{"id":489,"date":"2025-08-08T12:56:11","date_gmt":"2025-08-08T10:56:11","guid":{"rendered":"https:\/\/www.rusalka-samyzdat.sk\/?p=489"},"modified":"2025-08-14T09:34:37","modified_gmt":"2025-08-14T07:34:37","slug":"komentovany-preklad-videohry-%d0%bf%d0%b0%d0%ba%d0%b5%d1%82-%d1%81-%d0%bc%d0%be%d0%bb%d0%be%d0%ba%d0%be%d0%bc-%d0%b2%d0%bd%d1%83%d1%82%d1%80%d0%b8-%d0%bf%d0%b0%d0%ba%d0%b5%d1%82%d0%b0-%d1%81","status":"publish","type":"post","link":"https:\/\/www.rusalka-samyzdat.sk\/?p=489","title":{"rendered":"Komentovan\u00fd preklad videohry \u00ab\u041f\u0430\u043a\u0435\u0442 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430\u00bb"},"content":{"rendered":"\n
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Autor: Adam W\u00e1gner
Korekt\u00fara: Ter\u00e9zia Siv\u010d\u00e1kov\u00e1 <\/p>\n<\/div>\n\n\n\n

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V\u202ftejto odbornej pr\u00e1ci sa budeme venova\u0165 procesu komunitnej lokaliz\u00e1cie hry \u00ab\u041f\u0430\u043a\u0435\u0442 \u0441\u202f\u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430\u00bb <\/em>(Milk Inside a Bag of Milk Inside a\u202fBag of Milk), ktorej autorom je Nikita Kriukov1<\/sup>. T\u00e1to hra sa stala uzn\u00e1vanou vizu\u00e1lnou novelou a\u202fje jednou z\u202fm\u00e1la hier, ktor\u00e9 boli p\u00f4vodne v\u202fruskom jazyku a\u202fdosiahli celosvetov\u00fa sl\u00e1vu. Budeme sa v\u202fplnom rozsahu venova\u0165 lokaliz\u00e1cii a\u202fv\u00fdzvam, ktor\u00e9 hra prin\u00e1\u0161a. V\u202fkoment\u00e1ri sa zameriame najm\u00e4 na jazykov\u00e9 a\u202ftechnick\u00e9 probl\u00e9my. <\/pre>\n<\/div>\n\n\n\n
Hist\u00f3ria lokaliz\u00e1cie<\/strong><\/h2>\n\n\n\n
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Potreba lokaliz\u00e1cie siaha do 80. a\u017e 90. rokov 20. storo\u010dia, ke\u010f\u017ee s rast\u00facou popularitou internetu sa softv\u00e9ry z USA roz\u0161\u00edrili po celom svete[2]<\/a>[3]<\/a>. Odtia\u013eto aj poch\u00e1dza term\u00edn lokaliz\u00e1cia, z anglick\u00e9ho localization,<\/em> odvoden\u00e9 od slova locale<\/em> (Esselink 2000, s. 1), <\/em>ktor\u00fd zaviedli softv\u00e9rov\u00ed v\u00fdvoj\u00e1ri koncom 80. rokov 20. storo\u010dia \u201eako ozna\u010denie zavedenia jazykovo-kult\u00farnych prvkov, ktor\u00e9 sa pova\u017eovali za cudzie p\u00f4vodn\u00e9mu zdrojov\u00e9mu k\u00f3du, obsahu a pou\u017e\u00edvate\u013esk\u00e9mu rozhraniu v americkej angli\u010dtine\u201c[4]<\/a>. Fakt, \u017ee lokaliz\u00e1ciu pozn\u00e1me pribli\u017ene 40 rokov, z nej rob\u00ed relat\u00edvne mlad\u00fa translatologick\u00fa subdiscipl\u00ednu[5]<\/a>. Lokaliz\u00e1cia je pod\u013ea Lomella[6]<\/a> ch\u00e1pan\u00e1 nasledovne: \u201eLokaliz\u00e1cia je proces \u00fapravy produktov alebo slu\u017eieb s cie\u013eom zoh\u013eadni\u0165 rozdiely na r\u00f4znych trhoch.\u201c. Konkr\u00e9tnej\u0161ie zastre\u0161uje prekladate\u013esk\u00e9 procesy, ktor\u00e9 sa t\u00fdkaj\u00fa digit\u00e1lnych textov, napr\u00edklad softv\u00e9r[7]<\/a>.<\/p>\n<\/div>\n\n\n\n
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Softv\u00e9r sa v lokaliz\u00e1cii del\u00ed na dva typy: hern\u00fd a nehern\u00fd. Pod\u013ea tohto delenia vznikaj\u00fa v lokaliz\u00e1cii r\u00f4zne \u0161pecifik\u00e1. Nehern\u00fd softv\u00e9r sa bl\u00ed\u017ei viac k odborn\u00e9mu prekladu, ako sa spom\u00edna aj v \u010dl\u00e1nkoch zborn\u00edka Odborn\u00fd preklad 4[8]<\/a>. <\/em>Cie\u013eom nehern\u00e9ho softv\u00e9ru je pou\u017e\u00edvate\u013eom poskytn\u00fa\u0165 pomoc pri vykon\u00e1van\u00ed \u00faloh efekt\u00edvnym a organizovan\u00fdm sp\u00f4sobom. Cie\u013eom hern\u00e9ho softv\u00e9ru je pou\u017e\u00edvate\u013eom (hr\u00e1\u010dom) poskytn\u00fa\u0165 z\u00e1bavu cez r\u00f4zne pr\u00edbehy a svety. To sp\u00f4sobuje, \u017ee preklady hern\u00fdch softv\u00e9rov maj\u00fa viac spolo\u010dn\u00e9ho s prekladom hudby alebo kinematografie, teda s kult\u00farnym sektorom. Dalo by sa teda poveda\u0165, \u017ee rozdiel medzi hern\u00fdm a nehern\u00fdm softv\u00e9rom tvoria dva faktory: pr\u00edbeh a prostredie[9]<\/a>.<\/p>\n<\/div>\n\n\n\n
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U\u017e v 70. rokoch dosiahli popularitu hry ako Pong <\/em>(Atari, 1972) alebo Space Invaders<\/em> (Taito, 1978) a popularita r\u00f4znych ark\u00e1dov\u00fdch hier, napr\u00edklad Pac-Man <\/em>(Namco, 1980), ktor\u00e9 boli prim\u00e1rne programovan\u00e9 v anglickom jazyku. Tieto hry sa v\u0161ak vo ve\u013ekom pred\u00e1vali aj v Nemecku, Franc\u00fazsku a \u0160panielsku[10]<\/a>. Najv\u00e4\u010d\u0161\u00ed po\u010det lokaliz\u00e1ci\u00ed bol v\u0161ak priamo medzi Japonskom a USA, teda hlavne smerom z japon\u010diny do angli\u010dtiny. Mohla za to japonsk\u00e1 spolo\u010dnos\u0165 Nintendo, ktor\u00e1 mala pobo\u010dku aj v Amerike. Spolo\u010dnos\u0165 Nintendo bola v 80. rokoch obrom v takzvan\u00fdch \u201ekonzolov\u00fdch vojn\u00e1ch\u201c a jej hry zo\u017eali obrovsk\u00fd \u00faspech. Pre americk\u00fd trh museli by\u0165 \u010dastokr\u00e1t ve\u013emi kreat\u00edvne upravovan\u00e9, v\u00e4\u010d\u0161ina post\u00e1v v origin\u00e1loch nemala meno, napr\u00edklad Jump-Man <\/em>alebo The Lady<\/em>, z ktor\u00fdch sa stali Mario<\/em> a Polly<\/em>[11]<\/a>. Tieto preklady boli sk\u00f4r produktom toho, \u017ee sa Nintendo sna\u017eilo vy\u0165a\u017ei\u0165 \u010do najviac z \u00faspechu t\u00fdchto hier a  pri samotnom programovan\u00ed hry sa s nimi ner\u00e1talo. I\u0161lo o takzvan\u00fa post-gold <\/em>lokaliz\u00e1ciu, teda lokaliz\u00e1ciu, ktor\u00e1 za\u010dala a\u017e po ukon\u010den\u00ed p\u00f4vodnej hry[12]<\/a>.<\/p>\n<\/div>\n\n\n\n
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Pre lokaliz\u00e1ciu je \u0161pecifick\u00fd napr\u00edklad k\u00f3d hry. Ak je dod\u00e1vate\u013e lokaliz\u00e1cie zodpovedn\u00fd aj za integr\u00e1ciu lokalizovan\u00fdch textov do hry, v\u00fdvoj\u00e1ri by mu mali poskytn\u00fa\u0165 zdrojov\u00fd k\u00f3d potrebn\u00fd na integr\u00e1ciu lokalizovan\u00fdch verzi\u00ed hry a v\u0161etky in\u0161tala\u010dn\u00e9 s\u00fabory potrebn\u00e9 na ich spustenie. Preklad hern\u00fdch softv\u00e9rov m\u00e1 niekedy aj audiovizu\u00e1lnu zlo\u017eku, napr\u00edklad sa neprekladaj\u00fa len titulky, ale rob\u00ed sa aj dabing. Akademick\u00e1 obec lokaliz\u00e1ciu a audiovizu\u00e1lny preklad e\u0161te st\u00e1le odde\u013euje[13]<\/a>, ale v pr\u00edpadoch dabingu s\u00fa lokaliz\u00e1tori n\u00faten\u00ed pracova\u0165 aj s audiov\u00edziou, a teda aj s obrazov\u00fdmi a zvukov\u00fdmi s\u00fabormi. Tieto zvukov\u00e9 s\u00fabory m\u00f4\u017eu formova\u0165 to, ako preklad vyzer\u00e1. Ak m\u00e1 prekladan\u00e1 hra aj dabing, preklad sa mus\u00ed dr\u017ea\u0165 pravidiel prekladu audiov\u00edzie. Probl\u00e9mom pri dabingu je napr\u00edklad zhoda hovoren\u00e9ho textu s pohybom pier[14]<\/a>. Pre lokaliz\u00e1ciu, \u010di u\u017e hern\u00fdch alebo nehern\u00fdch softv\u00e9rov, s\u00fa \u0161pecifick\u00e9 \u0161tylistick\u00e9 pr\u00edru\u010dky. \u0160tylistick\u00e1 pr\u00edru\u010dka sa ch\u00e1pe ako pr\u00edru\u010dka, ktor\u00e1 popisuje pravidl\u00e1 na \u0161tandardiz\u00e1ciu p\u00edsania a form\u00e1tovania dokumentov[15]<\/a>. Tieto pr\u00edru\u010dky s\u00fa nevyhnutnou pom\u00f4ckou ka\u017ed\u00e9ho lokaliza\u010dn\u00e9ho t\u00edmu. Hoci s\u00fa niektor\u00e9 dostupn\u00e9 online, ako napr\u00edklad terminol\u00f3gia Microsoftu, Sony a Nintendo svoju terminol\u00f3giu nepublikuj\u00fa[16]<\/a>. Toto vie zasiahnu\u0165 najm\u00e4 kvalitu fan\u00fa\u0161ikovsk\u00fdch prekladov.<\/p>\n\n\n\n
