M A S A R Y K O V A
U N I V E R Z I T A
FILOZOFICKÁ FAKULTA
The Process of Board Game
Localization in the
Czech Republic
Magisterská diplomová práce
BC. PETRA PÍŠOVÁ
Vedoucí práce: Ing. Mgr. Jiří Rambousek, Ph.D.
Katedra anglistiky a amerikanistiky
Program Překladatelství anglického jazyka
Brno 2023
MUNI
ARTS
T H E P R O C E S S OF BOARD G A M E LOCALIZATION IN THE C Z E C H REPUBLIC
Bibliografický záznam
Autor:
Název práce:
Studijní program:
Vedoucí práce:
Rok:
Počet stran:
Klíčová slova:
Bc. Petra Píšová
Filozofická fakulta
Masarykova univerzita
Katedra anglistiky a amerikanistiky
The Process of Board Game Localization
in the Czech Republic
Překladatelství anglického jazyka
Ing. Mgr. Jiří Rambousek, Ph.D.
2023
95
lokalizace, překlad, hry, deskové hry, stolní hry, společenské
hry, lokalizační proces v České republice, vydavatelství
2
T H E P R O C E S S OF BOARD G A M E LOCALIZATION IN THE C Z E C H REPUBLIC
Bibliographic record
Author: Be. Petra Píšová
Faculty of Arts
Masaryk University
Department of English and American Studies
Title of Thesis: The Process of Board Game Localization
in the Czech Republic
Degree Programme: English-language Translation
Supervisor: Ing. Mgr. Jiří Rambousek, Ph.D.
Year: 2023
Number of Pages: 95
Keywords: localization, translation, games, board games, tabletop
games, localization process in the Czech Republic,
publishing house
3
T H E P R O C E S S OF BOARD G A M E LOCALIZATION IN THE C Z E C H REPUBLIC
Anotace
Tato diplomová práce si klade za cíl představit proces lokalizace deskových her
v České republice. V teoretických kapitolách práce je nejdříve řešena otázka
deskových her, tedy jejich popis, vývoj, rozdělení a důležitost. Následně je přiblížen
termín lokalizace a s ním spojené záležitosti, včetně specifik lokalizace deskových
her. Praktická část popisuje, jak probíhá v České republice profesionální lokalizace
deskových her, a to od výběru hry až po její vydání. Práce je zakončena ukázkou
dvou lokalizovaných her, kde se rozebírají změny, které lokalizační tým provedl a
zároveň výzvy, které musel vyřešit.
4
T H E P R O C E S S OF BOARD G A M E LOCALIZATION IN THE C Z E C H REPUBLIC
Abstract
This thesis aims to present the process of localization of board games in the
Czech Republic. In the theoretical chapters of the thesis, the topic of board games
is first addressed, i.e., their description, development, distribution, and importance.
Thereafter, the term localization and related issues are introduced, including the
specifics of board game localization. The practical part describes how professional
localization of board games is carried out in the Czech Republic, from the selection
of the game to its release. The thesis concludes with an example of two localized
games, discussing the changes the localization team made and the challenges they
had to solve.
5
T H E P R O C E S S OF BOARD G A M E LOCALIZATION IN THE C Z E C H REPUBLIC
Declaration
I hereby declare that the thesis titled The Process of Board Game Localization
in the Czech Republic that I have submitted for assessment is entirely my original work,
and that no part of it has been taken from the work of others unless explicitly cited and
acknowledged within the text of my thesis.
Brno April 30, 2023
Be. Petra Pisova
7
T H E P R O C E S S OF BOARD G A M E LOCALIZATION IN THE C Z E C H REPUBLIC
Acknowledgements
I would like to thank Martin Hrabálek (REX Games) and Pavel Prachař (MINDOK)
for their time and willingness to provide me with materials for this thesis. My further
thanks also go to my thesis supervisor Ing. Mgr. Jiří Rambousek, Ph.D., for his good
guidance and advice. Additionally, this thesis would not have been completed
without the constant support from my family and partner.
9
TABLE OF CONTENTS
Table of Contents
List of Figures 13
List of Tables 14
1 Introduction 15
2 Introduction to Board Games 17
2.1 Definition of Games 17
2.1.1 Analog, Non-Digital, Tabletop, or Board Games? 21
2.2 Definition of Board Games 22
2.3 Development of Board Games 24
2.4 Typology of Board Games 28
2.5 Significance of Board Games 33
2.5.1 Why Are Board Games (Still) Popular? 34
3 Localization 37
3.1 General Information 37
3.2 Key Terms 38
3.2.1 Globalization 39
3.2.2 Internationalization 39
3.2.3 Localization 40
3.2.4 Translation 40
3.2.5 Locale 40
3.3 Localization of Board Games 40
3.3.1 The Importance of Board Games Localization 43
4 Board Game Localization Process in the Czech Republic 45
4.1 Selection of a Board Game 45
4.2 Distribution of Profits 47
4.3 Material and Work Distribution 49
4.4 Translation 50
4.5 Proofreading 55
4.6 Embedding Text into Graphics 56
11
TABLE OF CONTENTS
4.7 Printing 57
4.8 Marketing 59
4.9 Mistakes and Their Possible Corrections 59
4.10 Why Some Board Games Do Not Get Localized or Reprinted? 64
4.11 Localization Time Frame 65
5 Successfully Localized Board Games 67
5.1 Concept (Koncept) 67
5.1.1 Game Mechanics 67
5.1.2 Translation of Game Contents 68
5.1.2.1 Rules 68
5.1.2.2 Player Aid Sheets 71
5.1.2.3 Cards 72
5.1.2.4 Box 76
5.2 Ex Libris (Ex Libris) 77
5.2.1 Game Mechanics 77
5.2.2 Translation of Game Contents 78
5.2.2.1 Rules 78
5.2.2.2 Location and Library Tiles 81
5.2.2.3 Cards 82
5.2.2.4 Box 84
6 Conclusion 85
Bibliography 87
12
LIST OF FIGURES
List of Figures
Figure 1. Game elements overview 20
Figure 2. Picture representing GILT process 39
Figure 3. Translated (left) and original (right) card from board game Everdell
(Divukraj) showing the use of visual mode 42
Figure 4. Preview of the Czech rules of Wingspan (A/a křídlech) 53
Figure 5. Cover of 1989: Dawn of Freedom in Czech localization 54
Figure 6. An example of a typo in the board game Noctiluca {Svitilky) 60
Figure 7. A typographical error in Infinity Gauntlet: A Love Letter Game
(MARVEL: Rukavice nekonečna) 61
Figure 8. Example of a more serious translation error in Noctiluca {Svitilky) Czech
version above, English version below 62
Figure 9. Example of the initial (left) and corrected (right) Czech card from
Mansions of Madness (Panství hrůzy) 63
Figure 10. First English (top) and Czech (bottom) example from Concept
(Koncept) 70
Figure 11. Second English (top) and Czech (bottom) example from Concept
(Koncept) 71
Figure 12. Example of cards from English version of Concept (Koncept) 73
Figure 13. Example of cards from the Czech version of Concept (Koncept) 74
Figure 14. Bottom of the box of Concept (Koncept) 76
Figure 15. Game setup of Ex Libris (Ex Libris) 78
Figure 16. Addition of practical examples to the Czech rules of Ex Libris (Ex Libris)
80
Figure 17. Comparison of English (left) and Czech (right) location tiles in Ex Libris
(Ex Libris) 81
Figure 18. Example of Czech cards from Ex Libris (Ex Libris) 83
13
LIST OF T A B L E S
List of Tables
Table 1. Murray's and Bell's board game typologies 29
Table 2. Woods' board game typology 31
Table 3. Categorization of different culture-specific items - examples are taken
from the English and Czech versions of Concept {Koncepf) 75
14
INTRODUCTION
Introduction
The phenomenon of games has been firmly rooted in human history for several
thousand years. Although games now serve as a recreational activity, this has not
always been the case. Playing was purposeful, and sacred, and served as a means of
learning skills or communicating with the gods (Huizinga 1980). Much time has passed
since then, and in the meantime, new types of games have arisen, others have died out,
and gradually the principle of games has changed as people began to spend more time
indoors. Material things like boards, figures, and dice were added to the game and they
expanded the possibilities of play. Such game-playing gained more and more
popularity until it became a favorite pastime of children and adults that continues to
this day.
Games have become such a popular activity that science of their own has emerged,
dealing with their development, the experience of playing them, and the culture in
which they are created or enjoyed (Frasca 2001). Not surprisingly, there was a need to
introduce games to other cultures and to spread awareness of them. And this is where
the art of translation has come in and allowed people speaking a different language to
enjoy new games.
Although the topic of games has been covered in numerous fields and directions,
a lot of sources deal with the history of board games and how to design them but only
a small number of those are focused on translation (Evans 2013; Whitehill 2007;
Jarvinen 2008). With the rising digital trend, more literature has been devoted to the
issue of video games and their localization (to name a few, Petru 2011; Schubert 2013;
Bushouse 2015). However, it is often forgotten that even board games can be localized,
the process is just very different in some ways.
The aim of this thesis is to present the process of localization of board games in
the Czech Republic carried out by board game publishers from the selection of the
game, through all organizational issues, to the release of the game. I chose this topic
because I have been playing board games with my family and friends since I was a child.
15
INTRODUCTION
However, due to the coronavirus pandemic, I could not be close to them to play so I
visited the online sphere and discovered a large number of games in foreign languages.
I realized how much work it takes to transfer a game into another language and set
myself the task of finding out how Czech publishers do it.
The thesis is divided into theoretical and practical parts. The theoretical section is
first devoted to the topic of board games and discusses their definition, origin,
development, and importance in human civilization. Next, the concept of localization
and its related issues are introduced, including the specifics of board game localization.
The practical part includes a detailed description of the process of localization of
board games in the Czech Republic. Information for this chapter was gathered from
interviews with two leading representatives of Czech publishers, Martin Hrabalek
from REXhry and Pavel Prachar from MINDOK. It covers how games are selected for
localization, what needs to be taken into account, how the game will reach the shelves,
and more. In the next chapter, two successfully localized games are analyzed in terms
of changes and improvements made by the Czech localization team.
16
INTRODUCTION TO BOARD G A M E S
1 Introduction to Board Games
Board games have been around us for thousands of years. Their mechanics and design
might have changed but their importance in society still remains. In fact, there is a
whole discipline that is dedicated to the study of games - ludology, or also game
studies. It is a relatively young discipline that emerged in the 1990s but scholarly
interest in games is much older and goes back to the early years of the 20t h
century
(Jarvinen 2008). Still, many people believe that ludology deals only with video and
computer games. Its range is, however, wide and covers games of every type, from
physical (sports, playing tag/chase), to tabletop (such as board and dice games), to
electronic (video, computer, and mobile games) (Frasca 2001).
This chapter will outline a view on games in general and then focus on various
aspects of board games, in terms of their definition, development, typology, benefits,
and popularity.
1.1 Definition of Games
Before we can explore board games in greater detail, it is appropriate to offer an insight
into games in general.
There are various definitions found in online dictionaries, such as "a physical or
mental competition conducted according to rules with the participants in direct
opposition to each other", "an entertaining activity or sport, especially one played by
children, or the equipment needed for such an activity", "an activity that you do to have
fun, often one that has rules and that you can win or lose", or "an activity that you do
for fun that has rules, and that you can win or lose" (Merriam-Webster n.d.; Cambridge
Dictionary n.d.; Oxford Learner's Dictionary n.d.; Macmillan Dictionary n.d.). A closer
look reveals words that are repeated in most presented definitions - they are activity,
win, rules, and fun/entertainment. From these findings, we can in simpler terms
conclude that a game is a fun activity that follows certain rules and the goal is to win.
17
INTRODUCTION TO BOARD G A M E S
Numerous historians and other academic professionals have dealt with the
concept of game or play. Dutch historian Johan Huizinga (1980) resorted to the usage
of the word "play". He claims that play is older than civilization and is not restricted to
humans since we can see playing behavior among animals as well. By his definition, a
play is:
a free activity standing quite consciously outside 'ordinary' life as being 'not
serious', but at the same time absorbing the player intensely and utterly. [...] It
proceeds within its own proper boundaries of time and space according to fixed
rules and in an orderly manner. It promotes the formation of social groupings [...].
(Huizinga 1980: 13)
His understanding of play, therefore, lies in the fact that playing is an important
voluntary act that enriches life and takes the playing person into a "temporary world
within the ordinary world" where a play takes duration and then ends
(Huizinga 1980: 10). What he also mentions is the presence of order, the rules, which
the play brings into a world full of chaos and helps the player to be for a while in a
perfect bubble where everything has its place and function. As Huizinga's main focus
is on humans and their position in culture, he also speaks about feelings that play
triggers, that we often immerse ourselves into play and forget about the world, and
that playing together encourages people to form "clubs" where they share common
play preferences.
Except for Huizinga's socially aimed definition, there are several others that
explain games in terms of structure. David Parlett (as cited in Salen and Zimmerman
2009) distinguishes between an "informal game" and a "formal game". While the
former is the so-called "undirected play" or "playing around", the latter has a structure
in the form of "ends and means" (Salen and Zimmerman 2009: 70). The ends of a game
lie in the fact that the game is a contest with two or more individuals or teams whose
18
INTRODUCTION TO BOARD G A M E S
goal is to win. There can only be one winner and the winning itself ends the game. In
order to win, players need to manipulate certain equipment and follow given rules the
means.
Other definitions treat games as systems. In Jasper Juul's paper (2003), he gathers
definitions from various scholars, examines their differences and similarities, and
proposes the following:
a game is a rule-based formal system with a variable and quantifiable outcome,
where different outcomes are assigned different values, the player exerts effort in
order to influence the outcome, the player feels attached to the outcome, and the
consequences of the activity are optional and negotiable. (Juul 2003: A new
definition section, paragraph 2)
To rephrase it, games have rules and players are trying to reach a winning result. The
ways to get to the result differ and they rely on the player's strategy as some moves are
more important or beneficial than others. Once the game is over, players react to the
result a certain way, usually with either joy or sadness. Depending on the type of game
you play, there may be real-life consequences, such as changes in relationships,
rankings, or financial status.
Another structurally and system-based characterization was done by Finnish
game designer Akijarvinen (2008). It also serves as a starting point for the
characterization of board games as his dissertation is concerned with game-designing
that can be transposable to every game, either physical, computer, or board. Jarvinen's
research developed on the idea that games are information systems where "a game
gives output to the players who produce input into the system and it responds in light
of the state that the system is in" (Jarvinen 2008: 50). In other words, the game itself
and the players interact with each other. Based on these findings, an overview of
elements that form the basis of games was compiled and is represented in Figure 1.
