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Category: News

Is Nintendo really leaving Brazil behind?

Hello, all.

Sorry for posting this so late. College is taking most of my time and I have a lot of stuff to study. I will try to keep the site updated at least once a week.

Well, don’t know if you guys checked that out. Nintendo is officially leaving Brazil…. at least is what most of the news are publishing.

However, in an interview gave by General Director of Latin America, Bill van Zyll to the Brazilian news portal (as you can check here) he said that they are not giving up of Brazil.

According to the news published on Monday 12th, 2015, Nintendo had informed last Friday – January 09th – that they have canceled the official distribution of Nintendo games in Brazil due to the high taxes. Still, Zyll said that the Nintendo products will still be available on the Brazilian market as long as the stores have them. (Blog’s Author note: In other words, if you are a Nintendo player, RUN and get the game you wanted so much before it ends.)


Still, regarding to the interview, Zyll said that they will keep working to get a solution or a different model for the Brazilian market and than bring to this market the news releases for 2015, like The Legend of Zelda: Majora`s Mask 3D and the new Star Fox and Zelda, for the Nintendo Wii U.

For the General director of Nintendo, there is a great solution for that, as the digital versions of the games, that you may find at the virtual eShop for the portable 3DS and soon will be arriving to Wii U console.

Another alternative for the Brazilian Import Taxes is the national manufacturing of Nintendo’s consoles, but for Zyll, this is not a right solution to the company where he says that “how can you establish a complex local process and expensive just to run away from the high taxes forced by the country? This is not so simple, because we thought and valuated this option and, over the end, we concluded that the cost benefits of local production is not the right solution”. (Blog’s Author note: In parts I agree with him. Its hard to bring the whole company to a specific place just because of the Taxes. And Brazil has some of the higher in the world…. so, we have a problem there…)


He complements that saying that this model of production is the main reason that Nintendo is behind in Brazil. He states that: “In one moment, the rule is to import, than everybody was importing and the prices were high, but this changed out of the blue; the new reality is that some companies are manufacturing their products nationally and that made theirs prices to drop, but we kept importing and with that we couldn’t have the right values”.

 Over the end about this subject, Bill van Zyll said that the objective of Nintendo is to get back to selling their products officially in the country, where he states that: “We are a patient company, we only need the right circumstances”.

Well, what you guys thing about that? Other companies like Sony and Microsoft already built their offices in Brazil and are doing really well. Personally – and going against what I said before – if they want to get competitive in the market here, they will probably have to deal with the taxes (which if any of you want to know, for a simple import process, you can add over 60% of the value after converting from USD/CAD/EUR or whatever you are bringing your product. That would be a gross value. After you may add the value of people, offices, building, renting, etc.

I truly believe that waiting is a good option – for now – but if you a smart guy/girl – and I believe you are because you are reading this – you probably know how the economy in Brazil is doing and waiting may not be a smart move to do right now. In a nut shell, things are getting worse over time and if you don’t jump in now, you may get more damage jumping later.

And you? What do you think about it? Should Nintendo go to Brazil and make it happen or “wait for the right moment”?

What kind of games the Brazilian market is used to play?

Hello, my dear friends!

We all know that games are all around the world and each company has an interesting on a specific market. Americas, Europe, Asia over mobiles, consoles, PCs. Even more, some companies has being focused on a single style as action, FPS, RPG, platform, etc and trying to get on the market.

But there is one market that has being growing since a few years ago. The Brazilian Market. Most of companies that spare sometime to hire someone that speaks Portuguese to translate/localize their games, are way ahead of other. And its not me that is saying that. The Brazilians are. Ask anyone from Brazil why they are playing that specific game or the other one. Also, we can rely on number.

According to the Sao Paulo Times,  (sorry the website is not in English) only 5% of the population speaks English and only 8% of the Classes A and B speak English. The rest of the news is about getting yourself into the market about the lack of English language. But my point is, back in Brazil, only this class A and B and a little of C have access to the games that are produced in North America, Europe and Asia. Let talk real here: Games are so expensive that most of the Gamers there download it from the internet – illegally. Due to that, they sometimes, do not have access to the updates and translations games – or they do?

