What needs to be stated right away is that Rainbow Six Siege is a multiplayer PvP game, therefore the approach to assessing its translation is completely different than for some single-player plot-oriented shooter. All sorts of little things, nuances and small mistakes are not so important, it is not so important to create the “atmosphere” of the game, to flesh out the setting, to follow, let me say, the narrative. The main thing is that the player can understand the mechanics, the rest does not matter.
However, Ubisoft began to look a little back at Blizzard with their Overwatch, which can be seen, for example, in the short film about Thatcher that appeared not so long ago. And it’s even as if there were plans for a setting that was comparable in depth: their personal affairs are written down in the operatives’ profiles, they have almost short films when they are opened in the roster, their own contextual phrases for any actions, intro videos and introductions to single “operations”.
And after all, if you came to the Siege “to shoot”, have fun in the company of friends, test your tactical skills – this can be considered (but does not have to be) a completely tenth thing for you. This approach is not considered “bad”. It’s possible, and vice versa: you happily cling to every little detail like this, collecting global history piece by piece, delving into the personal affairs of the characters, reading them to the core (and then writing fan fiction about them). The latter have something to please: Ubisoft has once again entrusted the localization of its game to the (infamous) company Logrus, the same one whose portfolio with Watch Dogs shyly says:

The part of our team that is responsible for the voice acting did a good job on this project – we recorded so many actors that it would be possible to create a small drama theater with their strength.

«So-and-so». As for the Siege, it has the following postscript:

This is perhaps the best tactical first-person shooter to date. And thanks to the new generation of consoles, it looks almost perfect. For a long time, our localization manager’s reference book was the small arms reference book and the special forces encyclopedia.

We willingly believe and nod our heads. Thank you for at least not translating the names of the weapons, otherwise the “Logrus” would not have escaped some “Five-Seven” instead of “Five-Seven” for 5.7 USG. Still, I will allow myself to see some understatements in this speech, such as what was never clarified: the translation of the Siege is also subject to the irrepressible imagination of the company’s translators, or it nevertheless escaped this fate? Spoiler: no
It would seem, in principle, does it make sense to consider translating a game that was released almost three years ago and is in its fourth year of support?? Yes none! But many times the question asked seems to hang in the air unanswered, and, alas, it is difficult to remain silent when you have something to say. I hope you find at least a fraction of what you expected here, and I will try not to disappoint you. And yes, I’m a damn boring book reader.

Little things

You can start with something simple – moving in space, for example. All operatives can walk, run, crawl, climb down and up ropes and… penetrate, slide, jump over. The first one is the simplest:

Well, we really are jumping over the fence. And now a more complicated example:

Oops. I don’t argue, there is nothing criminal in this (see. introductory above), but may still raise questions. It was this oil painting that inspired me to write all the nonsense that you are reading now. What should we “jump over”?? Air, obviously… But not a fact.

Here’s another example: at first glance, everything is in order, the table on Air Force One is really not very wide and we clearly have to jump over it. But, oh! And we jumped on it. The same nonsense at the cash counter in the Bank:

Okay, we understand the logic, “jumping” is a mistake, and here we will “jump” for sure:

Somehow it didn’t work out… A couple more examples:

Here you can clearly see that there is simply no space “where” you could “jump”, but with office desks nearby it is really difficult:

If we hit the spacebar from the same point as in the screenshot, we will “jump” to the other side, but if we move a little to the right, we will “jump” onto the table. The nuance is that the key of this “parkour” is not interrupted throughout the entire wall, does not change the inscription, and for completely different actions we have the same text. The solution would be quite simple: since the existing translation already includes the “jump” component, then the translation simply “jump” would be satisfactory for almost all situations. Jump on a table, jump over containers, jump on a cart, jump on a chair, jump over a staircase railing – it fits almost everything.
This was all a translation of one (!) context-sensitive button, and interface translators were let down by the banal lack of information about the environment on the maps. They could have been helped out by thoughtful testers (or by the translators themselves, perhaps), but we have what we have. Yes, this level of nitpicking about little things is perhaps too great, but the game doesn’t have much material to translate, you can put in more effort, there are fewer things to be torn between, although there are even more details that need to be taken into account. But still, I will not delve further into this, because this can be fully understood, justified and forgiven.

Not small things.