19
INTRODUCTION TO BOARD G A M E S
Figure 1. Game elements overview (Jarvinen 2008: 55)
S Y S T E M I C E L E M E N T S
* components
* environment
C O M P O U N D E L E M E N T S
- ruleset
• game mechanics
- theme
• interface
» information
B E H A V I O R A L E L E M E N T S
• players
• contexts
Figure 1 shows a possible game setup with various elements that Jarvinen
distributed into three categories - systemic, compound, and behavioral - each of them
consisting of "element classes" (Jarvinen 2008: 55). There are always at least seven of
them, however, the implementations of these element classes may vary depending on
the type of game. Every game needs certain components which represent what moves
or what we can possess, such as a ball, video game characters, board game figurines,
cards, and so on. All components are located in some environment where they move,
for example, on a board, in a 3D virtual world, or in arranged setup. When we want to
play a game, we first ought to know the rule set that states allowed or unallowed moves,
the arrangement of the game, and goals. The actual playing is contained in game
mechanics and means what actions players do in their turn. The element class called
information is more common in video games and shows scores, energy, time limit, or
statistics, but it can also represent the actual setup of "cards and boards on a table" or
a scoreboard during a sports event (Jarvinen 2008: 76). Moreover, information and
statistics from previous games can help to determine what players will do in their turn.
Next, there cannot be a game without players since they are the element that executes
game mechanics, moves and possesses the components, and affects the course of play
20
INTRODUCTION TO BOARD G A M E S
with their behavior and mood. Contexts mean "the time and space where the game
takes place" (Jarvinen 2008: 84). However, do not mistake it for the environment as it
deals with the game itself whereas contexts are about the players and their taste in
both games and co-players.
Besides these "necessary" classes, there are two additional ones that are not
always present - theme and interface. A theme is often used in role-playing games,
RPGs, where players "transform" themselves into new roles and act according to their
characteristics. Apart from RPGs, the theme can be applied to games of a commercial
type which use conventions of popular culture in the form of different graphic designs
but with more or less the same gameplay. And lastly, the element of the interface is
used when "there is no direct access to the game system" (Jarvinen 2008: 81). In other
words, the game needs to be accessed via a keyboard, mouse, gamepad, or any other
electronic device.
1.1.1 Analog, Non-Digital, Tabletop, or Board Games?
In the world of games, there are many cases of inconsistency in naming. Terms such as
analog games, non-digital games, tabletop games, and, of course, board games appear
frequently in the current literature, yet their definitions are not clearly defined. Before
proceeding to the very definition of board games, it is worth setting out the differences
between these terms.
Bayeck (2020) views analog games as games played offline, with face-to-face
interactions, a shared space, and physical objects that serve as game components (such
as figures, cards, dice, boards, pen and paper...).
The non-digital games can be considered synonymous with analog games. Both
are the opposite of digital games that need an electronic device to function (meaning a
computer, console, or tablet...).
The fairly widespread term tabletop games is often used interchangeably with
analog games as they share the basic attributes. However, thanks to the development
21
INTRODUCTION TO BOARD G A M E S
of new modern games, games with digitalized boards can be included in this category
as well. This feature distinguishes tabletop games from analog and non-digital games
- there are still tangible game components so it is not entirely digital and, in a way, this
semi-digitalized kind of game can be seen as a hybrid.
The notion of board games can be understood as tabletop games but with the
difference that, as the name suggests, a board is needed to play them. This rules out
solely cards, dice, and pen-and-paper games.
1.2 Definition of Board Games
Finding a universal definition of board games is difficult as numerous types of games
differ in gameplay (the various typologies of board games are discussed in
Chapter 2.4). Jarvinen's (2008) aforementioned characterization laid helpful
foundations upon which the following definitions will build.
Firstly, it is important to distinguish board games from other games. Bond (2016)
defines board game as "a recreational and intellectual activity in which players use a
specifically marked surface, or board, to define the placement, positions, movements
or powers of playing pieces and attempt to achieve a competitive objective". He also
adds that the pieces are moved manually, either by a random value rolled on a
dice/roulette or by "pure mental endeavor". The progress is, therefore, not done with
the help of "dexterity, athletic skill, or strength" which is typical of sports games (Bond
2016: paragraph 1).
Evans (2013) states there are three main elements in board games - players, rules,
and components. He also emphasizes the social aspect and defines a board game as "a
form of rule-bound social interaction" where players make decisions in accordance
with rules and manipulate components with a view to win (Evans 2013: 16). Since
board games are a social activity, we need human players together in one place. The
rules are necessary for playing and players ought to know them and obey them.
Concerning components, he mentions game pieces and a board where the game takes
22
INTRODUCTION TO BOARD G A M E S
place, whether it is on a fixed one (such as when playing Monopoly) or a gradually
formed one [Carcassonne). According to Lehrich (2005, as cited in Evans 2013), it is
the existence of the board that distinguishes board games from RPGs, dice, and card
games as they only need physically-present players, rules, and additional game pieces
like paper and pencil.
Next, Hunsucker (2016) is looking at board games as a "set of physical objects that
are paired with a game system that governs what interactions participants, termed
players, may have with them" (Hunsucker 2016: 3). The definition is more or less the
same as those before, however, in his paper, he examines in greater detail the physical
objects (also called components) needed for playing. He divides them into boards,
player tokens, cards, and other tokens. Hunsucker as well mentions different types of
boards like Evans and adds instances of multiple boards, such as in Agricola, where
there is a central common board and each player has their own progress board.
Another important component of board games is tokens representing individual
players. They are often differentiated by color, shape, symbol, or combination of
several of them. Most contemporary board games incorporate cards that function as
resources, game perks, tasks, and so on. The last component, other tokens, are not
specified and include any other physical items used in a game.
Since this thesis deals with the Czech market, we should look at what board games
mean in the Czech Republic. The words that exactly match the lexical meaning of board
games are deskové hry, in everyday speech deskovky. Another widely used phrase is
společenské hry which does not have a very established counterpart in English. The
closest translation would be socialgames. In addition, as in English-speaking countries,
the term tabletop games and its Czech equivalent stolní hry is also used but not very
common.
23
INTRODUCTION TO BOARD G A M E S
1.3 Development of Board Games
Playing and games are with human civilization from the very beginning. We possibly
do not know the first board games as they were probably drawn into the ground and
weather took care of them or carved into materials, like cloth or wood, that fell apart
over the years (Whitehill 2007). However, we can trace their beginnings to the end of
the Neolithic period.
Mardon (2020) claims that the first physical evidence of game components dates
back to 5,000 BC to the Sumerian civilization where archaeologists found numerous
knucklebones of animals that served both religious and pastime purposes. It is
believed that knucklebones, also called astragalus, functioned as dice and were often
found together with colored pebbles used as a game extension. Over time, people
began to modify the astragalus and eventually, they ended up with cubes that differ
little from the present ones.
Other games from around the same time have origins in Africa. They are called
Mancala and they spread mainly to the Middle East and Caribbean where they are still
played today. Although the original significance is not known, scientists believe they
served as a ritual and gambling game. There are many variants of Mancala but they
share a board with several holes. The goal is to capture the opponent's pieces by
moving your own.
About two thousand years later, the earliest boards of the Egyptian game Senet
were found in tombs. The game "reflected the movement of the soul" through the death
realm and was often buried with the deceased to help them reach the realm
(Mardon 2020: 8). Senet in a way resembles the mechanics of today's board game
Sorry! since a player can displace an opponent's figure with their own. To determine
how many playing fields they can move, ancient Egyptians were using four and sixsided
dice as well as sticks. The sticks had one side painted in a light color and the other
in a dark where one side represented either value of 1 or 0.
24
INTRODUCTION TO BOARD G A M E S
At the same time, Sumer had its own board game called the Royal Game ofUr after
a site where it was first discovered. However, the game was not restricted to Sumer
only and spread to other civilizations under different names like Tau, Aseb, or the Game
of Twenty Squares. The board had, like the alternative name suggests, twenty playing
fields, some of them with special functions such as a second roll or the possibility to
stack game pieces. The goal was to get all of your pieces out of the board before your
opponent.
The next game is Backgammon whose origins date back to Mesopotamia in 3000
BC. We do not know under which name it spread but we know some of its younger
variants - XII Scripta and Tabula in Rome around 200 BC, and Nard in the East around
800 AD. The game gained more and more popularity both in the East and Europe till
the first half of the 17t h
century when the first official use of the name Backgammon is
recorded.
Another very popular board game today is Checkers (or Draughts). The earliest
physical evidence comes from around 600 BC; however, a similar game was played in
Egypt and Greece a thousand or two years before. Checkers were then known as
Alquerque or Quirkat but the game board was smaller. Only between the 11t h
and
12t h
century the board got bigger and began to look like today's Checkers.
The checkered board is common with the worldwide game of Chess. Its origins go
back to the 5t h
century BC in India where it was known under the name Ashtapada or
Chaturanga. All six contemporary figures were used, although with different names
and shapes, but the possible movements were different. Chess then spread into the
world in two directions - east and west - and each direction adapted the game
differently. The game came to Europe in the 11t h
century and since then, only a few
improvements were done, mainly to the bishop's and queen's moving ability.
The game of Go has remained the same for almost 2,500 years. It originated in
China and is played on a checkered board with 361 fields. In order to win, you need to
25
INTRODUCTION TO BOARD G A M E S
acquire as many fields as you can and subsequently capture the opponent's pieces by
surrounding them.
Moving to another continent, in 200 BC, the game of Patolli appeared in
Mesoamerica. Due to the Spanish conquest, most of the game and its components were
destroyed. Fortunately, we know it was kind of a gambling game and its mechanism
was to correctly throw playing pieces into the fields in the shape of a cross. In addition,
Patolli had its own "variant" in India called Pachisi. It was in many aspects identical to
Patolli.
Another game played in India has several names like Moksha Patam or Mokshapat.
Precise dating is not known but it served as a teaching instrument about Karma and
the virtues and vices of life. In the late 19t h
century, the game was taken to Britain and
gotten the contemporary name Snakes and Ladders (Chutes and Ladders in the USA).
The old Viking hunt-like board game Hnefatafl dates back to 400 AD. Its popularity
was mainly in Northern Europe but the game spread with the Viking raids to other
parts of the world. Hnefatafl's board was checkered with several figures in the center
and twice as many figures on the sides. The goal of the game varied depending on the
player's role. The player with central figures was trying to avoid being captured by the
opponent and flee toward the corner of the board. On the other hand, the winning
situation of the player with side figures was to surround the central figure called the
King.
There was no major shift in board games in the following centuries. Some games
spread further and were adapted for new audiences, while others lost popularity and
were gradually forgotten. It was only at the end of the 18t h
century and during the
19t h
century that new games emerged in Gregorian and Victorian England, and
subsequently in the USA, which laid the foundations for the games that are played
today. Their boards began to be colorful with a lot of pictures and playing fields were
arranged in a spiral. In most games, there was a strong influence of Christianity and
the Puritan way of life. Dice were prohibited as they were associated with gambling a
26
INTRODUCTION TO BOARD G A M E S
sin in God's eyes (Rovee 2015). Instead, teetotums were used - spinning tops with
edges. Progress in the game was based purely on how many were "spun" on the
teetotum, hence on luck.
Ferro (2015) in his article mentions that one of the most popular games at that
time was The Mansion of Happiness. It was based on Christian morality. The goal was
to get to the "Mansion of Happiness". On the board, virtues helped you along the way
while vices set you back, the game, thus, resembles Snakes and Ladders introduced
before. Another similar British board game is The New Game of Human Life. It tracked
a person's life from infancy to the goal of "The Immortal Man". The virtues and vices
were in the form of acceptable and unacceptable social nuances. Moreover, the USA
had its own version of these games. It was called The Checkered Game ofLife and served
as a predecessor of the popular board game The Game of Life.
Games that no longer involved life under God's gaze began to emerge on the
American continent. Successful life was no longer seen through Christian virtues but
rather through the accumulation of wealth. One of the first games to incorporate this
idea was District Messenger Boy where players compete to become the President of a
telegraph company (Donovan 2017).
The next board game worth mentioning is The Landlord's Game credited to
Elizabeth Magie in 1903. It served as the model for Monopoly thirty years later. This
popular game is nowadays seen as purely capitalistic, however, Magie's vision was
different. The game was originally released with two sets of rules. The first one was
similar to how we play it now, the second one ought to teach children how to achieve
a more equal society.
In the second half of the 20t h
century, the market began to fill with new games
such as Risk, Cluedo, Scrabble, or Trivial Pursuit. Board gaming started to be an
enjoyable pastime for both children and adults.
27
INTRODUCTION TO BOARD G A M E S
The 1990s were an important era for board games as new types of games arose in
Europe and USA. The most famous were German The Settlers ofCatan (now only Catan)
which inspired the still ongoing popularity of board games.
Now, new games are born almost every day with the help of the crowdfunding
platform Kickstarter. Since its beginning over two billion dollars were donated to fund
games of various types and genres, that includes tabletop, card, video, and mobile
games. As of 30 March 2023, there are currently 39,077 solely board game projects
open (Kickstarter 2023).
1.4 Typology of Board Games
Board games can be categorized in numerous ways. However, due to their diversity,
neither categorization cannot exist without some overlapping and exceptions.
The first attempt to board games classification was done at the beginning of the
20t h
century by Stewart Culin (Whitehill 2017). He was interested mostly in the games
of Native Americans and sorted their games into five main categories - games of
dexterity, games of chance, minor amusements, unclassified games, and games derived
from Europeans (Culin 1907). Since Indians are people who have a strong bond with
nature, their play activities revolve mostly around outside sports activities, yet, Culin
mentions several dice games that use a specially made or adjusted surface that can be
considered a board. Moreover, there are some simple board games that resemble
today's Chess, Checkers, or Halma.
Other two typologies emerged in the 1950s and 1960s (Whitehall 2017). The
authors were Harold J. R. Murray (1978) and Robert C. Bell (1979). Both
categorizations are very similar and deal with board games throughout the times and
distribute them according to the mechanics of play and victory, as seen in Table 1 along
with an example in the middle.
28
INTRODUCTION TO BOARD G A M E S
Table 1. Murray's and Bell's board game typologies (data from Murray 1978; and
Bell 1979)
Harold J. R. Murray (1978) Example of a game Robert C. Bell (1979)
games of alinement and
configuration
Halma positional games
war games Chess
war games
hunt games Fox and Geese
war games
race games Backgammon race games
mancala Oware mancala
Even though these games still exist and have players, many of them are considered
outdated, some even forgotten by other people than ludologists. However, it is
important to note that most of newer board games are, in some parts, based on these
simple games.