Games that are not translated/localized we have forums and groups of these Brazilian Gamers that get together to translate it. I did it myself helping them. That is where I want to get. Brazilian Gamers tend to play more games if they are translated. Of course most of people play them in English and they also say “I have no problem with that” or “I can understand/speak English” but if you put a plot in front of them, they would just press all the buttons to skip that ASAP.

Now, what this all has to do with the Post Title?

Well, a lot of companies are trying to get into the Brazilian market – and a lot of them did it really well – but what kind of game do you have to introduce to reach success in Brazil? That’s where the answer of the questions comes in handy – and the news – (Sorry again, this news is in Portuguese, but I’ll translate below, in a short). So, if you want to know more about the Brazilian market and how translation/localization is important, you can check this post.

Simple Games are the ones with more downloads for cell phones in Brazil on 2014.

The news page (G1) had access to the TOP 5 games from Google Play. Store is the one that attend the largest quantity of smartphones and tables of the country
TOP 5 downloaded games has being compiled according to the number of downloads of this kind of games at Google Play. Unfortunately, Google didn’t release how much downloads each game had.
Still, here are the games:


Yes. POU. Simple as a Tamagochi, the objective of the game is to take care of this weird thing, feeding it, cleaning it and putting it to sleep. And when you get boring of it, you can add you POU to some competitions, simple ones, but at least they are competitions.

The app has also an option to print a 3D version of it. Before that, you could buy your POU as a toy.



My Talking TOM is can also being printed and, if you like cats, this one is for you. You can tap the cat, watching him stretch, hug him, play with him, wash him…. almost like a POU but with legs and arms and a real face. Another interesting thing is that he can record what you tell him and repeat with a thin and annoying voice (believe me, I have some nephews that played with all day long). Also, according to Outfit7, the game has been downloaded more than 230 million times around the world.



Alright. Another one that I didn’t even imagine that would have on the TOP 5, but that’s okay. We have this one, Subway Surfers. On this game you have to avoid trains (really) and collect coins on the way. Nothing special about it, but the simple fact that is simple.


Alongside Subway Surfers we have Despicable Me where you have to control the Minions and collect bananas, fight bosses and more. I haven’t play this one, but I’d just because of the Minions. I like that: There, I said it.

Created by Gameloft, one of the specialized game companies over licensed games, they are one of the icons at the mobile generation. Since 2000, they have more than 500 apps published, which has been downloaded more than 1,7 Billion times. (Note: I did play some games from Gameloft and I’d made some changes in a few of them, maybe adding something… anyway). The company is here and is keeps growing like there’s no tomorrow.



Some of the companies above may scare some other due to the large number of downloads. But the market still have space for other and small companies that are looking for a place to grow. The Argentinian company Etermax has less than 10 games published. The game is a real exception at this list because is asks more than just doing tickles at your smarphone.


So, what do you think about it? Did you know that this simple games could be the ones with more downloads in Brazil? More, I cannot say if people kept playing them, because it only says the downloads and I could have downloaded it and, after 5 minutes deleted it.

However, is important to underline that, all of this games has its own Portuguese version and this, you can believe, is one of the reasons that it reached those positions there.

So, what about getting someone to translate your games and get into the Brazilian market? What are you waiting for?

9 truth and lies about the Brazilian Game Market

Good evening, everyone!

Most of you do know about the Game Market everywhere. We also know that Europe, Asia and North America are one the greatest ones when talking about developing, publishing, playing and doing all kind of stuffs with games. However, what is interesting is that most people do not know about the Game Market in Brazil and, even the brazilians, don’t know how things are going here.

Well, I found this article here (from 30thOctober – 2013) where you can check the full Portuguese version of it and thanks to Mauro Berimbau, I have this opportunity to share with you a little bit more about this market here, in Brazil.

Hope you like!
9 Truths and lies about the Brazilian Game Market

The image that we commonly have of the Brazilian market is almost the same. The fun of a little group of fatty teenager nerds which parents pay a lot of money to keep them in track. The ones who do not fit into this profile goes after the pirate stuff and, that’s why this sector can develop. But, is that really true?