Lokaliz\u00e1cia hern\u00fdch softv\u00e9rov je na Slovensku od 90. rokov, ale doteraz je ve\u013emi slabo zast\u00fapen\u00e1. Tento fakt je napr\u00edklad podlo\u017een\u00fd najpopul\u00e1rnej\u0161ou platformou, ktor\u00e1 poskytuje videohry, platforma Steam. Steam je slu\u017eba spolo\u010dnosti Valve Corporation a sl\u00fa\u017ei na digit\u00e1lnu distrib\u00faciu a predaj videohier.<\/p>\n<\/div>\n\n\n\n
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V roku 2024 bolo pod\u013ea najnov\u0161\u00edch \u0161tatist\u00edk zo str\u00e1nky SteamDB[17]<\/a> na tejto platforme publikovan\u00fdch rekordn\u00fdch 18 997 hier a od spustenia platformy bolo vydan\u00fdch vy\u0161e 100 000 hier. Steam m\u00e1 pribli\u017ene 39 mili\u00f3nov pou\u017e\u00edvate\u013eov a za posledn\u00fd rok predali 704 mili\u00f3nov k\u00f3pi\u00ed s obratom, ktor\u00fd sa bl\u00ed\u017ei k hodnote 11 mili\u00e1rd. Steam s\u00edce poskytuje iba hry na po\u010d\u00edta\u010d, ale tvor\u00ed obrovsk\u00fa \u010das\u0165 trhu. Tu nast\u00e1va probl\u00e9m s lokaliz\u00e1ciou do slovensk\u00e9ho jazyka. Ve\u013ek\u00e9 spolo\u010dnosti pozeraj\u00fa na to, kde sa ich produkty pred\u00e1vaj\u00fa najviac, preto je v\u00e4\u010d\u0161ina star\u0161\u00edch hier lokalizovan\u00e1 do Japon\u010diny a jazykov FIGS, teda do franc\u00faz\u0161tiny, talian\u010diny, nem\u010diny a \u0161paniel\u010diny[18]<\/a>. Mal\u00ed v\u00fdvoj\u00e1ri, ktor\u00fdch hry vych\u00e1dzaj\u00fa v angli\u010dtine, zas lokalizuj\u00fa len do dvoch \u010di troch glob\u00e1lnych jazykov, ako portugal\u010dina, \u010d\u00edn\u0161tina, ru\u0161tina alebo \u0161paniel\u010dina[19]<\/a>. V\u0161etky tieto jazyky maj\u00fa pomerne vysok\u00e9 zast\u00fapenie a po\u010det hier s t\u00fdmto jazykom sa pohybuje od 50 000 do 60 000[20]<\/a>. Po\u010det hier so slovensk\u00fdm jazykom sa pohybuje okolo 2 000[21]<\/a>. Treba e\u0161te doda\u0165, \u017ee je \u0165a\u017ek\u00e9 odhadn\u00fa\u0165, ko\u013eko z t\u00fdchto hier m\u00e1 slovensk\u00fa lokaliz\u00e1ciu, ktor\u00e1 nie je uroben\u00e1 \u010disto strojom. Na platforme Steam sa nach\u00e1dza ve\u013ea hier od nezn\u00e1mych v\u00fdvoj\u00e1rov, ktor\u00e9 podporuj\u00fa vy\u0161e 100 jazykov, \u010do je ve\u013emi podozriv\u00e9, no ke\u010f\u017ee s\u00fa hry platen\u00e9, overi\u0165 to by bolo ve\u013emi finan\u010dne n\u00e1kladn\u00e9. Na Slovensku plat\u00ed z\u00e1kon, ktor\u00fd hovor\u00ed, \u017ee distribut\u00e9r multimedi\u00e1lneho diela, ktor\u00fd verejne roz\u0161iruje multimedi\u00e1lne dielo, ktor\u00e9 je pod\u013ea jednotn\u00e9ho syst\u00e9mu ozna\u010dovania klasifikovan\u00e9 ako vhodn\u00e9 pre vekov\u00fa skupinu malolet\u00fdch do 12 rokov, je zodpovedn\u00fd zabezpe\u010di\u0165 pre toto multimedi\u00e1lne dielo \u00fapravu do slovensk\u00e9ho alebo in\u00e9ho zrozumite\u013en\u00e9ho jazyka[22]<\/a>. Hoci v roku 2024 na platforme Steam vy\u0161lo nieko\u013eko tak\u00fdchto hier, ako napr\u00edklad Sonic X Shadow Generations<\/em> (Team Sonic, 2024) a Lego Horizon Adventures<\/em> (Guerrila Games, 2024), Valve Corporation m\u00e1 s\u00eddlo mimo Slovenskej republiky, konkr\u00e9tne v Luxembursku, a okrem toho tieto hry nie s\u00fa zameran\u00e9 iba na slovensk\u00fd trh, a preto nepodliehaj\u00fa t\u00fdmto pravidl\u00e1m. V tomto z\u00e1kone sa tie\u017e spom\u00edna in\u00fd zrozumite\u013en\u00fd jazyk, \u010do je implicitne nazna\u010den\u00fd \u010desk\u00fd jazyk. Tu vznik\u00e1 probl\u00e9m pre slovensk\u00fdch hr\u00e1\u010dov a v\u00fdhoda pre v\u00fdvoj\u00e1rov. \u010cesk\u00e1 republika m\u00e1 toti\u017e viac obyvate\u013eov, a teda aj v\u00e4\u010d\u0161\u00ed trh. Tento trh je e\u0161te nav\u00fd\u0161en\u00fd o \u010fal\u0161\u00edch 5 mili\u00f3nov \u013eud\u00ed \u2013 Slov\u00e1kov. N\u00e1b\u011blkov\u00e1[23]<\/a> hovor\u00ed, \u017ee slovensk\u00fd a \u010desk\u00fd jazyk s\u00fa pr\u00edbuzn\u00e9 a kult\u00fary t\u00fdchto jazykov s\u00fa vz\u00e1jomne prepojen\u00e9. Vznik\u00e1 medzi nimi vz\u0165ah, v ktorom s\u00fa dva jazyky \u2013 \u201eve\u013ek\u00fd\u201c a \u201emal\u00fd\u201c. Ve\u013ek\u00fd jazyk produkuje v\u0161etko s\u00e1m a mal\u00fd ochotne importuje kult\u00farne produkty v\u00e4\u010d\u0161ieho jazyka. To ist\u00e9 sa t\u00fdka aj videohier.<\/p>\n\n\n\n
Druh\u00fd pr\u00edpad vzniku lokaliz\u00e1cie s\u00fa fan\u00fa\u0161ikovsk\u00e9 preklady. Na Slovensku ide o najroz\u0161\u00edrenej\u0161iu formu sprostredkovania lokaliz\u00e1cie. S\u00fa takisto zn\u00e1me ako komunitn\u00e1 lokaliz\u00e1cia. Tieto preklady vznikaj\u00fa naj\u010dastej\u0161ie pre hry, ktor\u00e9 s\u00fa vyd\u00e1van\u00e9 cez r\u00f4zne distribu\u010dn\u00e9 platformy, ako Steam, Ubisoft Connect alebo EA Desktop. Najpopul\u00e1rnej\u0161ia je skupina prekladate\u013eov zn\u00e1ma pod zna\u010dkou Lokaliz\u00e1cie.sk, ktor\u00e1 bola zalo\u017een\u00e1 v roku 2010. Jej zakladate\u013e je M\u00e1rio Csapl\u00e1r, ktor\u00fd zoskupuje dobrovo\u013en\u00fdch prekladate\u013eov. K roku 2024 sa prekladate\u013eom podarilo prelo\u017ei\u0165 vy\u0161e 80 hier a pracovali na desiatkach \u010fal\u0161\u00edch projektov[24]<\/a>. \u010co sa t\u00fdka modern\u00fdch hier, fan\u00fa\u0161ikovsk\u00e9 preklady tvoria ve\u013ek\u00fa \u010das\u0165 prekladov hern\u00fdch softv\u00e9rov, ke\u010f\u017ee za rok 2024 vy\u0161iel iba 1 ve\u013ek\u00fd celosvetov\u00fd titul, ktor\u00fd mal ofici\u00e1lny preklad do sloven\u010diny \u2013 Tomb Raider I-III Remastered Starring Lara Croft<\/em>[25]<\/a>. Tento siln\u00fd z\u00e1stup fan\u00fa\u0161ikovsk\u00fdch prekladov m\u00e1 svoje v\u00fdhody aj nev\u00fdhody. Kosceln\u00edkov\u00e1[26]<\/a> vo svojom v\u00fdskume o lokaliz\u00e1cii videohier na Slovensku zistila, \u017ee v\u00fdvoj\u00e1ri preferuj\u00fa, ak hry prekladaj\u00fa ich fan\u00fa\u0161ikovia, preto\u017ee hr\u00e1\u010di si s\u00fa vedom\u00ed r\u00f4znych hern\u00fdch funkcional\u00edt a mechan\u00edk, \u010do je ve\u013ek\u00e1 v\u00fdhoda najm\u00e4 pri preklade naslepo. Je to aj finan\u010dne v\u00fdhodnej\u0161ie. Kosceln\u00edkovej v\u00fdskum ale uk\u00e1zal, \u017ee ke\u010f je prekladate\u013eom v\u00fdvoj\u00e1r alebo dobrovo\u013en\u00fd lokaliz\u00e1tor bez prekladov\u00e9ho vzdelania, tak sa v preklade pravdepodobne vyskytn\u00fa chyby a neprirodzen\u00e9 vetn\u00e9 kon\u0161trukcie. \u010co sa v\u0161ak t\u00fdka skupiny Lokaliz\u00e1cie.sk, sp\u00e4tn\u00e1 v\u00e4zba od hr\u00e1\u010dov je pozit\u00edvna[27]<\/a>.<\/p>\n<\/div>\n\n\n\n
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\u00ab\u041f\u0430\u043a\u0435\u0442 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430\u00bb<\/em><\/strong><\/h2>\n<\/div>\n\n\n\n
