2]
{Aen sàbh?!} Gheh-- Aaargh! [A saw?!]
{Aen sàbh?! } [鋸子？！]
Oral/dialogic
Subtitling asset
Voiceover asset
W127 553822-[2]
{Que esse'bar aen cas? Aep beseta? } [How
would you prefer I remove your leg? With
tweezers?]
{Que esse'bar aen cas? Aep beseta? } [要不 Oral/dialogic
Subtitling asset
然你要我怎麼幫你截肢？用鑷子？]
Voiceover asset
W121
1206645[patch1]
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W128 554445-[2]
{Leig leam, sheyss! } Aaaaargh! [Stop, dammit!]
W129 554447-[2]
{Evan, vedrai. Esse'cuir an prop ar'ne
{Evan, vedrai. Esse'cuir an prop ar'ne teanga
esse'nag. } [Evan, hold him. And gag him lest he teanga esse'nag. } [伊凡，抓住他，塞住
bite off his tongue.]
他的嘴，免得他咬掉自己的舌頭。]
W130 561458-[2]
{Neen, aep straede. Mar'sandean carbad. } [No,
on the road. A merchant's wagon.]
{Neen, aep straede. Mar'sandean carbad. } Oral/dialogic
[不，是在路上，這次是攻擊了商人的馬 Subtitling asset
Voiceover asset
車。]
W131 561460-[2]
{Ess'dice fir'inn. Nord ess ulf'heidan an
moeras. } [It's true what they said at home. The
North is nothing but swamps and monsters.]
{Ess'dice fir'inn. Nord ess ulf'heidan an
Oral/dialogic
moeras. } [家鄉的人說得果然沒錯，北方 Subtitling asset
Voiceover asset
什麼沒有，沼澤和怪物最多。]
W132 561462-[2]
{Esse'droog moeras, esse'tuv'en ulf'heidan. Mire,
deich eate'n n've en esseath, esseath òrdan
que'cail me caer. } [We will drain the swamps
and kill the monsters. Ten years - less even, and
it will be like home, you will see.]
{Esse'droog moeras, esse'tuv'en ulf'heidan.
Mire, deich eate'n n've en esseath, esseath
òrdan que'cail me caer. } [放心，只要我們 Oral/dialogic
把沼澤的水抽乾，把那些怪物都殺死， Subtitling asset
Voiceover asset
跟你說，不用十年，這裡就會變得和我
們家鄉一樣。]
W133 562830-[2]
{Ess've vairich? Corpail'ear Cerid ess marv. }
[Did you hear? Corporal Cerid is dead.]
{Ess've vairich, corpail'ear Cerid ess
marv? } [你聽說了嗎？傑里德下士死
了。]
W134 562831-[2]
{Cerid? Cerid Stàilinn Ceann? N'ees theenk a
faigh aep evellien Nordling badass cò tuve'an
esan. } [Cerid? Steelskull Cerid? I did not think
there was a Nordling capable.]
{Cerid? Cerid Stàilinn Ceann? N'ees theenk
a faigh aep eveliien Norlding badass cò
Oral/dialogic
tuve'an esan. } [傑里德？是那個鐵血教頭 Subtitling asset
傑里德？我以為北方人沒一個能打得贏 Voiceover asset
他。]
Asset target text
{Aaaaargh!!! Leig leam, sheyss! } [啊啊
啊！！！住手，該死的！]
281
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W135 562832-[2]
{An n'faigh. } [There wasn't.]
Oral/dialogic
{An n'faigh. } [他不是被北方人殺死的。] Subtitling asset
Voiceover asset
W136 563115-[2]
{Ess soond jakkten. } [Good hunting to you.]
{Ess soond jakkten. } [祝你獵獸順利。]
W137 563228-[2]
{Ess’va dicette, esan morv aep pest. Es heet. Dhu
gucagan yn niss, yn niss.}[The word is disease
took him. A fever. Black boils in his armpits, his
armpits.]
{Ess'va dicette, esan morv aep pest. Es
heet. Dhu gucagan yn niss, yn niss. } [聽說 Oral/dialogic
Subtitling asset
他是生病死的，除了發燒，腋下還長了
Voiceover asset
一些黑色的沸泡。]
W138 563230-[2]
{N’ess dicette hy’in! Phoilitigeac ess
feargach.}[Do not speak of this. It's unpopular
with the political officers.]
{N'ess dicette hy'in! Phoilitigeac ess
feargach. } [不過可別四處宣揚，那些政
治官員對這種事很敏感。]
W139 592059-[2]
{Yeá. Faill vear'thainn. } [Of course. It's drizzlin' {Yeá. Faill vear'thainn. } [果然，又下雨
again.]
了。]
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
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Subtitling asset
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Ard Feainn! Just what we needed… a witcher
with stones of granite!
烈日呀！上天救了我們一命⋯我們正需要 Oral/dialogic
Subtitling asset
個有膽量的狩魔獵人呢！
W141 592072-[2]
{Aen Ard Feain! } [By the Great Sun!]
{Aen Ard Feain! } [以烈日之名！]
Oral/dialogic
Subtitling asset
Voiceover asset
W142 592086-[2]
{Larwm! Aaaaaaa!}[Help! Aaaaaa!]
{Larwm! Aaaaaaa! } [救命！啊！]
Oral/dialogic
Subtitling asset
Voiceover asset
W140
1151846[bob]
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W143 592104-[2]
{Glòir aen Ker'zaer! } [Glory to the Emperor!]
{Glòir aen Ker'zaer! } [榮耀歸皇帝！]
W144 592119-[2]
{Ech, elaine tedd a'taeghane... Aep Aevon y
Alba... } [Ahh, the Alba must look lovely this
time of year...]
{Ech, elaine tedd a'taeghane... Aep Aevon y Oral/dialogic
Subtitling asset
Alba... } [哎，阿爾巴這時候一定很美...]
Voiceover asset
W145 592123-[2]
{Ess se'ege aen a'vean! } [Victory is within us!]
{Ess se'ege aen a'vean! } [勝利操之在
握！]
W146 592133-[2]
{Glòir aen Ard Feain! } [Glory to the Great
Sun!]
{Glòir aen Ard Feain! } [榮耀歸偉大的太 Oral/dialogic
Subtitling asset
陽！]
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
{Squaess, que? } [抱歉，什麼？]
Oral/dialogic
Subtitling asset
Voiceover asset
（精靈語）私梟…
Oral/dialogic
Subtitling asset
W149 1049561-[2] {Va caelm! } [Calm down!]
{Va caelm! } [冷靜點！]
Oral/dialogic
Subtitling asset
Voiceover asset
W150 1049567-[2] {Glaeddyv vort. } [Set your sword down.]
{Glaeddyv vort. } [把劍放下來。]
Oral/dialogic
Subtitling asset
Voiceover asset
W147 1049551-[2] {Squaess, que? } [I'm sorry, what?]
W148 490719-[0]
Hav'caaren…
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Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
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Contacting gameplay
Implicit information
Character identification
World construction
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Contacting gameplay
Explicit information
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Contacting gameplay
Explicit information
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ZH-TW immersion
components
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Contacting gameplay
Explicit information
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Contacting gameplay
Explicit information
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Contacting gameplay
Explicit information
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Contacting gameplay
Explicit information
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Contacting gameplay
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Contacting gameplay
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Contacting gameplay
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String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
W151 1049574-[2] {Hael Ker'zaer. } [Long live the emperor.]
{Hael Ker'zaer. } [皇帝萬歲。]
Oral/dialogic
Subtitling asset
Voiceover asset
W152 1049576-[2] {N'ees tedd a thu. } [I've no time for you.]
{N'ees tedd a thu. } [我沒時間理你。]
Oral/dialogic
Subtitling asset
Voiceover asset
W153 1049578-[2] {Bu'rac. } [Bumpkin.]
{Bu'rac. } [鄉巴佬。]
Oral/dialogic
Subtitling asset
Voiceover asset
W154 1049580-[2] {Gàrdan! } [Guards!]
{Gàrdan! } [守衛！]
Oral/dialogic
Subtitling asset
Voiceover asset
{Ess tolla'va, hoersoon?! Esse'faigh va arbaith
W155 1051306-[2] hwer... } [Are you bored, whoresons?! I'll find
you something to do...]
{Ess tolla'va, hoersoon?! Esse'faigh va
Oral/dialogic
arbaith hwer... } [混帳，無聊了是不是？ Subtitling asset
Voiceover asset
我可以給你們找事做沒關係...]
{Iarr'va beannen aep Temeria? } [你們想找 Oral/dialogic
Subtitling asset
泰莫利亞的農村妹妹是不是？]
Voiceover asset
W156 1051310-[2]
{Iarr'va beannen aep Temeria? } [You crave
Temerian peasant wenches, eh?]
W157 1051312-[2]
{Rach, sheyss! Yn, twe! } [More, shitfaces! One, {Rach, sheyss! Yn, twe! } [再來！一、
two!]
二！]
W158 1051314-[2]
Oral/dialogic
{Ess fad air va aep boaeran! Begript?! } [You're {Ess fad air va aep boaeran! Begript?! } [不
Subtitling asset
to stay away from the hayseeds! Understood?!] 准接近那些鄉巴佬！懂嗎?!]
Voiceover asset
284
Oral/dialogic
Subtitling asset
Voiceover asset
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
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ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
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Audiovisual stimuli
Contacting gameplay
Explicit information
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W159 1051316-[2]
Asset source text
{Lager hoal! Ess'dice, lager! } [Arses lower!
Lower, I say!]
Text type &
Asset type
Asset target text
{Lager hoal! Ess'dice, lager! } [屁股給我
低一點！低一點！]
Oral/dialogic
Subtitling asset
Voiceover asset
{Dure pump, hoalan aep ker'zaeran zaighde'ran {Dure pump, hoalan aep ker'zaeran
Oral/dialogic
W160 1051318-[2] snasta aarde. } [An imperial soldier's arse should zaighde'ran snasta aarde. } [皇家軍隊兵每 Subtitling asset
be flat to the ground with each push-up.]
做一次伏地挺身，屁股要跟地面平行！] Voiceover asset
W161 1071821-[2] {Quess'aen a va?! } [What are you doing?!]
{Quess'aen a va?! } [你在幹嘛？]
Oral/dialogic
Subtitling asset
Voiceover asset
W162 1071823-[2] {Veldi math.}[Very well.] You asked for it.
{Veldi math. } [很好，這是你自找的。]
Oral/dialogic
Subtitling asset
Voiceover asset
W163 1072778-[2] {Math. } [Better.]
{Math. } [好多了。]
Oral/dialogic
Subtitling asset
Voiceover asset
W164 1072782-[2] {Ess'reusanth. } [Wise.]
{Ess'reusanth. } [聰明。]
Oral/dialogic
Subtitling asset
Voiceover asset
W165 592066-[2]
{Bloede Nordling. } [死北方人。].
Oral/dialogic
Subtitling asset
Voiceover asset
{Ess bloede joc? } [你是在開玩笑嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
{Bloede Nordling. } [Bloody Nordling].
W166 1049549-[2] {Ess bloede joc?}[Is this some bloody jest?]
285
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Explicit information
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Explicit information
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ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
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Contacting gameplay
Explicit information
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Text type &
Asset type
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W167 1049565-[2] {Que suecc's? } [What's going on?]
{Que suecc's? } [你好嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
W168 592061-[2]
{E'er y glòir. } [Honor and glory.]
{E'er y glòir. } [榮耀與光榮。]
Oral/dialogic
Subtitling asset
Voiceover asset
W169 592064-[2]
{Que? } [What?]
{Que? } [什麼？]
Oral/dialogic
Subtitling asset
Voiceover asset
W170
1175240[bob]
那些⋯該死的強盜商人工會已經支配這片
That… bloede hanse had terrorized this land too
Oral/dialogic
土地太久了。謝謝你的幫忙，狩魔獵
long. Thank you for your aid, vatt'ghern.
Subtitling asset
人。
{N'een! } [不！]
Oral/dialogic
Subtitling asset
Voiceover asset
W172 1049545-[2] {Heer? } [Sir?]
{Heer? } [先生？]
Oral/dialogic
Subtitling asset
Voiceover asset
W173 1051308-[2] {Esse pump! Yn, twe! } [Push-ups! Now!]
Oral/dialogic
{Esse pump! Yn, twe! } [伏地挺身預備！] Subtitling asset
Voiceover asset
W174 1051320-[2] {Yn, twe, yn, twe! } [One, two, one, two!]
Oral/dialogic
{Yn, twe, yn, twe! } [一、二、一、二！] Subtitling asset
Voiceover asset
W171 592115-[2]
{N'een! } [ No!]
286
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Contacting gameplay
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Contacting gameplay
Explicit information
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World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
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ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
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Contacting gameplay
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Contacting gameplay
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Text type &
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Oral/dialogic
Subtitling asset
Voiceover asset
W175 569510-[3]
{Vissean ess'va aen Novigrad?}[Have the envoys {Vissean ess'va aen Novigrad? } [使者從
returned from Novigrad?]
諾維格瑞回來了嗎？]
W176 569511-[3]
{Yeá… An neen. Raadsliden ae'enect, es Tunn
esse saor an neenphàir.}[Yes, empty-handed. The
ealdormen decreed the city shall remain
independent and neutral.]
{Yeá... An neen. Raadsliden ae'enect, es
Tunn esse saor an neenphàir. } [回來了…
但是一無所獲。參事決議全城應保持獨
立和中立。]
Oral/dialogic
Subtitling asset
Voiceover asset
W177 569512-[3]
{Ess'va dearf?}[Are you certain?]
{Ess'va dearf? } [你確定嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
W178 569513-[3]
{Esse ma a strigean aep Foltest aen
{Esse ma a strigean aep Foltest aen carnnan. }
carnnan. } [或許他要去解決地下墓窖的
[Perhaps he's to clear the catacombs - strigas left
怪物。從弗爾泰斯󠄀特時代起，那裡就一
over from Foltest's days.]