Recently researches (for the time) about this sector and the consumer reveals the truths and the lies about this subject.

1 – People that plays video games are fatty and nerd kids.

FALSE – The average age of playing men are 35 years old. That demonstrate electronic games, officially introduced in the national market by the extinct Poly vox in 1983 with the ATARI, are inside the buying habits of Brazilian entertainment. Children from the past grew up with video games and today we have a really relevant market. Still, some of them are, in fact, fatties and nerds. J

2 – Games are so expensive in Brazil that only the rich people can enjoy it.

FALSE – We know today that 80% of gamers in Brazil are from class B and C. That is because, mainly, of the computer and the mobiles, with the high inclusion in the several social classes.

3 – Men are the ones who play more video games.

FALSE – Women represents now 41% of the gaming public. And don’t think that they are teenagers. The average age is 32 years old. The profile, however, is a little bit different and they prefer to play social games, puzzles and action.

4 – The main platform in the video game market is the console, as the Playstation 4 or XBOX One.

FALSE – In Brazil, 85% of the players use PC, playing the great blockbuster from the industry, but mainly playing games on facebook and mobile games spread all over the internet.

5 – Ok… So video games came on the second place, right?

FALSE – Wrong. On second place we have the smartphones as a platform for games for 73% of the Brazilian players.  These guys are the responsible for the great insertion of the games inside class B and C, and because of that, a lot of Brazilian developers worked on more and more apps for smartphones.

6 – UAU! So video games have the third place?

TRUE – 66% of the players are on the video games, and 56% of them are playing online.

7 – But Brazil has a game market with great potential.

TRUE – The United States are far ahead when talking about consuming video games with 145 million of activated players. That is the reason most of the companies keep their focal operations there. The Brazilian market has 35 million of activated players – comparatively lower, but believe: it is much more than a great part of countries in Europe and it’s the biggest market in Latin America. It’s simple math: if there are countries that most of the population consume games, imagine if it’s the same in Brazil. And you can use it for the many economy sectors.

8 – Who likes cell phone games are known as “casual gamers”, which prefer simple and faster games, like the ones on your smartphone and facebook. Now, the “hardcore gamers” prefer complex games, know a lot of different games and stay as many hours as possible in from of the TV.

FALSE – Mobile players tend to spend 2h40min per day, playing a lot at home, at work or during waiting moments, playing different games. Now, video game players spend 2h per day, staying only at home and usually dedicated to one game at a time. The idea of hardcore gamers is more likely to a dedicated fan then a great game consumer.

9 – Piracy is the main problem for the poor development of the game industry in Brazil.

FALSE – Piracy is a problem in Brazil, but is decreasing gradually, especially when considering the game universe the access to game for PC and mobile, as mentioned before. The number of players that pay for the games is really huge in Brazil compared to countries in Europe and the Latin America, with 17 million of payers. It is known that piracy is not the main source of the problem, but a consequence of a social situation: it shows when is more convenient than buying the original game. In other words, the problems of the higher prices and access to the games motivate people to go after alternatives to reach the games.

So, what do you think about it? Agreed or disagreed with these points? All the source links for these text you can found here and thank you to Mauro Berimbau one more time for this amazing text.

Have a great night!

Interview with Heather Chandler by CCAPS

Hello, everybody.
Today I am posting an interview with Heather Chandler, founder and President of Media Sunshine, Inc. It is an amazing interview with a lot of information and I how everybody could enjoy it!


