Comp Stud Trans EN 4

A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560

《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China

Comp_Stud_Trans_EN_4

Abstract

League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.

Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--Ma Xin (talk) 14:11, 11 December 2021 (UTC)

Key Words

League of Legends; Chinese Translation; Japanese Translation; Comparative Study

Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --Ma Xin (talk) 14:14, 11 December 2021 (UTC)

Introduction

League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.

The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.

Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng（2006：124） stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao（2011：189-190）’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang（2012：159-160） analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.

Suggestion: League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.

--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)

The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.

--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation in order to polish this study.

Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng (# year, page) stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s (# year, page) study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang (# year, page) analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--Ma Xin (talk) 14:35, 11 December 2021 (UTC)

Generality of the translation in China and Japan

Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan.

With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.

The compare of Chinese and Japanese translations

No. English titles Simplified Chinese Japanese

1. the Minotaur 牛头酋长 ミノタウロスの戦士

2. the Dark Child 黑暗之女 闇の申し子

3. the Frost Archer 寒冰射手 氷の射手

4. the Ancient Fear 远古恐惧 古の恐怖

5. Grandmaster at Arms 武器大师 最強の武器使い

6. the Righteous 正义天使 天空の正義

7. the Wuju Bladesman 无极剑圣 ウージューの剣客

8. the Fallen 堕落天使 堕天の高潔

9. the Boy and His Yeti 雪原双子 少年とイエティ

10. the Rune Mage 符文法师 ルーンの魔導師

11. The Undead Juggernaut 亡灵战神 不死身の重戦車

12. the Battle Mistress 战争女神 戦場の女王

13. the Starchild 众星之子 星の子

14. the Swift Scout 迅捷斥候 俊足の斥候

15. the Yordle Gunner 麦林炮手 ヨードルの主砲

16. the Card Master 卡牌大师 不敗のイカサマ師

17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤

18. the Mad Chemist 炼金术士 マッドケミスト

19. the Chronokeeper 时光守护者 時の番人

20. Agony's Embrace 痛苦之拥 苦悶の抱擁

21. the Barbarian King 蛮族之王 孤高の蛮王

22. the Plague Rat 瘟疫之源 黒死のドブネズミ

23. the Deathsinger 死亡颂唱者 死を歌う者

24. the Sad Mummy 殇之木乃伊 めそめそミイラ

25. the Terror of the Void 虚空恐惧 未知なる恐怖

26. the Cryophoenix 冰晶凤凰 氷の不死鳥

27. the Armordillo 披甲龙龟 アーマージロ

28. the Tiny Master of Evil 邪恶小法师 小さき大魔王

29. the Void Walker 虚空行者 ヴォイドを歩む者

30. the Saltwater Scourge 海洋之灾 大海原の大災厄

31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者

32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム

33. the Madman of Zaun 祖安狂人 ゾウンの狂人

34. the Storm's Fury 风暴之怒 嵐の怒り

35. Shard of the Monolith 熔岩巨兽 モノリスの欠片

36. the Daring Bombardier 英勇投弹手 豪気の爆撃手

37. the Sinister Blade 不祥之刃 凶兆の刃

38. the Curator of the Sands 沙漠死神 砂漠の司書

39. the Revered Inventor 大发明家 誉れ高き発明王

40. the Demon Jester 恶魔小丑 悪魔の道化師

41. the Spirit Walker 兽灵行者 精霊と歩む者

42. the Bestial Huntress 狂野女猎手 半獣の狩人

43. Keeper of the Hammer 圣锤之毅 大鎚の守護者

44. the Rabble Rouser 酒桶 騒乱の飲んだくれ

45. the Unbreakable Spear 不屈之枪 砕けぬ槍

46. the Iron Revenant 铁铠冥魂 鋼の魂奪者

47. the Prodigal Explorer 探险家 光の冒険心

48. the Eye of Twilight 暮光之眼 黄昏の瞳

49. the Heart of the Tempest 狂暴之心 雷雲の担い手

50. The Might of Demacia 德玛西亚之力 デマーシアの勇士

51. the Rogue Assassin 离群之刺 主なき暗殺者

52. the Prophet of the Void 虚空先知 ヴォイドの予言者

53. the Berserker 狂战士 狂戦士

54. the Mouth of the Abyss 深渊巨口 深淵のアギト

55. the Seneschal of Demacia 德邦总管 デマーシアの家令長

56. the Crimson Reaper 猩红收割者 真紅の死神

57. the Colossus 正义巨像 伝説の巨像

58. the Dreadnought 无畏战车 ドレッドノート

59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ

60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師

61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥

62. the Lady of Luminosity 光辉女郎 光の才女

63. the Deceiver 诡术妖姬 幻惑の奇術師

64. the Blade Dancer 刀锋舞者 飛刃の舞い手

65. the Troll King 巨魔之王 トロールキング

66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁

67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官

68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋

69. the Enlightened One 天启者 目覚めし者

70. the Twisted Treant 扭曲树精 歪みし樹人

71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範

72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢

73. the Blind Monk 盲僧 盲目の修行僧

74. the Burning Vengeance 复仇焰魂 復讐の炎

75. the Mechanized Menace 机械公敌 戦慄の機甲兵

76. the Night Hunter 暗夜猎手 ナイトハンター