In the second half of the 20t h
century, game manufacturers began to produce new,
more complicated games with adults as the target audience (Whitehall 2017). A new
classification was, therefore, needed. Parlett (as cited in Woods 2012) notes that
having only one typology is not sustainable and proposes two. The first is based on
product ownership and divides board games into classical (or traditional) games and
proprietary games. The former is characterized by that there is no known author and
no company is claiming ownership. On the other hand, proprietary games mean that a
company or person holds rights and decides about distribution. Parlett's second
classification draws from Murray and Bell and proposes another classification of
games according to gameplay mechanics and winning situations. His typology consists
of race games, space games, chase games, and games of displacement. The categories
more or less correspond to Murray's groups, with the exception of mancala which
Parlett omits. What makes this classification different is Parlett's use of more modern
29
INTRODUCTION TO BOARD G A M E S
games as examples (such as Snakes and Ladders, Go, Monopoly, Cluedo...), and with their
help, he explains the game mechanics in question.
Unfortunately, the game market has changed dramatically again and modern
ludologists are trying to compose new typologies that could incorporate as many board
games as possible. Whitehill (2017) finishes his paper with his own classification based
on the mechanics of play with an example in brackets:
• games of alignment [Connect Four],
• race games [Snakes and Ladders),
• games of capture [Risk],
• building games [Catari],
• trading and negotiation games [Diplomacy),
• games of survival [Survive),
• other (for those games that do not fit anywhere).
Since modern games are known for their complex rules and game mechanics, their
classification under solely gameplay typology is not plausible. Woods (2017) suggests
we should rather take all proposed typologies and combine them. His conclusive
classification is based on the combination of mechanics/goals of play, ownership
rights, and cultural aspects and creates three main categories - classical/traditional
games, mass-market games, and hobby games. Each of them is subdivided into a more
specific group and shown in Table 2:
30
INTRODUCTION TO BOARD G A M E S
Table 2. Woods' board game typology (Woods 2017)
Category Sub-category Examples
Classical/traditional board
games
race games
Backgammon, Snakes and
Ladders
Classical/traditional board
games
space games Go, Connect Four
Classical/traditional board
games
chase games Fox and Geese, Cluedo
Classical/traditional board
games
games of displacement Chess, Checkers
Mass-market games family games Scrabble, Monopoly, CluedoMass-market games
party games Activity, Pictionary, Concept
Mass-market games
licensed games
Dexter: The Board Game,
Dancing with the Stars
Board Game
Mass-market games
hybrid games
Monopoly - Transformers
Collector's Edition,
The Simpsons Cluedo
Hobby games wargames Diplomacy, Axis and AlliesHobby games
role playing games
(RPGs)
Dungeons and Dragons,
Blades in the Dark
Hobby games
collectible card games
(CCGs)
Pokemon, Magic: The
Gathering
Hobby games
Eurogames Catan, Carcassonne
From the table, we can see that Woods preserves Parlett's classical games typology and
adds two contemporary categories of board games. If we go back to Parlett's
categorization, mass-market games would correspond to his proprietary category, thus
games with an author or owner who claims copyrights. These types of games are often
commercialized so the general public knows them since they "dominate the shelves of
large toy retailers" (Woods 2017: 18). The family games subdivision contains board
games that can be seen in shops the most. They can be played across generations and
function as a tool that brings families together. However, their success is primarily
31
INTRODUCTION TO BOARD G A M E S
attributed to nostalgia and great marketing. Similar games can be found under the
name party games. They are, too, quite common at toy retailers but "they tend to focus
on performance and social interaction" (Woods 2017: 18). The third subcategory of
licensed games is connected with the popularity of television. Most of these games
originate from popular TV shows or movies and they are often based on some classical
game mechanics. The last mass-market game form is a hybrid of the family and licensed
games. Usually, a theme is applied to some family games but the gameplay stays the
same.
The category of hobbygames consists of complex strategy games that often appeal
to only those with common interests. Wargames, as the name suggests, represent some
war conflict. They can be inspired by a real event or some hypothetical situation and
are known to be very complex with extensive rulesets.
The next two subcategories, the RPGs and CCGs, will be omitted from further
explanation since by the previous board game definitions they do not qualify as typical
board games - they do not use a board as such.
The last hobby game genre is Eurogames. This term was introduced after
The Settlers ofCatan (now only Catan) won a prestigious award Spiel des Jahres (The
Game of the Year) in 1995. Eurogames are board games that "focus on strategy and
mechanics over luck and theme," and do have not very complex rules (Eff 2023).
Moreover, the players compete over game resources and they cannot be eliminated, or
"killed off".
Another term that is closely related to modern games is Eurogames' counterpart
Ameritrash. This initially derogatory term is now commonly used for games that are
known for their complex rules and a strong emphasis on theme and luck, such as games
like Arkham Horror or Battlestar Galactica: The Board Game. Their players are in direct
conflict and the game often ends by eliminating everyone else.
32
INTRODUCTION TO BOARD G A M E S
1.5 Significance of Board Games
Board games are no longer a pastime for children only. In fact, most contemporary
games are aimed at an adult audience. Even in the past, they were seen as almost
everything else than a meaningless activity. Firstly, games were considered rituals, the
ways to connect with ancestors and the deceased. Over time, some transformed into
gambling activity but at the same time, others served as means to teach children
important values. The warring sides during World War II also benefited from them
when they were testing various offensive and defensive strategies using war board
games (Donovan 2017).
In addition to their purposeful use, board games have a place in many disciplines
focusing on humans, such as sociology, psychology, and pedagogy. If we ask the
question of why people play games or how they benefit from playing them, we get a lot
of answers from different domains. Chronologically speaking, people first encounter
board games as small children. Playing a board game teaches children to stay seated
for a certain amount of time, follow rules, and concentrate on a task
(Mini Sprout 2021). Moreover, they learn to accept situations that put them at a
disadvantage (as when they are losing or when an opponent makes a move that
complicates their move). Apart from behavioral aspects, children could learn basic
skills such as counting, hand-eye coordination, or identifying colors, shapes, and
objects.
But children are not the only ones that benefit from board games. Many adults
now resort to playing board games as a way to relax and reduce stress from work and
life in general. Using a physical setting on a flat surface allows us to reduce the time we
spend in front of a screen and improve the quality of sleep at night. Although playing a
board game alone is getting more popular, games mainly serve as a socialization tool
that gathers people with common interests. While playing, people cooperate and
compete to win a game which helps to "promote the ability to debate and order [their]
ideas" (Mitjana 2022).
33
INTRODUCTION TO BOARD G A M E S
Further, board games have their place in education. As already mentioned,
children can learn simple math, such as when rolling the dice and moving pieces on the
board, or improve their literacy but there are special games made with education in
mind. A teacher may use board games that help with knowledge of anatomy, diet,
nature, history, and others. Another popular way to incorporate board games into the
curriculum is to teach languages, both native and foreign, for vocabulary enrichment
(O'Neill and Holmes 2022). But learning can also take place outside the classroom, for
example, through knowledge board games that are aimed at people of all ages.
Playing board games also contribute to skill development. Depending on the
game, you can sharpen your creativity, improve memory, practice strategy-thinking
and train your problem-solving abilities. Several studies (Atherton and Cross 2021;
Dartigues etal. 2013; Estrada-Plana etal. 2019; Estrada-Plana etal. 2021) have proven
that board games improve the lives of people with autism, and ADHD, and prevent
mental deterioration (such as dementia and Alzheimer's disease) in elderly. Moreover,
playing games is frequently accompanied by laughter which triggers the production of
serotonin and dopamine that helps fight depression (Hillary 2022).
1.5.1 Why Are Board Games (Still) Popular?
When you look around, it is clear that we are in the digital age. Everyone carries around
their smartphone, tablet, or laptop, and in the evening at home, the TV screens are
flashing at them. People entertain themselves by watching funny videos on their smart
devices, playing mobile, computer, and video games, yet there are still people who
rather pull a board game out of the closet after a day of work in front of a computer
screen. Thanks to them, the market for board games continues to grow, encouraging
designers to create new games. That growth has been so significant that the value of
the board game market size has increased by more than 46% between 2019 and 2022,
from $13 billion to $19 billion (Seetharaman 2020; Arizton 2023a). These numbers
have also grown thanks to Covid-19 during which people had to stay home and think
of new indoor forms of entertainment. However, the increase was happening even
34
INTRODUCTION TO BOARD G A M E S
before the pandemic. The University of Pittsburgh's (2020) interview with assistant
professor Zachary Horton revealed that people are resorting to playing board games
because they seek "social activities as they become more isolated by technology".
Therefore, we can say that the boom in analog gaming was also due to the digital
tendency of the world.
Board games are special because although the rules and game components are
always the same, the game experience is different every time. It depends on the
players, their moods, strategy. If you get tired of one game, there are a wide variety of
types and themes to choose from. Board games are also another collectible item that
can be traded with other enthusiasts and discussed on their qualities.
The popularity of board games helps the fact that they are easily accessible
(Emily 2019). They are in almost every retail shop; you can search for and buy them
on the Internet. When you are not sure if they match your interests or if they are
suitable for a particular age group, there are a number of websites and forums, such as
Board Game Geek or Reddit, where you can read reviews and find further information.
You can also watch how are your chosen games played thanks to various YouTube
channels dedicated to board games. Another way to get inspiration for your future
board game is to visit specialized tearooms and cafes where you can borrow and play
a board game while enjoying your beverage. Moreover, many games are mentioned or
even appear in popular TV shows and movies which encourages many viewers to buy
them. Such people are then excited when a game that is inspired by their favorite show
also comes out.
While it might seem that digital and analog games are opposed to each other, it is
not entirely true. Today's game designers are trying to move with the times and they
are implementing digital components into games like Monopoly: Electronic Banking
where you have bank cards and an electronic terminal instead of paper money, or
XCOM: The Board Game that uses an application to provide the players necessary
information (Arizton 2023b; Sonechkina 2018). Another innovation that has found
popularity among players is a hybrid of analog and digital. It is called a digital tabletop
35
INTRODUCTION TO BOARD G A M E S
game and uses a horizontal monitor to display a board, however, the game pieces are
still physical and move on it. Furthermore, it is worth mentioning that many games
have been digitalized and can be played either on a computer or smart device with
Android or iOS. One of the most popular online board game websites is Board Game
Arena where you can play several hundreds of games with people from all over the
world.
Since board games are a social affair, it is not surprising that with the help of
people interested in them, numerous associations, conferences, conventions,
colloquiums, and tournaments have been and continue to be formed. To name a few,
Board Game Studies Colloquium, PAX Unplugged convention, and Eurogames World
Championship.
36
LOCALIZATION
2 Localization
The concept of localization is nowadays associated with computer programs, websites,
and video games, therefore, with digital content. However, localization can be done for
any product that you know needs certain adjusting in order to introduce it to a foreign
market and guarantee its sale.
This chapter will focus on the general basics of localization, including its origins,
evolution, and an introduction to key terms. Then, localization will be related to board
games, outlining its specifics, potential problems, and importance.
2.1 General Information
The beginnings of localization date back to the end of the 1970s when the leading
American computing companies wanted to expand to major European and Asian
markets, often referred to as FIGS (French, Italian, German, and Spanish) plus Japanese
(Jimenez-Crespo 2013). As the new users were "normal" people, thus outside of
academic and scientific fields where computers were predominantly used, there was a
need for more efficient and suitable programs and interfaces for different cultures.
This applied to both software to ensure correct language properties, and hardware,
such as Spanish keyboards with the letter n (Esselink 2003).
When the idea of localization started, the common practice was that developers
finished programming a product and then "[handed] down the extracted textual
strings in resource files with the supporting documentation to linguists" (JimenezCrespo
2013: 9). Developers would then add translated strings into the program after
the translation was done. However, this solution was not ideal as problems frequently
occurred when implementing the translated text - the text was too long to fit into a
certain box; there were incorrect genders or declension agreements; or a part of the
code was translated which resulted in the program not working. This led to the
conclusion that localization should be taken into account in the developing stages and
37
LOCALIZATION
after some time, the GILT process (an acronym meaning Globalization,
Internationalization, Localization, and Translation) was established in which all
parties collaborate to ensure that product will be usable for the foreign users and
function properly.
Nowadays, the term localization represents two distinct standpoints. The first is
related to its origins and deals with digital texts such as software, websites,
videogames... On the other hand, translation studies were already using that term but
with different connotation. It is a part of translation process whose goal is to adjust
non-digital texts like paper news, advertisements, or comic books, to successfully
distribute them among foreign cultures (Jimenez-Crespo 2019). Each of these
viewpoints requires a different approach to create the final product. While the former
emphasizes the technological aspect to make everything fit and work properly, the
latter prioritizes its effect on the target culture.
Classic example of non-technological localization includes the McDonald's brand
and menu which are different in each country. If we take India as an example, the
Hindus do not eat beef for religious reasons, so a whole new range of fish, chicken, and
vegetable products had to be invented. At the same time, prices had to be taken into
account so that the average Hindu could buy their products, as well as appropriate
advertising which mainly focuses on family (Quinn et al. 2008).
Another example of successful localization is IKEA which has once again adapted
to its target markets, both in terms of products and services (Myerson 2021). It has
also made the work of translators easier as its assembly instructions contain only
pictures - a universal language that the whole world can understand.
2.2 Key Terms
Following the aforementioned GILT process, this section will explain its constituents
and adds other information needed to understand it properly. An illustration of the
process can be seen below in Figure 2.
38
LOCALIZATION
Figure 2. Picture representing G I L T process
2.2.1 Globalization
Esselink (2000) describes the notion of globalization, in some circles abbreviated as
g l l n , as "the business issues associated with launching a product globally"
(Esselink 2000: 468). In other words, it is a process that company starts in order to
bring products to world markets and handles its sales and marketing attributes.
Moreover, it covers the remaining components of the GILT process and deals with their
proper implementation.
2.2.2 Internationalization
Internationalization, also known as il8n, is a strategy that company employs to design
product in the way "that it can handle multiple languages and cultural conventions
without the need for re-design" (Esselink 2000: 2). One of the steps in
internationalization is to prepare product for localization, such as by separation of text
from the product, by adapting code to support different character sets, or by
considering that different cultures use different formats of date, currency, and postal
codes.
39
LOCALIZATION
2.2.3 Localization
The term localization (UOn) is known as "the linguistic and stylistic adaptation of
content for the target region, its languages, and cultural particularities in order to make
it appropriate, easily understandable, and comfortable to use for a local native target
audience" (Balaoiu 2020).