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Hra \u00ab\u041f\u0430\u043a\u0435\u0442 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430\u00bb<\/em> vy\u0161la 26. augusta 2020 na platforme Steam pod z\u00e1\u0161titou vydavate\u013estva\u00a0Missing Calm<\/em>. Autorom je Nikita Kriukov, rusk\u00fd v\u00fdvoj\u00e1r a\u00a0hudobn\u00edk, ktor\u00fd v\u00e4\u010d\u0161inu inform\u00e1ci\u00ed o\u00a0svojej identite uchov\u00e1va anonymn\u00fdmi. Je zn\u00e1my najm\u00e4 vizu\u00e1lnymi novelami, ale jeho k\u013e\u00fa\u010dom ku sl\u00e1ve bola pr\u00e1ve nami prekladan\u00e1 hra. Hra je zameran\u00e1 na pr\u00edbeh diev\u010da\u0165a, ktor\u00e9 trp\u00ed ne\u0161pecifikovan\u00fdmi ment\u00e1lnymi poruchami sp\u00f4soben\u00fdmi traumou. Hr\u00e1\u010d sl\u00fa\u017ei ako jeden z\u00a0jej vn\u00fatorn\u00fdch hlasov a\u00a0sna\u017e\u00ed sa jej pom\u00f4c\u0165 k\u00fapi\u0165 mlieko. Hra bola nato\u013eko \u00faspe\u0161n\u00e1, \u017ee Kriukov o\u00a0rok vydal pokra\u010dovanie s\u00a0podobne kryptick\u00fdm n\u00e1zvom,\u00a0Milk Outside a Bag of Milk Outside a Bag of Milk<\/em>, \u010do sp\u00f4sobilo, \u017ee pre r\u00fdchlej\u0161ie pomenovanie za\u010dali hry vola\u0165\u00a0Milk\u00a0<\/em>a\u00a0Milk 2<\/em>. Hry boli napriek rusk\u00e9mu p\u00f4vodu autora propagovan\u00e9 prim\u00e1rne v\u00a0angli\u010dtine. D\u00f4vodom bol fakt, \u017ee sa prim\u00e1rne programuje v\u00a0anglickom jazyku[28]<\/a>. Tento fakt ovplyv\u0148uje v\u00fdvin viacer\u00fdch hier, preto\u017ee \u010dastokr\u00e1t sa najprv vyvinie anglick\u00e1 verzia hry, ktor\u00e1 je lokaliz\u00e1ciou a\u00a0a\u017e potom sa nahod\u00ed rodn\u00fd jazyk v\u00fdvoj\u00e1rov. Hra si z\u00edskala popularitu aj napriek zl\u00e9mu strojov\u00e9mu prekladu, ktor\u00fd bol p\u00f4vodne v\u00a0anglickej verzii hry. Po z\u00edskanej popularite v\u00a0roku 2022 urobil pou\u017e\u00edvate\u013e\u00a0Cale111<\/em>\u00a0nov\u0161iu verziu anglickej lokaliz\u00e1cie, ktor\u00e1 u\u017e bola presnej\u0161ia. Hra bola od jej vydania lokalizovan\u00e1 do 11 jazykov.<\/p>\n\n\n\n
\u017d\u00e1ner vizu\u00e1lnej novely je popul\u00e1rny najm\u00e4 v Japonsku a v roku 2006 tvoril 70 % v\u0161etk\u00fdch hern\u00fdch titulov vydan\u00fdch v danom roku[29]<\/a>. Vizu\u00e1lne novely pozost\u00e1vaj\u00fa najm\u00e4 z dial\u00f3gov medzi nami, hr\u00e1\u010dom a hern\u00fdmi postavami. Text\u00fary zvy\u010dajne nie s\u00fa animovan\u00e9, ale ka\u017ed\u00e1 postava m\u00e1 po\u010det r\u00f4znych p\u00f3z, aby sa zdalo, \u017ee reaguje na situ\u00e1ciu. Text a vizu\u00e1lnu str\u00e1nku \u010falej dop\u013a\u0148a kompletn\u00e1 sada zvukov\u00fdch efektov a hudby a v niektor\u00fdch hr\u00e1ch aj hlasov\u00e9 ovl\u00e1danie. Tento \u017e\u00e1ner stavia na elektronickej verzii knihy a pos\u00fava ju na plnohodnotn\u00fd audiovizu\u00e1lny z\u00e1\u017eitok \u2013 z \u010doho poch\u00e1dza term\u00edn vizu\u00e1lna novela[30]<\/a>.<\/p>\n\n\n\n
\u010co rob\u00ed z vizu\u00e1lnej novely hru a odli\u0161uje ju t\u00fdm od knihy, je mo\u017enos\u0165 rozvetven\u00fdch pr\u00edbehov. Raz za \u010das sa hr\u00e1\u010dovi pon\u00fakne mo\u017enos\u0165 vo\u013eby, pri\u010dom pr\u00edbeh sa n\u00e1sledne pod\u013ea tejto mo\u017enosti vetv\u00ed. V pr\u00edpade, \u017ee sa zvol\u00ed nespr\u00e1vna vo\u013eba, m\u00f4\u017ee ma\u0165 hra ne\u0161\u0165astn\u00fd koniec. V in\u00fdch pr\u00edpadoch m\u00f4\u017eu vies\u0165 k smrti postavy, \u010do hr\u00e1\u010da n\u00fati vr\u00e1ti\u0165 sa sp\u00e4\u0165 a zvoli\u0165 in\u00e9 rie\u0161enie[31]<\/a>. Tak\u00e9to hry dok\u00e1\u017eu zoh\u013ead\u0148ova\u0165 obrovsk\u00fd po\u010det rozhodnut\u00ed a niekedy trv\u00e1 roky odhali\u0165 ka\u017ed\u00fa repliku, ktor\u00fa novela pon\u00faka. To je sp\u00f4soben\u00e9 t\u00fdm, \u017ee samotn\u00e9 pr\u00edbehy s\u00fa d\u013a\u017ekou bli\u017e\u0161ie rom\u00e1nom ako novel\u00e1m. V na\u0161om pr\u00edpade v\u0161ak i\u0161lo sk\u00f4r o poviedku. Nami analyzovan\u00e1 hra je na \u0161tandardy vizu\u00e1lnej novely a\u017e pr\u00edli\u0161 kr\u00e1tka, ke\u010f\u017ee sa cel\u00e1 d\u00e1 prejs\u0165 za pribli\u017ene 20 min\u00fat. M\u00e1me mo\u017enos\u0165 vybera\u0165 si repliku, ale hra funguje tak\u00fdm \u0161t\u00fdlom, \u017ee nespr\u00e1vna replika n\u00e1s prin\u00fati hru re\u0161tartova\u0165, \u010di\u017ee netvor\u00ed ve\u013ea nov\u00fdch pr\u00edbehov. Dalo by sa teda poveda\u0165, \u017ee ide o vizu\u00e1lnu poviedku. Konkr\u00e9tnej\u0161ie je zo \u017e\u00e1nru psychologick\u00e9ho hororu. Ve\u013ea \u013eud\u00ed preto chv\u00e1lilo, \u017ee ide o kr\u00e1tku novelu, \u010d\u00edm nikdy nestr\u00e1ca na nepr\u00edjemnej atmosf\u00e9re.<\/p>\n\n\n\n
Najprv sa pozrieme na nelingvistick\u00fd proces lokaliz\u00e1cie. Hru sme si stiahli z platformy Steam. N\u00e1sledne sme z internetovej str\u00e1nky stiahli softv\u00e9r Renpy[32]<\/a>, v ktorom bola hra naprogramovan\u00e1. Potom sme z internetovej str\u00e1nky Github[33]<\/a> stiahli softv\u00e9r, ktor\u00fd n\u00e1m umo\u017en\u00ed upravova\u0165 s\u00fabory hry. Po extrahovan\u00ed hry prekladate\u013esk\u00fdm softv\u00e9rom sme najprv zhodnotili, \u010do bude mo\u017en\u00e9 lokalizova\u0165. Hlavn\u00fd textov\u00fd s\u00fabor, v ktorom sa nach\u00e1dzaj\u00fa textov\u00e9 segmenty s pr\u00edbehov\u00fdmi replikami s n\u00e1zvom bad<\/em>, je prelo\u017eite\u013en\u00fd, ale nebolo mo\u017en\u00e9 segmenty lokalizova\u0165 priamo do ruskej verzie. Typ p\u00edsma, ktor\u00fd bol zvolen\u00fd, by potreboval v\u00e1\u017ene program\u00e1torsk\u00e9 z\u00e1sahy, ktor\u00e9 neboli v na\u0161ej kompetencii. Pre slovensk\u00fa lokaliz\u00e1ciu sme pou\u017eili s\u00fabory so starou anglickou lokaliz\u00e1ciou. T\u00e1to lokaliz\u00e1cia bola vykonan\u00e1 autorom pri vydan\u00ed hry, ale ke\u010f\u017ee bola roben\u00e1 preklada\u010dom, bola ve\u013emi chybn\u00e1. Po novej vylep\u0161enej lokaliz\u00e1cii je t\u00e1to verzia zbyto\u010dn\u00e1. Probl\u00e9mom bolo pou\u017e\u00edvate\u013esk\u00e9 rozhranie. Niektor\u00ed program\u00e1tori, predov\u0161etk\u00fdm v hr\u00e1ch od nez\u00e1visl\u00fdch v\u00fdvoj\u00e1rov, nemaj\u00fa nastaven\u00e9 pou\u017e\u00edvate\u013esk\u00e9 rozhranie tak, aby bolo lokalizovate\u013en\u00e9. T\u00e1to hra je na\u0161\u0165astie v\u00fdnimkou, nie v\u0161ak v ka\u017edom jazyku. Eur\u00f3pske jazyky, ktor\u00e9 hra poskytuje, napr\u00edklad talian\u010dina, \u0161paniel\u010dina a po\u013e\u0161tina,  nemaj\u00fa pou\u017e\u00edvate\u013esk\u00e9 rozhranie, ktor\u00e9 by sa dalo upravi\u0165. Ke\u010f\u017ee hlavn\u00fd programovac\u00ed jazyk je anglick\u00fd, nerusk\u00e9 lokaliz\u00e1cie hry maj\u00fa pou\u017e\u00edvate\u013esk\u00e9 rozhranie v angli\u010dtine. \u010eal\u0161\u00ed probl\u00e9m sp\u00f4sobili aj \u00favodn\u00e9 sc\u00e9ny, v ktor\u00fdch je zop\u00e1r jednoduch\u00fdch nastaven\u00ed, ako meno autora a \u00favodn\u00e1 sc\u00e9na. Nejde toti\u017e o textov\u00e9, ale obr\u00e1zkov\u00e9 s\u00fabory.<\/p>\n<\/div>\n\n\n\n
Lokaliz\u00e1cia videohry<\/strong><\/h2>\n\n\n\n
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Technick\u00e9 probl\u00e9my sa l\u00ed\u0161ili v n\u00e1ro\u010dnosti. \u00davodn\u00e9 sc\u00e9ny, ktor\u00e9 boli v obr\u00e1zkovom form\u00e1te, sme upravili v programe Skic\u00e1r<\/em>. Pou\u017eit\u00edm obr\u00e1zkov z po\u013eskej lokaliz\u00e1cie sa n\u00e1m podarilo z\u00edska\u0165 p\u00edsmen\u00e1, ktor\u00e9 sl\u00fa\u017eili ako referencia. Niektor\u00e9 p\u00edsmen\u00e1 sme vytvorili sami \u00fapravou existuj\u00facich p\u00edsmen, aby boli vierohodn\u00e9 origin\u00e1lnym. Pou\u017e\u00edvate\u013esk\u00e9 rozhranie sme upravili cez textov\u00fd s\u00fabor common<\/em>, ktor\u00fd bol pr\u00edstupn\u00fd iba v niektor\u00fdch lokaliz\u00e1ciach. Tieto prepracovanej\u0161ie lokaliz\u00e1cie v s\u00fabore gui<\/em> (graphical user interface \u2013 grafick\u00e9 pou\u017e\u00edvate\u013esk\u00e9 rozhranie) poskytovali mo\u017enos\u0165 zmeny typu p\u00edsma. T\u00e1to zmena bola potrebn\u00e1, aby videohra zobrazila nasledovn\u00e9 znaky: \u013e, \u0161, \u010d, \u0165, \u017e, \u00fd, \u00e1, \u00ed, \u00e9, \u00fa, \u00e4, \u00f4, \u0148<\/em>.<\/p>\n\n\n\n
