Transcreaction Strategies in Video Game Localisation (based on "Team Fortress 2")

Timokhov Alexey Dmitrievich Student, Department of Linguistics and Translation Studies, Moscow City University 105064, Russia, g. Moscow, ul. Malyi Kazennyi Pereulok, 5B timokhovad@mgpu.ru

Introduction

Despite the fact that the sphere of professional localization of video games began to take shape only at the beginning of the 21st century, the growing demand for this type of translation determined its rapid development, which allows us to speak about the formation of the industry today – the demand for localization of video games, in turn, is determined by the development of the market and the growth of the audience of video games.

The relevance of the research is determined primarily by the interest of linguists and specialists from related fields in language localization and approaches to its implementation, as well as the growing demand for language localization of video games due to the development of the market and the expansion of the audience of video games. Thus, researchers widely consider directly the phenomenon of computer games and game localization in translation studies discourse ^[1], attention is paid to the interdisciplinarity of language localization ^[2-4], general and particular problems of localization of video games are widely studied ^[5-7], specific approaches to the implementation of language localization of video games are considered ^[8-10]. In this regard, as well as due to the specifics of localization as a special kind of translation, representing a high degree of digitalization, technological aspects of translator training are also considered ^[11]. At the same time, to date, transcreation in relation to the localization of video games has not received an exhaustive description in the works of Russian linguists and is considered exclusively within the framework of certain aspects of localization. In particular, the transfer of toponyms and anthroponyms is being investigated ^{[12, 13]}, while general approaches to localization, including in relation to other aspects, are not reflected in research, which indicates the relevance of the research topic due to the development of not only the video game market, but also the related sphere of professional localization of video games against the background of lack of detailed research on this topic.

The specifics of language localization

The phenomenon of localization is an integral part of the general process of globalization, involving the creation of a product available for sale in other countries, and represents a full-fledged process of translation and cultural adaptation of language content (mainly digital), taking into account the specifics of a particular country, the purpose of which is to preserve the experience of using a certain product while transforming the components that form this experience, i.e. achieving in order for the final product to be perceived not as a result of translation, but as a product created in the recipient's native language ^[6].

Within the framework of translation studies (in particular, in relation to video games), language localization is a multi-level translation process that seeks to achieve maximum emotive reliability of translation and preserve a unified experience, and its final result is an adapted polycode text (or a set of such texts) created through linguistic transformation of the original dynamic text in order to adequately convey the inherent in the original text. pragmatic intentions in relation to a particular extralinguistic communicative situation determined by specific cultural, social and other conditions ^[4].

Therefore, the main task of localization is primarily the pragmatic adaptation of the text, i.e. adaptation taking into account social, cultural, psychological and other differences between cultures and recipients of the original and localized texts, as well as the reconstruction of the original communicative situation taking into account all its components, but within a different socio-cultural space, but preserving the original experience. Such adaptation inevitably goes beyond semantic and syntactic transformations and requires taking into account extralinguistic factors (including the personal characteristics of the recipient, the conditions for transmitting information, etc.). At the same time, the pragmatic significance within the localization is determined directly through the recipient of the message, who acts as the core of the communication act and must have all the necessary contexts for successful communication (i.e. impressions emotions, actions), and the text itself in localization is considered in a discursive perspective, i.e. as a speech unit interconnected with all other texts responsible for the translation of intentional content ^[2].

Within the framework of the language localization of video games, there are four main levels. The first level includes localization of the “cover” of the game (boxes /pages in the digital store and related documentation). Depending on the level of the audience's proficiency in the original language of the game, cultural proximity and the amount of language content in the game, this level may in some cases act as the only stage of localization. The second level represents partial localization of the game, i.e. adaptation of all written texts and culturally specific components, but without localization of oral texts (including both re-sounding of these texts and accompanying them with localized subtitles). The third level is a partial localization containing localized subtitles accompanying the oral replicas of the characters of the game. Finally, the fourth level represents the complete localization of the game, including the translation and adaptation of all written and oral texts, as well as the re-sounding of oral texts in the localization language, taking into account the original features of the characters' speech. Localization transforms the original content presented in the game in order to preserve the original gaming experience, and the current practice of localization of video games is called "deep localization", "indicating an improvement in the (social) cultural expectations of consumers", including changing or excluding "certain game elements that are unfavorable or may be misinterpreted by the target culture", "changing storylines and locations so as not to scare away consumers in certain countries” ^{[3, 7]}.