Since we have already identified the difficulties of localization with information, let’s leave such literalism and nit-picking aside and try to figure out something simpler. For example, with the opening cutscenes of operatives. Short films, all the information is “in plain sight”, the presentation is akin to feature films, half of them are without words at all – you can concentrate your attention and effort, I don’t want to translate! And even more than that, they don’t require lip sync (speech synchronization with lips, bread handlers), only getting into timing! And even then, the pretentious length of the videos allows you to stretch these timings very freely. Looking ahead, I will say that the options I propose may be a little longer, but precisely because of the lack of lip syncing, this is quite permissible. As for the translators, Logrus would have betrayed themselves if they had not gone wild even in such a simple matter.

Let’s look at the original, for example, the Smoke video:

I know what you’re wondering. «What’s in the canister?»I could tell ya, but then I’d have to kill you. Hehe. I’m just mucking about, relax. As for what’s in the canister, it’s best you don’t ask.

I know what you want to ask: what’s in the cylinder?? I’ll tell you something, but I’ll have to kill you. Hehe, just kidding, relax. As for the cylinder, it’s better not to ask.

Even some character reveal slips through, don’t you find it?? First he teases: well, you want to know, right?? Then he sharply shows his teeth: I’ll tell you, but I’ll kill you. Then he immediately reassures, after which he says in all seriousness that it is better not to ask him questions. Just like a cat playing with its prey, which, by the way, fits well with his psychological profile: he has a penchant for strange humor in stressful situations and some narcissism. Yes, a character is revealed much better by actions than by monologues, but even so, in Smoke you can see some kind of “character relief”. But let’s look at our localizers:

You may ask: why do you need a balloon?? I’ll say something, but then I’ll finish you off. Hehe, relax, just kidding. But here’s some friendly advice: forget about the balloon.

What can I say, in the original the question is posed in such a way that it is the contents of the cylinder that pose a danger, and not what this contents can be used for. Next, Smoke is going to “finish off” some loose ends that have appeared out of nowhere and gives “friendly advice” taken from the ceiling. OK.

I’ve learned from experience that the place to save lives is in the field, not an office. And sometimes the only way to save a life, is to take one.

I know from my own experience that lives are saved by going out onto the battlefield, and not by sitting at headquarters. And sometimes the only way to save one life is to take another.

Here, it smacks of something like the philosophy of assassins: kill one to save hundreds (hello, Ubisoft). It’s about the same thing: take the life of a terrorist to save civilians. How did the translators play with this contradiction??

Those who strive to save lives go out onto the battlefield, and do not sit in headquarters. True, sometimes he has to make difficult choices.

Somewhere, the mention of personal experience https://nonukcasinosites.co.uk/review/kwiff-casino/ completely disappeared, Doc lost his personal involvement, but what is much worse, the contradiction was clothed in some incomprehensible form, from which nothing is clear. What the hell is this “difficult choice”?! Choosing between what and what?! How should one guess, explain?!

Let’s watch the Kapkan video:

These soldiers think their training will keep them alive. They break down doors and come through windows, weapons drawn. They check the corners, watch each other’s backs, and give the all clear. But it’s too late. They forgot the first rule of survival. A real hunter always watches where he steps.

These warriors think training will help them survive. They take out doors and windows, weapons at the ready. They fumble around the corners, cover each other and yell: “Everything is clear.”. But it’s too late. They forgot the first rule of survival: a true hunter always watches his step.

What else to add, no training can replace attentive eyes. I myself had several situations when opponents were completely ridiculously blown up in my “traps”. I hope the translators at least didn’t lose the meaning.

These warriors are used to fighting straight ahead. They fumble around in the corners, goggle their eyes and shout “Everything is clear”. But here’s the problem. They forgot the simplest principle. If you want to stay alive, watch your step.

No, are you serious? Everything possible has been distorted! I’m not asking you to translate it literally like mine, no. But at least don’t invent some kind of utter nonsense that doesn’t fit in with the original at all and loses all those “zest” (of which, sorry, there are already few!) what is in the game and characters! Is it really that difficult?!

Well damn, let’s have a Jäger video:

They said it could not be done. They said it was designed for tanks. They said I could not make it smaller and more accurate. They were wrong.

They said it was impossible. They said that it was created for tanks. They said that it cannot be reduced or made more accurate. They were wrong.

