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<oembed><version>1.0</version><provider_name>The Escapist</provider_name><provider_url>https://www.escapistmagazine.com</provider_url><author_name>John Szczepaniak Legacy Author</author_name><author_url>https://www.escapistmagazine.com/author/johnszczepaniak/</author_url><title>Two Worlds, One Game - The Escapist</title><type>rich</type><width>600</width><height>338</height><html>&lt;blockquote class="wp-embedded-content" data-secret="QgLVyMNTeS"&gt;&lt;a href="https://www.escapistmagazine.com/two-worlds-one-game/"&gt;Two Worlds, One Game&lt;/a&gt;&lt;/blockquote&gt;&lt;iframe sandbox="allow-scripts" security="restricted" src="https://www.escapistmagazine.com/two-worlds-one-game/embed/#?secret=QgLVyMNTeS" width="600" height="338" title="&#x201C;Two Worlds, One Game&#x201D; &#x2014; The Escapist" data-secret="QgLVyMNTeS" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"&gt;&lt;/iframe&gt;&lt;script type="text/javascript"&gt;
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</html><description>When it comes to media making the transition from country to country, games are without peer. More are localized into English and marketed as mainstream than either books or films. How many chart topping films or books originate in a non-English language? According to Metacritic, far fewer than those found amongst videogames. Without a doubt, localization plays an important role the modern game industry. The localization industry started when Japanese companies began creating games with more complex and dialogue-heavy plots for systems like the Famicom, Mark III and MSX. But it was only with the 16-bit generation, on the SNES, [&hellip;]</description></oembed>