Thus, the main difficulty of the language localization of video games is to achieve not only the adequacy of translation, but also the authenticity of the gaming experience by adapting elements and features of a particular game, the perception of which has cultural (or linguistic) specifics and therefore needs to be transformed, taking into account the features of both the original game and the culture of the localization language. Game localization is an exclusively functional approach to translation and uses a number of methods to fulfill the main goal, i.e., to preserve the gaming experience; in this regard, not only traditional criteria for the quality of translation seem irrelevant, but also a number of approaches to its implementation, and the fundamental principle is not so much linguistic as emotive reliability of translation. To implement this principle, new approaches to translation are being formed within the framework of game localization, which include 1) domestication and forenization 2) lack of translation, 3) literal translation, 4) censorship, 5) references, 6) compensation, and, finally, 7) transcreation ^[8].

Transcreation is a special approach to translation, allowing full translation freedom and any translation transformations to achieve the adequacy of translation; transcreation is most widely used in games based on detailed narrative models and deep storylines (in particular, in role-playing and adventure games), which not only provide, but also require the greatest creative and translation freedom ^[8]. Thus, transcreation tends not to convey the original message, but to preserve the original meaning, whereas the relevance of transcreation is directly determined by the difference between the cultures and languages involved in localization, and can be applied to any texts presented in the game.

Collection and description of empirical research material

The empirical basis of the study is the localization texts of the Team Fortress 2 video game, selected and presented in tabular form during work with localization files. To get access to these localization files, the GCFScape tool is used, which allows you to unpack archive files of the format.VPKs used to store game files in video games on the Source game engine.

In the course of working with localization files, replicas of characters, names of objects, game locations, creatures, achievements and other elements, their descriptions, as well as components that form game universes are analyzed. Thus, a total of 19553 texts were considered, in particular, 14,837 replicas of characters and 4,716 names, including 3,676 names of objects and 1,040 names of achievements.

The game Team Fortress 2 contains both independent oral (i.e. voiced texts that do not duplicate written texts, as well as those tied to animation and/or time of voicing) and independent written texts (i.e. texts themselves that do not have additional voicing), including cultural realities and references caused by the game universe: in the game features nine characters belonging to different cultures and social strata, which is reflected in every aspect associated with a particular character, including speech and prosodic parameters of speech, related items and achievements (including their names) — these features of the game have determined the widespread use of transcreation in the preparation of localization into Russian.

In total, out of 19553 texts presented in the game Team Fortress 2, 2124 localized verbal replicas, 167 localized names of weapons items, 1671 names of accessories, 93 names of ridicule (special animations available for players to play) and 520 localized names of achievements were considered, i.e. a total of 4569 localized texts. However, it is important to exclude the so-called "interjection replicas" from the total number of localized oral replicas, i.e. informatively unfilled replicas expressing spontaneous reactions of characters: to receiving damage, death groans, laughter, etc. Despite the fact that these replicas are re-voiced along with others, they seem irrelevant within the framework of this study. As a result, excluding 240 "interjection replicas", the Russian localization of the game Team Fortress 2 contains 1,884 localized oral replicas; the total number of localized texts is 4,335, of which 216 (i.e. 5%) are localized through transcreation. Thus, in the course of working with the localization of Team Fortress 2, for the convenience of analysis, five initial groups of replicas were identified (not based on transcreation):

- character replicas (76 texts from 1884, 4.09%);

- names of weapons items (26 texts out of 167, 15.6%);

- names of accessories (59 texts out of 1671, 3.5%);

- names of ridicule (13 texts out of 93, 14%);

- names of achievements (42 texts out of 520, 8.08%).