77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫

78. the Shepherd of Souls 牧魂人 魂の導き手

79. the Radiant Dawn 曙光女神 暁光の戦士

80. the Monkey King 齐天大圣 美猴王

81. the Crystal Vanguard 水晶先锋 水晶の尖兵

82. the Blade's Shadow 刀锋之影 将軍の懐刀

83. the Exile 放逐之刃 贖罪の追放者

84. the Magus Ascendant 远古巫灵 超越魔神

85. the Outlaw 法外狂徒 無法者

86. the Half-Dragon 龙血武姬 半龍人

87. the Tidal Trickster 潮汐海灵 波間のトリックスター

88. the Relentless Storm 不灭狂雷 無慈悲の嵐

89. the Nine-Tailed Fox 九尾妖狐 九尾の狐

90. the Machine Herald 机械先驱 機械文明の先触れ

91. Fury of the North 北地之怒 極北の激憤

92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート

93. the Titan of the Depths 深海泰坦 深海の巨人

94. the Grand Duelist 无双剑姬 高潔なるデュエリスト

95. the Fae Sorceress 仙灵女巫 森の妖精使い

96. the Shadow of War 战争之影 戦場の幻影

97. the Arrow of Retribution 惩戒之箭 報復の一矢

98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧

99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人

100. the Defender of Tomorrow 未来守护者 未来への希望

101. Rise of the Thorns 荆棘之兴 茨の目覚め

102. Scorn of the Moon 皎月女神 嘲りの月

103. the Pridestalker 傲之追猎者 孤高のハンター

104. the Dark Sovereign 暗黑元首 暗黒の女王

105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者

106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝

107. the Master of Shadows 影流之主 影の頭領

108. the Tidecaller 唤潮鲛姬 潮呼びの巫女

109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒

110. the Chain Warden 魂锁典狱长 縛鎖の看守

111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼

112. the Secret Weapon 生化魔人 親愛なる秘密兵器

113. the Ice Witch 冰霜女巫 氷の魔女

114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣

115. the Purifier 圣枪游侠 不浄殲滅者

116. the Loose Cannon 暴走萝莉 暴走パンクガール

117. the Unforgiven 疾风剑豪 赦されざる者

118. the Eye of the Void 虚空之眼 ヴォイドの瞳

119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気

120. the Missing Link 迷失之牙 ミッシングリンク

121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝

122. the Spear of Vengeance 复仇之矛 復讐の槍

123. the Void Burrower 虚空遁地兽 地底の恐怖

124. the Wandering Caretaker 星界游神 流離いの庇護者

125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年

126. The River King 河流之王 川の王様

127. The Eternal Hunters 永猎双子 永遠なる狩人

128. the Kraken Priestess 海兽祭司 海の女司祭

129. the Virtuoso 戏命师 孤高の芸術家

130. The Star Forger 铸星龙王 星を創りし者

131. the Stoneweaver 岩雀 ストーンウィーバー

132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵

133. the Green Father 翠神 豊緑の神秘

134. the Steel Shadow 青钢影 スチールシャドウ

135. The Charmer 幻翎 魅惑の翼

136. the Rebel 逆羽 反逆の刃

137. the Shadow Reaper 影流之镰 無情の影

138. The Fire below the Mountain 山隐之焰 山の下の焔

139. the Aspect of Twilight 暮光星灵 超常の遊び

140. Daughter of the Void 虚空之女 虚無を知る娘

141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼

142. the Curious Chameleon 万花通灵 不思議のカメレオン

143. the Unshackled 解脱者 解き放たれし者

144. the Magical Cat 魔法猫咪 マジカルキャット

145. Empress of the Elements 元素女皇 エレメントの女帝

146. the Redeemer 涤魂圣枪 救済者

147. the Weapon of the Faithful 残月之肃 信ずる者の武器

148. the Boss 腕豪 ザ・ボス

149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花

150. the Unforgotten 封魔剑魂 忘られざる者

151. the Desert Rose 沙漠玫瑰 砂漠の薔薇

152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー

153. the Iron Maiden 镕铁少女 鋼鉄の乙女

154. The Ruined King 破败之王 滅びの王

155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子

156. the Rogue Sentinel 影哨 流浪の番人

157. the Gloomist 愁云使者 終わりなき憂鬱

Suggestion: put those titles in the appendix, not in the main body of the paper. it is also better to analyze one or two terms in detail.--Ma Xin (talk) 14:35, 11 December 2021 (UTC)

The comparative analyse of examples

In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.

Suggestion: it's perhaps better to summarize the translation of terms into 3 types mentioned above and give each one a more detailed analysis.--Ma Xin (talk) 14:42, 11 December 2021 (UTC)

1. The Minotaur

Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.

2. The Dark Child

On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.

5. Grandmaster at Arms

On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.

6 and 8. The Righteous and The Fallen

These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.

7.The Wuju Bladesman

The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.

10.The Rune Mage

We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.

11.The Undead Juggernaut

Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.

16.The Card Master

On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.

17.The Uncaged Wrath of Zaun

On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.

18.The Mad Chemist

On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.

21.The Barbarian King

On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person.

22.the Plague Rat

This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.

25.the Terror of the Void