直有吸血妖鳥。]
W179 569515-[3]
{Caen vyos? Ae'vyos que'ess imbael. Essa ssant.
Ess'va Nordling.}[Perhaps. Who knows how
many he sired. Lecherous, he was. Typical
Nordling.]
{Caen vyos? Ae'vyos que'ess imbael. Essa
ssant. Ess'va Nordling. } [可能吧，誰知道 Oral/dialogic
Subtitling asset
他究竟播了多少種…大家都說他好色至
Voiceover asset
極。真是典型的北方人。]
W180 569998-[3]
{Esse'sidh avside aep feansa neen math theenk.
Neen cofhurtail an ennv pa vall. } [Straddling the
fence - foolish idea. Not only uncomfortable, but
one is liable to fall.]
{Esse'sidh avside aep feansa neen math
theenk. Neen cofhurtail an ennv pa vall. } Oral/dialogic
[見風轉舵的作法實在太愚蠢了，不僅拙 Subtitling asset
Voiceover asset
劣，也很容易失足。]
W181 570000-[3]
Oral/dialogic
{Ess vraag, que'ss side…}[Question is, to which {Ess vraag, que'ss side... } [只是不知道要
Subtitling asset
side…]
轉向哪一邊…]
Voiceover asset
W182 570001-[3]
{Dùth. Visse var Attre ess pa'as aep.}[The right
one. Ambassador var Attre will make certain.]
{Dùth. Visse var Attre ess pa'as aep. } [當
然是轉向正確的一邊，亞卓使節會處理
這件事。]
287
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Contacting gameplay
Explicit information
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Text type &
Asset type
W183 570177-[3]
{Ym'grymie aep Aard Ker'zaer, Deithwen Addan
yn Carn aep Morvudd, Emhyr var Emreis!}[Bow
before His Imperial Majesty, The White Flame
Dancing on the Graves of his Foes, Emhyr var
Emreis!]
{Ym'grymie aep Aard Ker'zaer, Deithwen
Oral/dialogic
Addan yn Carn aep Morvudd, Emhyr var
Emreis!<br>} [大帝陛下，在其敵人墳上 Subtitling asset
Voiceover asset
飛舞之白焰，恩希爾．恩瑞斯󠄀大帝！]
W184 570207-[3]
{Areir aep tho orde... } [As Your Majesty
wished…]
{Areir aep tho orde... } [承陛下所願…]
W185 570209-[3]
{Evelienn namyn vatt’ghern va vort.}[All except {Evelienn namyn vatt'ghern va vort. } [全
the witcher will leave.]
部的人都出去，狩魔獵人留下。]
W186 570796-[3]
{Evelienn. Katte áth, tve gláeddyven. Essa
vatt’ghern.}[Wholly. Cat eyes, two swords - a
witcher.]
{Evelienn. Katte áth, tve gláeddyven. Essa
vatt'ghern. } [百分之百確定，像貓一般銳 Oral/dialogic
Subtitling asset
利的眼睛，帶著兩把劍…就是狩魔獵
Voiceover asset
人。]
W187 570811-[3]
{Allaidh. } [Barbarians.]
{Allaidh. } [淨是些野蠻人。]
W188 575870-[3]
{Tedd a'taeghane, en'ca land n'ees a evelloë saor.
Aep Toussaint…}[These days it's unwise for
small realms to remain fully independent. Take
Toussaint…]
{Tedd a'taeghane, en'ca land n'ees a evelloë
saor. Aep Toussaint... } [現在這種情況， Oral/dialogic
Subtitling asset
小國想搞獨立實在不怎麼明智，像是陶
Voiceover asset
森特…]
W189 582405-[3]
Oral/dialogic
{Gàrracaer ess mëot leeg caer. } [The garden was {Gàrracaer ess mëot leeg caer. } [這花園照
Subtitling asset
to be empty.]
理來說不該有人。]
Voiceover asset
W190 582407-[3]
{A'ess, Aard Ker'zaer. N'evellien am
{A'ess, Aard Ker'zaer. N'evellien am caed…} [It caed…} [ 陛下說得沒錯，任何人都不
was, Your Imperial Majesty. No one was to…]
該…]
Asset target text
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
288
Oral/dialogic
Subtitling asset
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EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Text type &
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Oral/dialogic
Subtitling asset
Voiceover asset
{Ax. } [斧頭。]
W191 582414-[3]
{Ax. } [Axe.]
W192 1050605-[3]
{Esse clytie... Hyn vrae breinne gardd? } [These {Esse clytie... Hyn vrae breinne gardd? }
[這些花圃…這也叫皇家花園嗎？]
flower beds… they call this the royal garden?]
Oral/dialogic
Subtitling asset
Voiceover asset
{En celfyd daen garddvrae esse plenten aep Oral/dialogic
{En celfyd daen garddvrae esse plenten aep
W193 1050607-[3] Nord, marche. } [Seems the horticultural arts are Nord, marche. } [看來北邊的園藝技術還 Subtitling asset
still in their infancy in the North.]
Voiceover asset
有得發展。]
{Ymherodr caisse hvandre slafie aep caer'den
duges Vicovaro. Glaenne esse plasse.}[The
W194 1050609-[3] emperor will soon bring in a hundred slaves from
the duchess of Vicovaro's court. They'll tidy the
palace up.]
W195 1050611-[3]
{Hvandr gallu esse nac'gvasse.}[A hundred
might not suffice.]
{Ymherodr caisse hvandre slafie aep
caer'den duges Vicovaro. Glaenne esse
Oral/dialogic
plasse. } [大帝很快就會從維可瓦洛女爵 Subtitling asset
宮殿帶回一百名奴隸，到時候他們就會 Voiceover asset
把皇宮刷乾淨了。]
{Hvandr gallu esse nac'gvasse... } [說不定 Oral/dialogic
Subtitling asset
一百個奴隸還不夠啊…]
Voiceover asset
{En celfyd daen sychiad hefyd, cassve caen
W196 1050634-[3] gvelede tu meve. } [The cleaning arts as well,
judging by what I've seen inside.]
{En celfyd daen sychiad hefyd, cassve caen Oral/dialogic
gvelede tu meve. } [清掃技術也一樣，裡 Subtitling asset
Voiceover asset
面真是髒死了。]
W197 447749-[4]
Tan, marvorae, cynnaeu!
（咒語）Tan、Marvoraec、Cynnaeu！
Oral/dialogic
Subtitling asset
W198 487144-[4]
Went like this: "Va fail, elaine, ceàdmil folie!
Glaeddyv dorne aep t'enaid, bunn'droh ithne
i'yachus."
大概是這樣：「Va fail, elaine, ceàdmil
folie! Glaeddyv dorne aep t'enaid,
bunn'droh ithne i'yachus」。
Oral/dialogic
Subtitling asset
289
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Character identification
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Audiovisual stimuli
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Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
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W199 491076-[4]
Faeren, angau.
（咒語）Faeren, angau.
Oral/dialogic
Subtitling asset
W200 491085-[3]
Caesle, angaef.
（咒語）Caesle, angaef.
Oral/dialogic
Subtitling asset
W201 499133-[4]
Icht'am'Azrain.
Icht'am'Azrain。
Oral/dialogic
Subtitling asset
W202 504650-[4]
Yn all’an daonna ar ais…
（咒語）Yn all’an daonna ar ais…
Oral/dialogic
Subtitling asset
Warfare did not appeal to me. My vathair,
however - meaning, my father…
戰爭可不吸引我。但我爹⋯我父親⋯
Oral/dialogic
Subtitling asset
許多人認為「艾恩．賽赫涅」就是指賢
者…其實不過是古代語當中的術士。不
過要是把賢者當成一般的法師，就像是
把嘴裡叼根菸、新入伍的大兵跟狩魔獵
人相提並論，只因為兩者手裡都握了把
劍。<br><br>賢者會使用魔法沒錯，而
且他的技巧比人類法師更加純熟、強
大。不過，精靈賢者的地位和聲譽之所
以崇高，並非是因為魔法技術，而是因
為他們擁有一項稀有的能力。<br>在精
靈賢者眼裡沒有秘密，他們可以同時看
到過去、現在、未來。精靈賢者精通所
有魔法領域，也在所有學術境界達到頂
尖。只有他們懂得長者之血和勞拉．朵
蘭的基因的本質，而且懂得如何利用。
Narrative
In-game texture
embedded words
W203
1175242[bob]
Many think “Aen Saevherne“ - meaning Sage - is
simply the Elder Speech term for sorcerer. Yet to
equate a Sage with a common practitioner of
magic is akin to considering a newly-drafted
private, hay sticking out of his breeches, a
witcher's equal simply because both wield
swords.<br><br>A Sage wields magic, true, and
does so with greater skill than even the most
W204 1058798-[0] accomplished of human mages. The great
renown and regard in which they are held,
however, comes not from this skill but from the
other, truly rare abilities they
possess.<br><br>Nothing is secret for an elven
Sage. They see both past and future as easily as
the present. They have mastery over all the
arcana of magic as well as every domain of
scholarship. They are the only ones who
290
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Audiovisual stimuli
Implicit information
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Audiovisual stimuli
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World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Implicit information
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Visual stimuli
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understand the nature and operation of the socalled Elder Blood and the gene of Lara Dorren and they guard this knowledge
jealously.<br><br>How numerous are the elven
Sages? In all my life I have met only one, Ida
Emean of the Blue Mountains. She might
possibly be the last representative of this
mysterious caste. It is true I have encountered
mention a male elf who might also belong to it,
but as of this writing I have been unable to
confirm this.
Text type &
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Asset target text
EN immersion
components
ZH-TW immersion
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Translation
strategies
他們必死守護這些知識，絕對不外流。
<br><br>究竟有多少精靈賢者？我這輩
子只碰過一位，就是藍山的艾達．艾
敏。她很可能是這個神秘階級的最後一
位代表。我的確有聽說過有人提起一位
男性精靈賢者，但本書出版時我仍無法
證實這項消息。
W205 554449-[4]
Shaar'az!
Shaar'az!
Oral/dialogic
Subtitling asset
W206 554450-[4]
{Tabha'ar doin'ne. Ni linn yih'amar. } [Tend to
them. We've no time to lose.]
{Tabha'ar doin'ne. Ni linn yih'amar. } [快
解決他們，我們時間有限。]
Oral/dialogic
Subtitling asset
Voiceover asset
W207 554451-[3]
{Raenn. } [Go.]
{Raenn. } [快去。]
Oral/dialogic
Subtitling asset
Voiceover asset
W208 554452-[4]
Shaent tah'vir!
Shaent tah'vir!
Oral/dialogic
Subtitling asset
W209 554637-[4]
Da'arian annoi!
Da'arian annoi!
Oral/dialogic
Subtitling asset
W210 555149-[4]
Marh'vae!
Marh'vae!
Oral/dialogic
Subtitling asset
291
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W211 555150-[4]
W212 555151-[4]
Asset source text
Salah vatt'ghern!
Bloede varh'he!
Text type &
Asset type
Asset target text
Salah vatt'ghern!
Bloede varh'he!
Oral/dialogic
Subtitling asset
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Oral/dialogic
Subtitling asset
Audiovisual stimuli
Contacting gameplay
Implicit information
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W213 558043-[4]
Bhain'ne calar!
Bhain'ne calar!
Oral/dialogic
Subtitling asset
W214 553819-[4]
Lillad geach! …Uuugh! Lillad geach--
伊拉特及奇！可惡... ！伊拉特... 啊！
Oral/dialogic
Subtitling asset
W215 490717-[0]
Aen'drean va, eveigh Aine!
（精靈語）請保護我，不朽之光…
Oral/dialogic
Subtitling asset
W216 590061-[4]
Gvella, glan!
（咒語）Gvella、glan！
Oral/dialogic
Subtitling asset
W217 590837-[4]
Egvane navr.
（咒語）Egvane navr。
Oral/dialogic
Subtitling asset
292
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Implicit information
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Visual stimuli
Audiovisual stimuli
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Implicit information
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Audiovisual stimuli
Implicit information
Character identification
World construction
ZH-TW immersion
components
Character identification
Plot construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
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Character identification
Plot construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Implicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
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Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
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World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Implicit information
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Audiovisual stimuli
Implicit information
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World construction
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W218 591730-[4]
{Faeve'te, larenna luned. } [I await you,
Daughter of the Gull.]
{Faeve'te, larenna luned. } [海鷗的女兒， Oral/dialogic
Subtitling asset
我等著妳。]
Voiceover asset
W219 591732-[4]
{Arvegh t'va gláeddyv. } [Follow the sign of
your sword.]
{Arvegh t'va gláeddyv. } [跟隨寶劍的指
示。]
Oral/dialogic
Subtitling asset
Voiceover asset
W220 595856-[4]
{N'ess a tearth. }[Don't be afraid.]
{N'ess a tearth. } [別害怕。]
Oral/dialogic
Subtitling asset
Voiceover asset
Like in that elven tale about the frog and the lark. 好像精靈童話裡的青蛙和雲雀呀，
「inchu, inchu, beag broggha…」，「一
W221 1000659-[4] "Inchu, inchu, beag broggha…" "Inch by inch,
little frog…" Heeheehee.
步又一步，小青蛙…」嘻嘻嘻。
Oral/dialogic
Subtitling asset
W222 1000967-[4] Byc'hane, gvyn, caeffyl!
（咒語）Byc'hane、gvyn、caeffyl！
Oral/dialogic
Subtitling asset
W223 1007412-[4] Blota himmel! Blota mylla!
Blota himmel！Blota mylla！
Oral/dialogic
Subtitling asset
W224 1016307-[4]
{Woh erre sinde? Waen iche hene? } [Who are
you? What am I doing here?]