Transcreation Strategies in Video Game Localization

The analysis of the selected empirical material, carried out on the basis of the initial groups of replicas, allowed us to identify four main strategies (or approaches to) transcreation of independent and non-independent oral and written texts in relation to the localization of video games from English into Russian, conditioned simultaneously by the specifics of the original texts and the translation solutions used:

• Transcreation of language features, namely:

2.      Transcreation of cultural realities and culturally relevant allusions, which include names, phenomena and works (or parts thereof) relevant within the English-speaking culture, as well as stereotypical representations of representatives of different nationalities relevant within the English-speaking culture.

3.      Audio-visual transcription, which involves a combination of a visual aspect (the appearance of an object or accompanying image) with a textual one (including oral and written texts) when translating the names of weapons, accessories and achievements.

4.      Transcreation within the game universe, representing transformations based on the features of the game world and its history (i.e., the setting) and allowing full translation freedom. This strategy to a certain extent represents an analogy of transcreation based on audiovisual and is based on the presence of not a visual aspect, but knowledge about the game (from the translator), and receiving expression in relation to texts that do not have additional accompaniment.

At the same time, there is a wide intersection of transcreation strategies, that is, the use of several strategies in relation to one text: for example, there is a high frequency of intersection of the strategy of transcreation of linguistic features and the strategy of transcreation of cultural realities and culturally relevant allusions with transcreation based on the principle of audiovisual in relation to objects, accessories and achievements, which is due both directly to the game universe (and, as a consequence. the freedom provided to translators in transformations to preserve the original expression through any kind of transformations), and the audiovisual nature of a number of original names defined and explained by the named objects — which in turn determines the audiovisual nature of localization as a whole. At the same time, as an independent (out of connection with others) transcreation strategy based on audiovisual is used only in individual cases. In addition, the transcreation of a number of realities and references is realized only through linguistic features, while individual examples demonstrate the intersection of all the noted strategies.

Despite the wide overlap of these strategies, the analysis allows us to single out each of them as relevant due to differences in their implementation. Moreover, the intersection suggests that the highlighted strategies most accurately reflect the practical application of transcreation in the localization of English game content into Russian, since the exclusion of one of the overlapping strategies is not possible and thus indicates a close relationship between the marked strategies in the practice of localization of game content.

Thus, the analysis carried out makes it possible to distinguish (taking into account intersections):

- 124 examples of transcreation of language features;

- 40 examples of transcreation of cultural realities and culturally relevant allusions;

- 27 examples of transcreation based on audiovisual;

- 16 examples of transcreation within the game universe.

The first transcreation strategy is represented by the transcreation of linguistic features, including wordplay, gaming slang, alliteration, onomatopoeia and transcreation based on metonymic transfer; the groups are identified based on the study and reflect the approaches available in translation practice to the adaptation of game content due to linguistic specifics, while other groups are allowed in relation to other game content, taking into account setting, genre and other parameters. This strategy demonstrates the highest frequency in comparison with the others, namely 124 examples, which is 60% of the total number of all examples, and a significant part of them in relation to this strategy are replicas of characters belonging to more than one group within the unifying strategy. It is noteworthy that other texts whose transcription is implemented in accordance with this strategy can be attributed only to one of the marked groups. Below are examples of transcreation of language features (see table 1).

Table 1. Examples of transcreation of language features.

Let's pay attention to examples of transcreation of replicas uttered by characters. So, the replica of The last word out of your sorry mouth will be 'sir' and it will be loud! in the Russian localization, converted into a replica, your last word will be “Eat!”!. When translating, the adaptation of the statutory military communication is obvious, which presupposes the requirement of an affirmative answer from a soldier of a lower rank to a soldier of a higher rank. In English, this answer gets an expression in the form of a combination of Yes, sir!, corresponding to the answer Is! within the framework of the Russian-language military discourse, and the difference in the number of units contained in the affirmative answer in English and Russian makes it possible to replace one initial unit representing part of the combination with one unit representing a full-fledged answer. However, it is noteworthy that the sorry (mouth) component is omitted in the Russian localization, as well as the final part of the replica ... and it will be loud.

