1236: On Being That Guy Who Picks ‘Japanese’ in the Sound Menu

I always used to be one for having my game’s voices in English. I liked being able to understand what they were saying as well as reading the subtitles on screen. In some cases, I didn’t have the option; I’ll always associate Persona 3 and 4 with English voices, for example, even though, in retrospect, it would probably be better with Japanese voice acting. In others, the English voiceover job was so genuinely good that I didn’t want to try the Japanese version — Xenoblade Chronicles springs immediately to mind in this regard.

I can remember the moment that I realised Japanese voice acting was something worth exploring even though I didn’t speak the language, though. It was while I was playing the utterly terrifying PSP visual novel/adventure game Corpse Party — one of my favourite games on that platform, and legitimately one of the most disturbing games I’ve ever experienced — that I realised that, frankly, Japanese video game voice actors aren’t afraid to let rip with the utterly raw emotion. They’ll shout until their voice cracks; they’ll scream; they’ll cry. And by God, they sound like they mean it.

It was around one of the many points in Corpse Party where one of the characters is bawling their eyes out and screaming in terror at the horrific situation they’ve found themselves in that I realised when it comes to voice acting in games — which are typically accompanied by subtitles, particularly in the visual novel and JRPG genres — it’s not about the words that are being said, but about how they’re being said. It didn’t matter that I didn’t understand the Japanese words that were being screeched into my ears (seriously, play that game on headphones and you’ll never want to turn the light out again) — the meaning was all too clear simply from the tone of voice.

Those who have been reading regularly will know that I’ve been playing Ar Tonelico 3 recently. I played the first game in that series in English, largely because I found the English voices in the video cutscenes too jarring when paired with Japanese speech in the main game. I played the second in Japanese because I’d been warned that the English dub, much like the overall translation job, was somewhat questionable. And I started the third in English, but after not very long I switched to Japanese. It is a decision I did not regret.

It’s very obvious from the huge rift in quality between the English and Japanese voice tracks in something like Ar Tonelico 3 that the English actors are, for the most part, phoning it in somewhat, while the Japanese actors care about what they’re doing. In many cases, it is the difference between a rush job (English) and having well-known professionals handle the voices.

I witnessed a scene this evening — no spoilers — that had me more than a little choked up due to the amount of raw emotion and passion that the actress playing one of the characters was throwing into the delivery of her lines. I believed that she meant what she was saying. This character was supposed to be upset, and I believed that.

The other thing that comes into play is that when a game’s dialogue has been translated relatively literally from the original Japanese rather than fully localised, reading it out loud in English often sounds very stilted and artificial, simply because that’s not how English people talk. We don’t say things like “what is this, all of a sudden?” and start entire conversations with “By the way”. We don’t refer to ourselves in the third person to be cute. (Usually. Saki will do it!) And we don’t use the term “lovey-dovey” anywhere near as much as Japanese people apparently do.

There’s nothing wrong with doing a literal translation from the Japanese — so long as you do it with enough care to make it understandable, of course — but if you’re going to take this approach to translation, I’ve come to the conclusion it’s best to leave the voices as they are. If, on the other hand, you’re going to take the Ace Attorney/Cherry Tree High Comedy Club/Recettear approach to localisation and actually make the dialogue significantly and noticeably more “Western” in the process, then we can talk about English voiceovers.

I must confess to always having found an attitude like the one I just described a little snobby in the past. Having immersed myself in this side of gaming (and anime) culture for this long, though, I totally get it. Once you get used to the infinitely more professional job Japanese voice actors do on productions like Ar Tonelico (and even on lighter fare like Hyperdimension Neptunia, for that matter) you’ll likely never want to go back.