IMPORTANT: This interview was made by CCAPS and you can check the PDF version and their website here. All the credits belong to them for this wonderful opportunity.
Heather is the main author of two books that I also mentioned before in my other post at the blog.
The Game Production Handbook and The Game localization Handbook
Thank you very much!
Learning from the Best
An interview with Heather Chandler, founder and President of Media Sunshine, Inc. and author of The Game Localization Handbook and The Game Production Handbook.
CCAPS: You have worked in the game industry since 1996. How much of your past and recent work is directly related to G-localization (a.k.a. the GILT industry)?
CHANDLER: When I worked as a producer, localization was just one of my responsibilities. For each game I worked on, I organized all the assets for translation, managed the translation process, integrated localized assets and coordinated the testing. This required planning during pre-production so there were no surprises during the actual localization phase. I also worked with the production team to make sure localization issues were accounted for during game development. Oftentimes, localization is the last thing on a game developer’s mind, because they are so focused on finishing the primary version of the game (usually for the US market). If localization is left until the end of the project, you run the risk of having a localization pipeline that is difficult and time-consuming to work with. For example, the game text may be hard-coded, which means the text that needs to be translated is located within programming files that should only be manipulated by a programmer. You may also find that graphic files contain embedded text, instead of having the text on a separate layer, making it very time consuming to alter the graphic for other languages. You may also find that the product you are working on is so specific to a single country that it is hard to modify it for other countries. For example, a game about Monster Trucks would not appeal to many people outside the United States.
CCAPS: Now that you are working as a consultant and have your own company, how would you say that your present activity differ from the times you worked for companies like Ubisoft, Electronic Arts, Activision and New Line Cinema?
CHANDLER: For me, the main difference between working for a company and being a consultant is that, as a consultant, I can work on several different projects. For instance, I can spend my time teaching, writing or working with others — and these activities are not all directly related to game development. I also have the freedom to pick and choose which projects I work on. It is nice being your own boss and focusing on what you enjoy doing and are good at. Because my main expertise is production management, I also have a wide variety of services I can offer. For example, I can manage a voiceover shoot from start to finish, work with a developer on defining a localization-friendly production pipeline, teach game development classes, help small technology businesses grow, create game pitches or any other number of production-related services. While I did enjoy working as a Producer at various companies, I could only work on one project at a time. Oftentimes, these projects lasted one year or more.
CCAPS: To date, you have worked on more than 30 games, including Ghost Recon: Advanced Warfighter, Ghost Recon 2, Civilization: Call to Power, Heavy Gear, Apocalypse, Vigilante 8, Shanghai: Second Dynasty, and Zork: Grand Inquisitor. Which was more fun to develop? And the most complicated?
CHANDLER: Of the games listed above, Shanghai: Second Dynasty (S2D)was the most fun for me. Shanghai is a tile-matching game where the player must match up tile pairs in order to clear them from the board. This game is also known as Mah Jong to some people. S2D had several game variations on the tile matching, as well as 4-player Mah Jong. It was fun because I learned so much about game production while working on it. The producerdirector, Tom Sloper, had several years of game development and design experience and really knew the process of creating a game from the inside out. He was one of my first mentors and taught me about writing design documents, managing internal and external teams, play-testing, marketing and project management. I had a range of different responsibilities with the game, including creating the installer, approving art assets, working
with the composer and creating the gold master candidates. Localization of Shanghai was also a learning experience. Not only did I have to coordinate the translations, I also had to integrate the translated assets, manage the testing, etc. — all for three different languages (including Japanese). One of the most complicated games I worked, at least from a localization standpoint, was Civilization: Call to Power. This was a very text heavy PC game, and the plan was to release all the languages at the same time as the English version. This was my first experience working on simultaneous shipment localization. The development team worked very hard to get the game finished and localized into five different languages. We had to put together special tools for the translators to make the process easier — they had over 50,000 words to translate for each language.
CCAPS: You also have a lot of hands-on experience with game localization, correct? What was the localization process like for Shanghai: Second Dynasty?