W225 1007603-[4] Skugga! Svarm! Vattna halla!
{Woh erre sinde? Waen iche hene? } [你是 Oral/dialogic
Subtitling asset
誰？我怎麼會在這裡？]
Voiceover asset
Skugga！Svarm！Vattna halla！
293
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Contacting gameplay
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Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
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Plot construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Explicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
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ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Explicit information
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W226 1018055-[4] Blota himmel, blota mylla, braka och blixtar!
Blota himmel，blota mylla，braka och
blixtar！！
Oral/dialogic
Subtitling asset
W227 1018536-[4] {Larenna luned. } [Daughter of the Gull.]
{Larenna luned. } [海鷗的女兒。]
Oral/dialogic
Subtitling asset
Voiceover asset
W228 1018651-[4] {Esai isse. } [They're here already.]
{Esai isse. } [他們來了。]
Oral/dialogic
Subtitling asset
Voiceover asset
W229 1029067-[4] {Vatt'ghern? } [A witcher?]
{Vatt'ghern? } [狩魔獵人？]
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
W230 1029070-[4]
{Neen… Aaa… Waen nee… } [No… Aaahh… I {Neen… Aaa… Waen nee… } [不要…
don't want to…]
啊…我不想…]
W231 1029121-[4]
{Moedron… Tuvean ess'cáemm aep me…}
[Mother… death comes for me…]
{Moedron… Tuvean ess'cáemm aep
me… } [母親…死神來找我了…]
Oral/dialogic
Subtitling asset
Voiceover asset
W232 1029123-[4]
{Iss'kund… aegeef a me es bloeede iss'kund }
[Medicine… Give me the damn medicine…]
{Iss'kund… aegeef a me es bloeede
iss'kund } [藥…把藥給我…]
Oral/dialogic
Subtitling asset
Voiceover asset
{Gryggh… Larwm! Aenye!… Radowid ess
a'vean… *Cough* Larwm! } [Gruggh… To
W233 1029137-[4]
arms! Fire… Radovid's at the gates… *Cough*
To arms!]
{Gryggh… Larwm! Aenye!… Radowid ess
a'vean… *Cough* Larwm! } [呃…拿起武 Oral/dialogic
Subtitling asset
器！開火…拉多維德在門邊…咳，拿起
Voiceover asset
武器！]
294
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World construction
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Explicit information
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Audiovisual stimuli
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Explicit information
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ZH-TW immersion
components
Visual stimuli
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
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Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
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{Ha… ha… al'mall es joc… al'mall es bloede
W234 1029138-[4] joc } [Ha ha… it's all a joke… one big bloody
joke…]
W235 1029139-[4]
{*Cough*… Gláeddyv… Thomh gláeddyv a
me! } [*Cough* Sword… Give me my sword!]
Text type &
Asset type
Asset target text
{Ha… ha… al'mall es joc… al'mall es
Oral/dialogic
bloede joc } [哈哈…這全是玩笑…只是個 Subtitling asset
Voiceover asset
天大的玩笑…]
{*Cough*… Gláeddyv… Thomh gláeddyv Oral/dialogic
Subtitling asset
a me! } [咳，劍…把我的劍給我！]
Voiceover asset
{Neen… Redania me heer ne'slaan… On'gaan
W236 1029165-[4] me! On'gaan! } [No… Redania won't get me
here… Let me go! Let me go!]
{Neen… Redania me heer ne'slaan…
Oral/dialogic
On'gaan me! On'gaan! } [不…瑞達尼亞人 Subtitling asset
Voiceover asset
逮不到我…讓我走！讓我走！]
{Zireael, ní forde sol'eséir ean.}[Swallow, the
obvious route is not always the best.]
{Zireael, ní forde sol'eséir ean. } [燕子啊， Oral/dialogic
Subtitling asset
顯而易見的道路不一定是最好的。]
Voiceover asset
W237 1034691-[4]
W238
1180958[bob]
{Hwer Beauclair, y hwer Nilfgaard.} [Beauclair
and Nilfgaard - what's to compare?]
{Hwer Beauclair, y hwer Nilfgaard.} [鮑克 Oral/dialogic
Subtitling asset
蘭與尼弗迦德？有什麼好比的？]
Voiceover asset
W239
1180864[bob]
Tah ree rah… {Que?} [What?]
啦啦啦⋯ {Que?} [幹嘛？]
Oral/dialogic
Subtitling asset
Voiceover asset
{Aim'sille Kelpie. } [去找凱爾派。]
Oral/dialogic
Subtitling asset
Voiceover asset
W240 1037138-[4] {Aim'sille Kelpie. } [Find Kelpie.]
W241 1051324-[4]
{Aen Ard Feain! Ess'ann tu kan... } [Great Sun! I {Aen Ard Feain! Ess'ann tu kan... } [烈日
almost fainted...]
啊！我都要昏倒了...]
295
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World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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World construction
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Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
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Audiovisual stimuli
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Explicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
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Contacting gameplay
Explicit information
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Contacting gameplay
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Character identification
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Contacting gameplay
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Character identification
World construction
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{Ess'zien mìloinn camraid... Esse versla'va aep
W242 1051326-[4] kamndant? } [You don't look well, friend…
Maybe you should report to the commander?]
{Ess'zien mìloinn camraid... Esse versla'va Oral/dialogic
aep kamndant? } [兄弟，你看起來氣色不 Subtitling asset
Voiceover asset
太好... 要不要跟指揮官報告？]
{Neen, neen, esse'fairich feer. Tom aep anear
W243 1051328-[4] voer. } [No, no, it's passed. An aftershock from
today's rations, I wager.]
{Neen, neen, esse'fairich feer. Tom aep
anear voer. } [沒有，沒有，一下就好
了，我想是今天伙食太難吃。]
W244 1051331-[4]
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
{A zaagsel ess'blas a morv mol. Aint. } [Rubbish {A zaagsel ess'blas a morv mol. Aint. } [垃
Subtitling asset
spiced with dead mole. Delicious.]
圾炒死地鼠，太好吃了。]
Voiceover asset
{Aen lazare'et... Est, est, gerookte hama y Oral/dialogic
{Aen lazare'et... Est, est, gerookte hama y
W245 1051333-[4] gwen'aran } [In the lazaret… they get naught but gwen'aran } [傳染病院裡啊，他們吃的都 Subtitling asset
smoked hams and white bread.]
Voiceover asset
是煙燻火腿和白麵包。]
W246 1051335-[4] {Eh, alz esse'pesta... } [Ahh, to fall ill..]
{Eh, alz esse'pesta... } [唉，能生病就好
了。]
Oral/dialogic
Subtitling asset
Voiceover asset
{N'esse iss'kund heer schooiran mar va . Feer ess {N'esse iss'kund heer schooiran mar va .
Oral/dialogic
Feer ess fallain. } [我們這些小兵進不了傳 Subtitling asset
W247 1051337-[4] fallain. } [They don't treat roughnecks like us
there. You're better off staying healthy.]
Voiceover asset
染病院的，你還是好好照顧身體吧。]
{Y brath'va que theenk'a yna feldwebel a me
W248 1051339-[4] reigmeid? } [One lieutenant in my company,
know what he thought up?]
{Y brath'va que theenk'a yna feldwebel a
me reigmeid? } [我們連上一個軍官啊，
知道他出什麼餿主意嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
{Ess reic'a palle aep pestaë, que gaehb'va an
W249 1051341-[4] lazare'et... } [He started selling the pallets of the
ill taken to the lazaret...]
{Ess reic'a palle aep pestaë, que gaehb'va
an lazare'et... } [他開始賣那些生病被送
去傳染病院的人的床墊...]
Oral/dialogic
Subtitling asset
Voiceover asset
296
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Contacting gameplay
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Contacting gameplay
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Asset source text
W250 1051343-[4] {Que ess'asana? } [What did you do with him?]
Text type &
Asset type
Asset target text
{Que ess'asana? } [你怎麼處置？]
Oral/dialogic
Subtitling asset
Voiceover asset
{Essa va rechter. Arbaith arver'swa het vermogen {Essa va rechter. Arbaith arver'swa het
Oral/dialogic
aep gevecht'seen heden. } [Court martial. For
vermogen aep gevecht'seen heden. } [軍法 Subtitling asset
W251 1051345-[4]
activities compromising the unit's combat
Voiceover asset
審判，危害部隊作戰能力。]
readiness.]
W252 1051347-[4] {Rechta - tuvean. } [Verdict - death.]
W253 1051349-[4]
{Ques'ann alz esse aep Geso? } [What will you
do when you return to Geso?]
Oral/dialogic
{Rechta - tuvean. } [審判結果──死刑。] Subtitling asset
Voiceover asset
{Ques'ann alz esse aep Geso? } [你回到格 Oral/dialogic
Subtitling asset
索要做什麼？]
Voiceover asset
{An tus y caith a sine anart yn esse tu’bath. } [To {An tus y caith a sine anart yn esse
Oral/dialogic
W254 1051351-[4] start with I'll cast aside these rancid rags and take tu’bath. } [第一件事就是脫掉這身臭酸的 Subtitling asset
a bath.]
Voiceover asset
衣服，好好洗個澡。]
{Thaë esse ‘ith soorkool aen shaap, alz
{Thaë esse ‘ith soorkool aen shaap, alz deinyg
Oral/dialogic
W255 1051353-[4] aep ithean… } [Then I'll have a bowl of lamb and deinyg aep ithean… } [然後吃一大碗羊肉 Subtitling asset
sauerkraut, and once I'm full to bursting…]
Voiceover asset
配酸菜，吃到撐為止。]
{Esse’lamh me vrouw y va aep slaapcaer. } [I'll
W256 1051355-[4] take my wife in my arms and carry her to the
alcove.]
{Esse’lamh me vrouw y va aep slaapcaer. } Oral/dialogic
Subtitling asset
[然後把老婆抱起來，抱進房間裡...]
Voiceover asset
W257 1051357-[4] {Y thaë? } [And then?]
{Y thaë? } [然後呢？]
Oral/dialogic
Subtitling asset
Voiceover asset
297
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Audiovisual stimuli
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Audiovisual stimuli
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Audiovisual stimuli
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Audiovisual stimuli
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Audiovisual stimuli
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Explicit information
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components
Audiovisual stimuli
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Explicit information
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W258 1051359-[4]
Asset source text
Text type &
Asset type
Asset target text
Oral/dialogic
{Y thaë, n'esse va notach. } [The rest is not your {Y thaë, n'esse va notach. } [接下來就不干
Subtitling asset
concern.]
你的事了。]
Voiceover asset
{A me weddin ess yn eate, ess fathair n'áth. }
W259 1051361-[4] [The child is a year old already, yet he's never
seen his father.]
{A me weddin ess yn eate, ess fathair
n'áth. } [孩子都一歲了，沒見過爸爸。]
Oral/dialogic
Subtitling asset
Voiceover asset
W260 1051363-[4]
{Neen zorgh, alz áthe esse erkene. } [Don't fret.
When he does, he's sure to recognize you.]
{Neen zorgh, alz áthe esse erkene. } [別擔 Oral/dialogic
Subtitling asset
心，他看到你一定會認出來的。]
Voiceover asset
W261 1051365-[4]
{Alz neen áthe me? } [And what if he never
does… see me?]
{Alz neen áthe me? } [如果他永遠看不到 Oral/dialogic
Subtitling asset
我怎麼辦？]
Voiceover asset
{Eh, ess’vil neu’ceen. Caen a yn
W262 1051367-[4] boaer’beana… } [Ugh, I could use a poke.
Maybe one of the peasant wenches…?]
{Eh, ess’vil neu’ceen. Caen a yn
boaer’beana… } [咳，我太久沒女人陪
了。也許農村那些婆娘...？]
Oral/dialogic
Subtitling asset
Voiceover asset
{N’esse weerstan? Tha allaidhe beannan esse
vershilt aep n’esse draga baard. } [Are you so
W263 1051369-[4] desperate? The only difference between the
barbarian women and men is that the former lack
beards.]
{N’esse weerstan? Tha allaidhe beannan
esse vershilt aep n’esse draga baard. } [你
那麼猴急嗎？那些野蠻人啊，女人跟男
人只差在沒鬍子！]
Oral/dialogic
Subtitling asset
Voiceover asset
W264 1051371-[4] {Feadhainn.} [Most of them…]
{Feadhainn.} [大部分沒鬍子...]
Oral/dialogic
Subtitling asset
Voiceover asset
{Vraag’va, alz esse pest aep an sheyse? }
W265 1051379-[4] [Listen, that shite - what if we were to… infect
ourselves?]
{Vraag’va, alz esse pest aep an sheyse? }
[欸，那怪病──我們有辦法自己染上
嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
298
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Audiovisual stimuli
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Audiovisual stimuli
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Audiovisual stimuli
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ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
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Audiovisual stimuli
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{Coltais a yn reigmeid esse feldwebel, an Oral/dialogic
{Coltais a yn reigmeid esse feldwebel, an reic
W266 1051381-[4] palle aep pestaë... } [They say a lieutenant in one reic palle aep pestaë... } [聽說有個連的軍 Subtitling asset
of the companies is selling infected pallets....]
Voiceover asset
官在賣病人睡過的床墊...]
{Que ess garantie aep pest? } [Are they
W267 1051383-[4] expensive? And can he guarantee we will catch
it?]
{Que ess garantie aep pest? } [貴不貴？保 Oral/dialogic
Subtitling asset
證染病嗎？]
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
W268 1051385-[4]
{Thaess aep, que'ss va! } [Quiet, someone's
coming!]
{Thaess aep, que'ss va! } [安靜，有人來
了！]
W269 1051388-[4]
{Y esse’'vluchten aep heer? } [What if we were
to slip away?]
