Category: Southeast Asian Gaming

COVID-19 vs Esports: To survive and thrive in pandemic

At this point, we can’t deny that the global pandemic of COVID-19 affects our daily lives. From the city and country lockdown, to the closing of the stores, to the government announcements that people should practice social distancing. This also affected many sports events and forced them to postpone or cancel the competition, such as the Premier League or other traditional sports.


But while most of the sports events have been postponed, Esports took these changes and adapted their own platform. Due to their online nature, it means they can have the match, even if there is no live audience in the stadium. Also, some of the traditional sports try to adapt to the online nature of Esports to create the competitions that people can enjoy at home.


Image courtesy of MotoGP


For example, Grand Prix motorcycle racing (also known as MotoGP) has created the “MotoGP™ Virtual Race” with their hashtag #StayAtHomeGP which brought 10 racers in their tournament to compete in MotoGP20. This event received overwhelmingly positive feedback from both MotoGP fans and game fans alike.


On the side of Esports competitions, many tournaments had announced that they will change the format of their tournament to a fully online tournament. Hearthstone, League of Legends, Dota2, Rainbow Six Siege, and other games competitions have changed their format and run with it. From the caster to the analyzer to the player and the interviewer, they have used the online platform to make the tournament happen, with live audiences watching online from their home around the world.


For the example, the League of Legends LPL (China’s LoL Pro League), LCS (North America’s League of Legends Championship Series), LEC (League of Legends European Championship) and LCK (League of Legends Champions Korea) had shifted to online only tournament, and had crowned their champion of each region or are competing to find the champion of that region. For Hearthstone, the Hearthstone Grandmaster had also shifted to online, and due to the single-player nature of the game, it is quite easier to handle the server than the multiplayer genre.


Image courtesy of LoL Esports Youtube


On the smaller scale, in Thailand, the Tekken 7 tournament hosted daily by TESF (Thailand Esport Federation), became one of the most anticipated events in Thailand’s esport. Because TESF has been recognised by the Sports Authority of Thailand, this tournament is more important than before. Because the top 2 players of this tournament will be trained to become Thailand’s representative alongside Book, who has been recognized as the best player in the country for many years and had just won the gold medal in SEAgame and become the latest EVO Japan champion (with a little drama from the community, consider he didn’t use his main character, but used Leroy which is the most broken character in the history of Tekken). 


This event is also a good opportunity for the new players who didn’t have a chance to compete in the LAN tournament. Many of these new players were considered a “sleeping tiger” and is actually a high level player who never appeared in the offline tournament. The fact that they came out to compete in this tournament means that many eyes are now watching them and might want them into their Esport organizations.


Image courtesy of Thailand Esport Federation

But all of that didn’t come with an obstacle though. Many games suffer from the change of format. For example, The Tekken 7 tournament mentioned above has problems with connection. Because the game uses peer-to-peer connection (connection between 2 or more machines, without a server to handle the connection) This causes problems with either connection loss or the quality of the video. The Hearthstone Grandmaster that was changed to online after changing the location twice has announced that Blizzard will take the responsibility of refunding the flight and booking cost to some extent.


Also, due to the travel ban from many countries, many of the major tournaments have been cancelled. Such as League of Legends MSI (Mid Season Invitation) that just has been cancelled or many of the Dota2 Pro Circuit (Valve-sponsored tournament that awards points and the top teams with the most points will be invited to The International) has been either cancelled or moved to the future. 


Image courtesy of Twitter @DOTA2


Which game that you might be interested in, there are many choices nowadays to watch. No matter if you are interested in MOBA, FPS, Card game, strategy, racing, or even fighting games, there is always something for you to watch during the quarantine. 

(Ref. of Dota Pro Circuit 2019-20 Rankings/Featured image by Philipp Keller)

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Challenges to entering Asian mobile games markets

Breaking into Asian mobile games markets is no cakewalk. While some games, like Clash of Clans, enjoy multi-year runs of wild popularity, they are the exception rather than the rule. Most mobile games release quickly, gain popularity fast, and fade away to make room for the next game just as quickly. Time is of the essence, but there’s good news: Since mobile games usually rely on action-oriented game play with simpler graphics, less text and character restrictions, and little or no voiceover work, they don’t take very long to localize!

That’s a good thing, because to stay on top of the market, you have to come in already localized with a system in place for simultaneous delivery (which a full-service localization company can facilitate). You’ll also need a local partner for distribution and/or monetization.

From there, you’ll need to master the finer points of what makes each country’s mobile players tick – or tap, as the case may be.

A few top-tips on what makes who tick (or tap) in Asia


Japanese players expect in-game social interaction, like combat between guilds.

South Korea

South Korean gamers have come to expect frequent game updates and special in-game events.


China has more than 15 app stores – which is a significant change from just dealing with two (Apple and Google’s) – as well as networks selling games, and middlemen at telecom companies and hardware manufacturers.