People working on a localization team do not usually translate but they are
responsible for managing the product in the terms of linguistic quality, testing
deadlines, assigning roles to the right people, or providing necessary resources such
as term bases and style guides (Esselink 2000; Giammarresi 2011).
2.2.4 Translation
Translation (also written as t9n) is a "process of converting written text or spoken
words to another language" (Esselink 2000: 4). In localization theory, translation is
only a small part in the whole process and it has not received much attention in the
business-centered localization literature.
2.2.5 Locale
Another important part of the localization process is the term locale. Esselink (2000)
states that locale is "a collection of standard settings, rules and data specific to a
language and geographical region" (Esselink 2000: 33). To rephrase it, it represents a
market where company wants to get their product. Language alone often does not
embrace cultural nuances among their speakers, for example, Spanish has several
varieties that differ in grammar and, therefore, the product needs to be adjusted to
appeal to the target culture, the locale.
2.3 Localization of Board Games
If we were to categorize the localization of board games in today's understanding of
localization, it would fall under the adaptation of non-digital texts. As it is not a
40
LOCALIZATION
technological product, several steps are different or missing completely. There is no
coding, at least not necessary one - however, graphic designers can use codes to help
with the layout of the game. Moreover, testing functions differently and there is no
specialized knowledge required.
In a way, board game localization can be compared to that of a website as it offers
a big scale of types of text. Moreover, their scope of work includes tasks such as
transforming logos or adjusting text within illustrations which is similar to language
and graphic adjustments in board games. Evans (2013) argues that the final product
"should offer a similar playing experience ... in whatever language it is played in"
(Evans 2013: 17).
Board game localization is specific in its multimodal aspect. Evans (2013) states
that "modern board games present a multimodal textual system, consisting of text,
images, and pieces; therefore written, visual and plastic modes" (Evans 2013: 16).
These elements complement each other to create a complete game.
Contemporary game-makers, same as software engineers, invent and design their
products with translation in mind. Therefore, they tend to use "straightforward
language and multimodal strategies that reduce readers' reliance on the verbal text"
(Evans 2013: 16). Designers create boards without or with a little text, and the main
game mechanics are frequently in the form of card-playing. The reason for this is that
boards are often heavy paper boards, sometimes even plastic and their printing costs
are higher than the cards' that are printed on thinner, cheaper, paper. To illustrate, a
cardless board game without any text on it is Carcassonne; another game with a textless
board is Catan but it incorporates playable cards with textual elements.
As was already mentioned, a board game involves different types of text - on
boxes, boards, cards, and in rules. For a game to sell well, it has to look appealing from
the outside. This is guaranteed by the graphic design of the entire box and the title
along with other enticing elements such as prizes won or reviews.
41
LOCALIZATION
Both boards and cards face a limitation in the length of the text. Cards are usually
small and lengthy texts cannot fit properly or their readability is impaired. This issue
is often solved by the visual mode illustrating symbols, for example, in Figure 3,
Everdell [Divukraj in Czech) uses pictures that represent resources needed to play this
card. Boards, on the other hand, avoid longer texts because of complex graphic editing.
Figure 3. Translated (left) and original (right) card from board game Everdell
(Divukraj) showing the use of visual mode (martinsun n.d.; Dized 2023)
The rules may include a variety of text types. They can be purely descriptive and
explain the game. Though in contemporary games it is customary to introduce the
game with some narrative that gives the whole game a story, and then move on to the
game mechanics (Prachař 2023). Therefore, we can talk about a combination of
technical and creative text. In the rules, we find again the incorporation of visual mode
that may show players what a properly set up board looks like, what the symbols on
cards mean, what situations can occur, where the pieces can or cannot be placed, and
others. The most important aspect of game rules is clarity which ensures successful
playability without the need to decipher their meaning.
42
LOCALIZATION
The localization of board games is often accompanied by situations where a
typical translation cannot be considered, as it might, for example, shift the meaning
possibly not make sense, or confuse the players. In such cases, it requires a type of
adaptation called transcreation. This term merges together words translation and
creation and refers to "recreating the original content in a new form while keeping its
intent and context ... [and] honoring the cultural and social norms of your target
audience" (Abuizd n.d.). The most problematic areas are titles of the games, puns, playon-words,
or culture-specific items. The issue of the transcreation challenge that may
arise in the localization of the boards is described with examples in more detail in
Chapter 4 and Chapter 5.
2.3.1 The Importance of Board Games Localization
The importance of localization of board games can be seen both from the perspective
of the publishers/author of the original game and from the perspective of the
consumer/player (Aksoy 2022).
The owner of the game most often plans to make a profit from the game. This
will assure the game's success in the market where it is launched. However, if they
want to gain a bigger reputation, they should also consider other markets. This is
where localization comes in. Since the game has entered a new market, it will gain new
customers and therefore more profits. At the same time, for a publishing house that
has taken up the localization, releasing a new game is also a way to attract new
customers, increasing sales and profits. Localization is therefore economically
beneficial for both parties.
On the other hand, players in countries where the game is released in a localized
version will have a larger variety of games to choose from. Nowadays, games from
different environments are being released, which can also be educational for the player
and he will learn to appreciate different cultures. Moreover, thanks to localization,
players who do not speak or understand the original language of the game can finally
come together and play it (Wabbit 2021).
43
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
3 Board Game Localization Process
in the Czech Republic
Although the Czech market for board games is still small compared to, for example, the
American one, there are many quality publishers with a long tradition. Among the bestknown
are Albi, MINDOK, TLAMA games, Blackfire, REX hry, and CGE (Czech Games
Edition). However, with the increasing popularity of new board games, new publishers
are also entering the market. In the last few years, Fox in the Box and BoardBros have
caught on, focusing on localizing thematically marginal games.
The following chapter will describe and explain the process of localization of
board games in the Czech Republic - from the selection of the game itself and the tasks
associated with the distribution of profits, over possible problems during translation
and graphic design, to the printing and marketing of the finished game. Furthermore,
it discusses examples of errors that customers discover and their possible solutions,
and also why some games will not reach the Czech market. The main materials for this
chapter were obtained through interviews with two representatives of the Czech
board game localization market - Martin Hrabalek from REX hry, and Pavel Prachaf
from MINDOK.
Before describing each phase of the localization process, it needs to be noted that
the following information is in some aspects simplified. There are much more stages
involved that affect various areas of business and sales. Moreover, the phases listed
here are arranged in the most logical chronological order, however, several steps can
and do occur simultaneously.
3.1 Selection of a Board Game
It all starts with choosing a game. Publishing companies or authors themselves
regularly attend various game fairs, such as Essen in Germany or Gen Con in the US, to
exhibit and market their games (Hrabalek 2023). Board game publishers from all over
45
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
the world travel to these events to find games that they think are worth localizing in
their language.
But fairs are not the only place to get games for localization. Recently, the online
platform Kickstarter has become very popular, with both experienced and new game
developers turning to it to help them raise funds for game production. In addition, if
they are more established publishers, it is likely that they have developed partnerships
with other foreign publishers, and thus games are offered directly to them.
Both Hrabálek (2023) and Prachař (2023) agree that once it is decided what game
Czech publishers are interested in, it is important to play it. It is, therefore, necessary
to secure a copy, a sample, of it. In the case of fairs, they most often receive it in the
form of a full game (box with components) either directly there, or it is sent to them
later. However, sometimes it happens that the sample is provided in electronic form either
in a Print-and-Play version (game files are sent in reduced quality so that they
can print them out and try the game themselves) or as an app where the game is
digitally converted for them to try out. With long-term partners, there are often no
graphics, and the game is only outlined in plain text but you can still tell if the game is
worth localizing. Prachař (2023) states that, in general, the Czech publishing industry
prefer game sample as physical entity where the quality and craftsmanship of the game
can be seen. It also delivers the same experience the game will have on the consumers.
When testing board games, we try to avoid those that are implemented in a digital
system. Although the game owners claim that we can tell how it is played, I say we
cannot because with a game it is really important that you are sitting around a
table with other people and there is some kind of mood and communication. You
cannot just replace that with a computer screen. (Prachař 2023)
During and after playing the game, there are decisions to be made about whether
or not to localize it. A number of factors have to be taken into account, such as how the
46
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
game is crafted, what makes it different, or how it is engaging. In the case of an alreadyreleased
game, publishers research how successful it has been internationally, mainly
by looking at the BoardGameGeek website, where they check both the game's
numerical rating (0-10) and the comments that respond to its strengths and
weaknesses. However, the financial aspect is also relevant - it has to be determined
whether the localization and subsequent production of the game would not be too
costly. Yet, the biggest deciding factor is the feeling and instinct that the customers
would like the game:
It means that we play the game, and on that basis, we decide that if we enjoyed the
game a lot, then other people will enjoy it as well. Or, of course, if maybe we did
not enjoy it that much, if it was not really for us, then different kinds of people
with different preferences would enjoy it. (Prachar 2023)
Once a company decides that it would be interested in localization, the details of
pricing licensing, and logistics have to be finalized. However, since publishers also
approach the authors/original publishers themselves, it often happens that more than
one publisher is interested in releasing a localized version. It is then up to the
author/original publisher to choose who they prefer, depending on the price offered
and sales and marketing capabilities.
3.2 Distribution of Profits
As already mentioned, financial considerations are also taken into account when
contemplating localization. There are two basic ways in which profit sharing is
addressed.
The first, and the most common, is that the original publisher organizes an
international co-production. They send an offer stating how much the local publisher
47
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
will pay per piece if a certain number of copies are printed in a printing factory of their
(the original publisher's) choosing. The price usually goes down with a higher number
of copies, however, it must be remembered that the Czech boardgame market is not
that big - although it has grown considerably - and the number of copies ordered is
usually in the single thousands (Hrabalek 2023). Again, this decision is based on how
much local publishers "believe" the game will succeed in the market. Thanks to the
information about the purchase price, Czech publishers can decide whether it is worth
localizing the game and use a formula to calculate the price at which they will sell the
game in the Czech Republic.
The second way to deal with profits is by paying royalties to the owner of the
game. The original publisher or the author provides the local publisher with a
temporary license along with all the materials necessary for the creation of the game.
Then they agree on a fixed amount or percentage of each game sold or printed
(Prachar 2023). In this case, the publishing house is responsible for printing the game
itself. As in the first case, it is necessary to decide how many copies will be printed.
However, what should be noted is that in most cases the license is granted for number
of print runs. Re-licensing is often less profitable for the publisher as the owner of the
game increases the amount or percentage of each game sold/printed (Hrabalek 2023).
Based on all the costs associated with the acquisition of the game, its localization, and
subsequent printing they use a formula to calculate the price at which the game should
be sold on the Czech market to avoid losses.
As far as prices are concerned, it is quite common that the prices of games
translated into Czech are lower than those in English. As already mentioned, the Czech
market is still quite small, and very expensive games do not attract end customers this
corresponds to a certain market expectation. It all depends on what kind of lowpriced
contract they can negotiate with the license owner. Providing a license is purely
extra money for the owner. Even if the localization fails and there are no staggering
sales, his game cannot be harmed in the original market and it will continue to sell
(Polylux2021).
48
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
3.3 Material and Work Distribution
Once the publishing house has signed a contract with the original publisher or author
of the game, the necessary documents are sent. This phase also requires important
decisions. The local publisher has to choose whether the localization will be performed
by their team or outsourced elsewhere.
In the case of outsourcing the local publishing house acts as a contracting
authority and dictates the requirements. Both translation and graphics can be
outsourced and it is the local publisher who comments on any errors, changes, or
improvements in the outsourced documents. In the Czech board game industry,
however, it is preferred to localize within the local publishing house (Prachař 2023).
This is because the publisher employs or hires people who already have experience
with board games, either with playing them, translating them, or, ideally, both. He
states:
When localizing games, it is very important to follow the game terminology which
is why we cannot entrust it to a translation agency. In the board game industry,
there are established game terms - it is clearly stated what is a dobírací balíček,
odkládací balíček, herní plán and so on. These are the phrases that players expect
in the rules. If it is translated by a person who is not involved in translating games,
or who is not familiar with board games, they may translate it differently even to
the point of not making sense. That said, we prefer translators who are
"immersed" in the board game world and take this game terminology as an
automatic thing. (Prachař 2023)
If a publishing house decides to localize the game itself, they pick the people who
are the best fit for the game and then divide the materials among them. Essentially, the
graphics are sent to a graphic artist who extracts the text which is sent to the
49
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
translators (Hrabálek 2023). Translators are approached and selected based on the
types of texts in the game because each person has a talent for something different someone
excels at translating purely technical rules that describe the game
mechanisms; another has a talent for literary creation and can handle the story that is
part of the rules; and another has a creative soul and can come up with interesting
suggestions when there is, for example, a pun in the original. In addition, to guarantee
the best localization, it is recommended that the translators themselves try the game
to know exactly what they are translating.
3.4 Translation
As soon as the translators receive the materials, the process of translation can begin.
Depending on the difficulty of the game texts, the number of translators is determined.
In common practice, there is one main translator and several others who assist him.
They all cooperate with each other and create a glossary of terms to avoid
inconsistencies in the translation. In addition, if a game is specialized in a certain topic
(for example, it is set in a particular historical period, or it focuses on a scientific
discipline), the publisher will normally work with outside experts on that topic to
ensure the game is authentic and correct. For instance:
We localized the game Keystone: North America [Divočina Severní Ameriky).
There is this book that has a single-player mode with a lot of technical stuff in
terms of biology and geography. Another example is the game Wingspan
[Na křídlech). There are cards with the names of different birds, over 150 of
them, and for each one, there is some interesting fact about it. We consulted an
ornithologist about the whole game. Without her, we couldn't have done the
translation in a way that made factual sense. (Prachař 2023)
50
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
During localization, numerous issues can arise. One of them is challenges in the
form of text that cannot simply be translated but must be adapted to ideally preserve
the same impression that the original has on its speakers. This type of adaptation is
called transcreation and it is frequently used when a publisher wants to create a Czech
title for a game. Of course, at times it is possible to use the same title as in the original
(for example, a board game Watergate) but at other times, it is necessary to use your
imagination as the Czech customer prefers games with Czech titles. Hrabálek (2023)
and Prachař (2023) commented on several titles that were transcreated for the Czech
market:
• Everdell is a board game set in a village inhabited by forest animals trying
to discover and build new settlements. The English title has a mysterious
and fairytale-like feeling so they came up with a title that feels similar in
the Czech language - Divukraj [literally Wonderland].