{Y esse’'vluchten aep heer? } [我們偷偷逃 Oral/dialogic
Subtitling asset
走呢？]
Voiceover asset
{Hwer esse vluchten’va? Esse aen hoael aep
W270 1051390-[4] evell’caer. } [And go where? We're in the arseend of nowhere.]
{Hwer esse vluchten’va? Esse aen hoael
Oral/dialogic
aep evell’caer. } [逃去哪裡？這地方鳥不 Subtitling asset
Voiceover asset
生蛋的。]
W271 1051392-[4]
{Externe kamp ge'erillan esse’rach va y beannan {Externe kamp ge'erillan esse’rach va y
esse tuvea… } [Venture out of the camp and
beannan esse tuvea… } [離開軍營，游擊
either guerillas will capture you or peasants will
隊想抓你、村民想殺你...]
skewer you…]
W272 1051394-[4]
{Caen’va aep Pontar y esthuary...} [We could
sail down the Pontar to its mouth…]
{Caen’va aep Pontar y esthuary...} [我們可 Oral/dialogic
Subtitling asset
以坐船沿著龐塔爾河到出海口...]
Voiceover asset
W273 1051396-[4]
{Gar'ean. Que'ss va a'ri.}[Careful. Someone's
come round again.]
{Gar’ean. Que'ss va a’ri. } [小心，又有人 Oral/dialogic
Subtitling asset
來了。]
Voiceover asset
299
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Subtitling asset
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components
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Contacting gameplay
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Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
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Audiovisual stimuli
Contacting gameplay
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components
Audiovisual stimuli
Contacting gameplay
Explicit information
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World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Contacting gameplay
Explicit information
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Contacting gameplay
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W274 1051398-[4]
{Cot'caer, eabarë straede y ragah blàr... }
Oral/dialogic
{Cot'caer, eabarë straede y ragah blàr... } [Filthy [髒兮兮的破房子、泥濘的道路、長滿雜
Subtitling asset
hovels, sodden roads and weed-ridden fields...]
Voiceover asset
草的農田...]
W275 1051400-[4]
{Esse mòran arbaith hwer. Oh, mòran. } [A lot of {Esse mòran arbaith hwer. Oh, mòran. }
[我們要做的事情很多，非常多。]
work awaits us here. A whole lot.]
Oral/dialogic
Subtitling asset
Voiceover asset
{Fhearë evellienn pràbar esse'fògair. Y
esse'àraich a'vean klaaran. } [It would be better
W276 1051402-[4]
to drive this rabble off. Bring in our own
settlers.]
{Fhearë evellienn pràbar esse'fògair. Y
esse'àraich a'vean klaaran. } [把這群烏合
之眾趕走還比較好，讓我們自己人來開
墾。]
{Ess a leith deilbh. An tùs phem'va Redania
fògair aep Pontarr. } [There are plans in place to
W277 1051404-[4]
do just that. But first we must drive the
Redanians off, away from the Pontar.]
{Ess a leith deilbh. An tùs phem'va Redania
fògair aep Pontarr. } [已經有這樣的計畫 Oral/dialogic
Subtitling asset
了，可是我們先得把瑞達尼亞人趕離龐
Voiceover asset
塔爾河。]
{Yn brath'va que ge'tan foilé Franz von Suppe? } {Yn brath'va que ge'tan foilé Franz von
Suppe? } [你知道那瘋子弗朗茲‧馮‧蘇波
W278 1051407-[4] [Do you know what that madman Franz von
Suppe did?]
幹了什麼事嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
{Aep ceathrad evallan va'a Pontar, deithe phea
thorpan, toog prìsonan... } [He led forty riders
W279 1051409-[4]
across the Pontar, burned a few villages, took
prisoners...]
{Aep ceathrad evallan va'a Pontar, deithe
phea thorpan, toog prìsonan... } [他帶著四 Oral/dialogic
Subtitling asset
十個騎兵度過龐塔爾河，燒掉了幾個村
Voiceover asset
子，俘虜了幾個人...]
{Thaë luath d'lùth balla aep Oxenfurt... Yn
neen'loos va'mi aep a'vean hàr } [Then they
W280 1051411-[4] galloped right past the walls of Oxenfurt on the
way back… and made it home without a single
casualty!]
{Ech… Ruit'reigmeidë misneach. N'ess saoil,
ess'fuirick aep Ker'zaer... } [Ehh, the cavalry W281 1051413-[4] reckless as ever. But who can blame them? How
long can we sit here, await the emperor's
decision…?]
{Thaë luath d'lùth balla aep Oxenfurt... Yn
neen'loos va'mi aep a'vean hàr } [回來的時 Oral/dialogic
Subtitling asset
候還經過奧森弗特的城牆前示威... 結果
Voiceover asset
平安回來，沒有死傷！]
{Sigh, ruit'reigmeidë misneach. N'ess saoil,
ess'fuirich aep Ker'zaer... } [唉，騎兵隊就 Oral/dialogic
Subtitling asset
是魯莽，可是誰能怪他們呢？我們還要
Voiceover asset
在這裡等皇帝的決定等多久？]
300
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Contacting gameplay
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Contacting gameplay
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World construction
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Contacting gameplay
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String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
{Du, brath'va var'oom licht ruit'reigmeid verdenë {Du, brath'va var'oom licht ruit'reigmeid
Oral/dialogic
W282 1051415-[4] ainm licht? } [Hey, do you know what makes the verdenë ainm licht? } [嘿，你知道弗登輕 Subtitling asset
Verden light cavalry "light"?]
Voiceover asset
騎兵隊什麼最輕嗎？]
W283 1051417-[4] {Eeee, var'oom? } [Uhhh… what?]
{Eeee, var'oom? } [呃... 什麼最輕？]
Oral/dialogic
Subtitling asset
Voiceover asset
W284 1051898-[4]
{Brath'va que ess aard'hav an evellienn? } [Do
you know the worst in all this?]
{Brath'va que ess aard'hav an evellienn? }
[你知道最慘的是什麼嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
W285 1051900-[4]
{Pest? Ge'erillan aep Temeria? H'acras? } [The
pox? Temerian guerillas? Going hungry?]
{Pest? Ge'erillan aep Temeria? H'acras? }
[生病？泰莫利亞游擊隊？沒飯吃？]
Oral/dialogic
Subtitling asset
Voiceover asset
{Bloede neen'vae. Ess'stob hwer mar bodan am {Bloede neen'vae. Ess'stob hwer mar bodan Oral/dialogic
Subtitling asset
W286 1051902-[4] còmhlan bainnse. } [The blasted idleness. We sit am còmhlan bainnse. } [最慘的是沒事
here like lumps on a log.]
Voiceover asset
做。我們在這裡閒得都要長香菇了。]
{Ese'theenk aep Ker'zaer leig dhearmad a me. }
W287 1051904-[4] [It seems to me even the emperor's forgotten we
exist.]
{Ese'theenk aep Ker'zaer leig dhearmad a
me. } [好像皇帝都忘了我們的存在一
樣。]
{Uhwyr nevydd aen'en reigmeide en Byways
W288 1053790-[4] encerdalad? } [Any word of the patrol that went
to Byways?]
{Uhwyr nevydd aen'en reigmeide en
Oral/dialogic
Byways encerdalad? } [去拜維斯󠄀的巡邏隊 Subtitling asset
Voiceover asset
有消息嗎？]
{Neen. Yn ess'voolaen so va'ess que slecht. }
W289 1053792-[4] [No. And something tells me when we get it, it
will be bad.]
{Neen. Yn ess'voolaen so va'ess que
slecht. } [沒有，我有預感即使收到了也
是壞消息。]
301
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
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components
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Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
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components
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Contacting gameplay
Explicit information
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World construction
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Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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W290
1182330[bob]
W291 1053794-[4]
Asset source text
Text type &
Asset type
Asset target text
Oral/dialogic
Subtitling asset
Voiceover asset
{Esse liuet fear aep caer…} [So far from
home…]
{Esse liuet fear aep caer...} [離家真遠⋯]
{Esse'iare a va. } [We should send a search
party.]
{Esse'iare a va. } [我們應該派搜救隊去搜 Oral/dialogic
Subtitling asset
索。]
Voiceover asset
{Ceanndant ess'voerboten. Esse'diccet o
{Ceanndant ess'voerboten. Esse'diccet o colled
Oral/dialogic
W292 1053796-[4] rheagor gverin. } [The commander forbids it. He colled rheagor gverin. } [指揮官不准，他 Subtitling asset
said we cannot risk losing more men.]
Voiceover asset
說我們不能再冒折損人力的險。]
{Yn lle rhive en gvobr. Aure am gvybode aep
W293 1053798-[4] reigmeid. } [Instead, he has posted a bounty.
Gold for information about the patrol.]
{Yn lle rhive en gvobr. Aure am gvybode
aep reigmeid. } [他給了一筆懸賞，賞金
給提供巡邏隊消息的人。]
Oral/dialogic
Subtitling asset
Voiceover asset
{Esse'gràin bloede moeras... Mire, n'esse
{Esse’gràin bloede moeras... Mire, n'esse creasa creasa aep caer. } [我最討厭這片沼澤了... Oral/dialogic
Subtitling asset
W294 1053800-[4] aep caer. } [I hate these bloody swamps… You
等著瞧吧，我們肯定沒有人會活著回
will see, not one of us will return home alive.]
Voiceover asset
去。]
{Daede sian caente, Aen Seidhe en'allane ael
W295 1053970-[4] coeden… } [The day will come when the Hill
Folk emerge from the woods…]
{Daede sian caente, Aen Seidhe en'allane Oral/dialogic
ael coeden… } [總有一天山中野人會從森 Subtitling asset
Voiceover asset
林裡出現…]
{Daede caente, en'blathannae gvedilie dinae den {Daede caente, en'blathannae gvedilie
Oral/dialogic
dinae den dh'oine… } [總有一天花兒會在 Subtitling asset
W296 1053972-[4] dh'oine… } [The day will come when flowers
grow midst human cities in ruin…]
Voiceover asset
人類城市中盛開…]
{An Hen Dicen sainne en Anfare Morhen an
W297 1053974-[4] Glaes Mynyde… } [And Elder Speech will ring
from the Great Sea to the Blue Mountains…]
{An Hen Dicen sainne en Anfare Morhen Oral/dialogic
an Glaes Mynyde… } [從偉大海洋到藍山 Subtitling asset
Voiceover asset
都會迴盪著古代語…]
302
EN immersion
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Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Translation
strategies
Retention
unmarked
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Asset
String ID
number Source File
W298 1054282-[4]
Asset source text
{Mòran taing, vatt'ghern. } [We thank you,
witcher!]
Text type &
Asset type
Asset target text
{Mòran taing, vatt'ghern. } [感謝你，狩魔 Oral/dialogic
Subtitling asset
獵人！]
Voiceover asset
W299 1068214-[4] {Aep me! Cyrche! } [To me! They're attacking!]
{Aep me! Cyrche! } [來人哪！有人攻
擊！]
Oral/dialogic
Subtitling asset
Voiceover asset
W300 1068380-[4] {Neen... Tròcair!!! } [No… I beg you!]
{Neen... Tròcair!!! } [求求你…. 不要！]
Oral/dialogic
Subtitling asset
Voiceover asset
W301 1068391-[4]
{Mòran taing. N'ees dhearmad a va-- } [Thank
you. I shall not forget you d--]
{Laddhe en! Peiwch a gadvael iddo aen
W302 1073029-[4] car'harion! } [Kill him! Do not let him near the
prisoners!]
{Mòran taing. N'ees dhearmad a va-- } [謝 Oral/dialogic
Subtitling asset
謝，我永遠不會忘記你的大恩大──]
Voiceover asset
{Laddhe en! Peiwch a gadvael iddo aen
car'harion! } [殺了他！別讓他接近囚
犯！]
{Ver d’eer en zer Kaer'zer! } [為了榮耀而 Oral/dialogic
Subtitling asset
戰！守護大帝！]
Voiceover asset
W303 1074442-[4]
{Ver d’eer en zer Kaer'zer! } [For Honor! For
The Emperor!]
W304 1029069-[4]
{Go'deff me… Go'deff me sehr… } [It hurts… It {Go'deff me… Go'deff me sehr… } [好
hurts so bad…]
痛…真的好痛…]
W305 1029124-[4] {Vùtter… } [Water…]
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
{Vùtter… } [水…]
303
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Translation
strategies
Retention
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String ID
number Source File
W306 1029164-[4]
Asset source text
Text type &
Asset type
Asset target text
Oral/dialogic
{Neen, neen, neen, neen, neen, neen, neen, neen, {Neen, neen, neen, neen, neen, neen, neen,
Subtitling asset
neen! } [No, no, no, no, no, no, no, no, no, no!] neen, neen! } [不要不要不要不要…！]
Voiceover asset
W307 1051419-[4] {Ess'vluchten licht. } [They're light on courage.]
{Ess'vluchten licht. } [膽子最輕，跑得特 Oral/dialogic
Subtitling asset
別快。]
Voiceover asset
W308 1068357-[4] {Hvren… } [Fuck...]
{Hvren… } [幹...]
Oral/dialogic
Subtitling asset
Voiceover asset
W309 1072311-[4] {Esse pund… } [I am going to vomit…]
{Esse pund… } [我要吐了…]
Oral/dialogic
Subtitling asset
Voiceover asset
W310 1072323-[4] {Sheyssere. } [Shit.]
{Sheyssere. } [該死。]
Oral/dialogic
Subtitling asset
Voiceover asset
W311 464411-[8]
Va fail!
（古代語）再見了！
Oral/dialogic
Subtitling asset
W312 478916-[5]
Celain, celain, deffraen!
Celain, celain, deffraen!
Oral/dialogic
Subtitling asset
W313 478924-[5]
Celain, celain, davedar!
（咒語）Celain, celain, davedar!
