The media and gaming industries are as promising as ever. All forecasts point to growth. The size of the global media industry in 2019 is estimated at around USD 522.2 billion.
Every once in a while, people outside of the localization industry join events dedicated to the language business. We've heard them say we're a nice bunch of people, enthusiastic about our jobs. This feeling surrounding our industry was confirmed once again at MESA’s Content Workflow Management forum in London on 26 February.
Mobile gaming is a solid and lucrative business. What can you do to help your product stand out in app stores?
Chances are you have heard about the new kid on the block, TikTok. This rapidly growing social media platform is a video-sharing app that allows its 800 million international users to watch, create and share videos from 15 to 60 seconds in length.
The last Academy Awards ceremony has put media localization on everyone’s mind. For the first time in film history,
When selecting a market to bring a game into, a game developer or publisher should consider many different aspects.
The answer is it really depends—from free to fewer than a hundred dollars for a monthly subscription to thousands of dollars for a pro desktop app and everything in between.
In last week’s Nimdzi’s Finger Food post, we discussed the Games as a Service business model in the game industry. We’re talking about games that are alive and in continuous development, engaging the gamer community through different strategies, such as season passes, subscriptions or microtransactions.
Turn around, and look at how many text updates you can see... One of the main pains challenges of game localization projects is to handle the avalanche of daily text updates that come with the localization of certain games. These requests are becoming more and more common. Particularly, for those games that fall under the GaaS (Games as a Service) model or live games. These are different from the traditional model of Games as a Product or one-time-purchase games.