• Clank! is meant to evoke in players a sudden sharp sound that resonates, is
meant to evoke in players a sudden sharp sound that resonates. Brink! was
the closest Czech counterpart that induces the experience.
• Ticket to Ride is a game revolving around the construction of railways. To
make the game catch the eye at first sight, the publisher decided to use a
well-known phrase when traveling by train, Jízdenky, prosím! [Tickets,
please!].
• The children's game Squirrels Go Nuts is a board game based on the puzzle
principle. It is a board game based on the puzzle principle. It is translated
into English as Tři oříšky pro veverku [Three little nuts for a squirrel]. It is
a cultural allusion to the Czechoslovakian-German television fairy tale "Tři
oříšky pro Popelku" [Three little nuts for Cinderella].
• The cooperative board game Black Orchestra transforms you into the role
of a conspirator who wants to kill Hitler. The Czech publisher opted to
change the title to something that says what the game is about -Atentát na
Hitlera [Assassination of Hitler]. The main reason for this was that if it were
51
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
translated literally, "Černá kapela", many people would not be able to
imagine anything under it because it is a term that is mainly known to
WWII experts and enthusiasts.
However, sometimes the original publisher/author of a game does not want the title
changed. This decision has to be respected, even if you believe it is a shame, and the
game then goes into circulation under the original title.
Other transcreation issues are puns, play-on-words, and culture-specific items.
These language items cannot be translated literally and adequate alternatives should
be found that will have at least a similar effect on the new target players as the original
had on their own. Explanations and examples of them are presented in Chapter 5
where two games localized into Czech are examined in greater detail.
Nowadays, games that are based on a work of art, such as a film, TV series, or book,
are also very popular. These licensed board games, however, raise another localization
problem. If there is already a Czech translation of the work in the Czech Republic, it is
advisable to keep the same terminology and naming conventions in order to maintain
consistency. Such a game is most likely to be purchased by fans of the source material
who are used to the existing terminology and might be confused or even discouraged
by other names. Examples of such games include Discworld: Ankh-Morpork
(Zeměplocha: Ankh-Morpork) and Harry Potter: Hogwarts Battle (Harry Potter: Boj
o Bradavice).
In some cases, rules maybe modified during translation. In the following citation,
Prachař (2023) explains what these changes might be:
It is very important that the rules are both technically accurate and at the same
time that they are easy to understand. Sometimes the translators might say that
this is already mentioned in three other places, so let's not mention it again here,
it doesn't make sense, and it would confuse the players. Sometimes it happens that
the original is written in such a way that it is not clear what to take from it, or it
52
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
can lead to two different interpretations. So, during the translation process, we
change these things and try to refine them to make them as understandable as
possible for the players here in the Czech Republic. (Prachař 2023)
In other words, English is known for repeating words to give them emphasis. However,
this does not work well in Czech. In such cases, translators resort to rewriting
sentences altogether or using pronouns. Other times, the information in the original
rules may seem ambiguous. If such a situation arises, the local publisher will contact
the owner of the game and discuss clarifying the rules and rewriting them. Of course,
sometimes the license owners do not wish to do this and the publisher is left to write
the clarification of the rules in, for example, a gameplay tip box.
Sometimes the layout of the rules can change to such an extent that it can no
longer be considered a translation but rather a creation (Prachař 2023). One such case
is the board game Wingspan [Na křídlech). Since the game is very complex and contains
many game mechanisms, the Czech translators decided to conceptualize the rules in a
more visual way with a large number of exemplary situations. Consider Figure 4 below:
Figure 4. Preview of the Czech rules of Wingspan (A/a křídlech) (MINDOK, 2023)
NÁZEV PTÁKA
česky a latinsky
VYOBRAZENÍ
ROZPĚTÍ KŘÍDEL2
Má význam pro určité efekty,
viz str. 9.
OBLAST VÝSKVTU
A INFORMATIVNÍ TEXT
Nemá žádny technický význam,
slouží pouze pro dokreslení
atmosféry a pro poučení.
53
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
The picture shows a detailed description of a card in the game, including the page
number where you can learn more about each attribute. The original rules do not
contain any such information and describe individual attributes only in moves where
they are relevant.
Another example where the localization of a game tilts the scope of adaptation to
the level of creation is 1989: Dawn of Freedom [1989: Úsvit svobody) (can be seen in
Figure 5). The content has been modified, replacing some of the pictures on the cards
with personalities and events related to the history of Czechoslovakia, and the rules
have been extended to include events directly related to Czechoslovakia. In addition,
the cover of the game has also undergone a significant change, giving it a purely Czech
feel, as it contains slogans that appeared during the Velvet Revolution
(Tomková 2014).
Figure 5. Cover of 1989: Dawn of Freedom in Czech localization (Zatrolené hr n.d.)
In the case of this game, it also made use of fan translations and comments from the
Zatrolene hry website community. This is not uncommon these days, and in the case of
54
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
translation-intensive games, people from this community are often approached to
offer insight and express opinions.
As far as fan translations are concerned, there are also cases when publishers
approach a person who has provided a free downloadable translation of rules to the
Czech board game community and ask him if they could use his translation in the
officially Czech-localized game. While this makes the translator's job easier, and at
times even nullifies it, such translations often complicate the work of proofreaders as
they are usually full of typos or incorrect word order.
Moreover, ironically, games by Czech authors are often primarily produced in
English, as the English-speaking market is larger and it is easier to establish oneself
there. Therefore, these games also need to be localized into Czech - examples of such
games are Codenames [Krycíjména] by Vladimír Chvátil, Underwater Cities [Podmořská
města] by Vladimír Suchý, or Project L [Projekt L) by Adam Španěl.
3.5 Proofreading
After the translation is completed, there is a proofreading process. As in previous cases,
this too can be done in-house or outsourced. Hrabálek (2023) says it is most often
carried out by two people. One of them is responsible for checking that all terms are
translated correctly and uniformly and that no words, lines, or whole paragraphs have
been omitted. If the proofreader finds errors or inaccuracies on a larger scale, they
consult their findings with the translators. The second person focuses only on the
grammatical and stylistic aspects of the text, ideally without prior knowledge of the
original, and checks for typos, word order, errors in grammar, and typographic
mistakes.
55
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
3.6 Embedding Text into Graphics
An important part of localizing board games is their design. Together with the title, it
is what most often catches the customer's eye when choosing a new game. Only then
they look at the game mechanics.
The graphic designer starts working on the game at the same time as the
translation team. Moreover, he is often the one who has to extract the text for
translation from the graphics (Hrabalek 2023). Later, once the game text is translated,
he implements the new text back into it.
If the graphic, translation, and proofreading teams work together, the work of all
of them is to some extent easier in the final phase. Since it is the graphic designer's job
to embed the translated and proofread text into all the game components, the text has
to fit in the designated places. An example might be a game card of some character,
with their name at the top and their abilities at the bottom. If the provided text is too
long, it may not fit in the space allotted. In some cases, the text can be made smaller
but this reduces its readability.
The graphic designer's other duties include basic typography. When choosing the
font, he should ensure that it is legible and supports the Czech language characters.
Next, he handles the layout of the text - whether it is proper alignment on the cards
and boards, or in the rules. It is important that widows and orphans do not dangle
anywhere and that there is no overlapping or interference of text with the pictures.
The graphic design, along with the name, is the first thing the customer sees, and
thus the graphics should not be blurry or pixelated. Moreover, the graphics should
attract attention, but at the same time, they should not distract. Publishers want to
increase sales by putting all sorts of prizes they have won on the game box, but
sometimes it can be rather distracting. It is, therefore, essential to ensure a certain
balance.
56
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
Since the text is often edited during the process of graphic embedding the entire
game is checked again for both factual and grammatical accuracy before being sent to
the original publisher or printing company. In addition, if there is enough time, the
game is printed and the localization team tests it.
3.7 Printing
Once the final proofreading of the game is completed, the game is sent to print. As
mentioned above, there are two ways of printing the game which are also linked to the
way profits are distributed. Moreover, the overall localization process differs from the
other in either case.
If the original publisher only asks for localization in the form of translation and
graphics, the local publisher mainly deals with the time and logistics side of things.
Since the Czech version of the game is printed together with other foreign language
versions, the original publisher sets a deadline for the finished files to be delivered.
Once they are finalized, they are submitted and the original publisher forwards them
to the printing company of their choice. After that, both publishers wait for the games
to be printed and delivered which can take up to several months depending on the
arrangement and location.
Regarding the method of delivery, Hrabalek (2023) mentions the three most
common shipments:
• Ex Works (EXW) means that the seller (original publisher) prepares the
finished products in the printing factory and the buyer (local publisher)
arranges the pick-up of the goods and the subsequent transport to their
final destination (Twin 2023).
• Free on Board (FOB) differs from EXW in that the seller ships the goods to
the port or airport and pays the export duty but the buyer handles the
import duty and transportation from the ship/airplane destination
(Banton 2023).
57
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
• Delivered at Place (DAP) adds an obligation on the seller to deliver the
goods to an agreed location. However, the buyer still pays all costs
associated with import duty (Barone 2020).
In the case of printing from the original publisher, Czech publishers most often
encounter DAP or FOB delivery.
If the local publisher arranges the licensing, the printing and shipping of the games
are their responsibility. They have to find a printing company that provides a good
combination of price and quality. Czech publishers have the games printed in various
countries - the Czech Republic, Poland, Germany, Russia, and China. It is namely China
that is the most common printing location because the costs are lower and the printing
and materials are of high quality. Hrabalek (2023) says that not many printing
companies can produce such durable boxes while providing plastic components of
such quality at such a high price. However, there are disadvantages to printing in such
a faraway country. For one thing there is the long delivery time and complex customs
procedures, but also the risk of losing the cargo due to, for example, the sinking of the
ship. As this method of board game production uses Ex Works delivery, it is advisable
to insure the cargo against such events. Hrabalek (2023) on this topic elaborates:
Printing in China is the best solution for us in terms of price/quality ratio. Of
course, it takes a lot longer, there is a lot more paperwork and there are a whole
bunch of risks. We once had a typhoon hit our printing company and all the
printed games got wet so they had to start over. A rival publisher, on the other
hand, had a shipload of prints sink. You cannot control these things but you have
to keep them in mind and take precautions.
As far as the printing price is concerned, it usually decreases with a larger number
of pieces. However, the price can also be lowered if more localized variants are printed
58
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
at the same time or if it is a reprint of the original game. It is a good idea to research all
of this to save costs.
Another way to save money during printing is to arrange for two-step printing.
Taking game cards as an example, first, the colored sections (images) are printed and
then this is put into the printer again and only the text (written in black) is printed.
Additionally, depending on the printing company and the contract with them,
publishers can arrange to receive a sample of what the final product will look like.
Either all the materials are printed on larger sheets of glossy paper or sometimes a preproduction
sample comes directly in the box. Everything will be checked again and if
everything is in order, the printing process will start for real.
3.8 Marketing
No successful publisher would have much of a foothold in the market if they did not do
marketing as the games need to be sold to generate profits. Although some of the sales
are from brick-and-mortar retail partners, nowadays the biggest part is pre-orders.
Therefore, during the translation process, the marketing department or the hired
company begins to work on promotion. This depends on the type of game and its target
player. Furthermore, free promotional content, which are extra components that
cannot be bought separately, helps to sell the game better (Hrabalek 2023).
3.9 Mistakes and Their Possible Corrections
Despite all possible checks and proofreading it may happen that a mistake appears
somewhere in the game. Hrabalek (2023) states that if it is a minor issue in the form of
a typo or a missing comma, the publisher does not really address it at all as it does not
affect the gameplay in any way - consider Figure 6.
59
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
Figure 6. An example of a typo in the board game Noctiluca {Svitilky) (Kya 2021)
The mistake marked with a red rectangle is just an example of a problem that, no
matter how obvious, has no effect on the game mechanism. However, it is questionable
whether this is a simple typo or a grammatical error. Considering that the original
states, for most of the year, I would be leaning towards a typo with an extra "0" in the
word většinou. On the other hand, there could also have been a confusion of words and
a grammatical error at the same time - "po většinou" is the often-misspelled form of
the adverb povětšinou which means většinou [mostly, mainly, largely] which is an
incorrect word choice in this context.
60
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
In other instances, there may be typographical errors (Figure 7) in the form of not
placing a fixed space between a one-letter preposition and the following word.
Figure 7. A typographical error in Infinity Gauntlet: A Love Letter Game [MARVEL:
Rukavice nekonečna) (DaftPunk 2023)
These kinds of mistakes are once again not disruptive to gameplay so there is no need
to fix them. However, even these issues are noticed by players and if they are more
prevalent, players may be discouraged from playing the game.
In the case of a more serious error, the publishers have to react and inform the
players about the problem through their website and social networks (Prachar 2023).
Sometimes it can be solved with a sticker, such as a wrong number value on a card.
Other times, there may be a shift in meaning (see Figure 8) in the rules which the
publisher usually addresses by posting the corrected rules on their website.
61
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
Figure 8. Example of a more serious translation error in Noctiluca {Svitilky) - Czech
version above, English version below (Kya 2021; Z-Man Games 2019)
2. Zkontrolujte, na
kterou část herního
plánu ukazuje šipka
a hodte černou
kostkou. Z této
části herního plánu
odeberte počet
kostek svítilek ve
výši hozeného čísla
a vraťte je do víka
krabice.
2. Check which section
of the board the
arrow is pointing
to, then roll the
black die. Remove
all noctiluca dice
from the space
corresponding to
the number rolled,
returning them to
the box lid.
A close reading of the second sentence of each version shows that they differ in
meaning. According to the original rules, the value rolled on a black die refers to the
numbered box from which all noctiluca dice are to be removed. In the Czech
translation, the meaning has shifted and the player should remove the same number
of noctiluca dice from the whole section (six boxes in total) as the value rolled on the
black die.
However, if the error is so extensive that even a sticker would not help, the
publisher arranges for a special reprint of the flawed component. The same applies to
missing contents like figures or cards. An example of reprint is illustrated in Figure 9.
62
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
Figure 9. Example of the initial (left) and corrected (right) Czech card from Mansions
of Madness [Panství hrůzy) (1a2a3a4 n.d.; Froggery 2017)
Inadequate proofreading can result in texts that are printed with nonsensical sentence
structure which can be seen in the left card in Figure 9. This error has been corrected
through a reprint. However, at the same time, the name of the weapon type was
changed from a Sečná zbraň to Chladná zbraň (in the original game, it is a Bladed
weapon). Unfortunately, this change has not been corrected in the rules and they still
refer to these types as Sečná zbraň.
From the above examples, it can be seen that Czech publishers make mistakes
from time to time but they usually own up to these mistakes and try to correct them.
