Kathryn Cwynar: If I’m playing a fight, I don’t want the boss to be hitting me with some attack that has a really silly name, because then I don’t feel as cool when I’m fighting the boss. So , when I’m translating it, I want it to be something that sounds cool to English speakers. This can sometimes be an issue because sometimes you’ll have words that are in katakana in Japanese, and that, (1) bynature , sounds cool in Japanese because it’s an English word that is being used in Japanese. So , it’s, like, “Oh, it’s, it’s got this (2)foreign-sounding appeal, and it sounds really interesting.” But then , if I am totake that word and then put it back into English, then that’s just a normal word. Um, sothen it’s like, “Oh, ‘super normal punch .’” And I’m, like, “Mm, probably shouldn’t use that.” Uh, so that ’s kind of something I, I like tofocus on ? is, uh, “Will an English-speaking player play this and think, ‘Oh, I feel really cool’?”
Kathryn: I think the greatest thing about this game, and I know this (1)is true for everyone in the industry (2) to some degree ? we all care about what we’re doing ? but the dev team of FINAL FANTASY XIV, pretty much everyone plays the game. Everyone really loves this game, and I think it very much shows in what they make .
Tom: I think you can tell how much that the development team and the localisation team enjoy this game because they always (3)put more effort than is necessary into everything. Like, for example , if you, er, talked on a scale of 1 to 10 on how much effort you put into something, maybe a 5 would be OK, but this team, they put 10, 11 into everything they do, and it really shows. And I think the players can feel that as well . We’re just as enthusiastic about the game as the players are.