Oral/dialogic
Subtitling asset
304
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Translation
strategies
Retention
unmarked
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by addition
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Asset
String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
I thank you, witcher, for your aid, for recovering 狩魔獵人，謝謝你幫我找回祖產。感激
my patrimony. Ard dank!
你！
Oral/dialogic
Subtitling asset
Me a'baeth aep arse.
（古代語）吃屎吧你。
Oral/dialogic
Subtitling asset
{Va calm, Nordling!} [Calm down, Nordling!]
{Va calm, Nordling!} [冷靜點，北方
人！]
Oral/dialogic
Subtitling asset
Voiceover asset
W317 1008186-[5] Eys'u failte beydem aen eich'te llyvaid.
Eys'u failte beydem aen eich'te llyvaid。
Oral/dialogic
Subtitling asset
W318 1017544-[5] Esad eich crydae rhythaun!
Esad eich crydae rhythaun！
Oral/dialogic
Subtitling asset
W319 1018034-[5] Cáemm d'jinn, vryff cais'te aem gyhar!
Cáemm d'jinn，vryff cais'te aem gyhar！
Oral/dialogic
Subtitling asset
W320 1018036-[5] Cais'te aet disgleir! Gveryd me cassel!
Cais'te aet disgleir！Gveryd me cassel！
Oral/dialogic
Subtitling asset
W321 1040251-[5] Palynthe orval agavhar!
（咒語）Palynthe orval agavhar!
Oral/dialogic
Subtitling asset
W314
1175248[bob]
W315 466087-[8]
W316
1182378[bob]
305
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Visual stimuli
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Visual stimuli
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Translation
strategies
Shift
Contextualization
by addition
Retention
unmarked
Retention
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Retention
unmarked
Retention
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Specification
addition
Asset
String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
W322 1040261-[5] Gryv'vir c'lathu aryghsterle!
（咒語）Gryv'vir c'lathu aryghsterle!
Oral/dialogic
Subtitling asset
W323 1040263-[5] Bavumar, agveaste cypfyanswm!
（咒語）Bavumar, agveaste cypfyanswm!
Oral/dialogic
Subtitling asset
W324 1040282-[5] Eine glav'echen virti adem!
Eine glav'echen virti adem!
Oral/dialogic
Subtitling asset
W325 535609-[8]
（古代語）再見了。
Oral/dialogic
Subtitling asset
W326 1042416-[5] Osva'yl yfferen advygiât!
（咒語）Osva'yl yfferen advygiât!
Oral/dialogic
Subtitling asset
W327 1044214-[5] Aburraghi v'arathern…
（咒語）Aburraghi v'arathern…
Oral/dialogic
Subtitling asset
Va fail.
W328 517601-[6]
Va fail, elaine - cáed'mil, folie! Glaeddyv dorne
aep t'enaid, bunn'droh ithne i'yachus.
Va fail, elaine - cáed'mil, folie! Glaeddyv Oral/dialogic
dorne aep t'enaid, bunn'droh ithne i'yachus. Subtitling asset
W329 522113-[6]
Praevein, arwein, cyrraen…
Praevein, arwein, cyrraen…
Oral/dialogic
Subtitling asset
306
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual
stimuliContacting
gameplayImplicit
informationCharacter
identificationWorld
construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual
stimuliContacting
gameplayImplicit
informationCharacter
identificationWorld
construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Translation
strategies
Specification
addition
Specification
addition
Retention
unmarked
Contextualization
by addition
Specification
addition
Specification
addition
Retention
unmarked
Retention
unmarked
Asset
String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
W330 532759-[6]
Cáed'mil, bloede dh'oine… Hocus-pocus…
Abracadabra… Arse blathanna…
Cáed'mil, bloede dh'oine… Hocus-pocus… Oral/dialogic
Abracadabra… Arse blathanna…
Subtitling asset
W331 535277-[6]
Oesi, caefyn!
Oesi, caefyn!
W332 536229-[6]
「Va fail, elaine - cáed'mil, folie! Glaeddyv
"Va fail, elaine - cáed'mil, folie! Glaeddyv dorne
Oral/dialogic
dorne aep t'enaid, bunn'droh ithne
aep t'enaid, bunn'droh ithne i'yachus."
Subtitling asset
i'yachus」
W333 570863-[6]
Coalle… Coalle… Caniatad…
Coalle... Coalle... Caniatad…
Oral/dialogic
Subtitling asset
W334 570865-[6]
Nevid, cyvir! Coalle, coalle caniatad!
Nevid, cyvir! Coalle, coalle caniatad!
Oral/dialogic
Subtitling asset
W335 1072717-[6] Caniatad… Nevid… Cyvir…
（咒語）Caniatad… Nevid… Cyvir…
Oral/dialogic
Subtitling asset
W336 1072719-[6] Coalle… Ariva… Aendir…
（咒語）Coalle… Ariva… Aendir…
Oral/dialogic
Subtitling asset
W337 1072723-[6] Nevid! Ariva! Aendir!
（咒語）Nevid! Ariva! Aendir!
Oral/dialogic
Subtitling asset
W338 1072725-[6] Caniatad! Taron Anede! Dis!
（咒語）Caniatad! Taron Anede! Dis!
Oral/dialogic
Subtitling asset
W339 543483-[8]
（咒語）Elli Abadabra Sani！
Oral/dialogic
Subtitling asset
Elli Abadabra Sani!
Oral/dialogic
Subtitling asset
307
EN immersion
components
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
ZH-TW immersion
components
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Translation
strategies
Retention
unmarked
Retention
unmarked
Retention
unmarked
TL adjust
Retention
unmarked
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unmarked
Specification
addition
Specification
addition
Specification
addition
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addition
Specificationaddition
Asset
String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
W340 543485-[8]
Tetrah... Tetragh... Tetraglarie!
（咒語）Tetrah…Tetragh… Tetraglarie！
Oral/dialogic
Subtitling asset
W341 575674-[8]
Azar! Anatha! Vellos!
（咒語）Azar！Anatha！Vellos！
Oral/dialogic
Subtitling asset
W342 1062924-[8] Anair, anadar, vallanda!
（咒語）Anair, anadar, vallanda!
Oral/dialogic
Subtitling asset
{Unds sinvir in riven! Arpha in barodd! } [The
W343 1074993-[8] hounds have sensed someone! Weapons at the
ready!]
{Unds sinvir in riven! Arpha in barodd! }
[獵犬感應到有人了！拿好武器！]
Oral/dialogic
Subtitling asset
Voiceover asset
{Mae rhyvin in lenu! Unds sinhviro ie folt! }
W344 1074995-[8] [Someone draws near! The hounds have sensed
them!]
{Mae rhyvin in lenu! Unds sinhviro ie
folt! } [有人靠近了！獵犬感應到了！]
Oral/dialogic
Subtitling asset
Voiceover asset
W345 1075002-[8] {Laet ihew! } [Kill them!]
{Laet ihew! } [殺了他們！]
Oral/dialogic
Subtitling asset
Voiceover asset
W346 1077974-[8] Gvaed, gvaed uncym, cym’morth!
（咒語）Gvaed, gvaed uncym,
cym’morth!
Oral/dialogic
Subtitling asset
W347 1074999-[8] {Enkillio. } [They've withdrawn.]
{Enkillio. } [他們撤退了。]
Oral/dialogic
Subtitling asset
Voiceover asset
W348 550242-[9]
（咒語）Greame et dwyr! Rhobeir'me
gelle a failte!
Oral/dialogic
Subtitling asset
Greame et dwyr! Rhobeir'me gelle a failte!
308
EN immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
ZH-TW immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
Translation
strategies
Specification
addition
Specification
addition
Specification
addition
Retention
unmarked
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unmarked
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unmarked
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number Source File
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Text type &
Asset type
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W349 550334-[9]
Greame et dwyr! Deagnis cair-lle ess pyr'shena a Greame et dwyr! Deagnis cair-lle ess
et cleytte!
pyr'shena a et cleytte!
W350 312005-[10]
{Ledwedd varlledu cyall, no ghar. } [Paintings
should convey emotion, not words.]
{Ledwedd varlledu cyall, no ghar. } [畫作 Oral/dialogic
Subtitling asset
應該要傳達情緒，而不是字句。]
Voiceover asset
{Emw a ledwedd... es dallistro thrbíoch, que
{Emw a ledwedd... Es dallistro thrbíoch,
déacum'le elaine. } [To title a painting… is to
que déacum'le elaine. } [幫畫命名…就會
W351 312007-[10]
destroy the multiplicity of meanings that render it
破壞了美感呈現的多重意義。]
beautiful.]
W352 454824-[10]
{Que aynimm rhovir'le? } [What will you title
it?]
Oral/dialogic
Subtitling asset
Oral/dialogic
Subtitling asset
Voiceover asset
{Que aynimm rhovir'le? } [你打算怎麼命 Oral/dialogic
Subtitling asset
名？]
Voiceover asset
W353 312001-[10] {No rhovir'le. } [I will not.]
{No rhovir'le. } [我不打算命名。]
Oral/dialogic
Subtitling asset
Voiceover asset
W354 517311-[11] Geata'ar ligen!
Geata'ar ligen!
Oral/dialogic
Subtitling asset
W355 551868-[11] Agored, teirgane agored!
Agored, teirgane agored!
Oral/dialogic
Subtitling asset
W356 556373-[11]
Oral/dialogic
Aen skip esse krach! Ratreut! } [The ship's about {Aen skip esse krach! Ratreut! } [船快解體
Subtitling asset
to fall apart! We must retreat!]
了！我們必須撤退！]
Voiceover asset
W357 556374-[11]
{Ess orde a me! Adhart! } [I give the orders!
Onward!]
{Ess orde a me! Adhart! } [我才是發號施 Oral/dialogic
Subtitling asset
令的人！前進！]
Voiceover asset
309
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components
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Implicit information
Character identification
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Audiovisual stimuli
Explicit information
Character identification
World construction
Audiovisual stimuli
Explicit information
Character identification
World construction
Audiovisual stimuli
Explicit information
Character identification
World construction
Audiovisual stimuli
Explicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
ZH-TW immersion
components
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
World construction
Audiovisual stimuli
Explicit information
Character identification
World construction
Audiovisual stimuli
Explicit information
Character identification
World construction
Audiovisual stimuli
Explicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
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Text type &
Asset type
Asset target text
{Tve tuveë, yn sehr ràno. Als esse'lamh esan… } {Tve tuveë, yn sehr ràno. Als esse'lamh
esan... } [兩人死亡、一人重傷。如果我
W358 556376-[11] [Two dead, one heavily wounded. If we carry
him to--]
們抬他到…]
{N'ess tedd. Ver'spreiden evellienn. Que esse'iare
beanna esse kraihen dri bethaalen. } [No time.
W359 556377-[11]
Spread out. Triple pay to the one who finds the
woman!]
W360 556499-[11]
{Esse'tilleadh, theervil esse'caen. } [We should
turn back while we can.]
Oral/dialogic
Subtitling asset
Voiceover asset
{N'ess tedd. Ver'spreiden evellienn. Que
Oral/dialogic
esse'iare beanna esse kraihen dri
bethaalen. } [沒有時間了。分散開來，找 Subtitling asset
Voiceover asset
到那女人的人可以獲得三倍酬勞！]
{Esse'tilleadh, theervil esse'caen. } [我們應 Oral/dialogic
Subtitling asset
該趁還有機會的時候回頭。]
Voiceover asset
{Dat esse'croigh a va voot breuk aen orde? Ess {Dat esse'croigh a va voot breuk aen orde? Oral/dialogic
W361 556500-[11] ae’iarr--} [To be hanged for disobeying orders? I Ess ae’iarr... } [然後因違抗命令而被絞死 Subtitling asset
would rather--]
Voiceover asset
嗎？那我寧願…]
W362 556501-[11] {Gar'ean! Havfrue! } [Watch out! Sirens!]
Oral/dialogic
{Gar'ean! Havfrue! } [小心！是女海妖！] Subtitling asset
Voiceover asset
{N'esse mar a tha. A'ess ver'spreiden aep
{N'esse mar a tha. A'ess ver'spreiden aep evellien evellien Inis. Caen Skellig'ea esse'dekk
Oral/dialogic
Inis. Caen Skellig'ea esse'dekk hwre. } [Not
hwre. } [這可不妙。我們現在全都分散在 Subtitling asset
W363 556513-[11]
good. We are dispersed over the isle… There
島上了。可能還有史凱利傑人潛伏在這 Voiceover asset
could still be Skelligers lurking.]
裡 。]
W364 556514-[11]
{Ker'zaer esse'vyos que getan. } [The emperor
knows what he's doing.]
{Ker'zaer esse'vyos que getan. } [皇帝很清 Oral/dialogic
Subtitling asset
楚自己在做什麼。]
Voiceover asset
310
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
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Text type &
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W365 556520-[11]
{Aen iarean nyald aep kroofeir… } [Like
searching for a needle in a haystack…]
{Aen iarean nyald aep kroofeir… } [根本
是大海撈針。]
Oral/dialogic
Subtitling asset
Voiceover asset
W366 556524-[11]
{A bloedde pest. Quess'aen? } [Shit… What is
that?]
{A bloedde pest. Quess'aen? } [可惡，那
是什麼？]
Oral/dialogic
Subtitling asset
Voiceover asset
{Geasë inisan… } [受詛咒的群島。]
Oral/dialogic
Subtitling asset
Voiceover asset
W367 556525-[11] {Geasë inisan… } [Cursed isles…]
W368 556528-[11]
Oral/dialogic
{Ess'sheysse aep leith orde. } [I say plough these {Ess'sheysse aep leith orde. } [不要管那種
Subtitling asset
orders.]
命令了。]
Voiceover asset
W369 556529-[11]
{Thaess aep… Esse'iare a va y esse'croigh. }
[Quiet… Before they hear us, and we hang.]