Another original replica, Oh, I'm gonna beat you so hard you'll have a twitch!, in the Russian localization is transformed into a replica of I'll beat you so that you'll work on drugs all your life!. Russian Russian translation Despite the absence of a phraseological component in the original replica, it is introduced in the Russian translation to adequately convey the original expression by means of a winged expression You will work on medicines all your life!, which is familiar and understandable to the bearer of Russian culture and is able to cause an authentic reaction in him.

Let's consider examples of transcreation of language features in relation to various names of objects presented in the game. For example, the name of the Holy Mackerel item in the Russian localization has been transformed into the name of the Bream Pod, which is due to two overlapping strategies at the same time. Russian Russian name is a phraseological turn used to express surprise; therefore, the Russian name adapts the original turn by means of the Russian ironic stable combination of the bream name, which is introduced on the basis of the visual aspect: the called object represents a melee weapon in the form of a fish wrapped in a newspaper. Russian Russian name thus adapts the original phraseology by means of a visual aspect, creating irony that is obvious to a native speaker of the Russian language, adequately transforming the original expression.

The name AWPer Hand, in the Russian localization, has been transformed into the name Heffalump, adapting the original wordplay: the called object represents the Arctic Warfare sniper rifle, namely its police version of Arctic Warfare Police (= AWP), which has become widely known in video games as a weapon that causes significant damage and requires certain skills and abilities from the player, which it is played out in the original title through the upper hand idiom, indicating the presence of an advantage over someone (in this case, over other players). Russian Russian name, in turn, replaces the original wordplay with relevant gaming slang: in the Russian gaming community, the AWP rifle is called a Heffalump for its characteristic power. Despite the fact that this example demonstrates the shift of the strategy on which the original name is based, it also demonstrates the preservation of the original expression and (in a sense) the wordplay contained in the Russian slang name of the subject, which is realized precisely through the use of a different strategy (in this case, game slang instead of wordplay).

However, the omission is also noted in relation to names containing elements that have the same relevance for English-speaking and Russian-speaking players. Thus, the name Slo-Poke, formed from the word slowpoke, in the Russian localization has been transformed into the name Cov-boy, calculating the structure of the original name and based on the visual aspect of the called object, which is a cowboy hat with a feather and two shotgun cartridges, in connection with which this translation solution seems to be adequate to a certain extent. Russian Russian name loses its original expression, expressed through a reference to the word slowpoke, which means an excessively slow person and was part of the Russian youth slang (as transliteration of sloopok) at the time of adding the item to the game (December 20, 2013); it should be noted that this word entered Russian slang through a media franchise. Pokemon also refers to the eponymous character of this universe, which, in accordance with the nickname, is slow and stupid, i.e. causes an authentic reaction from a Russian-speaking player.

Thus, the strategy of transcreation of language features demonstrates a wide implementation in relation to all types of selected game texts, including both replicas of characters and names of objects, ridicule and achievements. First of all, there is a high degree of adequacy of the translation transformations being carried out, as well as a significant stylistic and expressive potential that allows preserving the original expression both by adapting the original elements (i.e. within the framework of one strategy) and by replacing the original elements and introducing new ones to achieve the authenticity of the translation (i.e. by replacing one strategy with another). Phraseology plays a special role in the adaptation, preservation and introduction of expression, which in some cases allows the development of the marked expressive potential due to the well-known relevance of stable expressions in the Russian language and the widespread use of phraseology in colloquial speech. In addition, there is a wide overlap of this strategy with others, especially with the strategy of transcreation based on audiovisual. At the same time, individual transformations associated with the adaptation of youth and gaming slang seem to be of little relevance (but not unsuccessful), which, however, if equivalence is not achieved and expression is lost, demonstrate a certain achievement of translation adequacy.