Teraz n\u00e1s \u010dak\u00e1 druh\u00e1 f\u00e1za prekladate\u013esk\u00e9ho procesu, tvorba lokaliz\u00e1cie. Najprv sa pozrieme na preklad \u0161peci\u00e1lnych znakov, zna\u010diek a premenn\u00fdch. Netreba zab\u00fada\u0165, \u017ee pri lokaliz\u00e1cii sa pracuje nielen s jazykovou, ale aj s informatickou \u010das\u0165ou. Diana D\u00edaz Mont\u00f3nov\u00e1[34]<\/a> opisuje probl\u00e9m, ktor\u00fd sp\u00f4sobuje pou\u017e\u00edvanie premenn\u00fdch na nasleduj\u00facom pr\u00edklade: %s<\/em> z\u00edskal %d<\/em>. V tomto pr\u00edpade premenn\u00e1 %s<\/em> znamen\u00e1 meno hr\u00e1\u010da, zatia\u013e \u010do premenn\u00e1 %d<\/em> predstavuje predmet, ktor\u00fd z\u00edskal. V \u0161paniel\u010dine nast\u00e1va probl\u00e9m v tom, \u017ee za premenn\u00fa %d<\/em> sa daj\u00fa dosadi\u0165 predmety, ktor\u00e9 maj\u00fa r\u00f4zny rod. V sloven\u010dine by bol naopak probl\u00e9m s premennou %s, <\/em>za ktor\u00fa by sa dalo dosadi\u0165 \u017eensk\u00e9 aj mu\u017esk\u00e9 meno. Lokaliz\u00e1tori musia preto text prisp\u00f4sobi\u0165 tak, aby d\u00e1val zmysel nez\u00e1visle od toho, \u010do bolo dosaden\u00e9 za premenn\u00fa. V\u00e4\u010d\u0161ina pr\u00edpadov premenn\u00fdch v hern\u00fdch softv\u00e9roch u\u017e v\u0161ak m\u00e1 zau\u017e\u00edvan\u00e9 preklady a rie\u0161enia, ako napr\u00edklad uv\u00e1dza Kab\u00e1t[35]<\/a>, You killed {0}! <\/em>sa d\u00e1 prelo\u017ei\u0165 ako Porazili ste hr\u00e1\u010da {0}! <\/em>alebo Zabili ste hr\u00e1\u010da<\/em> {0}! <\/em>v z\u00e1vislosti od toho, \u010di preklad\u00e1te hru pre mlad\u0161\u00edch alebo star\u0161\u00edch hr\u00e1\u010dov. V na\u0161om pr\u00edpade sa vyskytli pr\u00edpady, kedy sme vety ve\u013emi upravova\u0165 nemuseli. Napr\u00edklad preklad segmentu \u00ab<\/em>\u041d\u0430\u0434\u0435\u044e\u0441\u044c, \u0442\u044b \u0441\u043f\u0440\u0430\u0432\u0438\u0448\u044c\u0441\u044f \u043b\u0443\u0447\u0448\u0435, \u0447\u0435\u043c [cname]\u2026<\/em>\u00bb<\/em>, kde len sta\u010d\u00ed zachova\u0165 premenn\u00e9, aby sa text spr\u00e1vne zobrazil. Preklad by znel \u201eD\u00fafam, \u017ee mi pom\u00f4\u017ee\u0161 viac ako [cname]\u2026<\/em>\u201c.<\/a>[TS1]<\/a>  Je to potrebn\u00e9, lebo iba jeden nespr\u00e1vny znak vie sp\u00f4sobi\u0165, \u017ee sa hra nedok\u00e1\u017ee spusti\u0165. Ten ist\u00fd pr\u00edpad nast\u00e1va aj v segmente \u00ab<\/em>\u041f\u043e\u0445\u043e\u0436\u0435, [povname] \u043c\u043d\u0435 \u0441\u043e\u0432\u0441\u0435\u043c \u043d\u0435 \u043f\u043e\u043c\u043e\u0433\u0430\u0435\u0442\u2026<\/em> \u00bb,<\/em> kde sa za premenn\u00fa dosadzuje meno, ktor\u00e9 nap\u00ed\u0161eme na za\u010diatku hry. Preto mus\u00ed by\u0165 veta naformulovan\u00e1 tak, aby bola v\u017edy gramaticky spr\u00e1vna. Meno sa potom vlo\u017e\u00ed do tohto segmentu. V tomto pr\u00edpade sme zvolili preklad \u201eVyzer\u00e1, \u017ee [povname] mi v\u00f4bec nepom\u00e1ha\u2026<\/em>\u201c.<\/p>\n\n\n\n
V hre sa vyskytli aj \u201eskryt\u00e9\u201c segmenty. Vyskytli sa v neskor\u0161ej pas\u00e1\u017ei, v ktorej hr\u00e1\u010d odpoved\u00e1 hlavnej postave. Segmenty sa nach\u00e1dzali v p\u00f4vodnom s\u00fabore bad<\/em>, v ktorom z d\u00f4vodu programovania nem\u00f4\u017eme upravi\u0165 hlavn\u00e9 segmenty. Tieto segmenty s\u00fa v\u0161ak v\u00fdnimka, preto\u017ee obsahuj\u00fa pr\u00edkazy pre lokaliz\u00e1cie. Aby mohol hr\u00e1\u010d odpoveda\u0165 v sloven\u010dine, bolo potrebn\u00e9 zameni\u0165 segmenty \u00ab<\/em>\u0414\u0430<\/em>\u00bb<\/em> a \u00ab<\/em>\u041d\u0435\u0442<\/em>\u00bb<\/em>. Tieto segmenty s\u00fa kritick\u00e9 pre pokra\u010dovanie hry. Nach\u00e1dzaj\u00fa sa tu aj bonusov\u00e9 varianty, ako \u00ab\u041d\u0415\u0422\u00bb<\/em> alebo \u00ab\u0434\u0430\u00bb<\/em>. Tieto sp\u00f4sobia tajn\u00e9 reakcie, ktor\u00e9 hr\u00e1\u010da neposun\u00fa \u010falej, ale aspo\u0148 ho pobavia. Odpovede na tajn\u00e9 reakcie, ktor\u00e9 n\u00e1jdeme v segmentoch \u00ab\u0410 \u0432\u043e\u0442 \u043a\u0440\u0438\u0447\u0430\u0442\u044c \u043d\u0435 \u043d\u0430\u0434\u043e\u2026\u00bb<\/em> a \u00ab\u041f\u043e\u0436\u0430\u043b\u0443\u0439\u0441\u0442\u0430, \u043f\u0438\u0448\u0438 \u0441 \u0431\u043e\u043b\u044c\u0448\u043e\u0439 \u0431\u0443\u043a\u0432\u044b \u2013 \u0442\u044b \u0440\u0443\u0448\u0438\u0448\u044c \u043f\u043e\u0432\u0435\u0441\u0442\u0432\u043e\u0432\u0430\u043d\u0438\u0435!\u00bb<\/em> sme prelo\u017eili ako \u201eKri\u010da\u0165 zas netreba\u2026<\/em>\u201c a \u201eP\u00ed\u0161, pros\u00edm, aj s ve\u013ek\u00fdmi p\u00edsmenami \u2013 kaz\u00ed\u0161 narat\u00edv!<\/em>\u201c. In\u00e9 segmenty teoreticky funguj\u00fa bez odpovede, ale existuj\u00fa aj \u0161pecifick\u00e9 odpovede, ktor\u00e9 sp\u00f4sobia in\u00fa reakciu hlavnej postavy. V t\u00fdchto pr\u00edpadoch mus\u00edme d\u00e1va\u0165 pozor aj na konzistentnos\u0165 s pr\u00edbehom. Napr\u00edklad mo\u017enos\u0165 \u00ab\u0427\u0442\u043e \u0441\u043b\u0443\u0447\u0438\u043b\u043e\u0441\u044c?\u00bb <\/em>je nazna\u010den\u00e1 hlavnou postavou v segmente \u00ab\u041a\u0441\u0442\u0430\u0442\u0438, \u0435\u0441\u043b\u0438 \u0442\u044b \u0432\u0434\u0440\u0443\u0433 \u0445\u043e\u0447\u0435\u0448\u044c \u0441\u043f\u0440\u043e\u0441\u0438\u0442\u044c \u043c\u0435\u043d\u044f \u201a\u0447\u0442\u043e \u0441\u043b\u0443\u0447\u0438\u043b\u043e\u0441\u044c?\u2018 \u2013 \u043f\u0440\u043e\u0448\u0443, \u043d\u0435 \u043d\u0430\u0434\u043e.\u00bb.<\/em> Preto mus\u00edme t\u00fa ist\u00fa n\u00e1povedu zachova\u0165 aj v preklade. Segmenty sme prelo\u017eili ako \u201e\u010co sa stalo?<\/em>\u201c a \u201eMimochodom, ak sa ma chce\u0161 sp\u00fdta\u0165 \u201a\u010co sa stalo?\u2018, pros\u00edm, nep\u00fdtaj sa.<\/em>\u201c. Nesmieme zab\u00fada\u0165, \u017ee skryt\u00e9 segmenty s\u00fa s\u00fa\u010das\u0165ou plynul\u00e9ho textu. Dalo by sa poveda\u0165, \u017ee s\u00fa to premenn\u00e9, ktor\u00e9 svojvo\u013ene dosadzuje hr\u00e1\u010d. Skryt\u00e9 segmenty v\u0161ak musia by\u0165 prelo\u017een\u00e9 tak, aby boli gramaticky spr\u00e1vne v kontexte situ\u00e1cie. Napr\u00edklad segment \u00ab\u0422\u0440\u0443\u043f\u00bb<\/em> mus\u00edme prelo\u017ei\u0165 ako \u201eM\u0155tvolu<\/em>\u201c, preto\u017ee je to mo\u017en\u00e1 odpove\u010f na ot\u00e1zku \u00ab\u0427\u0442\u043e \u0442\u044b \u0432\u0438\u0434\u0438\u0448\u044c<\/em>?\u00bb<\/em>, v na\u0161om preklade \u201e\u010co vid\u00ed\u0161?<\/em>\u201c.<\/strong><\/p>\n\n\n\n