Both they and the players notice these inconsistencies and with the players' help, they
try to fine-tune the game so that the current and future players are not disturbed or
confused by anything.
63
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
3.10 Why Some Board Games Do Not Get Localized or Reprinted?
The global market is flooded with thousands of new board games every year. This can
seem like a goldmine for publishers who are also in the business of localization, but it
does make the job harder. Since every gamer has different preferences and interests,
it is very hard to please everyone. Hrabalek (2023) says that they often get messages
where people ask if they will localize a certain game. In most cases, however, the
answer is negative, for a variety of reasons.
The first one is that the game creator does not even want the game to be localized.
In that case, due to copyright, localization as such cannot be discussed at all. However,
nowadays, translated rules and other components created by the community of
players appear on many websites (globally BoardGameGeek, in the Czech Republic
Zatrolene Hry). Although this is inherently copyright infringement, publishers are not
too concerned about it, as it helps sales of their original games.
Further, localization "gets stuck" at the price. As mentioned, local publishers are
sent an offer with a price/percentage per unit and it is up to them to calculate the
minimum price the game must sell for to avoid a loss. Sometimes, however, the
resulting price is so high that they fear the game will sell poorly. This is because the
average Czech customer is still reluctant to buy games that exceed CZK 1,000, which is
the lower price limit for complex and graphically and translation-heavy games.
Another reason why localization is sometimes not considered is the low interest
of the public due to the marginal nature of the topic. In America, board games are a
very popular hobby, and it is there that games with all sorts of themes such as space
conquest or fighting in a fantasy world are created. However, the Czech market is still
small compared to the American one and there is not much interest in these genres.
Ordering a large number of copies would mean the risk of games sitting in the
warehouse and not selling or selling below cost. On the other hand, ordering fewer
copies will make the purchase price significantly more expensive, and the sale price
would have to go up with it.
64
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
In some cases, there is a lot of interest in localizing games due to the current trend
of a certain genre or game mechanics. Again, this brings up the question of whether
localization is worthwhile for publishers. There are trends that catch on and last for
several years on the market, but at the same time, there are some that fade away within
a few months. In the case of the latter, localization is highly questionable, as the
translation, graphic editing, and production time can delay a game's release by up to
several months. By this time, the trend has already slowly faded or disappeared
altogether.
Furthermore, Hrabalek (2023) mentions games that have already been released
in Czech localization but are no longer available or soon will not be available, in other
words, reprints are not considered. There are reasons for this. The most prevalent is
low sales in the first months after release. Such a decision is made by each publishing
house setting criteria based on experience, which, if not met, will result in the game
selling out at discounts and not being reprinted. In most cases, these are hobby games
with a strong theme or one-play games, that is, story games. Other times they are
games that have been on the Czech market for several years. In these cases, reprints
are again decided on the basis of sales, but it must also be taken into account that
customers are more interested in new releases than in "recycling" older ones. In fact,
these games are often of similar or even identical game mechanics but the game
environment is different.
3.11 Localization Time Frame
Giving a time range is very individual for board game localization. If we go in phases,
selecting a game can take a few days or even a few years. When a publisher is interested
in a game, they contact the original publisher or author of the game to discuss possible
cooperation. These arrangements often happen within days or weeks, but Hrabalek
(2023) gives one instance where it took almost two years to negotiate a license to
translate the Harry Potter games. Moreover, if we include the playing of the game and
65
BOARD G A M E LOCALIZATION P R O C E S S IN THE C Z E C H REPUBLIC
the decision-making phase in this process, the length is stretched out by several more
days or weeks.
Finding the right people to localize and then distribute the materials among them
usually takes either hours or days. It all depends on the type and complexity of the
game and the available schedule of the people you want. Czech publishers do not like
to turn to translation agencies that have more people available and prefer to contact
those with whom they already have experience. It may therefore happen that, for
example, a translator who is good at story passages has another job and the publishing
house either waits for the job to be completed or approaches another person.
Even in the case of the translation itself, the quantity and complexity of the text
are important. There are games that have only two pages of rules, but there are also
those that have dozens of pages. The time scale is therefore from a few hours to a few
months. Moreover, Prachař (2023) states that although the rules of a game may be
short and take only a few hours to translate, it can, for example, take a long time to
come up with the title for the game.
As already mentioned, the length of the graphic editing process depends on the
cooperation between translators and graphic designers. If everything is going well, the
graphic editing of an average game takes about a week. However, if there are problems,
the phase can extend up to several months.
Proofreading is closely related to the length and type of text, and the skill of the
translators. A short, simple text can be proofread in a few hours, and rules of dozens of
pages in a week.
One of the longest phases is the printing of the finished game and its shipping.
Even if the printing takes place in the Czech Republic, it takes at least a few weeks.
Foreign printing especially in China, is in the range of a few months, assuming there
are no production or logistical problems.
66
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
4 Successfully Localized Board Games
Since the localization process of Czech publishers is at a high level, the Czech market
contains many high-quality localized board games. Even if there are some mistakes
from time to time, players do not let this spoil the games they are interested in and
continue to recommend them.
This chapter will describe and analyze two board games that have been successful
with Czech players who are still enjoying them to this day. The analysis focuses on the
changes and improvements that have been made to the texts and graphical
representations and discusses the challenges that the translators had to overcome.
4.1 Concept (Koncepf)
The Concept is a party game from 2013 by two French creators Alain Rivollet and
Gaetan Beaujannot, and published by REPOS Production. The game has achieved great
popularity and has been nominated for several board game competitions, where it
even won twice. It was translated into 16 languages, including Czech in 2014 under the
name Koncept by the publishing house Blackflre (Repos production n.d.; Hrajeme n.d.).
4.1.1 Game Mechanics
The principle of the game is that a word or phrase is chosen on a card and its meaning
or description is communicated by means of icons, symbols (the concepts), and the
goal is to guess it. According to the manufacturer, the game is designed for 4 to 12
players, as it is intended to be played in teams of two, but with the modification of
certain rules, the game can be played by two or three people (Repos production n.d.).
According to the official rules, at the beginning of the game, players divide into
pairs in which they will form word clues. It is both a team game and an individual game
- although the words are clued together in pairs, everyone plays for themselves in case
of guessing. The first pair draws a card and chooses the word or phrase they want to
67
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
give clues about from nine words divided into three categories (Easy, Hard,
Challenging). The clue is formed using game components - a main concept in the form
of a green question mark and cubes and a four-colored set of supporting concepts in
the form of exclamation marks and cubes. These are placed on the game board where
the individual concepts that can be pointed to are displayed. The clue-creating team is
not allowed to talk or give any hints, but they can indicate when someone is getting
close to the correct answer. Once someone has guessed the correct answer, they
receive a double bulb, which counts as two victory points. For a successful hinting, each
person in the pair gets one bulb (worth 1 victory point). The pair to the left of the clue
makers is next to draw their card. The game ends when all double bulbs have been
dealt.
4.1.2 Translation of Game Contents
The game consists of a game board, rules, cards, figures, tokens, player aid sheets, and,
of course, the box. Since the game is based on guessing words from cards, no text on
the game board needs to be translated. The same goes for the pieces and tokens. The
texts to be translated are therefore found in the rules, player aid sheets, on the cards,
and on the box. This subsection will describe the changes made to the localized version
and the problems the translators encountered.
4.1.2.1 Rules
The game contains four pages of rules with lots of pictures. The text only explains the
game mechanics and obj ectives, so it is important that it is clear and that players know
how to play the game after reading it. Concerning the layout, it is almost identical in
the English and Czech versions. Slight differences can be found in the extra text or the
change in its order.
68
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
A quick overview of the game is given at the beginning of the rules. However, there
is one additional piece of information (in bold) in the English version than in the Czech
one:
ENG: The first player to discover the word or phrase receives 2 victory points, the
team receives points as well, and the player who ends up with the most
points wins.
CZE: První hráč, který na základě těchto náznaků správně uhodne hledané slovo
nebo frázi, získá 2 body. Vítězem se stane hráč, který získá nejvíce bodů.
Although the distribution of points is explained further in the rules, these game
overviews are often used to remind players who have not played the game for a long
time of the game's mechanics and objectives. Therefore, omitting such vital
information is quite inconvenient.
The next modification is positive. In the first example of a more complex help
(Figure 10), the main concept is explained separately, and then its relation to the
auxiliary concept.
69
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
Figure 10. First English (top) and Czech (bottom) example from Concept {Koncepf)
Here we're searching for a metallic building located in a place or country associated with the colors blue,
white and red (and not a building that's blue, white and red). Seems like we're looking for the Eiffel Tower.
Kovová stavba.
Hledáme tedy kovovou stavbu na místě nebo v zemi, která je spojena s modrou,
bílou a červenou barvou (nikoli však stavbu, která je modrá, bílá a červená). To
vypadá, že by to mohla být Eiffelovka.
In the English version, compared to the rest of the examples, this is the only concept
that is not explained separately. Therefore, the Czech localization team decided to keep
the consistency and inserted an explanation for the main concept itself.
Another significant change in the Czech version is the incorrectly translated move
clarification during clue creation:
ENG: The team members are free to place the cubes as they wish; they are NOT
obliged to take turns when doing so.
CZE: Členové týmu mohou umístit kostičky jakkoli chtějí, nejsou ale povinni hrát
další tahy.
The Czech localization mistranslated the phrase "take turns". The whole phrase now
suggests that the player creating the clues does not have to participate in the next
rounds. The end of the sentence should correctly read: ... nejsou ale povinni se během
toho střídat.
70
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
Another issue with the Czech localization is the lack of explanations for some
examples of words to guess. Consider Figure 11:
Figure 11. Second English (top) and Czech (bottom) example from Concept
[Koncept]
Here "cold" indicates the winter season, aiding players in guessing Christmas, a holiday or event that often
features toys.
V tomto případě značí „chlad" zimní období. Hráči tedy mohou hádat Vánoce.
In the rules, the concepts indicated by the pictures with a pumpkin [Holidays, Birthday,
Celebration] and a teddy bear [Games, Toys, Youth] were completely omitted from the
explanation. While this example focuses on a different use of the concept of "cold", it is
useful for inexperienced players to describe all that is relevant.
4.1.2.2 Player Aid Sheets
The game contains two double-sided identical player aid sheets with a description of
what each field on the game board means. The changes from the English version are
again minor.
The first difference is the lack of typographic uniformity on one side and the other.
If one concept can mean more than one thing on one side of the paper is the first
meaning separated by a slash with spaces on both sides [Dospělý/Starý], but on the
other side is only a slash without spaces [Blesk/Elektřina]. From a grammatical point
of view, the first variant is incorrect, but for the sake of clarity of the text, this rule can
be circumvented in specific cases.
71
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
Another change is the addition or substitution of certain meanings of concepts.
For example, Games, Toys, Youth are used as Hry, Hračky, Hravost [Games, Toys,
Playfulness] in the Czech version. In this case, this is a positive change, as "Youth" can
be better represented by the concept meaning "Mladý" [Young] on the same side of the
sheet.
4.1.2.3 Cards
The gameplay principle is based on describing the words on the cards, of which there
are 110 - with nine words/phrases per card, the total number of words is thus 990.
The translators had to manage to translate a large number of words that should be
describable using concepts.
The biggest problem the translators faced at this stage was the culture-specific
expressions. Since the English version served as a template for the Czech translation,
they were Anglophone-oriented. Luckily, Czech people are aware of some Anglophone
expressions, some of them are even already established. The translators' task was,
therefore, to decide which phrases to keep and translate, and which to replace.
72
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
If we take as an example two English cards (Figure 12), we can see both cases:
Figure 12. Example of cards from English version of Concept [Koncept)
(SorrellD 2023)
On both cards, there are common words that can be translated into Czech {Cinema,
Snake, Shovel, Drapes], as well as words that do not need translation because they
represent well-known public figures {Muhammad AH; Taylor Swift). However, the
problem is fictional characters {Porky Pig; The Hardy Boys), which, although they have
an established translation in the Czech language, are not so widespread in Czech
culture. Another difficult situation is created by the title of the song {The Sound of
Silence), the TV show {The Muppet Show), and some idioms {Pullyour hair out; Putyour
foot in it).
At this point, it was time to find Czech equivalents, ideally in the same category.
However, the Czech cards do not keep the same distribution of words - for example,
the words from the blue category are on three different cards - and so it is difficult to
find which Czech cards should correspond to the English ones. After longer research,
one can find a total of five cards on which most of the above-mentioned expressions
are translated or adapted (one of them is shown in Figure 13).
73
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
Figure 13. Example of cards from the Czech version of Concept {Koncepf)
Kino
Dýně
Směrovka
X - "
4 Rychlé šípy
(5) SIM karta
Pohlednice
)
á Krystalicky čisté
® Nic to nestojí
Zkrotit hnév
J
^ < — .
Šéfkuchár
Rákosníček
Mechanik
' ~f\ Spider-Man
(o) Marečku, podejte mi pero
Sherlock Holmes
On the first card, it can be seen that the Czech translators decided to keep some
expressions [Cinema/Kino; Be crystal clear / Krystalicky čisté] and take others from
other cards. Worth mentioning is the Czechoslovak comic phenomenon Rychlé šípy
which replaced the American detective book series The Hardy Boys.
The second card presents further culturally specific expressions [Rákosníček;
Když muž se ženou snídá; Marečku, podejte mi pero), which have no counterpart in
English, so they have been chosen to replace those phrases that have this effect on us
in English.
To make these replacements or modifications more organized, the expressions
can be divided into several groups, part of them inspired by Peter Newmark's (2009:
95-107) cultural categorization:
74
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
Table 3. Categorization of different culture-specific items - examples are taken
from the English and Czech versions of Concept (Koncept)
English expressions Czech expressions
Nature Mount Rushmore Propast Macocha
Cities Houston Brno
Quiz shows Jeopardy Az-kvíz
TV shows Seinfield Ordinace v růžové zahradě
Movies Casablanca Slunce, seno, jahody
Movie quotes
Elementary, my dear
Watson.
Hliník se odstěhoval do Humpolce
Songs The Sound of Silence Skákal pes přes oves
Historical figures Florence Nightingale František Křižík
Celebrities Steve Harvey Jan Kraus
Books To Kill a Mockingbird Honzíkova cesta
Bands Nine Inch Nails Divokej Bili
Cartoons Looney Tunes Rumcajs
Idioms Go Dutch Koukat jako sůva z nudlí
Dates The Fourth of July 1. máj
Food Brisket Svíčková
Measurements Yard Centimetr
Celebrations Baby shower 15. narozeniny
From the examples in Table 3 as well as those presented previously, it can be seen that
replacing the original Anglophone expressions is in some instances easy while in
others it requires more thought. Take the question of idioms as an example. Although
at first glance it may seem that a given English idiom does not appear in the Czech
language (at least not in the idiomatic style), this may not be the case. Idioms are
dependent on the culture that uses them, and the idiom may take a completely different
form - for instance, compare the English steal someone's thunder with the Czech vypálit
75
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
někomu rybník [burn someone's pond]. There is no obvious external connection, but
both mean that you do something before the other person does and thus ruin their
chance at something.