CHANDLER: The localization process for Shanghai: Second Dynasty was pretty straightforward. The game was released in German, French and Japanese. First, all of the in-game text was centrally located in easy to access text files. I simply had to get these files and send them off for translation. When the translations were completed, I replaced the text files with the appropriate localized files. For the voiceovers, the script was sent off to be translated and then a voiceover recording session was planned for each language. Once the recordings were finished, the localized VO files were sent to me so they could be added to the game. Once all the assets were added, we began testing. There are two types of testing — functionality testing and linguistic testing. Functionality testing is where you check the game for any crash bugs or game play issues. Linguistic testing involves the verification of
all the game’s language assets. The testers looked for text truncations, grammatical errors, missing text, untranslated text, etc. I can’t remember the exact word counts, but I do remember it took about eight weeks to localize the game into thee languages. The languages were determined by projecting how many copies of the game would sell against the cost of making the localized builds. These types of decisions are handled by the sales, marketing and finance departments, and sometimes they decide to localize a title into 10 languages, while other titles only get localized into two languages.
CCAPS: In The Game Localization Handbook, you dedicate an entire chapter to “Localization Production Pitfalls.” What are these pitfalls and what would be the ways to avoid them?
CHANDLER: The major production pitfalls discussed in the book are:
Poor Planning – if localizations are left until the last minute, it is likely that the game code will not be localization-friendly. This makes it difficult to create international versions in a timely fashion. If planned for in advance, localizations do not need to be a burden on the development team. When planning for localizations, have a good idea of how many assets need to be translated, their format, how they will be organized for translation and howquickly the translations can be integrated into the assets. Achieving Simultaneous Release – Simship of numerous languages is possible, but only if planned for. If the team is thinking about localizations well in advance, they are more likely to achieve simship. 
Linguistic and Functionality Testing – Testing is a very time-consuming aspect of localization. In many cases, the testing is not planned or well organized, which only adds to the time needed. If you are testing five languages, you need to determine a standardized way for the translators to report linguistic bugs and then find a reliable way to track these fixes in the game.
Quality of Translations – Some translators will do a straight translation of text and will not adapt it to fit within the game universe. For example, if a humorous game has very dry translations, a lot of the humor is lost in the localized versions. This can be remedied if the translators have a chance to play a version of the game (even an English one), so they fully understand how to convey its entertaining qualities.
CCAPS: Speaking of pitfalls, did your team manage to avoid these when localizing the games above or did you gather the information for the book by learning from your own mistakes and those of your colleagues?
CHANDLER: That’s a great question! I honestly have to say that I have experienced most of these pitfalls. However, when talking with my colleagues, I find that most of them have experienced these same pitfalls as well.
CCAPS: What countries are the most important players in the entertainment software industry? And where are the best markets located?
CHANDLER: Germany and France have always been big game markets. Italy and Spain have also had a presence, but not as large. Asia is also becoming a very large market — in particular Korea and Japan. Other emerging markets are Eastern Europe and the Netherlands.
CCAPS: Finally, what would be your advice for those who want to enter the entertainment software localization industry?
CHANDLER: I think it is important that you play the games and have an understanding of how the interactive medium is structured. In my experience, translators who understand and play games are more effective in this area of localization. They have a better understanding of what needs to be adapted in order to keep the tone of the game consistent with the English version.
Heather Maxwell Chandler graduated with honors from Vanderbilt University and received an M.A. from the USC School of Cinema-Television. Prior to the creation of MSI, a company that provides consulting services for game developers, publishers and vendors, she served in various production positions at Ubisoft, Electronic Arts, Activision and New Line Cinema. She agreed to give us this interview in between diapers and safety pins, busy with her son Jack, born last December.
Well, even knowing that it is from 2005 and still think that those are pretty good tips and for the ones who are trying to get into this market and is searching for information (as me) this is great! 🙂 Once more, I would like to thanks CCAPS Translation & Localization for this opportunity and if you want to know more about this brazilian company, please check their website here.
Keep reading the blog and hope to see you later!