Pozor si mus\u00edme da\u0165 aj pri prepise \u010d\u00edsel, preto\u017ee je v\u00a0novele nekonzistentn\u00e9. Po anal\u00fdze sme v\u0161ak zistili, \u017ee hlavn\u00e1 postava \u010d\u00edsla p\u00ed\u0161e p\u00edsmenami a\u00a0hlas, ktor\u00fd reprezentuje hr\u00e1\u010d, ich p\u00ed\u0161e \u010d\u00edslicami. P\u00edsanie tie\u017e z\u00e1le\u017e\u00ed na tom, kto prv\u00fd \u010d\u00edslo spomenul. Sme n\u00faten\u00ed prepis v\u017edy zachova\u0165 rovnako, ke\u010f\u017ee sa na to v\u00a0hre nesk\u00f4r odkazuje v\u00a0segmente\u00a0\u00ab\u0418\u00a0\u043a\u0441\u0442\u0430\u0442\u0438, \u0442\u0430\u043c \u0447\u0438\u0441\u043b\u0430 \u043f\u0438\u0448\u0443\u0442 \u043f\u043e\u043b\u043d\u043e\u0441\u0442\u044c\u044e, \u0431\u0443\u043a\u0432\u0430\u043c\u0438. \u0420\u0430\u0437\u0432\u0435 \u0432\u0438\u0437\u0443\u0430\u043b\u044c\u043d\u044b\u0435 \u043d\u043e\u0432\u0435\u043b\u043b\u044b \u0445\u0443\u0436\u0435 \u043a\u043d\u0438\u0433? \u0410 \u0432\u0435\u0434\u044c \u0442\u0430\u043c \u0430\u0432\u0442\u043e\u0440\u044b \u043d\u0435 \u043b\u0435\u043d\u044f\u0442\u0441\u044f, \u0432\u043e\u0442 \u0438 \u0442\u044b \u043d\u0435 \u043b\u0435\u043d\u0438\u0441\u044c!\u00bb<\/em>, ktor\u00fd v\u00a0na\u0161om preklade znie \u201eMimochodom, \u010d\u00edsla sa v nich p\u00ed\u0161u p\u00edsmenami nie \u010d\u00edslicami. S\u00fa vizu\u00e1lne novely naozaj hor\u0161ie ako knihy? Ve\u010f ich autori nie s\u00fa leniv\u00ed, tak nebu\u010f ani ty!<\/em>\u201c.<\/p>\n\n\n\n
Teraz sa pozrieme na v\u0161eobecn\u00e9 prekladate\u013esk\u00e9 rie\u0161enia, teda morfologick\u00e9, syntaktick\u00e9 a lexik\u00e1lne transform\u00e1cie. Transform\u00e1cie s\u00fa r\u00f4zne prek\u00f3dovania, ktor\u00e9 zasahuj\u00fa do jednotliv\u00fdch jazykov\u00fdch rov\u00edn, pr\u00edpadne a\u017e do kognit\u00edvnych, teda do samotn\u00fdch my\u0161lienkov\u00fdch procesov nosite\u013eov jednotliv\u00fdch jazykov[36]<\/a>. Tieto transform\u00e1cie sme vyu\u017e\u00edvali najm\u00e4 v s\u00fabore bad<\/em> zo starej anglickej lokaliz\u00e1cie. V tomto s\u00fabore sa vyskytoval pr\u00edbeh, preto i\u0161lo o umeleck\u00fd preklad. V s\u00fabore common<\/em> sme pracovali s pou\u017e\u00edvate\u013esk\u00fdm rozhran\u00edm. V tomto pr\u00edpade i\u0161lo o odborn\u00fd preklad a term\u00edny sme nahr\u00e1dzali zau\u017e\u00edvan\u00fdmi ekvivalentmi. V tomto s\u00fabore nie je priestor na kreativitu a v\u0161etky preklady s\u00fa priame. Preto sa zameriame na s\u00fabor bad<\/em>.<\/p>\n\n\n\n
Morfologick\u00e9 transform\u00e1cie s\u00fa zmeny v rovine slovn\u00fdch druhov, morfologick\u00fdch kateg\u00f3ri\u00ed \u010d\u00edsla substant\u00edv, resp. vidu a \u010dasu slovies. Maj\u00fa v\u0161ak iba minim\u00e1lny vplyv na obsahov\u00fa str\u00e1nku prekladu[37]<\/a>. Hoci slovensk\u00fd a rusk\u00fd jazyk patria do slovansk\u00fdch jazykov, neznamen\u00e1 to, \u017ee bud\u00fa v\u0161etky rody slov rovnak\u00e9, a preto s\u00fa tieto transform\u00e1cie \u00faplne be\u017en\u00e9. Ke\u010f\u017ee sa ich tie\u017e vyskytlo ve\u013ea, uvedieme si iba zop\u00e1r: \u00ab\u0421\u043e\u0433\u043b\u0430\u0441\u043d\u0430, \u043c\u043e\u0440\u043e\u0436\u0435\u043d\u043e\u0435 \u043d\u0435 \u0441\u0430\u043c\u043e\u0435 \u0432\u043a\u0443\u0441\u043d\u043e\u0435\u00bb <\/em>\u2013 S\u00fahlas\u00edm, zmrzlina nie je a\u017e tak\u00e1 chutn\u00e1.<\/em>\u201c, \u00ab\u0410\u043a\u043a\u0443\u0440\u0430\u0442\u043d\u043e, \u043f\u044f\u0442\u043a\u0430, \u043d\u043e\u0441\u043e\u043a\u2026 \u00bb <\/em>\u2013 \u201eOpatrne, p\u00e4ta, \u0161pi\u010dka\u2026<\/em>\u201c, \u00ab\u041d\u043e \u043e\u0442\u043a\u0443\u0434\u0430 \u043e\u043d \u0437\u043d\u0430\u0435\u0442, \u0447\u0442\u043e \u044f \u043f\u0430\u043d\u0438\u0447\u0435\u0441\u043a\u0438 \u0431\u043e\u044e\u0441\u044c \u0431\u0443\u043a\u0432\u044b \u201a\u041e\u2018? \u00bb <\/em>\u2013 \u201eAle ako vie, \u017ee m\u00e1m panick\u00fd strach z p\u00edsmena O?<\/em>\u201c.<\/p>\n\n\n\n
Syntaktick\u00e9 transform\u00e1cie spo\u010d\u00edvaj\u00fa prim\u00e1rne v transform\u00e1cii \u0161trukt\u00fary vety, aby spadali do noriem a \u00fazu cie\u013eov\u00e9ho jazyka. K syntaktick\u00fdm transform\u00e1ci\u00e1m patria zmeny v slovoslede (poradie slov, slovn\u00fdch spojen\u00ed, hlavn\u00fdch a ved\u013eaj\u0161\u00edch \u010dlenov), v aktu\u00e1lnom \u010dlenen\u00ed (t\u00e9ma \u2013 r\u00e9ma), zmena vetn\u00fdch \u010dlenov, zmena predik\u00e1tov, \u010dlenenie vety na men\u0161ie celky, sp\u00e1janie dvoch jednoduch\u00fdch viet do s\u00favetia, vynech\u00e1vky (redukcia) participi\u00ed, z\u00e1men, substant\u00edv a i., dodatky[38]<\/a>. Hlavnou syntaktickou transform\u00e1ciou, s ktorou sa pri preklade rusk\u00fdch textov stret\u00e1vame, je transform\u00e1cia prechodn\u00edkov. Slovensk\u00e9 umeleck\u00e9 texty maj\u00fa vy\u0161\u0161iu toleranciu na prechodn\u00edky ako odborn\u00e9. Niektor\u00e9 sme odstr\u00e1nili, ako v pr\u00edpade \u00ab\u0412\u043e\u0439\u0434\u044f \u0432 \u043c\u0430\u0433\u0430\u0437\u0438\u043d, \u044f \u043e\u0431\u0440\u0430\u0442\u0438\u043b\u0430\u0441\u044c \u043a \u043f\u0435\u0440\u0432\u043e\u043c\u0443 \u0436\u0435 \u043f\u043e\u043f\u0430\u0432\u0448\u0435\u043c\u0443\u0441\u044f \u0447\u0435\u043b\u043e\u0432\u0435\u043a\u0443.\u00bb<\/em> a \u00ab\u041f\u043e\u0432\u0442\u043e\u0440\u044f\u044f \u044d\u0442\u043e \u0434\u0435\u0439\u0441\u0442\u0432\u0438\u0435 \u043a\u0430\u0436\u0434\u044b\u0439 \u0434\u0435\u043d\u044c, \u0441\u043b\u043e\u0432\u043d\u043e \u0440\u0438\u0442\u0443\u0430\u043b, \u044f \u0441\u043e\u0432\u0441\u0435\u043c \u043f\u0435\u0440\u0435\u0441\u0442\u0430\u043b\u0430 \u0431\u043e\u044f\u0442\u044c\u0441\u044f \u0432\u044b\u0441\u043e\u0442\u044b.\u00bb<\/em>. Na\u0161e preklady zneli nasledovne: \u201eVo\u0161la som do obchodu a oslovila prv\u00e9ho \u010dloveka, ktor\u00e9ho som uvidela.<\/em>\u201c a \u201ePotom, \u010do som to opakovala ka\u017ed\u00fd de\u0148 ako ritu\u00e1l, som sa prestala b\u00e1\u0165 v\u00fd\u0161ok.<\/em>\u201c. Ale zachovali sme ho napr\u00edklad v pr\u00edpade \u00ab\u041d\u043e, \u043d\u0435\u0441\u043c\u043e\u0442\u0440\u044f \u043d\u0430 \u0432\u0441\u0435 \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u044b\u2026\u00bb,<\/em> ktor\u00fd sme prelo\u017eili ako \u201eOdhliadnuc od v\u0161etk\u00fdch probl\u00e9mov\u2026<\/em>\u201c. V niektor\u00fdch pr\u00edpadoch sme upravili aj slovosled, aby veta znela prirodzenej\u0161ie: \u00ab\u0422\u044b \u0431\u0443\u0434\u0435\u0448\u044c \u043e\u0447\u0435\u043d\u044c, \u043e\u0447\u0435\u043d\u044c \u0432\u0438\u043d\u043e\u0432\u0430\u0442\u0430, \u0435\u0441\u043b\u0438 \u043d\u0435 \u043a\u0443\u043f\u0438\u0448\u044c \u043c\u043e\u043b\u043e\u043a\u0430.\u00bb<\/em> \u2013 \u201eAk nek\u00fapi\u0161 mlieko, bude\u0161 sa c\u00edti\u0165 ve\u013emi, ve\u013emi previnilo.<\/em>\u201c.<\/p>\n\n\n\n
Posledn\u00fd celok tvorili lexik\u00e1lne transform\u00e1cie. V transla\u010dnom procese sa niektor\u00e9 lex\u00e9my v\u00fdchodiskov\u00e9ho jazyka nezamie\u0148aj\u00fa syst\u00e9mov\u00fdmi (slovn\u00edkov\u00fdmi) lexik\u00e1lnymi ekvivalentmi cie\u013eov\u00e9ho jazyka, ale kontextu\u00e1lnymi ekvivalentmi, t. j. ekvivalentmi ad hoc<\/em> (platn\u00fdmi iba pre dan\u00fa konkr\u00e9tnu situ\u00e1ciu). V na\u0161om pr\u00edpade sme sa zamerali na na re\u00e1lie a metafory. Osobitne sa pozrieme aj na vulgarizmy.<\/p>\n\n\n\n