4.1.2.4 Box
Since the name of the game did not need to be translated, but only the initial letter was
changed, the graphic design was much simpler. The box did not need any further
modification from the top and sides and it looks elegant at first glance.
From the bottom, however, the box is different from the English one (see
Figure 14). This is due to the fact that Blackflre is the distributor of the game for both
the Czech and Slovak markets, and therefore the details about it are presented in Czech
and Slovak language. Another important piece of information is that the cards are only
in the Czech language.
Figure 14. Bottom of the box of Concept {Koncept)
76
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
4.2 Ex Libris (Ex Libris)
The board game Ex Libris belongs to the category of strategy with a touch of fantasy. It
was released in 2017 by Renegade Game Studio and was created by Adam P. Mclver.
Thanks to its graphic design and book theme, it has won two awards. The Czech version
of the game was released in 2018 by REXhry (Derrick 2018; REX hry 2019).
4.2.1 Game Mechanics
The game is designed for 1 to 4 players where everyone takes on the role of the
applicant for the position of a Grand Librarian. The basic principle of the game is that
players collect and shelve books in their library in order to have the most points at the
end of the game. The game itself is too complex for a brief explanation, however, it can
be outlined using the main points.
Before the game starts, two book categories are drawn, one of which functions as
prominent works, and the other as banned works. From the remaining cards, each
player is assigned a focus for their own library. During the creation of their library,
players try to acquire as many books as possible that fall under their focus as well as
the prominent ones. At the same time, they must beware of books that the city has
declared banned.
The book cards are obtained at various locations by placing pawns. Both locations
and some pawns have special abilities and using them correctly can help you during
your library development. Since other players have the same goal, you must also take
into account the intrigues of your opponents as they can, for example, prevent you from
collecting one book category. The game is further complicated by the fact that your
shelved books must be in the correct alphabetical order as you would find them in a
city library.
At the end of the game, the variety of book categories, your focus, the lowest
number of banned books, and the stability of the entire library are all taken into
account.
77
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
4.2.2 Translation of Game Contents
The game consists of many components that required translation, namely a city board,
a scoreboard, 18 location tiles, 12 library tiles, 6 book category cards, and last but not
least, 152 book cards with a total of 510 book titles. As in the case of the previous game,
a comparison with the original will be made and changes and possible errors will be
noted.
4.2.2.1 Rules
The rulebook is longer in the case of this game and the text is spread over 24 pages. It
is accompanied by a lot of pictures that serve both to explain the rules and to show
possible gameplay.
In such a large amount of text, it is bound to happen that some mistakes occur.
There are some minor typographic errors such as an extra space before a paragraph
or before a full stop. However, in one case there is a change in a rule caused by a
misunderstanding of the English text which in the Czech version does not correspond
with the supporting illustrations (see Figure 15 along with the problematic part below
it).
Figure 15. Game setup of Ex Libris [Ex Libris)
78
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
ENG: Shuffle the 12 library tiles and deal out two per player. In reverse order
from the first player, each player chooses a library tile, then discards a
library tile from the game.
CZE: Zamíchejte 12 desek knihoven a rozdejte dvě každému hráči. Počínaje
hráčem po pravici prvního hráče a následně proti směru hodinových ručiček
si každý hráč vybere jednu desku knihovny a tu druhou desku odstraní ze
hry. Vybrané desky knihoven si následně hráči vyloží před sebe.
The problem was the phrase "deal out two per player" which the translators
understood as dealing out two cards to each player. Thus, the selection of home
libraries works differently and the possibility of tactics in the very early stages of the
game was lost in the Czech version. Moreover, the example of the game setup directly
shows the decision phase as it is properly intended - meaning that the players can see
what cards are available and what other players have discarded.
Nevertheless, the Czech rules contain many improvements and clarifications as
the original ones are unclear in some passages. One of the improvements is the
insertion of "- NEBO -" between the options offered, rather than after the first option
as in the English version:
ENG: A) On a location tile (on or below the town board) -ORB)
On your library tile
CZE: A. Na některou z desek budov vyložených pod deskou města.
- NEBO B.
Na desku své knihovny, kterou má hráč vyloženou před sebou.
The Czech arrangement is clearer and better describes the necessity of the choice. Of
course, the English way can be used in cases where there is a lack of space but that is
not the case here.
79
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
Another graphic adjustment is the more visible indication of the types of cards
when they appear in the rules. In English, the letters at the beginning of all words are
only capitalized (Prominent Works), while Czech has resorted to capitalizing the first
letter of the first word and italicizing the whole phrase [Význačná díla). This way, the
expressions do not get lost in the text.
In addition to purely visual changes, information has been added to passages that
are unclear or could potentially interfere with gameplay:
ENG: Return any remaining category cards to the box.
CZE: Nepoužité karty kategorie vraťte zpět do krabice, aniž byste se na ně
podívali.
In this example, an explicit addition has been added in Czech that the player is not
supposed to look at the cards they are putting back in the box. This helps to ensure that
situations, where a player (either intentionally or accidentally) discovers information
that should remain secret, do not occur.
Further, practical examples have been added to the English version to show
potentially more complex situations. Consider Figure 16:
Figure 16. Addition of practical examples to the Czech rules of Ex Libris [Ex Libris)
PftlKLAD 1: 3 h ráči mají shodně nejvyšší počet význačných děl.
Každý z nich tedy dostane: f 15 + 9 + 4)/3 = 2 S/3 = 9,33 b o d ů .
Po zaokrouhlení tedy každý z hráčů dostane 10 b o d ů .
PftfKLAD Z: A l i c e má nejvíce význačných d ě l , D a v i d , Vláda
a Hanka mají shodné druhé nejvyšší množství, A l i c e získá
15 b o d ů . D a v i d , Vláda a Hanka získají ((9 + 4)/3 = J3/3 = 4,33)
p o zaokrouhlení 5 b o d ů .
This passage concerns the distribution of points in case of a tie. In the original rules, it
is only described and is rather confusing. Therefore, the Czech translators decided to
add some examples to the description. Moreover, in such illustrations, it can be seen
80
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
that the names of the example players have been changed to make the game fit better
into the Czech setting.
4.2.2.2 Location and Library Tiles
The properties and effects of location and library tiles are important in the game. With
their help, players gain book cards or certain advantages. However, the original game
was criticized for the hard-to-read text on them, especially on the location tiles (see
Figure 17), as they are on a colored background (Derrick 2018).
Figure 17. Comparison of English (left) and Czech (right) location tiles in Ex Libris
[Ex Libris)
Czech graphics decided to solve this problem by enlarging the font on both types of
tiles. Moreover, they created location reference sheets where the location effects are
described without having to decipher what is written on the tile itself.
Another graphical, but possibly also gameplay change, is the presence of
"FOCUS 2x" on the basic library tile in the beginner game. Another graphical but
possibly also gameplay change is to keep "FOCUS 2x" on the basic library tile in the
beginner game. This note serves as a reminder that during the scoring phase, the books
that match your library's focus are multiplied by two. The focus information is not in
the English version, but at the same time, it does not say anything about changing the
way the points are counted. It is therefore questionable whether it is an error in the
original.
81
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
When it comes to translating these tiles, there are some creative solutions such as
Putyka U Knihomola [Local Drafthouse), Knihy za babku [Rummage Sale), Hrobka
hrozivých myšlenek [The Crypt of Accursed Knowledge), and Vysoké učení strašlivé [The
Haunted House of Learning).
4.2.2.3 Cards
The translation and graphic design of the book cards were the biggest challenge. Since
the game contains over 500 book titles based on the pun or play-on-words principle, it
was necessary to come up with a large number of these puns in the Czech language as
well. One of the translators, Jan Březina (kandelabr 2019), said that they opted for a
lexicographical order, the kind found in dictionaries because they had to deal with
several limitations. As an example, he cites:
Try to come up with a pun or play-on-words that at least somewhat reflects the
original text, and yet it has to be Monster Manual, and the title of the book has
to be alphabetically after Učedníci, but before Udávat, (kandelabr 2019)
After a careful reading of all the cards, one can say that this is a very good
localization as some letters of the Czech alphabet have been added (Č, CH, Ř, Š, Ž) and
those that are not common in the Czech language at the beginning of words (G, Q, W, X,
Y) have been removed. At the same time, the titles on the spines of the books have been
reversed as it is customary in the Czech Republic - the beginning of the title is on the
bottom left, while the English have it on the top right. Examples of some cards are
depicted in Figure 18.
82
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
Figure 18. Example of Czech cards from Ex Libris [Ex Libris)
As for the actual translation of book titles, they can be divided into several
categories. The first is the inspiration from the English original [Bipolar Foxes /
Bipolární lišky; Mythology and Mycology / Mytologie a mykologie), next they play with
rhyming [Šupito presto, kynuté těsto; Cetky pro báby i dědky). Others, for example, refer
to Czech/Czechoslovakian culture or to famous works:
• Fairy-tales - Hádky s čertem; Loupí Honza?
• Songs - Až na vrcholky hord; Snadné mámení
• Plays - Drakonický dudák; Furianti: naši i tijejich
• Books - Hoši od Zlobří řeky; Zaprdlí vlastenci
• Movies - Kopr pro zámeckou paní; Bota jménem Kašpar
• Cartoons - Edudant afraucimor; Katja a Trhánek
• Quotes - Hrnečku, zmař!; I impy můžete mít rádi
• Proverbs - Řeči se vedou a vodka teče; Hadje nejlepšíkuchař
• Dialects - Cajzlové & Čížci; Onděnía jiné oné
83
S U C C E S S F U L L Y LOCALIZED BOARD G A M E S
In addition to the titles mentioned above, one can find other funny creations that do
not have a category, such as Asi ne... Dějiny nezájmu; Rostoucí nerosty a movité
nemovitosti; or Šotci, přelkepy a dramatické chybi.
4.2.2.4 Box
As with the previous game, there has not been much change to the game's box design.
The name of the game is completely identical in this case and the only change on the
top of the box is the replacement of the original publisher's logo with the Czech one.
The text on the bottom of the box is the same as what is in the rules when the game
is introduced. The only change is again the publisher's logo and a box contents table
that lists the extra location reference sheets.
84
CONCLUSION
5 Conclusion
This thesis dealt with the description of the localization process of board games in the
Czech Republic. The aim was to present how the localization process works, what all
has to be taken into account, and how to deal with potential problems both during
translation and production.
In the theoretical part, attention was paid to games as such. It was described that
games have been part of mankind for several thousand years. Although they initially
had a purely practical and spiritualistic role, the emergence of board games opened up
a new entertainment activity and very soon they became a favorite pastime of people
of all ages which persists to this day. Furthermore, it described how board games
evolved and how they spread among different cultures. In a way, it is the transfer and
adaptation of a game from one culture to another that can be called localization, to
which the rest of the thesis has been devoted.
The practical part presented the process of localization of board games by Czech
professional publishers. The more or less chronological process of localization is
described in detail. It was shown that even the selection of a game is a very complicated
process on its own that has to consider many things. One of them is the interest of the
not-very-large Czech market, which has been growing in recent years and welcomes
new types of games. Other very important factors are the financial demands of the
whole localization process - purchase and production price - which are reflected in
the resulting retail price of the game.
During the actual translation, the types of texts and their placement in the game
must be taken into account. The language of games is unique and cannot be put into
one category, as the tone and purpose vary from game to game, so it is advisable to
entrust the translation to people who have already worked on translating games or are
familiar with them. Despite this, translators often face challenges when it is not just
possible to translate the text but to come up with a suitable alternative in the target
language.
85
CONCLUSION
It was also shown that even experienced publishers are only human and they
make mistakes, therefore, a part of the thesis was devoted to examples of mistakes and
how publishers resolve them - whether it is by simply apologizing and publishing a
corrected version online or reprinting the faulty components.
In the last chapter of the thesis, two board games that achieved a high success rate
with Czech players were used to show what all needed to be translated in the games
and how the translators dealt with the parts that required modifications and finding
suitable alternatives.
Overall, the aim was to show that the localization of board games is a complicated
procedure that deserves more attention and recognition, as it involves careful
consideration, pondering and, most importantly, many multimodal texts that are in
most cases a challenge to translate.
86
BIBLIOGRAPHY
Bibliography
1a2a3a4 (n.d.) Karty predmetu + ruby. Zatrolene hry. Accessed on:
https://www.zatrolene-hry.cz/qalerie/6057/39625.jpq
Abuizd, Sherif (n.d.) Transcreation: Definition, Examples, And How to Run its
Projects. Translation Partner. Accessed on:
https://translationpartner.com/transcreation-definition-examples-projects/
Aksoy, Aylin (2022, June 9) The Benefits of Game Localization and Languages to
Localize. Motaword. Accessed on: https://www.motaword.com/bloq/the-
benefits-of-qame-localization-and-lanquaqes-to-localize
Arizton (2023a) Board Games Market- Global Outlook & Forecast 2023-2028.
Accessed on: https://www.arizton.com/market-reports/qlobal-board-qames-
market-industrv-analvsis-2024
Arizton (2023b) Tabletop Games Market- Global Outlook & Forecast 2023-2028.
Accessed on: https://www.arizton.com/market-reports/tabletop-qames-market
Atherton Gray, and Liam Cross (2021) The Use of Analog and Digital Games for
Autism Interventions. Frontiers in Psychology^ 2.
https://doi.ora/10.3389/fpsyq.2021.669734
Balaoiu, Andrea (2020, May 28) GILT: Globalization, Internationalization,
Localization, Translation - and the Difference Between them. Adverbum.
Accessed on: https://www.adverbum.com/en/bloq/qlobalization-
internationalization-localization-translation
Banton, Caroline (2023, March 25) Free on Board (FOB) Explained: Who's Liable
for What in Shipping? Investopedia. Accessed on:
https://www.investopedia.eom/terms/f/fob.asp
Barone, Adam (2020, July 19) Delivered-at-Place (DAP) Definition: How It Works
and Obligations. Investopedia. Accessed on:
https://www.investopedia.eom/terms/d/delivered-place-dap.asp
87
BIBLIOGRAPHY
Bayeck, Rebecca Y. (2020) Examining Board Gameplay and Learning: A
Multidisciplinary Review of Recent Research. Simulation & Gaming, 57(4),
411 -431. https://doi.Org/10.1177/1046878119901286
Bell, Robert C. (1979) Board and Table Games from Many Civilizations. Dover.