The second strategy of transcreation is represented by the transcreation of cultural realities and culturally relevant allusions, which include names, phenomena and works (or parts thereof) relevant within the English-speaking culture, as well as stereotypical representations of representatives of different nationalities relevant within the English-speaking culture. This strategy demonstrates significantly lower frequency compared to the strategy of transcreation of language features and includes 40 examples (including mainly names, including examples that overlap with other strategies), some of which are presented below (see Table 2).

Table 2. Examples of transcreation of cultural realities and culturally relevant allusions.

Let's pay attention to one of the replicas that include culturally conditioned transcreation: the replica Do you know what you and Jane Austen have in common? You're both dead women., which is pronounced by the Sniper character when killing the Arsonist character, in the Russian localization is transformed into a replica Do you know what you look like Clara Zetkin? You're a dead woman too. This example demonstrates the obvious adaptation of a name relevant within the English-speaking culture by replacing it with a name relevant within the Russian-speaking culture in order to achieve authenticity of the replica uttered by the character.

This strategy demonstrates, among other things, the adaptation of baseball-related vocabulary in names associated with the Scout character; this character is a rude and dexterous young man from the United States, and his characteristic feature is a passion for this sport, which in turn is of particular importance within American culture, which is widely reflected in English language. For example, the name Shortstop, which calls a defensive playing position in baseball, in the Russian localization has been transformed into the name Interrupter, adapting the reality irrelevant to the Russian-speaking player by directly naming the function performed by the baseball player in the named position, and directly called a weapon, an additional attack of which throws the opponent when hit (i.e. interrupting his movement in this way).

In addition, there are cases of direct adaptation, i.e. replacement of the original reality with the corresponding Russian reality. So, the name Doe-Boy in the Russian localization has been transformed into the name Sol-Doe-background. Russian Russian original name transforms the word Doughboy, representing the colloquial designation of American soldiers during the First World War; in Russian localization, this word is adapted by means of a similar Russian colloquial word denoting a soldier (soldafon) while preserving the internal syntax of the original name, which in turn is due to the reference within the game universe to the name of the Soldier character, Jane Doe (Jane Doe).

In this regard, the transformation of the name The Boosie Boys is of interest, naming an achievement for which a player needs to strengthen 15 teammates in one life with the help of the Inspiring Banner object. This name contains a reference to the Beastie Boys musical collective by means of the pun Beast / Boost, which beats the requirement to obtain an achievement (gain / boost). Russian Russian localization has transformed this name into the name Dobrynyushka International, which adapts the original reference, calling the Russian musical collective Ivanushki International (also International), and transforms the original wordplay, which allows us to talk about achieving (to a certain extent) the full adequacy of the translation within the framework of Russian culture.

Finally, we note the name Noh Mercy, referring to Noh, one of the types of Japanese drama theater, and playing off the English expression No Mercy, naming an accessory in the form of a Japanese theatrical mask Hannya, representing the image of a jealous wife in the form of a demon. This mask has two sharp bull horns, metal eyes and a half-open mouth from ear to ear. Russian Russian localization has transformed the name of the object by means of the visual aspect and on the basis of the meaning embedded in the original wordplay into the name Ruthless Demon, which, nevertheless, eliminates the original wordplay and reference to Japanese theatrical art due to obvious lexical differences between English and Russian, which do not allow reproducing the original pun.

Thus, the strategy of transcreating cultural realities and culturally relevant allusions represents implementation in relation to the names of objects, ridicule and achievements presented in the game. Within the framework of this strategy, a particularly high degree of adequacy of translation transformations is noted, however, admitting exceptional cases of incomplete adequacy. Nevertheless, this strategy has a high adaptive potential, preserving the original expressive potential and implemented by replacing names and phenomena relevant within the English-speaking culture with names and phenomena relevant within the Russian-speaking culture, including cases of direct adaptation, i.e. replacing the original reality with the corresponding Russian reality. In cases where the replacement of the original reality with a corresponding analogue is impossible due to cultural differences, adaptation is carried out by selecting an adjacent reality and generalization. In addition, there is an intersection of this strategy with others, including mainly a transcreation strategy based on audiovisual.