V novele je na seba napojen\u00fdch mno\u017estvo inform\u00e1ci\u00ed, \u010do ob\u010das m\u00f4\u017ee sp\u00f4sobi\u0165 probl\u00e9my s prekladom. Jeden z t\u00fdchto pr\u00edpadov je metafora \u00ab\u042f \u0447\u0443\u0432\u0441\u0442\u0432\u0443\u044e \u0441\u0435\u0431\u044f \u043f\u0440\u0438\u043c\u0435\u0440\u043d\u043e \u043a\u0430\u043a \u043a\u0438\u043b\u043e\u043c\u0435\u0442\u0440\u043e\u0432\u044b\u0439 \u0441\u043b\u0438\u0442\u043e\u043a \u043c\u043e\u0440\u043e\u0436\u0435\u043d\u043e\u0433\u043e.\u00bb. <\/em>V metafore je s\u00edce to, \u010do pozn\u00e1me pod n\u00e1zvom rusk\u00e1 zmrzlina, ale nesk\u00f4r by viac sedelo, \u017ee zmrzlina je na pali\u010dke: \u00ab\u0414\u043e\u0440\u043e\u0433\u0430 \u043e\u0442 \u043c\u0430\u0433\u0430\u0437\u0438\u043d\u0430 \u043a \u0437\u0430\u043f\u0440\u0430\u0432\u043a\u0435 \u2013 \u044d\u0442\u043e \u043f\u0430\u043b\u043e\u0447\u043a\u0430, \u0430 \u0434\u043e\u0440\u043e\u0433\u0430 \u043e\u0442 \u0437\u0430\u043f\u0440\u0430\u0432\u043a\u0438 \u0434\u043e \u0434\u043e\u043c\u0430 \u2013 \u044d\u0442\u043e \u043c\u043e\u0440\u043e\u0436\u0435\u043d\u043e\u0435.\u00bb.<\/em> Z tohto by vyzeralo, \u017ee spr\u00e1vne prekladate\u013esk\u00e9 rie\u0161enie by malo by\u0165 slovo nanuk<\/em>. Nanuk je pod\u013ea KSSJ \u201en\u00e1zov<\/em><\/a> <\/em>mrazen\u00e9ho kr\u00e9mov\u00e9ho v\u00fdrobku (oby\u010d. na pali\u010dke<\/em>)\u201c. Nesk\u00f4r v\u0161ak zist\u00edme, \u017ee sa mysl\u00ed zmrzlina na pali\u010dke a slovo nanuk<\/em> by v preklade nebolo vhodn\u00e9 pre segment \u00ab\u0421\u043e\u0433\u043b\u0430\u0441\u043d\u0430, \u043c\u043e\u0440\u043e\u0436\u0435\u043d\u043e\u0435 \u043d\u0435 \u0441\u0430\u043c\u043e\u0435 \u0432\u043a\u0443\u0441\u043d\u043e\u0435. \u0415\u0441\u043b\u0438 \u0442\u043e\u043b\u044c\u043a\u043e \u0442\u044b \u043d\u0435 \u0445\u043e\u0447\u0435\u0448\u044c \u043f\u0438\u0442\u044c \u0431\u043e\u043b\u044c\u0448\u0435, \u0447\u0435\u043c \u0435\u0441\u0442\u044c\u2026\u00bb<\/em>. Tento segment sme prelo\u017eili logicky ako \u201eS\u00fahlas\u00edm, zmrzlina nie je a\u017e tak\u00e1 chutn\u00e1. Iba, ak sa chce\u0161 viac napi\u0165 ako najes\u0165\u2026<\/em>\u201c, ke\u010f\u017ee \u010dokol\u00e1da na nanuku by sa jes\u0165 dala. Preto mus\u00edme p\u00f4vodn\u00fa metaforu prelo\u017ei\u0165 ako\u201eC\u00edtim sa ako kilometrov\u00e1 zmrzlina na pali\u010dke.<\/em>\u201c. Ak by sme ponechali \u201eC\u00edtim sa ako kilometrov\u00e1 rusk\u00e1 zmrzlina<\/em>\u201c, hr\u00e1\u010dov by zmiatlo ak by sa nesk\u00f4r hovorilo o pali\u010dke,  preto\u017ee rusk\u00e1 zmrzlina na pali\u010dke neb\u00fdva.<\/p>\n\n\n\n
V segmente \u00ab\u0412 \u043c\u043e\u043b\u0447\u0430\u043d\u043a\u0443 \u0438\u0433\u0440\u0430\u0442\u044c \u0431\u0443\u0434\u0435\u043c? \u041b\u0430\u0434\u043d\u043e \u0443\u0436\u2026\u00bb<\/em> sme narazili na re\u00e1liu \u043c\u043e\u043b\u0447\u0430\u043d\u043a\u0430. \u041c\u043e\u043b\u0447\u0430\u043d\u043a\u0430<\/em> je pod\u013ea internetov\u00e9ho slovn\u00edka \u0422\u043e\u043b\u043a\u043e\u0432\u044b\u0439 \u0441\u043b\u043e\u0432\u0430\u0440\u044c \u041e\u0436\u0435\u0433\u043e\u0432\u0430<\/em> \u201eDetsk\u00e1 hra, v ktorej prehr\u00e1va ten, kto prv\u00fd prehovor\u00ed.[39]<\/strong><\/a>\u201c.<\/em> V slovenskom prostred\u00ed t\u00e1to hra nem\u00e1 form\u00e1lny n\u00e1zov, ale m\u00f4\u017eeme pou\u017ei\u0165 in\u00fa re\u00e1liu spojen\u00fa s tichom, ktor\u00e1 je na Slovensku ove\u013ea zn\u00e1mej\u0161ou. Bobr\u00edk ml\u010danlivosti je skautsk\u00e1 v\u00fdzva, ktorej cie\u013eom je neprehovori\u0165 24 hod\u00edn. T\u00e1to re\u00e1lia sa dok\u00e1\u017ee pou\u017ei\u0165 v rovnakom v\u00fdzname, ako je v origin\u00e1li, preto sme tento segment prelo\u017eili ako \u201eDr\u017e\u00edme bobr\u00edka ml\u010danlivosti? No dobre\u2026<\/em>\u201c.<\/p>\n\n\n\n
V\u00a0pr\u00edpade vulgarizmov sme segmenty transformovali pod\u013ea situ\u00e1cie. V\u00a0origin\u00e1li sa nevyskytuj\u00fa hrub\u00e9 nad\u00e1vky. Napr\u00edklad v\u00a0segmente\u00a0\u00ab\u0411\u043b\u0438\u043d, \u0437\u0430\u0431\u044b\u043b\u0430.\u00bb<\/em>, sa vyskytuje slovo\u00a0\u0431\u043b\u0438\u043d<\/em>, ktor\u00e9 je pod\u013ea internetov\u00e9ho slovn\u00edka\u00a0\u0413\u0440\u0430\u043c\u043e\u0442\u0430.\u0440\u0443\u00a0<\/em>\u201eZvolanie pou\u017e\u00edvan\u00e9 na vyjadrenie mrzutosti, podr\u00e1\u017edenia alebo obdivu, prekvapenia.<\/em>\u201c. Toto slovo sa za\u010dalo pou\u017e\u00edva\u0165 ako substit\u00facia za vulgarizmus\u00a0<\/strong>\u0431\u043b\u044f\u0434\u044c<\/em>. V tak\u00fdchto segmentoch sme sa v preklade rozhodli \u00faplne vynecha\u0165 aj jemn\u00e9 vulgarizmy, napr\u00edklad tento segment sme prelo\u017eili ako \u201eAch jaj, zabudla som.\u201c.\u00a0<\/em>T\u00fato absenciu sme vykompenzovali v pr\u00edpadoch, kedy sa n\u00e1m \u017eiadalo ostrej\u0161ej reakcie. Napr\u00edklad v pr\u00edpade, ke\u010f si hlavn\u00e1 postava mysl\u00ed, \u017ee okolo nej prebehol medve\u010f. P\u00f4vodn\u00fd segment znie:\u00a0\u00ab\u0411\u043b\u0438\u043d, \u044f \u0442\u0443\u0442 \u0438\u0434\u0443, \u0432\u043e\u043e\u0431\u0449\u0435-\u0442\u043e!\u00bb.<\/em>\u00a0Absencia vulgarizmu, ale aj pr\u00edtomnos\u0165 slab\u00e9ho vulgarizmu n\u00e1m pri\u0161la nerealistick\u00e1, ke\u010f\u017ee i\u0161lo o situ\u00e1ciu, v ktorej hlavn\u00e1 postava takmer zomrela. Preto sme tento segment prelo\u017eili ako \u201eNie si tu s\u00e1m, doriti!<\/em>\u201c<\/p>\n\n\n\n
Na z\u00e1ver sa pozrieme na naj\u0165a\u017e\u0161\u00ed preklad. N\u00e1zov hry je absurdn\u00fd a vznik\u00e1 z viacer\u00fdch segmentov, ktor\u00e9 sa na seba postupne naba\u013euj\u00fa. Za\u010d\u00edna segmentom \u00ab\u0412\u0435\u0440\u043d\u0435\u0435, \u043f\u0430\u043a\u0435\u0442 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430.\u00bb<\/em> a kon\u010d\u00ed segmentom \u00ab\u0412\u0435\u0440\u043d\u0435\u0435, \u043f\u0430\u043a\u0435\u0442 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438\u2026\u00bb<\/em>.V tomto pr\u00edpade je ot\u00e1zka, \u010do spravi\u0165 so slovom \u043f\u0430\u043a\u0435\u0442<\/em>. \u041f\u0430\u043a\u0435\u0442<\/em> je pod\u013ea internetov\u00e9ho slovn\u00edka \u0422\u043e\u043b\u043a\u043e\u0432\u044b\u0439 \u0441\u043b\u043e\u0432\u0430\u0440\u044c \u041e\u0436\u0435\u0433\u043e\u0432\u0430 <\/em>\u201ePapierov\u00e9 vrecko na potraviny<\/em>\u201c. Ke\u010f\u017ee nesk\u00f4r pr\u00edde segment \u00ab\u041d\u0430 \u043a\u0430\u0441\u0441\u0435 \u043c\u043d\u0435 \u0434\u0430\u043b\u0438 \u043f\u0430\u043a\u0435\u0442, \u0442\u0430\u043a \u0447\u0442\u043e \u0442\u0435\u043f\u0435\u0440\u044c \u044f \u043d\u0435\u0441\u0443 \u043f\u0430\u043a\u0435\u0442 \u0441 \u043f\u0430\u043a\u0435\u0442\u043e\u043c \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c<\/em>.\u00bb<\/em>, prem\u00fd\u0161\u013eali sme nad mo\u017enos\u0165ou ta\u0161ka. Mlieko sa na Slovensku pred\u00e1va v kart\u00f3noch, ale v 80. rokoch sa pred\u00e1valo vo vrec\u00fa\u0161kach. T\u00e1to alternat\u00edva funguje viac ako ta\u0161ka, ke\u010f\u017ee v obchodn\u00fdch re\u0165azcoch u\u017e pon\u00fakaj\u00fa papierov\u00e9 vrec\u00fa\u0161ka ako alternat\u00edvy k plastov\u00fdm. Prim\u00e1rne sa pou\u017e\u00edvaj\u00fa na pe\u010divo, ale ke\u010f\u017ee ide iba o jedno vrec\u00fa\u0161ko mlieka, pod\u013ea n\u00e1s by preklad segmentov mal znie\u0165 nasledovne: \u201eTeda sk\u00f4r po vrec\u00fa\u0161ko s mliekom vo vrec\u00fa\u0161ku.<\/em>\u201c a \u201ePri pokladni mi dali vrec\u00fa\u0161ko, \u010di\u017ee teraz nesiem vrec\u00fa\u0161ko s mliekom vo vrec\u00fa\u0161ku.<\/em>\u201c.<\/p>\n<\/div>\n\n\n\n
Z\u00e1ver<\/strong><\/h2>\n\n\n\n
