Not long ago, someone in a Discord thread about game localization wrote something that stuck with me: “If the game’s good, the language shouldn’t matter.” It was meant as a compliment—maybe even as praise for a game that had “transcended” the need for translation. But I’ve been thinking about that sentence ever since. Because while it sounds romantic, it’s not really true. Not for story-driven games. Not for games that rely on tone, rhythm, subtext, or character voice. And certainly not for indie games—where narrative is often the core of the experience.
Glossaries define words, not how they’re said
One of the quiet challenges in game localization is capturing tone. Not just “what’s being said,” but how.
Anyone who’s worked on branching dialogue, dry humor, or understated emotional arcs knows how much is communicated between the lines. Even word choices that seem simple (“Sure” vs. “Why not” vs. “I guess”) carry implications about mood, hesitation, or personality.
And this isn’t exclusive to English. In fact, it becomes even more visible outside it.
Take Norco, for example. A strange, poetic Southern Gothic point-and-click that lives and breathes through language. Localizing something like that into Czech or German (or frankly any language) isn’t just about translating phrases. It’s about conveying atmosphere. It’s almost literary work, but shaped to fit a branching dialogue tree.
It’s why literal translation falls apart so fast in narrative games. You can’t “solve” character voice with a glossary.
A few words about words (and why they’re still part of gameplay)
There’s a growing tendency to treat localization like a pipeline problem. And sure, in some projects it is—especially AAA titles with tens of thousands of strings, UI labels, updates, and expansions.
But indie games are different. In the best way. Because in many indie titles, words are the gameplay. Not in an “exposition dump” kind of way, but in the rhythm of the writing. In how characters interrupt each other. In how a bad pun becomes a side quest. Or in the pacing of a one-sentence journal entry that reveals something personal about a character.
Games like Night in the Woods, Disco Elysium, and Undertale have all been translated into multiple languages because it mattered:
Night in the Woods – cultural nuance in translation
Night in the Woods, known for its exploration of themes like mental health and small-town life, was given an official Italian localization. The process involved translating the entire text of the game’s demo into Italian, demonstrating the developers’ commitment to making the game accessible to a broader audience while preserving its cultural nuances.
Disco Elysium – expanding reach through localization
Disco Elysium expanded its audience by adding Simplified Chinese localization. Following this update, positive reviews from Chinese players surged, showing the impact that thoughtful localization can have on player engagement and satisfaction.
Undertale – creator-led localization efforts
Undertale’s creator, Toby Fox, collaborated closely with the localization team to ensure the game’s unique humor and tone were preserved in the Japanese version. Fox provided development notes and annotated dialog to the team, emphasizing the importance of maintaining the game’s original voice across languages.
What localization teams can (and can’t) do
I don’t want to pretend that localization can always save a bad script (or elevate a flat joke). But when done well, it can do something rare: make a game feel like it was written for the player, no matter where they are.
To do that, you need:
- translators who know games, not just grammar;
- proofreaders who understand pacing and text flow;
- a dev team willing to leave room for adaptation, not just insertion.
And yes, sometimes that means letting go of a phrase that sounds brilliant in the original—because it just won’t land in French, or Japanese, or Polish. That’s not a loss. That’s what storytelling is. It’s what you do when you rework a scene to make it play better. Localization is the same process, just through a linguistic lens.
The world is ready. Is your game?
As a player, I’ve never stopped being amazed by how much text can shape a game’s identity. As someone working in localization, I’ve also seen how fragile that identity can be if it’s left behind in the translation.
The good news? Players around the world are more open than ever to indie games from all over. Tools like Steam, Itch.io, and Nintendo Store make discoverability possible. But the moment they click into your game, language becomes the first mechanic they engage with.
Every title is different, and the best approach depends on your genre, timeline, and goals. Use the form below to get in touch—whether you’re looking for a rough estimate, advice on where to start, or just want to talk it through.
I’ll be happy to offer a first look at your content, and we can talk about what might make sense for your game and audience.
Contact:
Kamil Pekergin
Key Account Manager, PRESTO
LinkedIn profil / kamil.pekergin@presto.cz