In general, Asian gamers are better conditioned for more complicated games than Western audiences – your game might be too simple for them. There’s a reason Angry Birds took off in the U.S. and not so much in Japan!

Find out more by downloading our eBook…

Why games localization in South East Asia?

We’re starting in Southeast Asia precisely because so few people do. You know you want into the South Korean and Japanese markets. And China? That country is the largest gaming nation in the world.

But the six countries that make up Southeast Asia are vital, active, game-hungry markets too.

Meet the Big Six
Thailand, Indonesia, Malaysia, Singapore, Vietnam and the Philippines.

Newzoo estimates that revenues in the Southeast Asian games market will double to $2.2 billion by 2017.

These regions are young – as in the majority of their populations are in the target age ranges for game playing – between 15 to 54 years old.[i] Newzoo also estimates that these countries hold a total of 126.2 million gamers, 59.7 million of whom pay for the privilege.

Find out more…

Game Localization Tips

It can be difficult to navigate global politics when all you want to be is a game designer. If you don’t localize, however, you can find yourself at the business end of some incredibly difficult and unprofitable situations.

Western game developers looking to crack Asian markets have repeatedly shot themselves in the foot. Paradox Interactive lost out on 173 million gamers in the Chinese market when its otherwise popular Hearts of Iron strategy game overlooked how its depiction of history might run afoul of the Chinese Ministry of Culture.

Red Storm Entertainment did not change the warmongering North Korean general character in its Ghost Recon 2 game before marketing to South Korea. As a result, the South Korean government refused to allow the game to be sold within its $2.5 billion market. Both of these situations (and so many more) could have been avoided with just a bit of localization to these markets.

So how should game developers localize games to maximize reach?

Converting into the Local Language

Southeast Asia has a $2.2 billion total gaming market with 126 million gamers and growing. Many of the gamers in those countries have low English proficiency, even though English may be an official language of the country.

Translating a game into the local language of the area is one of the most important ways to localize. Not only does translation allow the gamers to better understand the game, but it also helps to create an emotional connection that can only come from a mother tongue.

Translation into the local language should be a priority even in better developed countries such as Tokyo and China. More people in these nations may understand basic English, but the nuances of the language do not make the translation in many cases. With so many games now driven with emotional content, this means a less immersive and therefore less popular game.

Targeting the Proper Platform

Internet access in the Philippines increased by 800% between 2004 and 2014. Were you to venture into the poorest districts in the country, you might find a gaming cafe in the middle of otherwise Third World conditions. Targeting desktops and desktop experience gaming like MMORPG and FPS would work here.

In Japan, however, the number one game genre is puzzle, followed closely by strategy RPG. The majority of these games are played within the mobile environment. If you want to get the biggest piece of this $12.4 billion market, then you want to invest in marketing for smart phones. The Japanese market is also dominated by local publishers, so you will need to localize your language to even have a chance with Japan’s 69 million plus gamers.

In general, everything is moving into the mobile space, however. If you want to be safe, you can’t go wrong with a long term marketing program for smart phones.


Taking a translation from the US into Asia or Africa over literally will not earn you any brownie points in the modern gaming industry. You also need to culturalize the game to the area that is being marketed.

What is culturalization?

In order to really connect with an audience outside of the home market of a game, it must fundamentally connect with that audience. Leaving this out is the equivalent of trying to have an academic conversation with a Japanese scientist on analytical physics using Google Translate. It’s just not going to work.

Changing the culture of a game means looking deeply into the values of the target audience. Your gaming experiences must be familiar to them. For instance, if your war game vilifies Africans and you try to sell it in Addis Ababa, you will probably get your studio banned from the country.

Many games coming from the West have built in ethnic and cultural stereotypes. These stereotypes are so ingrained into Western culture that the developers do not even consider them offensive. For instance, if your heroes are Christian as in Castlevania Chronicles, you might want to stay out of Indonesia and the Southern Philippines where the primary religious culture is Islam.

Game producers must also consider their own geopolitical biases before pushing a game into another market. Automatically vilifying a certain race, religion or ethnic group even mistakenly can get your game banned in an area.

Finding Your Issues

So how do you find your problems if you have a natural blind spot for them (the “no one thinks he speaks with an accent” syndrome)?

The first step is usually indoctrinating yourself into your target culture. The number one way to build an understanding for a group of people is to experience life from their perspective. Many gaming studios now pay for international outreach trips on important games if they know those games will be marketed beyond national borders.

Use translators that come from the target country. Many studios will record audio in target languages at the same time so that a game can get a simultaneous rollout around the world while saving money on studio time.

Present your game in a way that is familiar to your target audience. Asian audiences are used to fonts that are very different from those in American games. Text boxes and fonts should be resized to account for the difference in the lengths of words in different languages.

Regardless of the precautions you take, remember that everything is a calculated risk. You must decide if a market is important enough to spend the time and the money to make cultural changes in a game. If you take this path of localization, you will probably find the international market more open to your efforts!