Some Answers to Your Questions About Gambling Addiction

How Do I Know If I Have A Gambling Addiction?
You will know if you have a gambling addiction if gambling has affected your life negatively socially, emotionally, financially and spiritually. If you have gambled alone, and have missed work, lost more than you could afford, or lied about gambling, you more than likely have a gambling addiction. “Compulsive Gambling” is considered an impulse control disorder and is characterized by unstoppable thoughts and uncontrollable impulses to gamble. “Problem Gambling” is considered less severe than compulsive gambling, but it is still a very serious problem.

Someone in my family is addicted to gambling. What should I do?
There are many paths you could take when a family member is addicted to gambling. You can go to a gamanon meeting yourself to get 12 -Step support from other family members of gamblers.(Check links and resources). This might be a good first step in finding out how to approach your family member, since every situation is different. Please check resources page for more information on this topic.

I have a gambling addiction and I have lost a lot of money. I am in debt, and I do not know what to do. Can you help?
Going into debt is one of the biggest after-effects of a gambling addiction. It can effect the gambler long after he or she stops gambling and is one of the long-term consequences of gambling addiction. When you attend a Gamblers Anonymous 12-Step Group you can find support from trusted members on how to deal with your debt problems. Please also visit the links and resources page to find out more about debt and credit solutions as a result of your gambling addiction. Remember, gambling addiction is not a money problem.. it is an emotional and spiritual problem with financial consequences.

Can I have a gambling addiction if I go to the casino.. but mostly win?
Yes. There are 4 phases of a gambling addiction. 1. Winning Phase: Usually starts with a big win and a belief that good luck will continue indefinitely. 2. Losing Phase: More pre-occupied with gambling. You are gambling alone, missing work, lying about your whereabouts, and beginning to chase your losses. 3. Desperation Phase: This is truly characterized by a loss of control, preoccupation with gambling, defaulting on most debt, cheating or stealing,loss of job or primary relationship. 4. Hopeless Phase: You hit rock bottom. You may also start abusing drugs or alcohol. Suicide thoughts and attempts are common in this phase.

I gamble when I am lonely and depressed. How come?
You are most likely known as an “escape gambler” You gamble to escape emotional pain. Most “escape gamblers” can become addicted to slot machines, online gambling, and bingo. An “action gambler” is someone who enjoys risk taking and gambles on games of skill such as sports betting, the stock market, and cards. “Action-gamblers” have been traditionally male, however, the genders are becoming well represented in each group.

Staying on Top of the Game: Localisation Mistakes to Avoid

There’s no denying that video games have become an integral part of the millennial life. This is probably because they allow the gamer to lead an alternate life, full of adventure and challenges. Gaming is a truly global industry today- a $60 billion one.

In 2010, a video game distributor in Brazil revealed that a game localized into Portuguese multiplied its sales 15 times! This underlines the importance of video game localization: it also underlines the need for quality translation and localization.

In spite of the importance of game localization, companies make the mistake of opting for shoddy shortcuts which are costly to repair, bring bad publicity, and hurt sales.

What are the localization mistakes that gaming companies make?

#1. Cutting corners on translation
Many video game companies think that they have saved a buck by going in for machine translations or considering the cheapest translation option rather than the best.

Machines are the world away from producing the accuracy needed. Translation tools can also be a security threat by providing access to video game content to hackers via the Internet.

Also, anything that is typed in for translation is literally handed over to the translation tool provider: it becomes their data; they can do anything they want to with it.
Translation needs not just to be accurate, but retain the flavor and nuances of the original to breathe life into the translated version.

Mistranslation can make the game a frustrating experience for the player or make the game developer a laughing stock of the gaming world; in the worst -case scenario, it can land the developer into a legal soup.

Cutting corners on translation add to the work and the expense. The sensible thing would be to make the use of professional translation services which are not just competent and creative, but discreet as well. Making the translation agency sign a non-disclosure agreement can help the game developer relax while the localization is going on safely in expert hands.

#2. Hard coding text into core files
This is something that video game developers with limited vision do. It is a mistake to embed text elements like the menu text, game’s title, and on-screen, printed dialogue into core game files. If the text is stored in a separate resource file, it will be easy to incorporate a translated version by adding a new variable and providing the translation in a separate dedicated file. Much easier than digging through source code while translation?

#3. Painting all game text with the same brush
Some games involve specialized terminology. Take sports games; football terminology is not the same as basketball-tall talk. Translators and localisers for such games need to do some research. The need here is for “research-oriented text.”

Games like the popular and addictive Candy Crush come up with new gaming concepts. Such games are slotted as needing “creative-oriented text.”

