This graphic novel project is part a type of new media, a pioneering effort by a handful of creators in search of a new medium for presenting art, story, voice, and music. A pool of talents was gathered for an old-fashioned romantic adventure with elements of Arabian Nights, Cinderella, and the Shangri-la myth. The story depicts a romantic adventure that spans modern-day New York City and the ancient, fictional country of Gao in China. In the midst of modern and old, fiction and non-fiction, West and East, English and Mandarin, romance and mystery, the graphic novel indeed is exotic to watch.

The work has been produced into ten video chapters. To give you a glimpse of our translation work, among what has been published: Chapter 3 has the most translation voices so far. The significant amount of Mandarin presented among English voices indeed makes the graphic novel stand out as a unique and interesting entertainment piece!

Monterey Language Services took extra time to polish the translations into Simplified Chinese to ensure not only accuracy, but an enjoyable and colloquial read for native speakers. Some of the challenges for this project were derived from cultural differences in how to translate certain phrases created specifically for the graphic novel.

For example, we have the “golden doom,” which refers to a specific event in the story. Because the event transports people similarly to the Christian idea of the rapture, our translation was “极乐升天,” which means “bliss ascension” in Chinese language.

One more example of the cultural challenge is rooted in English homonyms. The sentence: “They follow the standard of Lord Kang and swear on his eyes.” In this sentence, what does “standard” mean? If we suggested “average or normal requirement,” it actually would be incorrect! “Standard” in this instance means a battle flag—something ancient soldiers would follow on the battlefield.

Another difficulty was dealing with the ambiguity of written words. In spoken English, a person’s tone can very easily denote sincerity or sarcasm — consider the phrase “good job” being spoken sincerely and being spoken sarcastically, and their meanings become very different. While the context and illustrations in graphic novels can alleviate this confusion in text, sometimes the tone could be just missed. One such problem occurred in our initial translation of “What a stunt,” a line which our translator took be said in admiration, when in actuality, it was an insult. Through our editing/reviewing process we discovered the issue, and the translation was changed from “真是好身手” (really good) to “真有一套,” which has a similar meaning in a more sarcastic tone.

We are incredibly proud of the work we were able to provide for this project, and would like to add more viewing pleasure and excitement by sharing the above behind-the-scenes glimpses to our translation work. We wish all the success to the audience and contributors to the graphic novel. The chapters will be published in video format weekly on YouTube until the tenth and final one is uploaded.

Subtitle translation is a very useful way to relay information, as subtitles are shown alongside videos. Like all media, it can range from simple entertainment, to scientific, political, or anything. We’ve collected some best practices for subtitle translations below.

First, be mindful of the length of translations. You have to remember that subtitles only have a set amount of time and space to be displayed on screen. You should try to be as concise as possible while also staying as true to the speaking character as possible. If you think you need more space to say something, consider how long the character is talking for. Would it be possible to separate the sentence into two or more parts? Let’s say that a character is talking for ten seconds. You could possibly split a line into two five second segments. That should ensure that you get the viewer has enough time to read the entire line without being too distracted by the length of the line.

Furthermore, do not ever exceed two lines on the screen at a time. Standard practice is at most two lines, but any more than that and it becomes a huge distraction and an eyesore to the viewer. The aim of subtitling is to avoid being intrusive while providing viewers a way to comfortably enjoy the media.

Also be sure to use the right kind of software. There’s a lot of different programs out there that subtitlers use, and it really depends on how you’d like to go about it. For example, while not industry standard, many people enjoy using AegiSub for its easy use and features that aren’t too heavy on resources. Other people may use other programs such as Adobe Premiere or even MemoQ. It all really depends on how you work and if your employer has a preference.

Most subtitlers come across a dilemma between “soft” and “hard” subtitles. Soft subtitles are subtitles that aren’t hard coded to the video. The best way to think of it is to imagine a picture. If you try writing on it, the writing will be permanent, unable to be removed. With soft subtitles, however, imagine taping your text onto the picture. It’s not permanent, and you can remove it whenever you like. The advantage to soft subs is that you can give the user more freedom. If they want to turn off the subtitles, then they can. If they want to use a different language subtitle, they can easily swap them out.

Hard subtitles on the other hand are hardcoded to the video. Once you use hard subtitles, they are not coming off of that video unless you manually edit them out. The advantage to hard subtitles is that people won’t have to go through any extra steps to load subtitles. They can easily just use one file to and enjoy the subtitles. Of course, they will lose the freedom of being able to turn them off, but that’s what the tradeoff is.

The last thing to be mindful of is that subtitling is, in most cases, localization. You are not expected to do a 1:1 translation of what characters are saying. You are expected to give characters their voice in another language. That being said, you should be careful of over-localizing to the point that the character is completely different than what they sound like in the original version. This is where it’s useful to have editors and QAers to help review your subtitles and make sure that they’re good to go.

There’s a lot to keep in mind while subtitling, but one good way to keep in mind what best practices are is to review other websites’ guidelines. For instance, many people follow Netflix’s guidelines for subtitling when doing their own, even if they aren’t employed by them.

Subtitling is fun, but it takes time to become familiar with the process. The good news is once you get it down, it’ll be second nature.