The third strategy of transcreation is represented by audio-visual transcreation, which involves a combination of the visual aspect (the appearance of the object or accompanying image) with the textual (in the framework of the study, the auditory aspect is understood in a broad sense as any text, including oral and written texts) when translating the names of weapons, accessories and achievements. As part of the research work, the transformations implemented through this strategy especially need additional explanations due to the need for a written presentation of the visual aspect defining the transformations within the strategy. It is noteworthy that this strategy refers exclusively to the names of objects (including accessories), ridicule and achievements, which is due to the presence of an accompanying visual aspect in these texts and, consequently, the absence of this aspect in the replicas of the characters. This strategy includes 27 examples, including 3 examples of self-transcreation in accordance with this strategy (i.e. without overlapping with others), some of which are presented below (see Table 3).

Table 3. Examples of transcreation based on audiovisual.

Let's pay attention to the transformations performed exclusively in accordance with this strategy. So, the name Two Punch Mann, which calls the headdress for the character Machine Gunner in the form of a colored ribbon with a pair of boxing gloves attached to the ribbon by springs, in the Russian localization has been transformed into the name of the Boxer's Revenge. Another name, Safe'n'SOUND, which calls the headdress for the character Engineer and represents protective noise-absorbing headphones, in the Russian localization is transformed directly into the name Noise-absorbing headphones. These examples demonstrate an obvious reliance on the visual aspect of the named objects in the implementation of transformations, while maintaining semantic links with the original names.

Note the names, the transcreation of which is implemented at the intersection with other strategies. Russians Russian localization, for example, the name Fruit Shoot, which names a headdress in the form of an apple pierced by an arrow, has been transformed into a name In the bullseye, introducing a Russian stable turnover, denoting an accurate hit and beating the so-called accessory. The name Most Dangerous Mane, representing an accessory for the Sniper character in the form of a mustache and sideburns, in the Russian localization has been transformed into the name Unshaven and dangerous, beating the expression Armed and Dangerous and directly the visual aspect of the called object, as well as adapting the original reference to the film The Most Dangerous Game (orig. Most Dangerous Game) by eliminating it in favor of phraseology.

Thus, the audio-visual transcreation strategy demonstrates a significant adaptive potential in relation to the names of objects, ridicule and achievements presented in the game, implemented based on the accompanying visual component. There is a high degree of adequacy of transformations, as well as a significant expressive potential of the transformations being implemented, the implementation of which is limited exclusively by the visual aspect, allowing for a complete mismatch of localized and original texts, if necessary, the correspondence of localized texts to the so-called subjects. In addition, there is a predominant "lack of independence" of this strategy and the predominance of texts transformed by crossing with other strategies.

The fourth strategy of transcreation is represented by transcreation within the game universe, representing transformations based on the features of the game world and its history (i.e., the setting) and allowing full translation freedom. This strategy to a certain extent represents an analogy of the transcreation strategy based on audiovisual and is based on the presence of not a visual aspect, but knowledge about the game (from the translator), and is expressed in relation to texts that do not have additional accompaniment. At the same time, unlike transcreation based on audiovisual, this strategy demonstrates preferential "independence", including 3 examples of transformations performed at the intersection with other strategies, and 13 examples of transformations performed exclusively within the game universe (a total of 16 examples). Some of these examples are presented below (see table 4).

Table 4. Examples of transcreation within the game universe.

Let's pay attention to examples of independent transformations. For example, the remark I own ya, ya pickle-headed drongo!, which is uttered by the Sniper character when killing the Soldier character, in the Russian localization is transformed into the remark I fucked you, a blockhead in a helmet!, adapting the original swear word taking into account both the rudeness characteristic of the Sniper and the tendency to intolerant derogatory statements (some examples are discussed above), thus allowing the use of any swear word, as well as a characteristic attribute of a Soldier's appearance — an army helmet that does not fit the character in size.