Board Game Studies (2018, May 1) Board Game Studies Colloquia. Accessed on:
https://boardqamestudies.iimdofree.com/the-bqs/
Bond, James J . (2016, April 23) Introduction. Board and Pieces. Accessed on:
https://sites.qooqle.com/site/boardandpieces/introduction
Bushouse, Elizabeth A. (2015) The Practice and Evolution of Video Game
Translation: Expanding the Definition of Translation [Master's Thesis,
University of Massachusetts]. Accessed on:
https://scholarworks.umass.edu/masters theses 2/187
Cambridge Dictionary (n.d.) Game. In dictionary.cambridge.org. Retrieved March
14, 2023, from https://dictionarv.cambridqe.org/dictionarv/enqlish/qame
Culin, Stewart (1907) Games of the North American Indians. Government Printing.
DaftPunk (2023, February 7) MARVEL: Rukavice nekonečna - pravidla. Zatrolené
hry. Accessed on: https://www.zatrolene-hry.cz/spolecenska-hra/marvel-
rukavice-nekonecna-10153/k-stazeni/pravidla-cz-14449/
Dartigues, Jean Frangois, Foubert-Samier, Alexandra, Goff, Melanie, Viltard,
Melanie, Amieva, Helene, Orgogozo, Jean Marc, Barberger-Gateau, Pascale,
& Helmer, Catherine (2013) Playing Board Games, Cognitive Decline and
Dementia: A French Population-Based Cohort Study. BMJ open, 3(8), Article
e002998. https://doi.orq/10.1136/bmiopen-2013-002998
Derrick, Jennifer (2018, January 9) REVIEW: EXLIBRIS. iSlaytheDragon.
Accessed on: https://islavthedraqon.com/featured/review-ex-libris/
88
BIBLIOGRAPHY
Dized (2023, March 31) Storehouse [Photograph]. Dized Rules. Accessed on:
https://rules.dized.com/aame/0GI6 zUiQh2U27DV 13LJw/89CVCQ03R-
6BAaB1 FFA6kA/storehouse
Donovan, Tristan (2017) It's All a Game: The History of Board Games from
Monopoly to Settlers ofCatan. Thomas Dunne Books.
Eff, Myk (2023, January 3) Eurogames vs Amerigames. Medium. Accessed on:
https://soundand.design/eurogames-vs-amerigames-e4c6487ddf6f
Emily (2019, January 22) Why Board Games Are So Popular. My kind of meeple.
Accessed on: https://mvkindofmeeple.com/why-are-board-qames-popular/
Esselink, Bert (2000) A Practical Guide to Localization. John Benjamins
Publishing.
Esselink, Bert (2003) The Evolution of Localization. The Guide from MultiLingual
Computing & Technology - Localization, 14(5), 4-7. Accessed on:
https://multilinqual.com/downloads/screenSupp57.pdf
Estrada-Plana, Veronica, Esquerda, Montserrat, Mangues, Rocfo, March-Llanes,
Jaume, & Moya-Higueras, Jorge (2019) A Pilot Study of the Efficacy of a
Cognitive Training Based on Board Games in Children with AttentionDeficit/Hyperactivity
Disorder: A Randomized Controlled Trial. Games Health
Journal, 8(4), 265-274. https://doi.Org/10.1089/q4h.2018.0051
Estrada-Plana, Veronica, Montanera, Roger, Ibarz-Estruga, Ana, March-Llanes,
Jaume, Vita-Barrull, Nüria, Guzmän, Nüria, Ros-Morente, Agnes,
Ayesa Arriola, Rosa, & Moya-Higueras, Jorge (2021) Cognitive Training with
Modern Board and Card Games in Healthy Older Adults: Two Randomized
Controlled Trials. International Journal of Geriatric Psychiatry, 36, 839-850.
https://doi.ora/10.1002/qps.5484
Evans, Jonathan (2013) Translating Board Games: Multimodality and Play. The
Journal of Specialised Translation, 13, 15-32.
89
BIBLIOGRAPHY
Ferro, Shaunacy (2015, August 15) 15 Centuries-Old Board Games. Mental Floss.
Accessed on: https://www.mentalfloss.com/article/67181 /15-centuries-old-
board-qames
Frasca, Gonzalo (2001, January 31) Ludology Meets Narratology: Similitude and
Differences between (Video)games and Narrative. Ludology. Accessed on:
https://ludoloqv.tvpepad.com/webloq/articles/ludoloqy.htm
Froggery (2017, January 9) Karty predmetu+nestvury. Zatrolene hry. Accessed
on: https://www.zatrolene-hrv.cz/spolecenska-hra/panstvi-hruzy-druha-edice-
6057/k-stazeni/kartv-predmetu-nestvury-6751/
Giammarresi, Salvatore (2011) Strategic Views on Localization Project
Management. In Keiran J . Dunne, & Elena S. Dunne (Eds.), Translation and
Localization Project Management (pp. 17-49). John Benjamins Publishing.
Hillary (2022, June 19) 10 Benefits of Board Games - Why Do Adults Play Board
Games? Game Night Gods. Accessed on:
https://qameniqhtqods.com/benefits-of-board-qames/
Hrabalek, Martin (2023) Personal interview.
Hrajeme (n.d.) Koncept. Hrajeme.cz. Accessed on:
hftps ://www. h rajeme.cz/h ry/12958/
Huizinga, Johan (1980) Homo Ludens: A Study of the Play-Element in Culture.
Routledge and Kegan Paul.
Hunsucker, Andrew J . (2016) Board Games as a Platform for Collaborative
Learning [Conference paper]. Meaningful Play 2016 Conference, East
Lansing, Michigan. Accessed on:
https://www.academia.edu/29366827/Board games as a platform for Colla
borative Learning
90
BIBLIOGRAPHY
Járvinen, Aki (2008) Games without Frontiers: Theories and Methods for Game
Studies and Design [Doctoral dissertation, University of Tampere]. Trepo.
Accessed on: https://trepo.tuni.fi/handle/10024/67820
Jiménez-Crespo, Miguel A. (2013) Translation and Web Localization. Routledge.
Jiménez-Crespo, Miguel A. (2019). Localisation Research in Translation Studies:
Expanding the Limits or Blurring the Lines? In Helle V. Dam, Mathilde N.
Bnzsgger, & Korning K. Zethsen (Eds.), Moving Boundaries in Translation
Studies (pp. 26-44). Routledge.
Juul, Jesper (2003) The Game, the Player, the World: Looking for a Heart of
Gameness. In M. Copier & J . Raessens (Eds.), Level Up: Digital Games
Research Conference Proceedings (pp. 3 0 ^ 5 ) . Digra. Accessed on:
https://www.iesperiuul.net/text/qameplaverworld/
Kandelabr (2019, February 28) KubaLib [Comment on the online forum post
Čeština - Rex Hry]. Zatrolené hry. Accessed on:
http://recenze.zatrolenehry.cz/spolecenska-hra/ex-libris-7323/diskuse/cestina-
rex-hrv-15855/
Kickstarter (2023) Stats [Data set]. Accessed on:
https://www.kickstarter.com/help/stats
Kya (2021, February 12) Noctiluca - pravidla. Zatrolené hry. Accessed on:
https://www.zatrolene-hry.cz/spolecenska-hra/noctiluca-8856/k-
stazeni/pravidla-11683/
Macmillan Dictionary (n.d.) Game. In macmillandictionary.com. Retrieved March
14, 2023, from https://www.macmillandictionary.com/dictionarv/british/qame 1
Mardon, Austin, Wiebe, J., Dansereau, P., & Tombrowski, L. (2020) The History of
Board Games. Golden Meteorite Press.
Martinsun (n.d.) Zelené karty služeb - hlavně budovy [Photograph]. Zatrolené hry.
Accessed on: https://www.zatrolene-hry.cz/qalerie/7608/50349.ipq
91
BIBLIOGRAPHY
Merriam-Webster (n.d.) Game. In Merriam-Webster.com dictionary. Retrieved
March 14, 2023, from https://www.merriam-webster.com/dictionary/qame
Mindok (2023, February 24) A/a křídlech - Pravidla ke stažení (2. edice).
Accessed on:
http://www.mindok.ez/userfiles/files/pravidlaAA/S rulebook2 CZ web.pdf
Mini Sprout (2021, May 17) What's the Benefit of Playing Board Games? My Tiny
Sprouts. Accessed on: https://www.mytinysprouts.com/post/what-s-the-benefit-
of-plavinq-board-qames
Mitjana, Laura Ruiz (2022, November 18) Seven Psychological Benefits of Playing
Board Games. Exploring Your Mind. Accessed on:
https://explorinqyourmind.com/psvcholoqical-benefits-of-plavinq-board-qames/
Murray, Harold J . R. (1978) A History of Board-Games Other Than Chess
(2nd ed.). Hacker Art Books.
Myerson, Mark (2021, November 21) How a Smart Localization Strategy Helped
IKEA to Conquer the World. OneSky. Accessed on:
https://www.oneskvapp.com/bloq/smart-localization-strateqy-ikea/
Newmark, Peter (2009) A Textbook of Translation. Shang hai wai yu jiao yu chu
ban she.
O'Neill, Daniela K., and Paige E. Holmes (2022) The Power of Board Games for
Multidomain Learning in Young Children. American Journal of Play, 14(1), 5 8 -
98.
Oxford Learner's Dictionaries (n.d.) Game. In oxfordlearnersdictionaries.com.
Retrieved March 14, 2023, from
https://www.oxfordlearnersdictionaries.com/definition/enqlish/qame 1 ?q=qame
92
BIBLIOGRAPHY
Petrů, Jiří (2011) Video Game Translation in the Czech Republic - from fan era to
Professionalism [Master's Thesis, Masaryk University]. Accessed on:
https://is.muni.cz/th/xlkcl/Video Game Translation in the Czech Republic.pd
f
Polylux (2021, March 14) Vhled do toho az tak nemam, ale... [Comment on the
online forum post Proč je český překlad levnější, než originál?]. Zatrolené hry.
Accessed on: https://www.zatrolene-hry.cz/diskuse/ostatni-temata-6/proc-ie-
cesky-preklad-levneisi-nez-original-28032/
Prachař, Pavel (2023) Personal interview.
Pym, Anthony (2004a) Localization from the Perspective of Translation Studies:
Overlaps in the Digital Divide [Paper presentation]. Scalla Conference,
Katmandu, Nepal. Accessed on:
https://citeseerx.ist.psu.edu/document?repid=rep1 &tvpe=pdf&doi=257a11871 e
a9eef55af796a82898a54d1 f96a0ad
Pym, Anthony (2004b) The Moving Text: Localization, Translation, and
Distribution. John Benjamins.
Quinn, Tony, Fujioka, Ken, Bella, Christine, Bardolia, Robin, McCowan, Andrew,
Chehlaoui, Frida, Dutta, Shujoy, & Malli, Ratan (2008, March) McDonald's:
Adapting to Local Markets to Build a Global Brand. Admap magazine, 503,
pp. 28-29. Accessed on:
https://www.warc.com/content/paywall/article/mcdonalds-adapting-to-local-
markets-to-build-a-qlobal-brand/en-GB/89218
Repos production (n.d.) Concept: communicate without speaking. Repos
Production. Accessed on: https://www.rprod.com/en/qames/concept
REX hry (2019, January 7) Ex Libris. REX hry. Accessed on:
https://www.rexhry.cz/hra/ex-libris
93
BIBLIOGRAPHY
Rovee, Christopher (2015, March 28) The New Game of Human Life, 1790.
Branch. Accessed on: https://branchcollective.org/7ps articles=christopher-
rovee-the-new-qame-of-human-life-1790
Salen, Katie, and Eric Zimmerman (Eds.) (2009) The Game Design Reader: A
Rules of Play Anthology. MIT Press.
Schubert, Vojtech (2013) Video Game Localization Process in the Czech Republic
[Master's Thesis, Masaryk University]. Accessed on:
https://is.muni.cz/th/ziq1 v/MDP Schubert.pdf
Seetharaman, Sujay (2020, September 6) How Big is the Board Game Market?
Pipe candy. Accessed on: https://bloq.pipecandv.com/post/board-qames-
market
Sonechkina, Alex (2018, April 11) Digital Board Game Companion Apps: The
Merge of Physical and Digital Gaming. Game Analytics. Accessed on:
https://qameanalvtics.com/bloq/companion-apps-physical-diqital/
SorrellD (2023, April 17) Okay, this a little different. Blogspot. Accessed on:
https://qraspinqforjov.bloqspot.com/2023/04/bloq-post.html
Tomkova, Gabriela (2014) Translating Board Games: Towards the Translation of
Apples to Apples [Master's thesis, Masaryk University]. Accessed on:
https://is.muni.cz/th/kxej9/Tomkova komplet.pdf
Twin, Alexandra (2023, March 29) Ex Works (EXW) Defined, Pros and Cons, Plus
More Incoterms. Investopedia. Accessed on:
https://www.investopedia.eom/terms/e/exw.asp
University of Pittsburgh (2020, April 10) The Rise of Board Games in Today's
Tech-dominated Culture. Pittwire. Accessed on:
https://www.pitt.edu/pittwire/features-articles/rise-board-qames-todav-s-tech-
dominated-culture
94
BIBLIOGRAPHY
Woods, Stewart (2012) Eurogames: The Design, Culture and Play of Modern
European Board Games. McFarland & Company.
Whitehill, Bruce (2007, July) Across the Board. The Big Game Hunter. Accessed
on: https://thebiggamehunter.com/editorials/across-the-board/
Whitehill, Bruce (2017) Toward a Classification of Non-Electronic Table Games. In
J. N. Silva (Ed.), Proceedings of the Board Game Studies Colloquium XI
(pp. 103-110). CreateSpace Independent.
Zatrolené hry (n.d.) 1989: Úsvit svobody. Zatrolené hry. Accessed on:
https://www.zatrolene-hrv.cz/spolecenska-hra/1989-usvit-svobodv-1450/
Z-Man Games (2019, January 4) Noctiluca. Z-Man Games. Accessed on:
https://www.zmangames.com/en/products/noctiluca/
Wabbit (2021, March 17) Localising Board Games or RPGS: The Advantages of A
Professional Service. Wabbit Translations. Accessed on: https://www.wabbit-
translations.com/en/board-game-localisation/
95