A verdade sobre ser um Game Beta Tester

Olá pessoal, tudo bem?
Encontrei este texto em Inglês no site e resolvi traduzir e adaptá-lo para um melhor entendimento. Vale ressaltar que os comentários que efetuei são somente para melhor compreensão do texto e não refletem a minha opinião.
Boa leitura!
“Muitos estudantes sonham em ser um Beta Tester ou Game Tester, alguém que joga video-game para viver. Para ser como o emprego dos sonhos, certo? Você é alguém que adora jogar video-games, então o que poderia ser possivelmente melhor do que sentar em uma confortável cadeira, bebendo refrigerante e jogando enquanto é pago para isso? Existem milhares de sites e propagandas tentando fisgar estudantes confiantes para programas e universidades para se tornarem Game Tester, e existe até uma central de TV falando disto. É uma isca tão fácil de se morder que muitos estudantes se deixam levar por este sonho, esperando que terminem conseguindo o que consideram o emprego perfeito.
Infelizmente, ser um Beta Tester profissional não é tudo isso que dizem ser. Quality Assurance (Em tradução livre Garantia de Qualidade), ou QA como é chamado pela indústria de games, vem com vários pontos negativos que os estudantes não estão cientes, enquanto procuram o mar de rosas e desenham isso nas suas mentes. Eu (Brice – autor do outro site) tenho trabalhado com várias pessoas ótimas que são Game Testers e, enquanto esta pode ser uma carreira ótima para alguns, para a maioria dos estudantes que eu aconselho, não é uma boa escolha. Aqui estão algumas razões por isso e existem algumas melhores opções que eu tento dirigir os estudantes ao invés.
A primeira desvantagem é que o trabalho não é, nem perto, tão divertido quanto você pensa ser; pelo contrário, é bastante tedioso. Estudantes se imaginam testando jogos como sendo similar quando eles estão com seus amigos – sentados juntos, jogando algumas partidas aqui e ali, e testando os novos jogos quando forem lançados. Trabalhar em QA não é nada disto. O primeiro propósito de Quality Assurance (QA) é encontrar bugs e problemas nos jogos, como crashings (exemplo de quando o jogo trava), glitches nas imagens (imagens distorcidas ou fora de padrão) ou comportamentos incorretos. A fim de encontrar esses bugs, QA tem que jogar o game várias vezes. De novo e de novo. Por exemplo, se você estiver trabalhando em Call of Duty, então quando o primeiro level estiver pronto, você irá jogá-lo. Depois você irá jogá-lo novamente. E de novo. Você tentará fazer algo ligeiramente diferente cada vez que jogar, esperando que o jogo trave ou dê algum problema. Você vai acabar jogando o mesmo level, literalmente, centenas de vezes. Isto é, de longe, o mar de rosas que muitas pessoas retratam dos Game Testers e tem um sentimento muito próximo a um trabalho em uma linha de montagem.
A segunda desvantagem de ser um Beta Tester é o baixo salário. De todas as carreiras em jogos dispostas nas pesquisas de salários na indústria de jogos, QA frequentemente é ranqueado como o menor, em mais de $26.000, mais baixo do que a instrução mais baixa.
(*Nota do autor desde blog: Isto seria em torno de $ 2150,00 dólares por mês, levando em consideração que você trabalharia 5 dias por semana, 8 horas por dia (160 horas no final do mês = $ 13,45/hora.) Também não podemos esquecer que, isto transferidos para R$, seria ÓTIMO, mas o que você ganha em Dollar, você gasta em Dollar. A grosso modo, imagine você ganhando R$ 2.000,00 no Brasil…. complicado…)

Até mesmo lideres e pessoas de QA com experiência não são bem pagos. Essa é uma grande desvantagem quando considerar qual caminho seguir na carreira de jogos.

A última desvantagem é que o trabalho de QA é limitada em plano de carreira. Algums QA testers conseguem seguir em outra carreira como designs ou produção, mas a maioria dos QA testers ficam presos ao QA pela vida toda, não importando o quanto são competentes e habilidosos. Pode ser bastante difícil seguir para outra area e, levando em consideração que todos querem ser um QA Tester, não existe muito poder de negociação para ir trabalha em outras empresas.
Então, o que um Gamer deve fazer?
Na minha (Brice) carreira de reuniões com pais e estudantes, eu constantemente os aconselho em considerar uma carreira de Beta Tester ou QA somente quando já considerado outros caminhos primeiro. Enquanto eu trabalhava com grandes pessoas em QA, se você se tornar um designer, artista ou engenheiro, então você terá um salário melhor, ter possibilidade de grande autonomia de trabalho e ter melhores oportunidades na sua carreira.

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