Note a striking exception to the general rule of euphemization: the original replica of Take that, ya greasy weasel received the expression Get it, a sugary faggot in Russian localization, despite the absence of obvious obscene subtext in the original replica, taking into account, among other things, the prosodic parameters of the speech of the character uttering the replica, however, this transformation may (in part) be explained by the peculiarities of the relationship of the characters of the game: this remark is uttered by the Sniper character when killing the Spy character, whom the first hates for the fighting style and character and who, as noted above, is characterized by rude and derogatory statements.

The replica You look like death warmed over, which is uttered by the Spy character when the Arsonist character is killed, in the Russian localization is transformed into the replica Yes, there is no face on you!, adapting the original idiom denoting a person who feels bad because of illness, and indicating the dangerous propensity of the Arsonist to pyrotechnics, as well as playing the feature of this a character consisting in constantly wearing a gas mask that completely hides the face and is not a default accessory that can be replaced, like the accessories of all other characters in the game. We can say that the Arsonist really does not have a face, both from the point of view of the game universe, in which the character always wears a gas mask, and from the point of view of the real universe, in which this character does not have a face model.

Let's note the examples of transcreation of names implemented in accordance with this strategy. So, the name of the achievement Cry Some Moor, for which it is necessary to destroy 50 enemy buildings for the character Bomber, in the Russian localization is transformed into the name Cutting the territory, eliminating the original wordplay: the original name refers to the replica Cry some more!, which is pronounced by the character Machine Gunner, beating the fact that both characters in the original game are voiced one actor. Nevertheless, this reference does not seem relevant for the Russian-speaking player both because of obvious linguistic differences (which, however, are not the main obstacle in relation to this replica), and because in the Russian localization the characters of the Bomber and the Machine Gunner are voiced by different actors.

Another name of the achievement, Marxman, for which it is necessary to kill ten opponents from a machine gun in the air, playing for the character Machine Gunner, in the Russian localization has been transformed into the name Voroshilov Shooter, adapting the original wordplay formed on the basis of combining the surname Marx (referring to Karl Marx) and the word marksman (Rus. marksman), playing up the Soviet origin and communist views of the character, as well as the requirement for obtaining an achievement. The Russian name loses its original wordplay, but adapts the original expression and retains the second component of the meaning of the original name through phraseology, obvious to the Russian-speaking player.

Thus, the transcreation strategy within the game universe demonstrates selective implementation in relation to individual replicas and names, the transformation of which seems relevant mainly from the point of view of the game world. The implemented transformations achieve a high degree of adequacy, and also have a significant expressive potential. In addition, in comparison with other strategies, especially the strategy of transcreation based on audiovisual, there is a predominant "independence" of transformations based on this strategy and the predominance of texts transformed exclusively within the framework of this strategy.

Conclusion

Thus, the conducted research, highlighting the main strategies of transcreation of independent and non-independent oral and written texts in English-Russian localization, allows us to talk about transcreation as a relevant approach in relation to localization of independent oral texts and therefore suggesting the need for transcreation in order to transform the source texts due to the audiovisual nature of localization. In addition, the study demonstrates the need for transcreation in relation to cultural allusions, realities and linguistic features presented in video games, which involve forced adaptation due to the cultural and/or linguistic specifics of the presented content.

In conclusion, the study allows us to characterize transcreation as a translation phenomenon that determines the adequacy of translation (i.e., the achievement of authenticity of the reaction that the translation causes, the reaction that the original causes) not only as the main, but also as the only goal and criterion of translation, allowing for any translation transformations and complete mismatch of the original and translated texts in form at the maximum complete coincidence in meaning (and, as a consequence, exclusive reliance directly on meaning), which allows us to speak about the achievement of a common authenticity of Russian localization. At the same time, the relevance of transcreation in relation to the localization of video games does not seem to be universal, but is determined by a number of reasons, depending on the genre, setting and content (from the point of view of cultural and linguistic-specific content) of the game, as well as the need for transcreation from the point of view of the developer.

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