隨著全球電玩產業日益蓬勃，愈來愈多來自不同文化背景的開發商打造出充滿 各自文化特色的遊戲。如 SEGA《人中之龍》一樣富含文化特色的遊戲在國際 市場越發常見。本研究檢視了《人中之龍 0 》英文版的案例，目的在於瞭解該 遊戲如何本地化充滿日本文化特色的內容，進而使其在國際市場獲得成功。本 研究檢閱了《人中之龍 0 》中不同遊戲資產的處理方式、其與玩家遊玩體驗的 關係、該遊戲在日本文化中的地位、本地化團隊對於其作業思維的描述與，以 及玩家對本地化成果的心得。結果顯示該遊戲獨特的時代文化背景在不同的玩 家間必然會導致不同的體驗，但英文版在遊戲故事和主題中，仍藉由保留並強 調日本文化特色，呈現「反向本地化」(reverse localization) 的特性，而針對幽默 或遊戲機制等細微部分能發揮創意本地化而不與遊戲中的文化特色相互衝突。

With the growth of the global video game industry, more games are being made by developers from different cultural backgrounds. Games like Yakuza from the Japanese company SEGA, which are filled with the unique cultural identities of their makers, are gaining numbers in international markets. The current research focuses on the case of Yakuza 0’s English version to understand how developers localized the culturally intensive video game that has flourished in the international scene. This dissertation examines the various approaches to the distinct in-game assets and how players engage with these assets, the game’s role in the Japanese market, the working mindsets of the localization team, and the players' responses regarding the localization. The results show that the unique cultural settings have yielded various experiences for players from different backgrounds. Still, the English version of Yakuza 0 has a tendency of “reverse localization” when handling the story and themes of the game by preserving the nuances of Japanese culture and utilizing creativity in minor aspects without disrupting the cultural elements.

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