You say “it won’t work”? You say “only for tanks”? “You can’t reduce and modify the sight”? What nonsense.

First, the past tense is lost. Jäger, a man without much modesty (see his personal file), directly contrasts himself with people who did not believe in his technical skills. He actually refutes their doubts, I repeat, is it really that difficult?? This is where the past tense is needed – he has already shown that they were wrong before, now he turned out to be right. Secondly, it makes sense to modify the sight if the device is manual. And the problem with “more accurate” is not that the system cannot target a grenade, but that its own projectile must hit an already spotted grenade and not fly past.
And as for the artistic part, if I may put it this way… This is a very difficult moment. So, if you want, you can “pull” the official version, the main meaning is conveyed. However, what is missing is the “spice”, the degree of arrogance characteristic of Jäger in these words. I don’t believe it, I don’t see the character or personality behind them. Perhaps I am substituting a personal opinion instead of a fact, but… Look, each sentence begins with “they”, “their” participation is emphasized – a reinforcing construction. And at the end he says: they were wrong. He puts an end to it, marks the moment when he was right in the end. Character?
I think we can go through the rest in less detail.

Do you know what an artist and a sniper have in common? Details. Like when a touch of color is out of place. When a shadow does not match with its surroundings. Or when a shape is not where it is supposed to be. The only difference is the stakes. Mine are higher.

What is common between an artist and a sniper?? Details. For example, the color is out of the general range. When the shadow doesn’t match the surroundings. Or a figure where it shouldn’t be. The only difference is in the rates. Mine are much higher.

What quality does an artist and a sniper have in common?? Meticulousness. The color stands out from the general range. The shadow came from nowhere. And this object could only be entered here by mediocrity. The only difference is the goal. My living.

Exactly, the details, I couldn’t agree more. And translation is also an artistic discipline, where details are important. Or meticulousness? And I won’t judge how equivalent it is to replace the bets with the “liveness” of the goal.

I used to be undercover. I did time. I had to deal drugs. I even had to kill. And I was so good at it that, it got me a promotion.

I’m used to being undercover. I had to sit out. Sell ​​drugs. Even kill. And I was so good that I deserved a promotion.

I’ve been infiltrating gangs. Served. Was a drug dealer. Even killed. Worked hard and earned a promotion.

It is worth noting that the personal file indicates only one long-term infiltration into a gang, which, of course, is not a fact that he was not involved in other similar tasks. However, the wording of “Logrus” clearly defines that other undercover missions were precisely. If the developers say no less clearly that the introduction to the Hells Angels in the operative’s career was the only one, then the translators are out of luck.

I trust that the ceramic trauma plate I’m wearing will stop a .357 Magnum round traveling at four-hundred and ninety meters per second. I trust myself not to move, not to flinch. I trust my team mates and they trust me.

I’m confident that the ceramic plate in my vest will stop a .357 magnum bullet traveling at 490 meters per second. I’m sure I won’t twitch, I won’t drift. I am confident in my team, and they are confident in me.

I’m confident that the ceramic plate in my vest will withstand a direct hit from a bullet traveling at 500 meters per second. I’m sure I won’t twitch, I won’t drift. I trust the team, and they trust me.

They slightly under-twisted approximately the same repeating design as Yager’s, albeit with a different meaning.

In a life threatening situation, the average person’s heartbeat can be upwards of 175 beats per minute. A well trained tango is able to stay cool, keep calm. Their heart rates can be 70 to 100 beats per minute. But by the time I’m done, that number goes down to zero.

When life is in danger, the average person’s heart can beat up to 175 times per second. Experienced opponents are cold-blooded and calm. Their heart rate can be between 70 and 100. But when I step in, it drops to zero.

In the face of death, a person’s heart begins to beat at a speed of 175 beats per minute. An experienced opponent is smart and cold-blooded – he can easily keep the rhythm from 70 to 100 beats. But soon the hearts of my enemies will stop beating.

I don’t argue, in principle, it is possible to control your heartbeat, but not to such an extent as to “maintain the rhythm”, the heart is not a drum set, after all. And the “face of death” smacks of some kind of awkward pomp, which is completely inappropriate.

When I was little, my savta taught me that ‘Silence was a women’s best garment’. But, I have to admit, I never really took her advice to heart.