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V tejto odbornej pr\u00e1ci sme analyzovali \u00fapln\u00fd proces komunitnej lokaliz\u00e1cie videohry \u00ab\u041f\u0430\u043a\u0435\u0442 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430\u00bb<\/em>. T\u00e1to pr\u00e1ca pouk\u00e1zala na potenci\u00e1lne probl\u00e9my pri pr\u00e1ci s hern\u00fdm softv\u00e9rom a z\u00e1rove\u0148 na v\u00fdzvy umeleck\u00e9ho prekladu v softv\u00e9rovom prostred\u00ed. Z na\u0161ich zisten\u00ed vieme, \u017ee prekladate\u013e nem\u00f4\u017ee bra\u0165 oh\u013ead iba na obsahov\u00fa str\u00e1nku, ale aj na form\u00e1lnu, ke\u010f\u017ee je kritick\u00e1 pre \u00fapln\u00fa funk\u010dnos\u0165 diela.<\/p>\n<\/div>\n\n\n\n
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[1]<\/a> Steam DB. cit. 09. 02. 2025. Dostupn\u00e9 na https:\/\/steamdb.info\/stats\/releases\/<\/a><\/p>\n\n\n\n
[2]<\/a>V\u0161etky cit\u00e1ty z cudzojazy\u010dn\u00fdch zdrojov prelo\u017eil autor pr\u00e1ce.<\/p>\n\n\n\n
[3]<\/a> ESSELINK, B. A Practical Guide to Localization. John Benjamins Publishing, 2000.<\/p>\n\n\n\n
[4]<\/a> FOLARON, D. A Discipline Coming of Age in the Digital Age. In: Dunne, Keiran J. Perspectives on Localization. John Benjamins Publishing Company, 2006.<\/p>\n\n\n\n
[5]<\/a> KAB\u00c1T, M. KOSCELN\u00cdKOV\u00c1, M. Lokaliz\u00e1cia a jej miesto v translatol\u00f3gii. In: L10N Journal. 2022. 1(1): s. 4 \u2013 26.<\/p>\n\n\n\n
[6]<\/a> LOMMEL, A. The Globalization Industry Primer. The Localization Industry Standards Association, 2007.<\/p>\n\n\n\n
[7]<\/a>DUNNE, K. A Copernican revolution. In: Dunne, Keiran (ed.): Perspectives on Localization. Amsterdam\/Philadelphia: John Benjamins, 2006. s. 1 \u2013 11.<\/p>\n\n\n\n
[8]<\/a> GROMOV\u00c1, E. \u0160OLTYS, Jaroslav (eds.). Odborn\u00fd preklad 4. 2009<\/p>\n\n\n\n
[9]<\/a> DODARO, E. The localization of video games: a study on the practical applications and their linguistic challenges, 2014.<\/p>\n\n\n\n
[10]<\/a> BERNAL-MERINO, M. Translation and localisation in video games: making entertainment software global. Routledge, 2015.<\/p>\n\n\n\n
[11]<\/a> KOHLER, Chris. Power-up: how Japanese video games gave the world an extra life. Dover Publications, 2016.<\/p>\n\n\n\n
[12]<\/a> O\u2019HAGAN, Minako. MANGIRON, Carmen. Game Localization: Translating for the Global Digital Entertainment Industry. John Benjamins Publishing Company, 2013.<\/p>\n\n\n\n
[13]<\/a> JIM\u00c9NEZ-CRESPO, M. Localisation Research in Translation Studies: Expanding the Limits or Blurring the Lines?. In: Moving Boundaries in Translation Studies. London and New York: Routledge, 2019. s. 26\u201344<\/p>\n\n\n\n
[14]<\/a> SOKOLI, S. Subtitling norms in Greece and Spain. In: DIAZ-CINTAS, Jorge. ANDERMAN, Gunilla (eds). Audiovisual Translation: Language Transfer on Screen, 2009. s. 36-48.<\/p>\n\n\n\n
[15]<\/a> KAB\u00c1T, M. V\u0161eobecn\u00e1 \u0161tylistick\u00e1 pr\u00edru\u010dka pre lokaliz\u00e1ciu softv\u00e9rov\u00fdch produktov. STIMUL, Univerzita Komensk\u00e9ho v Bratislave, Filozofick\u00e1 fakulta, Bratislava, 2023.<\/p>\n\n\n\n
[16]<\/a> O\u2019HAGAN, M. MANGIRON, C. Game Localization: Translating for the Global Digital Entertainment Industry. John Benjamins Publishing Company, 2013.<\/p>\n\n\n\n
[17]<\/a> Steam DB. cit. 09. 02. 2025. Dostupn\u00e9 na https:\/\/steamdb.info\/stats\/releases\/<\/a><\/p>\n\n\n\n
[18]<\/a> KAB\u00c1T, M. KOSCELN\u00cdKOV\u00c1, M. Lokaliz\u00e1cia a jej miesto v translatol\u00f3gii. In: L10N Journal. 2022. 1(1): s. 4 \u2013 26.<\/p>\n\n\n\n
[19]<\/a> LogrusIT. cit. 08. 02. 2025. Dostupn\u00e9 na https:\/\/games.logrusit.com\/en\/news\/the-most-popular-languages-on-steam\/<\/a><\/p>\n\n\n\n
[20]<\/a> Steam DB. cit. 09. 02. 2025. Dostupn\u00e9 na https:\/\/steamdb.info\/stats\/releases\/<\/a><\/p>\n\n\n\n
[21]<\/a> Tam\u017ee<\/p>\n\n\n\n
[22]<\/a> Z\u00e1kon \u010d. 40\/2015 Z.z. o audiov\u00edzii, Zbierka z\u00e1konov Slovenskej republiky, ro\u010dn\u00edk 2015, \u010d\u00edslo 40, \u00a7 15, ods. 2. citovan\u00e9 18. 04. 2025 Dostupn\u00e9 na: https:\/\/www.slov-lex.sk\/ezbierky\/pravne-predpisy\/SK\/ZZ\/2015\/40\/#paragraf-15.odsek-2<\/a><\/p>\n\n\n\n
[23]<\/a> N\u00c1B\u011aLKOV\u00c1, M. Closely-related languages in contact: Czech, Slovak, Czechoslovak, in: International Journal of the Sociology of Language, ro\u010d. 2007, \u010d. 1, ss. 53-73.<\/p>\n\n\n\n
[24]<\/a> Lokalizacie.sk. cit. 02. 11. 2024 .Dostupn\u00e9 na https:\/\/www.lokalizacie.sk\/nas-tim<\/a><\/p>\n\n\n\n
[25]<\/a> Steam DB. cit. 09. 02. 2025. Dostupn\u00e9 na https:\/\/steamdb.info\/stats\/releases\/<\/a><\/p>\n\n\n\n
[26]<\/a> KOSCELN\u00cdKOV\u00c1, M. Lokaliz\u00e1cia videohier na Slovensku. 2024.<\/p>\n\n\n\n
[27]<\/a> VELECK\u00dd, M. Anal\u00fdza slovenskej lokaliz\u00e1cie videohry Grand Theft Auto III, 2022.<\/p>\n\n\n\n
[28]<\/a> Kaplan, R. The Dominance of English as a Language of Science. Berlin, New York: Mouton De Gruyter. 2001. s. 9<\/p>\n\n\n\n
[29]<\/a> Anime News Network, citovan\u00e9 16. 04. 2025. Dostupn\u00e9 na https:\/\/www.animenewsnetwork.com\/press-release\/2006-02-08\/amn-and-anime-advanced-announce-anime-game-demo-downloads<\/p>\n\n\n\n
[30]<\/a> Lebowitz, J. Klug, C. \u201eJapanese Visual Novel Games\u201c. Interactive storytelling for video games: a player-centered approach to creating memorable characters and stories. Burlington, MA: Focal Press. 2011.<\/p>\n\n\n\n
[31]<\/a> Tam\u017ee<\/p>\n\n\n\n
[32]<\/a> Renpy nav\u0161t\u00edven\u00e9 31. 03. 2025. Dostupn\u00e9 na https:\/\/www.renpy.org\/<\/p>\n\n\n\n
[33]<\/a> Github nav\u0161t\u00edven\u00e9 31. 03. 2025. Dostupn\u00e9 na https:\/\/github.com\/<\/p>\n\n\n\n
[34]<\/a> MONT\u00d3N, D. It\u2019s a funny game, 2007.<\/p>\n\n\n\n
[35]<\/a> KAB\u00c1T, M. V\u0161eobecn\u00e1 \u0161tylistick\u00e1 pr\u00edru\u010dka pre lokaliz\u00e1ciu softv\u00e9rov\u00fdch produktov. STIMUL, Univerzita Komensk\u00e9ho v Bratislave, Filozofick\u00e1 fakulta, Bratislava, 2023.<\/p>\n\n\n\n
[36]<\/a> Dekanov\u00e1 E., Kapitoly z te\u00f3rie a didaktiky prekladu odborn\u00fdch textov. Univerzita Kon\u0161tant\u00edna Filozofa. Filozofick\u00e1 fakulta, 2009. s. 24.<\/p>\n\n\n\n
[37]<\/a> Tam\u017ee. s. 24<\/p>\n\n\n\n
[38]<\/a> Dekanov\u00e1 E., Kapitoly z te\u00f3rie a didaktiky prekladu odborn\u00fdch textov. Univerzita Kon\u0161tant\u00edna Filozofa. Filozofick\u00e1 fakulta, 2009. s. 27.<\/p>\n\n\n\n
[39]<\/a> Slovn\u00edkov\u00e9 defin\u00edcie z cudzojazy\u010dn\u00fdch zdrojov prelo\u017eil autor pr\u00e1ce.<\/p>\n<\/div>\n\n\n\n
\n\n\n\n
Zoznam pou\u017eitej literat\u00fary<\/strong><\/h2>\n\n\n\n
\n
BERNAL-MERINO, Miguel \u00c1ngel. Translation and localisation in video games: making entertainment software global. Routledge, 2015. ISBN 9781138805538<\/strong><\/p>\n\n\n\n
DEKANOV\u00c1, Eva. Kapitoly z te\u00f3rie a didaktiky prekladu odborn\u00fdch textov. Univerzita Kon\u0161tant\u00edna Filozofa. Filozofick\u00e1 fakulta, 2009. ISBN 9788080945985<\/p>\n\n\n\n
ESSELINK, Bert. A Practical Guide to Localization. John Benjamins Publishing, 2000. ISBN 9781588110060<\/p>\n\n\n\n
FEREN\u010c\u00cdK, J. Kontexty prekladu. Bratislava: Slovensk\u00fd spisovate\u013e, 1982<\/strong><\/p>\n\n\n\n
FOLARON, Debbie. A Discipline Coming of Age in the Digital Age. In: Dunne, Keiran J. Perspectives on Localization. John Benjamins Publishing Company, 2006. ISBN 9789027231895<\/p>\n\n\n\n
JIM\u00c9NEZ-CRESPO, Miguel \u00c1ngel. Localisation Research in Translation Studies: Expanding the Limits or Blurring the Lines?. In: DAM, Helle. BR\u00d8GGER, Matilde Nisbeth. ZETHSEN, Karen Korning (eds.). Moving Boundaries in Translation Studies. London and New York: Routledge, 2019. s. 26\u201344.<\/p>\n\n\n\n