We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.

27. the Armordillo

On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.

35. Shard of the Monolith

On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.

38. the Curator of the Sands

On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.

42. the Bestial Huntress

On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.

43. Keeper of the Hammer

On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.

44. the Rabble Rouser

The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.

46. the Iron Revenant

On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.

47. the Prodigal Explorer

On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.

49. the Heart of the Tempest

The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.

50. The Might of Demacia

On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.

56. the Crimson Reaper

Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.

58. the Dreadnought

The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.

59. the Bounty Hunter

We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.

60. Maven of the Strings

The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.

63. the Deceiver

The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.

67. The Sheriff of Piltover

‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way. Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.

69. the Enlightened One

Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.

71. the Exemplar of Demacia

On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.

75. the Mechanized Menace

The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.

77. the Lady of Clockwork

In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.

79. the Radiant Dawn

Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.

83. the Exile

On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.

86. the Half-Dragon

On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.

87. the Tidal Trickster

On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.

88. the Relentless Storm

On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.

92. the Hexplosives Expert

‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.

102. Scorn of the Moon

On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’

108. the Tidecaller

On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.

109. the Piltover Enforcer

We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.

115 and 146. the Purifier and the Redeemer

The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.

116. the Loose Cannon

On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl).

117 and 150. the Unforgiven and the Unforgotten

On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.

119. the Heart of the Freljord

On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase

123. the Void Burrower

On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.

124. the Wandering Caretaker

On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.

127. The Eternal Hunters

On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.

129. the Virtuoso

On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.

131. the Stoneweaver

On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.

133. the Green Father

On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.

134. the Steel Shadow

On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.

135 and 136. The Charmer and the Rebel

These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’.

139. the Aspect of Twilight

The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.

140. Daughter of the Void

On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.

141. the Bloodharbor Ripper

On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.

142. the Curious Chameleon

On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.

147. the Weapon of the Faithful

On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.

148. the Boss

On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.

152. the Starry-Eyed Songstress

On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’

153. the Iron Maiden

‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.

155. The Hallowed Seamstress

On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.

156. the Rogue Sentinel

On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.

Conclusion

We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.

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Suggestion: you can find more prestigious academic journals or books to quote in this paper.--Ma Xin (talk) 14:48, 11 December 2021 (UTC)

Corrected by: --Ma Xin (talk) 14:41, 13 December 2021 (UTC)