One of the most interesting conversations happening in games right now is the controversy surrounding Fire Emblem: Fates, a Nintendo game in the popular Fire Emblem series. While the game originally launched in Japanese markets in June 2015, the US version of the game came out today (as of this writing, there is no mention of a EU release date), and it’s already one of the most controversial launches in quite a while. The controversy is focused on the localisation of the game.

The goal of localization is to create an enjoyable, non-confusing play experience for the end user by paying heed to their specific cultural context. The suspension of disbelief is of utmost importance to the process; if a player feels as though the product was not meant for them, or if the localization creates confusion or difficulty in comprehension, this may break immersion and disrupt the player’s ability to continue the game.

In Fire Emblem Fates, a number of changes have been made to accomodate US audiences. To reflect the PEGI-12 rating and US culture, some dialogue has been changed to avoid reference to drugging a character and gay conversion, a mini-game in which your character – the leader of a warrior force traveling the lands – could pet other characters has been cut, some character personalities have been made to fit Western story archetypes and obviously, the game and audio have been translated.

These changes have particular parts of the internet up in arms about the purity of the game as art being lost. As they see it, the game is art, and as such should not be modified from how it was created originally, regardless of anything. Others argue that localization and game development are both expensive, and that as such an entertainment product should be optimized to be as profitable as possible – to ensure future games can be made.

What I do know is that Fire Emblem: Fates would’ve not existed without Nintendo funding it, that developer Intelligent Systems worked with Nintendo on creating and localizing the game through localisation studio Nintendo Treehouse, and that there is no reason to believe the developers feel their intention has been modified or thwarted.

This comes back to a larger issue: audiences believe they know the developers of their games – while very commonly, they have no idea. Somehow, it seems completely reasonable to people on the internet to claim ‘the purity of the games’ intent’ has been modified’, while the only people that can really say so are the developers and the publisher. Seeing the publisher made the choice to localise the game and signed off on it, I think the ‘purity’ argument doesn’t hold. If the average user doesn’t notice that the localisation changed things from the Japanese version, it seems like the localisation was a success. Those who want to play the game ‘pure’ can import the original Japanese version.

That doesn’t leave me ultimately conflicted: I believe a large strength of games is that it reflects the creators’ culture. I don’t think I’ll ever be able to reconcile that with localisation, but I do believe that having access to localised content while funding new projects is better than not having access at all. In an interesting move, groups of fans that didn’t just go and yell at things have created patches that allow the legally bought version of the game to be ‘patched’ to use a fan translation and restores the mini-games.

Only Nintendo has a good idea of how the controversy affects their bottom line, and what the majority audience of Fire Emblem: Fates is. I’m looking forward to seeing how it handles these issues in the future.