We’ve come to a juncture where companies openly declare their bias and agenda when it comes to adapting Japanese products for foreign audiences, effectively confirming that the practice of localization is none other than a form of cultural colonization.
Capcom has consistently drawn attention by championing inclusive global values while simultaneously implementing controversial localized “translations” when bringing Japanese media to Western audiences.
The company has taken a strong stance against game modifications in single-player games, equating them to cheating, likely influenced by the proliferation of adult-oriented modifications for female protagonists. Notably, Capcom has been actively censoring its revamped Resident Evil titles, editing out problematic voice lines and toning down the designs of female characters to reduce “sexism” and attractiveness.
Furthermore, Capcom has even retroactively integrated Enigma Protector DRM solutions into older titles, seemingly aimed at dissuading game modding for titles that have long been cracked.
The presentation featured slides denouncing the portrayal of female characters in revealing attire, while praising male characters who are depicted as “exposed”. It advocated for gender equality in character design and customization, cautioning against offensive stereotypes such as racial or ethnic caricatures.
Specifically, it advised against designing diverse characters with a “hip hop theme” or with afros, Capcom also condemned the trope of the damsel in distress, that women are inherently weak and are in need of rescue.
The slides touched on sexuality, LGBTQ representation, and women in gaming. A slide highlighted games like The Last of Us Part II and Shadow of the Tomb Raider as positive examples of LGBTQ characters, emphasizing the importance of portraying them as appealing as male characters and promoting them equally.
However, Capcom acknowledged that certain regions may hold negative views towards LGBTQ characters, particularly those in the Middle-East for example. Words of advice, it’s worth reevaluating your stance on supporting Palestine if you identify as gay, trans of non-binary.
On the other hand, Nintendo’s Princess Peach and Zelda were cited as examples of negative stereotypes of women because of their roles as damsels in distress. Interestingly, the image used for Zelda was from Breath of the Wild, where the character assumes a more proactive role, challenging the stereotype.
Certainly, Capcom has embraced the trend of “inclusivity” in their game development approach. They now aim to appeal to a broader, more global audience, often termed “modern audiences.” This shift aligns with the principles of ESG (Environmental Social Governance), pushed by Larry Fink, CEO of BlackRock.
Capcom strongly advocates for ESG principles, where Environmental, Social, and Governance factors are intertwined with Diversity, Equity, and Inclusion (DEI) initiatives, leading to similar outcomes for gamers.
This manifests in video games striving for maximum inclusivity, with gender notions replaced by “body types,” featuring progressive and “realistic” female characters, and incorporating LGBTQ and ethnic representation at an accelerated pace.
However, this trend has also resulted in the erasure of femininity, because attractive female character designs are deemed “sexist” by Western feminists and beauty disrupts the ESG process. So female characters are now designed to be as ugly, unappealing and androgynous as possible. They are designed to be “inclusive” and “realistic” and if you just so happen to find them repulsive, well then you’re just a bigot as far as they’re concerned.
The principle of localization, fundamentally, is to translate content from one language to another with minimal alterations. However, it’s widely recognized that many Western localizers involved in bringing Japanese content such as video games, manga, and anime to broader audiences often inject their own agendas and biases into the material, lacking both the skill of a proficient translator and subtlety when it comes to desecrating Japanese material with Western babble.
Repeatedly, fans of Japanese franchises have faced the frustrations of progressive individuals imposing their own cultural takes on Japanese products. For instance, in Granblue Fantasy Versus: Rising, the localization team shat all over the original script with phrases like “simper no simping,” mirroring a common phrase from Dora the Explorer.
The localization also made significant adjustments to a scene where dark-skinned male characters were complimenting female characters, praising their white skin as being “like snow” and beautiful.
The revised version of the scene simply suggests that the characters should instead “get some Vitamin D,” a statement that could be interpreted as either an anti-White remark or a sexual innuendo.
Another common occurrence in localized Western releases of Japanese products is the tendency for translations to be excessively embellished, often straying far from the original dialogue. This can happen because the translation team believes they can improve upon the original creators’ work, or perhaps because they’re being paid based on word count.
Regardless of the reason, embellished translations, even if technically “accurate,” such as those found on Unicorn Overlord, can significantly change the context of the original dialogue.
But at its core, localizations are often handled by individuals with their own agendas, aiming to eliminate “problematic” content from the source material or impose their personal beliefs on audiences.
These individuals unabashedly tarnish the work of others. For instance, JelloApocalypse, when contracted for a revised localized dub of Lovely Complex by Sound Cadence Studios, openly expressed his disdain for the series and proudly stated his intention to drastically modify its script to “enhance” the show.