When I was little, my grandmother said that silence is a woman’s best adornment. But I have to admit that I never took this advice seriously.

This book noun “garment” is translated as “clothing” or “covering”; it can be interpreted in the sense that this is the “clothing by which one greets”. However, “Logrus” gifted us with God knows what:

My grandmother’s favorite saying: “Silence is a terrible force”. Maybe that’s true, but I don’t like that approach.

When you mix fuel, metal oxide and metal powder in just the right way, it burns at 2000 degrees Celsius. Hot enough to cut through nearly any barrier known to man. Throw some C4 into the mix, and you’ve got one hell of a combination.

Add oxides of various metals and aluminum powder to the fuel – the mixture will burn at 2000 Celsius. Hot enough to burn through any obstacle. Add C4 there and you get one hell of a combination.

Add oxides of various metals to aluminum – the mixture will burn at 2000 Celsius. In skillful hands it will burn through any surface. Once I added C4 to taste – the dish was a success.

They forgot about fuel (which is necessary to ignite thermite, which cannot be ignited with simple matches), came up with some skillful hands and in the end showed a clear craving for cooking.

If you have a few spare hours, I’d love to share the details of how this device is a masterpiece of design. Quadruple independent gear boxes enabling zero to twenty in under four seconds, ten kilometers of internal wiring, eleven hundred expertly machined hand-assembled components, flawless control at over 300 meters… But all my team needs to know is, ‘Does it do the job, or doesn’t it?’ And let me tell you right now — it does the job.

If you had a couple of free hours, I would be happy to tell you what a masterpiece this device is. Four-speed independent gearboxes accelerate from zero to twenty in four seconds, ten kilometers of wiring, eleven hundred high-quality parts and manual reset will “give voice” at least three hundred meters away. But my team cares about one thing: is it doing its job?? And I will answer right away: it does.

I admit right away that I could have confused the terms somewhere, yes.

Since I have a moment, I’ll tell you about the structure of this masterpiece device. In 4 seconds it easily accelerates from zero to twenty, each one is assembled by hand, 10 kilometers of wiring and 1100 parts, it will “give voice” at least three hundred meters away. But the main thing for the team is whether it gives an advantage? The answer is obvious: one hundred pounds.

Here is a good find with “will give voice”, but there is some loss in the details of the monologue.

And finally, Thatcher:

GPS satellites? Unmanned drones? Fucking laser sights? The more crutches you have, the more it hurts when they’re kicked out from under ya. If there’s one thing I know for sure, it’s that a six inch blade never loses reception.

GPS satellites? Drones? Fucking laser pointers? The more strays you have, the more painful it is to lose them. There’s one thing I know for sure: this knife’s batteries never run out.

The official translation gives off some spidery motifs with cobwebs:

Satellites in space, drones, navigators. If you use stray devices, be prepared to get tangled in wires and die. I choose the old-fashioned method, because the knife does not run out of batteries.

Afraid of the English abbreviation? May be. But about the batteries it’s a very interesting find, I admit.

Conclusion

What can we say as a result of all this??
Here I analyzed only the text and only in certain places (and there are not so many examples), I did not touch upon the issue of voice acting in principle. British accent, Brazilian, Italian, German, Polish, Japanese, Chinese? Nothing of the kind. And to be honest, he’s a joke, because even if in the “primary authority” there is no such requirement for quality in translation, then where would he come from when dubbing?. Of course, there are phrases spoken by operatives right during the game, for example “A really big fucking hole coming right up!», but even from the few examples above one can already roughly imagine how things can be with highly contextual and individual remarks, how the “inquisitive minds of Logrus” could mock them
As I already indicated in the introduction, such little things are mostly unimportant, the gameplay is important, and it’s great that the ease of getting into the basic mechanics is not distorted in any way by possible translation errors. But it’s a shame that even relatively simple tasks that translators are given are not carried out with due care. Whether this is negligence, lack of passion for one’s work, I don’t know, it’s not for me to judge. This does not negate the fact that even that ghostly atmosphere of a “shooter about harsh special forces on serious cabbage soup,” which could have been captured in the original, is completely lost in translation.
Confirms once again the “competence” of Logrus? Yes.
Does this make the game itself somehow worse?? No.
Forget about it all and continue playing? Yes.
But at least with English voice acting.