{Thaess aep… Esse'iare a va y
esse'croigh. } [別說了，被人聽到的話，
小心被處絞刑。]
Oral/dialogic
Subtitling asset
Voiceover asset
W370 558389-[11]
{Ess onderorde aep prionnsa var Attre? } [Have
you served under Duke var Attre before?]
{Ess onderorde aep prionnsa var Attre? }
[有在亞卓公爵旗下服役過嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
311
EN immersion
components
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
ZH-TW immersion
components
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Translation
strategies
Retention
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{Mhm. Aen peanasa triall aep Angra yn hwre,
W371 558390-[11] aep oostcòmhrag. } [Mhm. Penal expedition in
Angor, and now, on the eastern front.]
W372 558391-[11]
Text type &
Asset type
Asset target text
{Mhm. Aen peanasa triall aep Angra yn
hwre, aep oostcòmhrag. } [有，安戈討伐
戰役，還有現在的東部戰線那裡。]
Oral/dialogic
Subtitling asset
Voiceover asset
{Ma morvudd esse trom'caith.
Oral/dialogic
{Ma morvudd esse trom'caith. Truinn'armach. } Truinn'armach. } [敵軍必定會配帶著全身
Subtitling asset
[The enemy will be heavily armored. Full plate.]
Voiceover asset
重甲上陣。]
{Esse'aer qinnte. Il'edrith foghnè ess
{Esse'aer qinnte. Il'edrith foghnè ess onbekend. onbekend. Esse'kraihen nhetwerk yn
Oral/dialogic
Esse'kraihen nhetwerk yn dwimeritium bomaeb a dwimeritium bomaeb a va. } [一定會的，
Subtitling asset
W373 558393-[11]
va. } [A certainty. Unknown form of magic.
只是魔法屬性不明。就用網子跟反魔法 Voiceover asset
You'll receive nets and dimeritium bombs.]
金屬炸彈招待他們吧。 ]
W374 558397-[11]
{Innleadair korps ess'deireadh sonde. } [The
engineers have finished their survey.]
{Innleadair korps ess'deireadh sonde. } [工 Oral/dialogic
Subtitling asset
程師完成勘查了。]
Voiceover asset
W375 558402-[11]
{N'esse va lamh voorsnit? } [Shall we not take
the irons?]
{N'esse va lamh voorsnit? } [不用帶鐵鍊
和枷鎖嗎？]
W376 558403-[11]
{Neen. Ker'zaer n'iarr hevangen. } [No. The
emperor wants no prisoners.]
{Neen. Ker'zaer n'iarr hevangen. } [不用， Oral/dialogic
Subtitling asset
皇帝說不用抓戰俘。]
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
{Yn yea. Ess nor zeist, que Temerian,
{Yn yea. Ess nor zeist, que Temerian, que'ss
que'ss ess'va lamh aep Hamm. } [很好，抓 Oral/dialogic
Subtitling asset
W377 558826-[11] ess'va lamh aep Hamm. } [Good. They'd just be
來只是找麻煩，就像當初在漢姆抓到的
trouble, like those Temerians we took at Hamm.]
Voiceover asset
那些泰莫利亞人一樣。]
312
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Translation
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{Hoog aep dei'bai esse fem heamh, an que yn a
W378 558899-[11] tre cairt. } [Maximum depth of the bay - five
fathoms. But only over one third of its area.]
{Hoog aep dei'bai esse fem heamh, an que
yn a tre cairt. } [海灣最深的地方有 5 英
噚，但全灣只有三分之一的地方有到達
這個深度。]
Oral/dialogic
Subtitling asset
Voiceover asset
W379 558901-[11] {Tanalach… } [Shallow…]
{Tanalach… } [真淺。]
Oral/dialogic
Subtitling asset
Voiceover asset
{N'esse evellien. Esse klipaen yn
{N'esse evellien. Esse klipaen yn zandbankean
zandbankean am meadhan aep de'bai.
am meadhan aep de'bai. Hwre, hwre... Yn
Hwre, hwre... Yn hwre. } [而且海灣中間
W380 558903-[11]
hwre. } [That's not all. Rocks and sandbars in the
還有石塊與沙洲，分別在這裡、這裡，
center. Here, here… and here.]
還有這裡。]
Oral/dialogic
Subtitling asset
Voiceover asset
{Anns a'ques vlaggeskipaen esse balla aep har.
Òrde-zreth cruinn yn cnàmhan aespar. } [The
W381 558905-[11]
flagships must stay close to shore. Ring
formation, continuous bombardment.]
{Anns a'ques vlaggeskipaen esse balla aep
Oral/dialogic
har. Òrde-zreth cruinn yn cnàmhan
aespar. } [旗艦隊必須緊靠岸邊。採取環 Subtitling asset
Voiceover asset
狀陣式，並持續進行轟炸行動。]
W382 558907-[11] {Yeá, awr! } [Yes, sir!]
{Yeá, awr! } [是，長官。]
Oral/dialogic
Subtitling asset
Voiceover asset
{Esse'va veloë aep mass. Que'ss a il'edrithean? } {Esse'va veloë aep mass. Que'ss a
Oral/dialogic
il'edrithean? } [很好，這樣他們會沉得更 Subtitling asset
W383 558983-[11] [Good. The faster they will sink. What about
mages?]
Voiceover asset
快。而他們會派出法師嗎？]
313
EN immersion
components
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
ZH-TW immersion
components
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
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{Erkene. Ess marca deich eate’n fem evalla, ro
W384 559012-[11] va'ess du jinearalt. } [Yes. Rode ten years in the
Fifth Cavalry before they made him a general.]
{Erkene. Ess marca deich eate’n fem
evalla, ro va'ess du jinearalt. } [厲害，他在 Oral/dialogic
Subtitling asset
第五騎兵團服役十年之後才被升為將
Voiceover asset
軍。]
{Yea. N'esse vind orde aep ardadel, que orloog
va'viss aep skool. } [Good. I dislike taking orders
W385 559014-[11]
from aristos. Most know war only from the
books they read at the officers' academy.]
{Yea. N'esse vind orde aep ardadel, que
orloog va'viss aep skool. } [很好，我不喜 Oral/dialogic
Subtitling asset
歡聽那些貴族的命令。他們對戰爭的認
Voiceover asset
知大多是從軍官學校的書裡讀來的。]
W386 560557-[11]
{Que'ss fa'dhe vae seann? } [Were they ever
ransomed?]
{Que'ss fa'dhe vae seann? } [後來有人來
贖他們嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
W387 560559-[11] {Neen. Ess'va nach doo. } [No. Ended in a ditch.]
{Neen. Ess'va nach doo. } [沒有，通通扔 Oral/dialogic
Subtitling asset
到亂葬崗去了。]
Voiceover asset
W388 562140-[11] Watch this. Arha'an lumar!
看好了。Arha'an lumar!
Oral/dialogic
Subtitling asset
Oral/dialogic
Subtitling asset
W389
1062819[11]
Wait! Gvares, tavel!
等等！（咒語）Gvares, tavel！
W390
1063067[11]
{Aen verelith cyrre naid. } [I give you my heart.]
{Aen verelith cyrre naid. } [我把我的心給 Oral/dialogic
Subtitling asset
你。]
Voiceover asset
W391
1063069[11]
{Ader eich blaen eide ‘me. } [But I shall take
your head.]
{Ader eich blaen eide ‘me. } [但我要帶走 Oral/dialogic
Subtitling asset
你的頭。]
Voiceover asset
314
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Explicit information
Character identification
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Visual stimuli
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Explicit information
Character identification
Translation
strategies
Retention
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Specification
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Text type &
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{Eisio! Galle vuanedd! } [是冰！放慢速
度！]
Oral/dialogic
Subtitling asset
Voiceover asset
W393 556375-[11] {Verloos? } [Losses?]
{Verloos? } [傷亡情況？]
Oral/dialogic
Subtitling asset
Voiceover asset
W394 558928-[11] {Nor gláeddyv. } [A sword will do.]
{Nor gláeddyv. } [用劍就夠了。]
Oral/dialogic
Subtitling asset
Voiceover asset
W395 559010-[11] {Esse erkene? } [He any good?]
{Esse erkene? } [他厲害嗎？]
Oral/dialogic
Subtitling asset
Voiceover asset
"Dubhenn haern am glâdeal, morc'h am fhean
aiesin."
（古代語）「Dubhenn haern am
glâdeal，morc'h am fhean aiesin。」
Oral/dialogic
Subtitling asset
{Quess'aen a va?!} [What are you doing?!]
{Quess'aen a va?!} [你在幹嘛？]
Oral/dialogic
Subtitling asset
Voiceover asset
W392
1063092[11]
W396 584867-[12]
W397
1182336[bob]
1182354W398
[bob]
{Eisio! Galle vuanedd! } [Ice! Reduce speed!]
{Ess'deireadh toussentie re'ian! Ban-Diùc
{Ess'deireadh toussentie re'ian! Ban-Diùc ess
ess tuvean a che'ann fachne!} [這是哪門子 Oral/dialogic
tuvean a che'ann fachne!} [So much for order in
Subtitling asset
的陶森特法治！女爵竟然被自己的姐姐
Toussaint! The duchess killed by her own sister!]
Voiceover asset
給殺了！]
315
EN immersion
components
Plot construction
World construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Plot construction
World construction
Audiovisual stimuli
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
Plot construction
World construction
Audiovisual stimuli
Implicit information
Character identification
Plot construction
Audiovisual stimuli
Contacting gameplay
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W399
1182356[bob]
{Tha ess ismear, thea draes ess shuas…
Quess'aen seo?!} [Here a drunk man, there a
woman half undressed … And they call this
order?!]
W400
1182358[bob]
{Que'ss foerann... N'esse faigh gedréog.}
{Que'ss foerann… N'esse faigh gedréog.} [What [這片土地真奇怪⋯所見之處所有人都喝
a land… Not a sober man in sight.]
醉了。]
1182360W401
[bob]
{Tha ess ismear, thea draes ess shuas...
Oral/dialogic
Quess'aen seo?!} [這裡有個醉漢、那裡有 Subtitling asset
Voiceover asset
個上空的女人⋯這叫秩序良好？]
Oral/dialogic
Subtitling asset
Voiceover asset
{Esse'va que va te'roill! Ban-Diùc ess marv, maetà esse'va lùt'dhmor.} [They got what was
coming to them! Perhaps now, with the duchess
dead, they will finally get their act in order.]
{Esse'va que va te'roill! Ban-Diùc ess marv,
mae-tà esse'va lùt'dhmor.} [他們是自作自 Oral/dialogic
Subtitling asset
受！現在女爵死了，說不定他們總算會
Voiceover asset
振作起來了。]
W402
1182364[bob]
{Gàrdan!} [Guards!]
{Gàrdan!} [守衛！]
Oral/dialogic
Subtitling asset
Voiceover asset
W403
1182380[bob]
{Va vort!} [Get out of my way!]
{Va vort!} [別擋我的路！]
Oral/dialogic
Subtitling asset
Voiceover asset
W404
1182386[bob]
{Fion, maerche! Toussaint!} [Wine, women!
Toussaint!]
{Fion, maerche! Toussaint!} [葡萄酒！女 Oral/dialogic
Subtitling asset
人！陶森特！]
Voiceover asset
W405
1182392[bob]
{Vatt'ghern?} [Witcher?]
{Vatt'ghern?} [狩魔獵人？]
Oral/dialogic
Subtitling asset
Voiceover asset
W406
1103965[DLCep1]
Oudoianu feus! Soba camisa iada! Soba camisa
aberaasas!
（咒語）Oudoianu feus! Soba camisa
iada! Soba camisa aberaasas!
Oral/dialogic
Subtitling asset
316
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Contacting gameplay
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World construction
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Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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World construction
Audiovisual stimuli
Contacting gameplay
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World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Implicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
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1182394W407
[bob]
{Essa sgalic y sjunge! Y que?! Àit Bèist caen
serac me he'vud…} [There was to be food and
drink! And what is there instead?! Some beast
awaiting to gnaw your face off…]
{Essa sgalic y sjunge! Y que?! Àit Bèist
caen serac me he'vud…} [聽說這裡有得吃 Oral/dialogic
Subtitling asset
有得喝！結果呢！有個怪獸等著把你給
Voiceover asset
吞下肚⋯]
1182396W408
[bob]
{Ess’dice, "Sàilre a Toussaint, ceap fion,
maerche in'de." Esse, sheyss, aen-dalu!} ["Sail to
Toussaint," they said. "Cheap wine, comely
lasses." Thanks a fucking lot…]
{Ess’dice: „Sàilre a Toussaint, ceap fion,
Oral/dialogic
maerche in'de.” Esse, sheyss, aen-dalu!}
[大家都叫我搭船到陶森特，酒便宜、姑 Subtitling asset
Voiceover asset
娘又漂亮。真感謝那些王八蛋⋯]
W409
1182400[bob]
{Ard squesse a me!} [Very, very, very sorry!]
{Ard squesse a me!} [非常非常非常抱
歉！]
Oral/dialogic
Subtitling asset
Voiceover asset
W410
1182406[bob]
{Que'sse bàithse geabh!} [Did I ever choose a
good port!]
{Que'sse bàithse geabh!} [我選這港口還
真是選對了！]
Oral/dialogic
Subtitling asset
Voiceover asset
W411
1182372[bob]
Oral/dialogic
{Esse'pheòr, hwone, bloede, sàilre…} [I wonder {Esse'pheòr, hwone, bloeede, sàilre…} [不
Subtitling asset
when the blazes we will sail out…]
知道我們哪時候會出航⋯]
Voiceover asset
W412
1113003[DLCep1]
Nerha hel sata hle!