Another example is the outspoken misandrist, Yukinogatari, who altered the term “tsundere” in the localized release of House of Fata Morgana to “fragile male ego.” Localizers are nothing more than an invasive cancer that undermines Japanese creators to promote their own agenda. This is why they are apprehensive about the thought of AI translations.
Japanese developers have caught on, and are now altering their games at the source itself to be as inoffensive to Western parasites, such as how SEGA altered a “transphobic” scene within Persona 3 Reload across all regions, SEGA themselves promoted an article from The Japan Times that explores the ongoing localization debate, focusing on its purported “evolution” and the hurdles game developers encounter when translating their games for international audiences.
Notably, major Japanese game developers are increasingly engaging in self-censorship as part of the localization process. However, the localizers themselves often try to gaslight consumers by claiming to be “fans” of Japanese products, insisting that their translations do not impose Western cultural values on foreign material.
They’ll call you a “conspiracy theorist” for believing that they’re subverting Japanese products and imposing their own cultural swing and agendas upon them, but they’ll never call you a liar.
As progressive localizers gaslight consumers regarding their imperialistic activism, the official Capcom Localization Team has been candid about what many have long suspected. They openly stated on Twitter that “localization isn’t about translating words,” but rather it’s about “adapting the game to global audiences.”
Capcom further asserted that, in their perspective, maintaining the “vibe” of a game took precedence over delivering an accurate translation of its original source material.
Their tweet underlines the concept of “The Importance of Context,” stating that losing content in translation is inconsequential as long as it “preserves the vibe.” They emphasized the necessity for a “cultural remix” to accommodate jokes, references, and gameplay elements.
The Capcom Localization Team declared that localization is essentially about “capturing the essence of the story in a way that resonates with the target audience.” To them, it’s not just about translating words; accuracy holds little significance.
Therefore, they see no issue with integrating Western lingo and slang such as “sus” and “cringe” into the source material, deeming it perfectly acceptable, because it’s about the “target audience.”
The team went on to declare their full embrace of “wokeness,” implementing cultural sensitivity changes in characters and promoting inclusive language and representation. This aligns with what devoted fans of Japanese media have long asserted: localization often involves sanitizing and compromising the source material to please figures like Larry Fink, aiming to bolster ESG standings and attract more financial investments.
However, the main drive appears to be placating the hoard of irate Twitter enthusiasts who routinely condemn video games as racist and offensive. Capcom asserts that localizers play a vital role in ensuring characters are “relatable” and that any negative stereotypes or portrayals of inclusive characters are removed or altered.
Localization is framed as a means to “promote inclusivity” through language and representation, often achieved by sanitizing the source material, ultimately alienating devoted audiences in favor of an imagined “modern” demographic.
This process encompasses more than just linguistic adjustments; it also involves addressing gender-specific language, cultural norms, and diverse perspectives. The goal is to craft an “immersive experience” where players from various backgrounds can “connect” with the characters and storyline.
For example, in the English localized release of Fire Emblem: Engage, significant changes were made to the original Japanese script regarding romantic interactions.
While in the original version, all romance options would inevitably lead to marriage, the English release drastically altered this aspect. Instead, the protagonist’s relationship with characters was toned down to simply becoming close friends instead.
Capcom further elaborated, stating, “Humor often relies on cultural references and wordplay, posing a significant challenge in game localization. Translators must deftly navigate puns, jokes, and cultural references to preserve the intended comedic impact. This demands a profound understanding of the target audience’s sense of humor while remaining faithful to the original wit.”
The post concludes with a section titled “Consistency in Terminology,” emphasizing its importance for a seamless and coherent gaming experience. It states, “Maintaining consistency in terminology is vital for a cohesive gaming experience.
This involves not only translating words but also ensuring that game mechanics, instructions, and lore are consistently represented across languages. Establishing a unified language system helps mitigate confusion and enhances the overall gaming experience for players worldwide.”
It’s great that Capcom has publicly embraced woke ideology, actively promoting cultural sensitivity in character portrayal and inclusive language and representation in their recent titles.
The fact that Capcom has confirmed what many have suspected for some time now provides wary consumers with a reason to boycott the company and refrain from blindly purchasing their products.
Many companies have made it clear that they don’t want consumers’ money, and Capcom, like many others, appears to have its own agenda and harbors disdain for its audience.
This sentiment may explain why younger audiences are increasingly turning to retro games, finding enjoyment in gaming experiences from the past more than ever before.