Game developers should analyze their game content and decide which category of text is suitable. Text should be tailor-made to content, and the portfolio of the translator should match this need.

#4. Out-of-context game localization
Surely, there is little to be gained by handing over reams of text to translators and localisers who know little about the game or its content. Worse still, is expecting someone who has no idea about gaming to handle the job!

When game localization is of such importance, the more the translator knows about the game, the better will be the outcome. Translators should be encouraged to play the game being developed. Discretion and security are non-negotiable requirements, of course.

#5. Ignoring Cultural Factors
Each market is steeped in its own culture. Cultural sensitivity is necessary while localizing a game or the developer will risk alienating target audiences. This isn’t just about actual game content like the story, characters, situations, and events.

Consider the following:
A gaming giant had to recall 75,000 copies of a video game which used the chanting of the Quran in its soundtrack after a user raised objections to it.
The depiction of Japanese armies invading South Korea may be a slice of history; nevertheless, Seoul was offended by a game that showed just that.

Localization misdemeanors can range from showing alcohol to displaying blood and gore on screen. While localizing, video game developers will do themselves a favor by doing a thorough recce of the target market. Cultural gaffes are not to be taken lightly, and the adverse publicity surrounding them can kill the game if not the developing company.

#6. Failing to test game translations
The proof of the pudding is in the eating!
Translation does tend to change the length of the sentence. Translated strings may not fit the graphics or the elements of user interface. Coding may also leave some strings missing. All this can be avoided if developers test-drive their games on an actual device.

On-device localization testing can let you assess the overall quality of game localization while identifying the glitches at the same time. If the game has on-screen printed dialogue, autofitting the text to fit the text space is necessary.

#7. Poor management of translation content
Game developers must organize all the different formats and files – marketing copy, manual, packaging, app store descriptions, in-game interface text, and subtitles. The management of translations must be centralized to avoid mistranslations and duplications across the various types of content.

#8. Treating localization as an afterthought
Thinking of localization as the very last step in the development cycle is a costly mistake that many game developers make and land up missing great overseas opportunities. When copycat versions arrive in the local market, such companies find that they have painted themselves into a corner. It is only then that they think of finding fresh markets overseas. Localization at this “end” stage means reworking source code and building up translation materials from scratch: all of which cost time and money.

The solution is to wrap strings in the initial stages of video game development and to adopt coding styles of international standards.

There are many gamers overseas. The video game market is an ever-growing one. Professional and talented translation services can go a long way in perfecting video game localization.

The Importance of Using Visual Concepts in The Production of Video Games

Responsibilities of an artwork studio and its impact on the production of a game.

Within the whole structure of a game development studio, building a good team and effective planning is critical to any project.

Pre-production is a crucial time when game design decisions will reflect the bottom line.

A fundamental part of this planning is the choice of the graphic characteristics of the project, where the function of a video game studio goes beyond the design of efficient mechanics and opens space for the creation of a visual identity that should reflect the objectives of the project at first sight.

Regardless of the platform where the project will be launched, the visual identity represents the player’s entrance to the world that is presented to him, it is by this element that the player identifies with the atmosphere, becomes familiar with the setting and the plot and is The main immersion tool the game can offer.

All this process of visual creation is in the hands of artwork studio and its professionals dedicated to artistic visual creation, responsible for video game art. The main function of the designer is the creation of interface mediated communication within the game, as in any work that uses design concepts, the function of artwork studio is to transmit information visually and interactively to the player.

Development of New Rendering Technologies

Over the years, the technology surrounding the gaming world has been growing ever faster, with new possibilities for more convincing and interactive visual simulation. The development of new engines, new production tools and the application of art concepts in productions, brings the gaming industry closer and closer to giants such as the film industry for example, in terms of investments, profits and media notoriety.

The responsibility of an artwork studio in defining the visual identity of the project is immense, defining color palettes, styles and compositions within design concepts directly influence the player’s experience.

It is the visual communication that tells the player whether an element of the scenario can be explosive, or whether a character is ally, neutral or villain, plus many self-explanatory information that saves time leaves the experience more fluid.

Independent Video Game Studio

Acting against the way of the big producers, the small independent game development studios, take the visual appeal in the background and focus on the gameplay and the constant experience of satisfaction to the player.

Using retro styles, taking advantage of already established mechanics, games of categories like 2d beat ups and side scrolling games are increasingly common, especially on the mobile platforms, Android itself has become the main way to produce and publish games independently.

In the early days of the gaming industry, games were made exclusively by programmers who understood absolutely nothing of design or visual arts, which left these games with a raw look and with little, if any, environmental interaction with the player.