W413
1113018[DLCep1]
Oral/dialogic
{Semahab tefan ish azer!} [May your loins grow {Semahab tefan ish azer!} [咒你老二生瘡
Subtitling asset
foul with rot!]
爛掉！]
Voiceover asset
W414
1113031[DLCep1]
Oral/dialogic
{Khotarat teh sahleb razzif!} [A desert gale rend {Khotarat teh sahleb razzif!} [咒你被沙漠
Subtitling asset
your flesh!]
之風割傷！]
Voiceover asset
Oral/dialogic
Subtitling asset
（咒語）Nerha hel sata hle!
317
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Contacting gameplay
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Audiovisual stimuli
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Audiovisual stimuli
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Audiovisual stimuli
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Audiovisual stimuli
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Audiovisual stimuli
Contacting gameplay
Explicit information
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ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
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Audiovisual stimuli
Contacting gameplay
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Audiovisual stimuli
Implicit information
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Oral/dialogic
Subtitling asset
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W415
1113033[DLCep1]
{Shema harh teh avtah!} [The sun bleach your
bones!]
{Shema harh teh awtah!} [咒你被太陽曬
到只剩乾屍！]
W416
1113035[DLCep1]
{Teh hajeth hledyn demya heyeh.} [Your life
ends now.]
{Teh hajeth hledyn demya heyeh.} [你活不 Oral/dialogic
Subtitling asset
過今天了。]
Voiceover asset
W417
1113037[DLCep1]
{Sola ish delyah teh!} [Pray to your gods!]
{Sola ish delyah teh!} [向你的天神祈禱
吧！]
W418
1113039[DLCep1]
{Sakhara teh! Sakhara!} [A curse upon you! A
curse!]
{Sakhara teh! Sakhara!} [咒你不得好死！ Oral/dialogic
Subtitling asset
不得好死！]
Voiceover asset
W419
1113110[DLCep1]
Nahaz a'zaza!
（咒語）Nahaz a'zaza!
Oral/dialogic
Subtitling asset
W420
1113119[DLCep1]
{Teh nethen shlahab!} [You reek, paleface!]
{Teh nethen shlahab!} [你真臭，白臉
的！]
Oral/dialogic
Subtitling asset
Voiceover asset
W421
1113121[DLCep1]
{Heze kei toa ish.} [Let us end this.]
{Heze kei toa ish.} [來做個了結吧。]
Oral/dialogic
Subtitling asset
Voiceover asset
W422
1113123[DLCep1]
{lmerte mustak teh!} [Death comes for you!]
{lmerte mustak teh!} [死神來找你了！]
Oral/dialogic
Subtitling asset
Voiceover asset
318
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EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
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Contacting gameplay
Explicit information
Character identification
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ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
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Audiovisual stimuli
Contacting gameplay
Explicit information
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Audiovisual stimuli
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Contacting gameplay
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Contacting gameplay
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W423
1189327[bob]
You need to concentrate, now. Repeat after me - 現在你要集中精神，跟我一起說。（咒
Munna gan dehrau, munna finerat.
語）Munna gan dehrau, munna finerat。
W424
1189366[bob]
Munna gan dehrau, munna finerat.
（咒語）Munna gan dehrau, munna
finerat。
Oral/dialogic
Subtitling asset
W425
1192220[bob]
Akhan daal!
（咒語）Akhan daal!
Oral/dialogic
Subtitling asset
W426
1195586[bob]
Elekheshebh, sarabah durendum!
（咒語）Elekheshebh, sarabah durendum!
Oral/dialogic
Subtitling asset
W427
1195588[bob]
Kalabathi sta!
（咒語）Kalabathi sta!
Oral/dialogic
Subtitling asset
W428
1199032[bob]
Sabeshkehee, beshkehee, kha!
（咒語）Sabeshkhe, beshkhe, kha!
Oral/dialogic
Subtitling asset
W429
1182366[bob]
{Squesse.} [Excuse me.]
{Squesse.} [抱歉。]
Oral/dialogic
Subtitling asset
Voiceover asset
W430
1182368[bob]
{Que suecc's?} [What's going on?]
{Que suecc's?} [怎麼回事？]
Oral/dialogic
Subtitling asset
Voiceover asset
{Il'edrith?!} [Magic?!]
{Il'edrith?!} [魔法？]
Oral/dialogic
Subtitling asset
Voiceover asset
W431 513920-[0]
319
Oral/dialogic
Subtitling asset
EN immersion
components
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
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Audiovisual stimuli
Implicit information
Character identification
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Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
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W432 513893-[0]
{E'er y gloir!} [Honor and glory.]
{E'er y gloir!} [光榮威武。]
Oral/dialogic
Subtitling asset
Voiceover asset
W433 514109-[0]
{Orde!} [Yes, sir!]
{Orde!} [遵命，長官！]
Oral/dialogic
Subtitling asset
Voiceover asset
W434 514103-[0]
{Neen…} [No…] Mercy!
{Neen…} [不…]饒了我！
Oral/dialogic
Subtitling asset
Voiceover asset
W435 514252-[0]
{Que?} [What?]
{Que?} [幹嘛？]
Oral/dialogic
Subtitling asset
Voiceover asset
W436 524237-[0]
{Pest. } [Blast it.]
{Pest. } [可惡。]
Oral/dialogic
Subtitling asset
Voiceover asset
W437 525266-[0]
Que suecc's?
（精靈語）Que suecc's?
Oral/dialogic
Subtitling asset
W438 526269-[0]
Please. N'te dice'en.
拜託。（精靈語）N'te dice'en。
Oral/dialogic
Subtitling asset
W439 555251-[0]
{Veloë! } [Quickly!]
{Veloë!} [動作快！]
Oral/dialogic
Subtitling asset
Voiceover asset
320
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
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Character identification
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Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
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Explicit information
Character identification
World construction
Audiovisual stimuli
Implicit information
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Audiovisual stimuli
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W440 555255-[0]
{Neén! } [No!]
{Neén! } [不！]
Oral/dialogic
Subtitling asset
Voiceover asset
W441 555281-[0]
{Vellienn! } [Together!]
{Vellienn! } [一起上！]
Oral/dialogic
Subtitling asset
Voiceover asset
W442 555320-[0]
{Que?! } [What?!]
{Que?! } [幹嘛？]
Oral/dialogic
Subtitling asset
Voiceover asset
W443 592215-[0]
{N'ess hen, ess gwynn. } [Not old, yet gray.]
{N'ess hen, ess gwynn. } [年紀不大，頭髮 Oral/dialogic
Subtitling asset
卻白了。]
Voiceover asset
W444 592229-[0]
{Tì'lsoë eveigh. } [Always faithful.]
{Tì'lsoë eveigh. } [永遠忠誠。]
Oral/dialogic
Subtitling asset
Voiceover asset
W445 1029079-[0] {E'er y gloir!} [Honor and glory!]
{E'er y gloir!} [為了榮耀而戰！]
Oral/dialogic
Subtitling asset
Voiceover asset
W446 1029284-[0] {Ti'lsoë eveigh.} [Always faithful.]
{Ti'lsoë eveigh.} [衷心永不渝。]
Oral/dialogic
Subtitling asset
Voiceover asset
W447 1029292-[0] {Enn'le!} [Get him!]
{Enn'le!} [攻擊他！]
Oral/dialogic
Subtitling asset
Voiceover asset
W448 1029295-[0] {Evelienn! Veloë!} [All together! Quickly!]
Oral/dialogic
{Evellienn! Veloë!} [一起上！動作快！] Subtitling asset
Voiceover asset
321
EN immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
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World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
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Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Plot construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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World construction
Audiovisual stimuli
Contacting gameplay
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W449 1029296-[0] {Veloë!} [Quickly!]
{Veloë!} [快點！]
Oral/dialogic
Subtitling asset
Voiceover asset
W450 1046529-[0] {Yeá! } [Yes!]
{Yeá } [耶！]
Oral/dialogic
Subtitling asset
Voiceover asset
W451 1046531-[0] {Que suecc's? } [How are things?]
{Que suecc's? } [一切可好？]
Oral/dialogic
Subtitling asset
Voiceover asset
W452 1053075-[0] {Cáemm… } [Come…]
{Cáemm… } [來吧…]
Oral/dialogic
Subtitling asset
Voiceover asset
Sad as it is, to many in our time the word "elf" is
a synonym for pauper, bandit or layabout. "Sheelf" is used in many circles to denote a prostitute
or woman of loose morals. The adjective "elven,"
in turn, describes damaged, needlessly
complicated or useless goods. Statistics, for their
part, show that one in three elves living in
Redanian has spent time in prison, and a full one
half of them have been fined at least once. The
W453 1058761-[0]
average lifespan of elves, though still thrice that
of humans, grows shorter each
year.<br><br>Given the above it is easy to forget
that elves - or Aen Seidhe, as they fashion
themselves - were once a proud race that ruled
the lands stretching from the banks of the Great
Sea in the west to the Blue Mountains in the east,
and from the Dragon Mountains in the North to
the Mahakam range in the south. The ruins of
對我們這年代的許多人來說，很不幸地
「精靈」是貧民、強盜或流浪漢的代名
詞。有些圈子則用「女精靈」來代稱道
德感鬆散的妓女或女性。假如物品受
損、過度複雜或是沒有用處，也會被稱
為「精靈的」。就數據來說，居住在瑞
達尼亞的精靈有三分之一都坐過牢，而
且二分之一的精靈都曾繳過罰款。雖然 Narrative
In-game texture
精靈的平均壽命還是人類的三倍，但現
embedded words
在每年都在縮短。<br><br>在這種情況
下，我們很容易忘記以前的精靈（自稱
艾恩．西迪）統領了天下大地，西至無
盡之洋的海岸，東至藍山，北至巨龍山
脈，南至瑪哈坎山脈。散佈世界各地的
精靈城市遺跡都是過去這片光榮景象的
證據（cp. 「精靈帝國的遺跡」，艾德．
322
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World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
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World construction
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their cities scattered throughout the known World
bear witness to their former might (cp.
“Monumenta Elforum” by Istredd of Aedd
Gynvael).<br>Many of the most outstanding
mages, artists and poets of recorded history have
been of this race. And we have elves to thank for
dozens of ingenuous items we rely on each day,
from screw pumps to cosmetics.<br>Those elves
who dwell amongst men have largely forgotten
their history and culture - the sole sliver of elven
identity left in them being a burning hatred for
men, the so-called<i>dh’oine</i>. The elves of
Dol Blathanna, that puppet vassal of Nilfgaard,
and of the wild highlands of the Blue Mountains
have retained much of the old knowledge and
culture, though they, too, are condemned to
perish. This death sentence was handed to them
by biology - for men, though short-lived, are
several times more fertile than elves. Thus, while
the Aen Seidhe's numbers continue to dwindle,
ours grow at an alarming and ever-increasing
rate.<br>Some elves believe that the tide of
events can be turned, that they can put a stop to
human exapnsion and oppression. They look to
their mythical cousins for salvation - to the Aen
Elle, the Alder Folk. The Aen Elle are said to
dwell in another World or possibly in another
plane to which they traveled during the mythic
Age of Migration, and from which they at times
journey to visit our World. Legend claims a gate
between the Worlds could be opened, allowing
the Aen Elle to ride to their downtrodden
brethren's rescue. These are, however, mere
fables, naïve fairy tales this race condemned to
extinction uses to provide itself small comfort in
these, their last, sad moments.
吉納維爾的伊斯󠄀垂德著）。<br>此種族
也出了許多史上數一數二傑出的法師、
藝術師和詩人。我們每天使用的許多工
具也是他們的發明，諸如螺桿泵和化妝
品。<br>居住在人類社會的精靈經常忘
記自己的歷史和文化，唯一遺留下來的
身分證明就是對於人類的憎恨，也就是
他們口中的<i>杜恩</i>。尼弗迦德的傀
儡附庸國，多爾．布雷坦納國裡的精
靈，以及藍山高地荒野的精靈留下了許
多古老的知識與文化，但他們也註定消
逝。他們的生理機制判了精靈死刑，因
為人類的壽命雖然比精靈短，但是受孕
機率卻比精靈高上好幾倍。因此，艾
恩．西迪族的數量持續減少，我們人類
成長的速率卻是史無前例、快得危險。
<br>有些精靈認為這種趨勢可以被反
轉，有辦法阻止人類欺壓精靈的行為。
艾恩．西迪族向他們的神秘表親，「古
老種族」艾恩．艾爾族求救。據說艾
恩．艾爾族居住在另一個世界，可能是
另一個界層。他們是在傳說中的遷徙世
紀移居過去的，偶爾會來到我們的世
界。根據傳說記載，可能有方法可以在
不同世界間開啟通道，讓艾恩．艾爾族
前來拯救他們被欺負的弟兄。不過，這
些只是天真的精靈神話罷了，算是一個
即將滅跡的種族用來安慰自己的小小方
法吧。
W454 1027397-[0] {Vort! } [Desist!]
Oral/dialogic
Subtitling asset
Voiceover asset
{Vort! } [投降吧！]
323
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W455 490715-[0]
Neén…
W456 513918-[0]
{Ver'spreiden evellienn!} [We must spread out!] {Ver'spreiden evellienn!} [散開！]
W457 514123-[0]
{Neen!} [No!]
W458 524255-[0]
Oral/dialogic
{A’anval, gloir aen Ard Feain! } [Fight, believers {A’anval, gloir aen Ard Feain! } [烈日的信
Subtitling asset
in the Great Sun!]
徒啊，戰鬥吧！]
Voiceover asset
W459 524257-[0]
{Ess'va aen me! } [Come to me!]
{Ess'va aen me! } [來我身邊！]
Oral/dialogic
Subtitling asset
Voiceover asset
W460 524259-[0]
{Neen ratreut! } [Do not dare fall back!]