KAB\u00c1T, Mari\u00e1n. V\u0161eobecn\u00e1 \u0161tylistick\u00e1 pr\u00edru\u010dka pre lokaliz\u00e1ciu softv\u00e9rov\u00fdch produktov. STIMUL, Univerzita Komensk\u00e9ho v Bratislave, Filozofick\u00e1 fakulta, Bratislava, 2023. ISBN 9788081273476<\/p>\n\n\n\n
KAPLAN, Robert. The Dominance of English as a Language of Science. Berlin, New York: Mouton De Gruyter. 2001. s. 9.<\/p>\n\n\n\n
KOHLER, Chris. Power-up: how Japanese video games gave the world an extra life. Dover Publications, 2016. ISBN 9780486801490<\/p>\n\n\n\n
KOSCELN\u00cdKOV\u00c1, M\u00e1ria. Lokaliz\u00e1cia videohier na Slovensku. 2024. ISBN 9788055821542<\/p>\n\n\n\n
LEBOWITZ, Josiah; Klug, Chris \u201eJapanese Visual Novel Games\u201c. Interactive storytelling for video games: a player-centered approach to creating memorable characters and stories. Burlington, MA: Focal Press. 2011.<\/p>\n\n\n\n
N\u00c1B\u011aLKOV\u00c1, Mira. Closely-related languages in contact: Czech, Slovak, Czechoslovak, in: International Journal of the Sociology of Language, ro\u010d. 2007, \u010d. 1, ss. 53-73.<\/p>\n\n\n\n
O\u2019HAGAN, Minako. MANGIRON, Carmen. Game Localization: Translating for the Global Digital Entertainment Industry. John Benjamins Publishing Company, 2013. ISBN 9789027271860<\/p>\n\n\n\n
VELECK\u00dd, Milan. Anal\u00fdza slovenskej lokaliz\u00e1cie videohry Grand Theft Auto III, 2022, [bakal\u00e1rska pr\u00e1ca]. \u0160kolite\u013e: Kab\u00e1t Mari\u00e1n, Bratislava: Univerzita Komensk\u00e9ho v Bratislave, Filozofick\u00e1 fakulta.<\/p>\n\n\n\n
Zdroje z internetu<\/strong><\/h3>\n\n\n\n
ANIME NEWS NETWORK, (online str\u00e1nka bola nav\u0161t\u00edven\u00e1 16. 04. 2025), dostupn\u00e9 na https:\/\/www.animenewsnetwork.com\/press-release\/2006-02-08\/amn-and-anime-advanced-announce-anime-game-demo-downloads<\/a><\/p>\n\n\n\n
DODARO, Etorre. The localization of video games: a study on the practical applications and their linguistic challenges, 2014, [diplomov\u00e1 pr\u00e1ca]. \u0160kolite\u013e: Cesiri Daniela, Ben\u00e1tky: Universit\u00e0 Ca\u2018 Foscari Venezia. Dostupn\u00e9 na https:\/\/123dok.org\/document\/nq70lgny-localization-video-games-study-practical-applications-linguistic-challenges.html<\/a><\/p>\n\n\n\n
DUNNE, Keiran. A Copernican revolution. In: Dunne, Keiran (ed.): Perspectives on Localization. Amsterdam\/Philadelphia: John Benjamins, 2006. s. 1 \u2013 11, [online]. Dostupn\u00e9 na https:\/\/api.pageplace.de\/preview\/DT0400.9789027293862_A24762116\/preview-9789027293862_A24762116.pdf<\/a><\/p>\n\n\n\n
GITHUB, (online str\u00e1nka bola nav\u0161t\u00edven\u00e1 31. 03. 2025), dostupn\u00e9 na https:\/\/github.com\/<\/a><\/p>\n\n\n\n
GROMOV\u00c1, Edita. \u0160OLTYS, Jaroslav (eds.). Odborn\u00fd preklad 4. 2009, [online]. Dostupn\u00e9 na https:\/\/sspol.sk\/wp-content\/uploads\/2019\/09\/op4.pdf<\/a><\/p>\n\n\n\n
KAB\u00c1T, Mari\u00e1n. KOSCELN\u00cdKOV\u00c1, M\u00e1ria. Lokaliz\u00e1cia a jej miesto v translatol\u00f3gii. In: L10N Journal. 2022. 1(1): s. 4 \u2013 26, [\u010dl\u00e1nok]. Dostupn\u00e9 na https:\/\/www.researchgate.net\/publication\/369226099_Lokalizacia_a_jej_miesto_v_translatologii<\/a><\/p>\n\n\n\n
MONT\u00d3N, Diana D\u00edaz. It\u2019s a funny game, 2007, [online]. Dostupn\u00e9 na https:\/\/www.academia.edu\/115636272\/Its_a_Funny_Game?uc-sb-sw=9235900<\/a><\/p>\n\n\n\n
RENPY, (online str\u00e1nka bola nav\u0161t\u00edven\u00e1 31. 03. 2025), dostupn\u00e9 na https:\/\/www.renpy.org\/<\/a><\/p>\n\n\n\n
SLOVN\u00cdKOV\u00dd PORT\u00c1L JAZYKOVEDN\u00c9HO \u00daSTAVU \u013d. \u0160T\u00daRA SAV, (online, str\u00e1nka bola nav\u0161t\u00edven\u00e1 18. 04. 2025), dostupn\u00e9 na https:\/\/slovnik.juls.savba.sk\/<\/a><\/p>\n\n\n\n
SOKOLI, Stavroula. Subtitling norms in Greece and Spain. In: DIAZ-CINTAS, Jorge. ANDERMAN, Gunilla (eds). Audiovisual Translation: Language Transfer on Screen, 2009. s. 36-48, [pr\u00edspevok]. Dostupn\u00e9 na https:\/\/www.academia.edu\/345860\/Subtitling_Norms_in_Greece_and_Spain<\/a><\/p>\n\n\n\n
STEAM DB. (online, str\u00e1nka bola nav\u0161t\u00edven\u00e1 09. 02. 2025), dostupn\u00e9 na https:\/\/steamdb.info\/stats\/releases\/<\/a><\/p>\n\n\n\n
Z\u00e1kon \u010d. 40\/2015 Z.z. o audiov\u00edzii, Zbierka z\u00e1konov Slovenskej republiky, ro\u010dn\u00edk 2015, \u010d\u00edslo 40, \u00a7 15, ods. 2, [z\u00e1kon]. Dostupn\u00e9 na: https:\/\/www.slov-lex.sk\/ezbierky\/pravne-predpisy\/SK\/ZZ\/2015\/40\/#paragraf-15.odsek-2<\/a><\/p>\n\n\n\n
\u0413\u0420\u0410\u041c\u041e\u0422\u0410.\u0420\u0423, <\/em>(online, str\u00e1nka bola nav\u0161t\u00edven\u00e1 18. 04. 2025), dostupn\u00e9 na https:\/\/gramota.ru\/<\/a><\/p>\n\n\n\n
\u0422\u041e\u041b\u041a\u041e\u0412\u042b\u0419 \u0421\u041b\u041e\u0412\u0410\u0420\u042c \u0420\u0423\u0421\u0421\u041a\u041e\u0413\u041e \u042f\u0417\u042b\u041a\u0410, <\/em>(online, str\u00e1nka bola nav\u0161t\u00edven\u00e1 18. 04. 2025), dostupn\u00e9 na https:\/\/slovarozhegova.ru\/<\/a><\/p>\n<\/div>\n\n\n\n
\n
Gameografia<\/strong><\/h3>\n\n\n\n
Lego Horizon Adventures (Guerrila Games, 2024)<\/p>\n\n\n\n
Milk Inside a Bag of Milk Inside a Bag of Milk (Missing Calm, 2020)<\/p>\n\n\n\n
Pacman (Namco, 1980)<\/p>\n\n\n\n
Pong (Atari, 1972)<\/p>\n\n\n\n
Sonic X Shadow Generations (Team Sonic, 2024)<\/p>\n\n\n\n
Space Invaders (Taito, 1978)<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
Autor: Adam W\u00e1gnerKorekt\u00fara: Ter\u00e9zia Siv\u010d\u00e1kov\u00e1  V\u202ftejto odbornej pr\u00e1ci sa budeme venova\u0165 procesu komunitnej lokaliz\u00e1cie hry \u00ab\u041f\u0430\u043a\u0435\u0442 \u0441\u202f\u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430\u00bb (Milk Inside a Bag of Milk Inside a\u202fBag of Milk), ktorej autorom je Nikita Kriukov1. T\u00e1to hra sa stala uzn\u00e1vanou vizu\u00e1lnou novelou a\u202fje jednou z\u202fm\u00e1la hier, ktor\u00e9 boli p\u00f4vodne v\u202fruskom jazyku a\u202fdosiahli […]<\/p>\n","protected":false},"author":1,"featured_media":473,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[14],"tags":[],"class_list":["post-489","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-clanok"],"yoast_head":"\nKomentovan\u00fd preklad videohry \u00ab\u041f\u0430\u043a\u0435\u0442 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430\u00bb - Rusalka a Samyzdat<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rusalka-samyzdat.sk\/?p=489\" \/>\n<meta property=\"og:locale\" content=\"sk_SK\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Komentovan\u00fd preklad videohry \u00ab\u041f\u0430\u043a\u0435\u0442 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430\u00bb - Rusalka a Samyzdat\" \/>\n<meta property=\"og:description\" content=\"Autor: Adam W\u00e1gnerKorekt\u00fara: Ter\u00e9zia Siv\u010d\u00e1kov\u00e1  V\u202ftejto odbornej pr\u00e1ci sa budeme venova\u0165 procesu komunitnej lokaliz\u00e1cie hry \u00ab\u041f\u0430\u043a\u0435\u0442 \u0441\u202f\u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430 \u0441 \u043c\u043e\u043b\u043e\u043a\u043e\u043c \u0432\u043d\u0443\u0442\u0440\u0438 \u043f\u0430\u043a\u0435\u0442\u0430\u00bb (Milk Inside a Bag of Milk Inside a\u202fBag of Milk), ktorej autorom je Nikita Kriukov1. 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