{Neen ratreut! } [不准後退！]
Oral/dialogic
Subtitling asset
Voiceover asset
W461 524261-[0]
{Gar'ean evelienn! Il'edrith! } [Watch out,
everyone! Magic!]
{Gar'ean evelienn! Il'edrith! } [大家小心！ Oral/dialogic
Subtitling asset
是魔法！]
Voiceover asset
W462 525554-[0]
Neén!
（精靈語）不！
（精靈語）不…
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
{Neen!} [不！]
Oral/dialogic
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W463 525559-[0]
Gar'ean!
（精靈語）小心！
Oral/dialogic
Subtitling asset
W464 525571-[0]
Elaine deireadh…
（精靈語）Elaine deireadh…
Oral/dialogic
Subtitling asset
W465 526297-[0]
Squaess'me.
（精靈語）抱歉。
Oral/dialogic
Subtitling asset
W466 526299-[0]
Glaeddyv vort.
（精靈語）把劍放下。
Oral/dialogic
Subtitling asset
W467 526305-[0]
Aen Seidhe!
艾恩．西迪！
Oral/dialogic
Subtitling asset
W468 526364-[0]
Squesse.
抱歉。
Oral/dialogic
Subtitling asset
W469 526366-[0]
Que?!
幹嘛？
Oral/dialogic
Subtitling asset
W470 490926-[0]
Gar'ean.
（精靈語）小心。
Oral/dialogic
Subtitling asset
325
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W471 491109-[0]
Asset source text
Va caelm, vatt’ghern, va caelm!
W472 1039952-[0] Que suecc's? [How are things?]
Text type &
Asset type
Asset target text
（精靈語）冷靜點，狩魔獵人，冷靜！
Oral/dialogic
Subtitling asset
Que suecc's? [如何？]
Oral/dialogic
Subtitling asset
Voiceover asset
W473 491111-[0]
N'aen, no, pl… Please.
（精靈語）不要，拜…拜託。
Oral/dialogic
Subtitling asset
W474 491113-[0]
Minne ess Aenye, ne tuv'en que'ss!
（精靈語）不朽之光啊，請保佑我們！
Oral/dialogic
Subtitling asset
W475 491115-[0]
Mir'me vara.
（精靈語）價格太高了。
Oral/dialogic
Subtitling asset
W476 491230-[0]
Que?
（精靈語）什麼？
Oral/dialogic
Subtitling asset
W477 491234-[0]
N'elaine!
（精靈語）討厭！
Oral/dialogic
Subtitling asset
W478 570855-[6]
Nevid, cyvir!
（咒語）Nevid, cyvir!
Oral/dialogic
Subtitling asset
326
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ZH-TW immersion
components
Audiovisual stimuli
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World construction
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W479 1049555-[2] {Yeá? } [Yes?]
{Yeá? } [怎麼了？]
Oral/dialogic
Subtitling asset
Voiceover asset
W480 1018697-[0] Enn'le!
（精靈語）阻止他！
Oral/dialogic
Subtitling asset
W481 491347-[0]
Elaine vara.
（精靈語）真是好東西。
Oral/dialogic
Subtitling asset
W482 503743-[0]
A'baeth me aep arse.
（精靈語）去你的。
Oral/dialogic
Subtitling asset
W483 506493-[0]
Shaente a'vean a'taeghane?
（精靈語）可以唱首歌嗎？
Oral/dialogic
Subtitling asset
W484
1180938[bob]
{Ehh… Squess me.} [Errr. I beg your pardon.]
Oral/dialogic
{Ehh… Squess me.} [唉，請您原諒我。] Subtitling asset
Voiceover asset
W485
1180922[bob]
{Que?} [Yes?]
{Que?} [怎麼了？]
Oral/dialogic
Subtitling asset
Voiceover asset
W486
1180920[bob]
{Ceádmil!} [Greetings!]
{Ceádmil!} [你好！]
Oral/dialogic
Subtitling asset
Voiceover asset
327
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components
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{Àite fúlnes bloedde, n'esse fion…} [這地 Oral/dialogic
Subtitling asset
方都是血臭味，沒有葡萄酒香⋯]
Voiceover asset
W487
1180869[bob]
{Àite fúlnes bloedde, n'esse fion…} [This place
stinks of blood, not wine…]
W488
1180812[bob]
{Okho, co-éineach en lagan - Vatt’ghern de Oral/dialogic
{Okho, co-éineach en lagan - Vatt’ghern de
Nord.} [Whoa-ho, a one-man disciplinary squad Nord.} [哇，碰到一人糾察隊了，是北方 Subtitling asset
- a witcher from the North.]
Voiceover asset
來的狩魔獵人呢。]
W489
1180814[bob]
{A bheil jakkten Bèist a-mhàin?} [You mean to
hunt the Beast on your own?]
{A bheil jakkten Bèist a-mhàin?} [你打算
自己去狩獵惡獸？]
Oral/dialogic
Subtitling asset
Voiceover asset
W490
1180818[bob]
You promised to rid us of the Beast, and you
kept your word. {Hael, Geralt!} [Long live
Geralt!]
你答應要替我們解決惡獸，而你真的信
守承諾了。 {Hael, Geralt!} [傑洛特萬
歲！]
Oral/dialogic
Subtitling asset
Voiceover asset
W491
1180834[bob]
{Du fehainn beatha an-seo esse… difranh?} [Do {Du fehainn beatha an-seo esse… difranh?} Oral/dialogic
[你是不是也覺得這裡的生活有點⋯不太 Subtitling asset
you also feel that life here is somehow…
different?]
Voiceover asset
一樣？]
1180836W492
[bob]
{A àite diùcad heàrrlois dear-ceòlh - eluaim
{A àite diùcad heàrrlois dear-ceòlh - eluaim de de dòirt fion.} [在這公國時時刻刻都可以 Oral/dialogic
dòirt fion.} [In this duchy, one always hears one
Subtitling asset
聽到一種美妙音樂，就是倒葡萄酒的聲
kind of music - the sound of wine being poured.]
Voiceover asset
音！]
W493
1180838[bob]
{A’anval bhampair! Me bràtheir n'esse
{A’anval bhampair! Me bràtheir n'esse creide
Oral/dialogic
que'ss féin-fidir an-seo.} [A vampire attack! My creide que'ss féin-fidir an-seo.} [有吸血鬼 Subtitling asset
brother will never believe it when I tell him.]
襲擊人類！我兄弟聽了肯定不會相信。] Voiceover asset
W494
1180844[bob]
Larwm! Larwm! [Alarm! Alarm!]
Larwm! Larwm! [警戒！警戒！]
328
Oral/dialogic
Subtitling asset
Voiceover asset
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components
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1180856W495
[bob]
1180858W496
[bob]
Asset source text
Text type &
Asset type
Asset target text
{N'ees behéfth ne bhampair ne sas
{N'ees behéfth ne bhampair ne sas mallaich!
mallaich! Esse deireadh tadhail an-seo.}
Esse deireadh tadhail an-seo.} [Curses, vampires [又是詛咒、又是吸血鬼，我來這兒可不
- I did not sign up for any of this! This is my last
是要對付這種鬼東西！我以後不會再來
time here.]
了。]
{An tus Bèist, thaë a’anval bhampair…
{An tus Bèist, thaë a’anval bhampair… Sluagh- Sluagh-diccette a Toussaint ealdor fion y
diccette a Toussaint ealdor fion y altaich!} [First altaich!} [先是惡獸，接著又有吸血鬼襲
the Beast, then the vampire attack… And they
擊⋯大家還說來到陶森特只要喝酒放鬆就
said Toussaint would be but wine and respite!]
好了哩！]
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
W497
1180860[DLC14]
{Garean!} [Watch out!]
W498
1180867[bob]
Oral/dialogic
{Brr, gabh sgranthil ploeige…} [Brrr, this place {Brr, gabh sgranthil ploeige…} [噁，這地
Subtitling asset
gives me the willies…]
方讓我起雞皮疙瘩⋯]
Voiceover asset
1180875W499
[bob]
{Garean!} [小心點！]
{Am biodh sinnea n'esse ùisig beatha, nuair
vrouw neen àit.} [It would be a shame not to
make the most of the wife being a long ride
away!]
{Am biodh sinnea n'esse ùisig beatha, nuair Oral/dialogic
vrouw neen àit.} [老婆遠在天邊，不趁此 Subtitling asset
Voiceover asset
良機還待何時？]
W500
1180877[bob]
{Que tachair aen Toussaint, fan aen Toussaint.}
[What occurs in Toussaint, stays in Toussaint.]
{Que tachair aen Toussaint, fan aen
Oral/dialogic
Toussaint.} [在陶森特發生的事，就只是 Subtitling asset
Voiceover asset
陶森特的事。]
W501
1180893[bob]
{Ese'theenk aep nas spèalaig na cuidai…}
[Seems more a muddler than one to help…]
{Ese'theenk aep nas spèalaig na cuidai…}
[比起幫忙，看來更會找麻煩⋯]
W502
1180896[bob]
{Ban-Diùc Anna Henrietta òrdai an duine…}
[The one Duchess Anna Henrietta sent for…]
{Ban-Diùc Anna Henrietta òrdai an
Oral/dialogic
duine…} [是安娜‧亨莉葉塔女爵找來的人 Subtitling asset
Voiceover asset
⋯]
329
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Subtitling asset
Voiceover asset
EN immersion
components
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Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
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Character identification
World construction
Audiovisual stimuli
Contacting gameplay
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Contacting gameplay
Explicit information
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World construction
Audiovisual stimuli
Contacting gameplay
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Audiovisual stimuli
Contacting gameplay
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Contacting gameplay
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Contacting gameplay
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Asset
String ID
number Source File
1180898W503
[bob]
Asset source text
Text type &
Asset type
Asset target text
{Ru'ire de Peyrac-Peyran esse marv. Ess'me aisgairm dansa ess aep ambasaid.} [Sir de PeyracPeyran is dead. Yet it seems just yesterday I
danced with him at the embassy ball.]
{Ru'ire de Peyrac-Peyran esse marv.
Ess'me ais-gairm dansa ess aep ambasaid.} Oral/dialogic
[佩拉佩蘭先生死了。感覺跟他在使館舞 Subtitling asset
Voiceover asset
廳跳舞還是昨天的事。]
W504
1180910[bob]
{Y Iarla Notturna esse marv. A-réir snoig
leiadah…} [And Countess Notturna, dead as
well. Such a noble woman…]
{Y Iarla Notturna esse marv. A-réir snoig
leiadah…} [諾杜娜伯爵夫人也死了，那
麼高貴的女性⋯]
Oral/dialogic
Subtitling asset
Voiceover asset
W505
1180914[bob]
{Eis na dùrchaden, airit ru'ire Ravix!} [Accept
my most heartfelt best wishes, honorable Sir
Ravix!!]
{Eis na dùrchaden, airit ru'ire Ravix!} [請
接受我最衷心的感謝，英勇的拉維克斯󠄀
先生！]
Oral/dialogic
Subtitling asset
Voiceover asset
W506
1180916[bob]
{Aen Ard Feain daerr Ban-Diùc Anna Henrietten {Aen Ard Feain daerr Ban-Diùc Anna
Henrietten anam…} [烈日將會守護安娜‧
anam…} [The Great Sun watch over Duchess
Anna Henrietta's soul…]
亨莉葉塔女爵的靈魂⋯]
Oral/dialogic
Subtitling asset
Voiceover asset
W507
1180926[bob]
Oral/dialogic
{Esse’ionndrainn aep me weddin…} [I miss my {Esse’ionndrainn aep me weddin…} [我想
Subtitling asset
children…]
念我的孩子⋯]
Voiceover asset
W508
1180928[bob]
{Ess'deireadh tùrnment y ess’creasa vor caer.}
[This tourney must end, so we can go home.]
{Ess'deireadh tùrnment y ess’creasa vor
caer.} [比武大賽該結束了，這樣我們才
能回家。]
Oral/dialogic
Subtitling asset
Voiceover asset
W509
1180942[bob]
{A-réir brùi… A-réir fireann.} [Why, you are
brutal… You are manly.]
{A-réir brùi… A-réir fireann.} [你還真野
蠻⋯真有男子氣概。]
Oral/dialogic
Subtitling asset
Voiceover asset
W510
1180948[bob]
{Ioman diùcad esse cintaich de impireachd.}
[This whole duchy is an offense to the Empire's
majesty.]
{Ioman diùcad esse cintaich de
impireachd.} [這整座公國都是對帝國的
侮辱。]
Oral/dialogic
Subtitling asset
Voiceover asset
330
EN immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
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World construction
Audiovisual stimuli
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Explicit information
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World construction
Audiovisual stimuli
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Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
ZH-TW immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
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Asset
String ID
number Source File
Asset source text
Text type &
Asset type
Asset target text
W511
1180950[bob]
Ismear y cea'dsaa… Toussaint esse ard
{Ismear y cea'dsaa… Toussaint esse ard drùisdhai.} [Drunkenness and degeneracy… Toussaint drùis-dhai.} [酒醉與墮落⋯陶森特真是座
is one vast bordello.]
極樂天堂。]
W512
1180956[bob]
{Ech, alz esse'fan heer gu brài…} [Ehh, if I
could only stay here forever…]
{Ech, alz esse'fan heer gu brài…} [唉，如 Oral/dialogic
Subtitling asset
果我能永遠待在這裡就好了⋯]
Voiceover asset
W513
1182328[bob]
{Ech, Toussentien esse liuet ferranch…} [Ehh,
these Toussaintlies really rile me…]
{Ech, Toussentien esse liuet ferranch…}
[唉，我開始受不了這些陶森特人了⋯]
331
Oral/dialogic
Subtitling asset
Voiceover asset
Oral/dialogic
Subtitling asset
Voiceover asset
EN immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
ZH-TW immersion
components
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
Audiovisual stimuli
Contacting gameplay
Explicit information
Character identification
World construction
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