Ask an AI about this
Per-game and per-adaptation settings: the engine, the adaptation's name and coverage, who's on the team, who can see it, and the danger zone. Know which of the two levels you're on and the rest is easy.
Game settings
Per-game and per-adaptation settings: the engine, the adaptation's name and coverage, who's on the team, who can see it, and the danger zone. Know which of the two levels you're on and the rest is easy.
Two kinds of settings live here, and the distinction is worth ten seconds: settings for the game (one per game, shared by all its adaptations) and settings for the adaptation (one per translation project inside that game). If you're translating one game into one language you'll barely notice the difference; the moment you run two adaptations of the same game, it starts to matter.
The two levels, and the sidebar
The sidebar on the left is the map. Every pane is labelled with the level it belongs to, so you can tell what a change will affect before you make it. A Game pane changes something every adaptation of that game shares, such as which folder it lives in or which engine it uses. An Adaptation pane changes only the translation project you are currently in, such as its name, its team, or who can see it.
This is why the same game can have a Japanese adaptation that is public and a Portuguese one that is still invite-only, while both point at the same installed copy of the game.
Game
General
Engine and version, the active adaptation, the game's languages, and its Steam details.
Settings for the game
These apply to the game as a whole. The game's own presentation (name, artwork, description, genres) comes from the Steam catalog and is read-only, so what you manage here is the translation setup around it. It is one pane, General, with four cards.
| Where | What it does |
|---|---|
| Engine | The engine and its version, which drive how text is read and how the patch is built. Steam doesn't provide these, so the Translate a game wizard detects them and you'd only touch this if detection got something wrong. During the open beta that means Unreal Engine 4 or 5, the engines Tranzio can read. |
| Active adaptation | Which translation your work currently lands in, with its coverage ring and status. Game settings and adaptation settings are separate sections, so this card exists to stop you editing one game while your strings quietly go into another. |
| Languages | The source languages found in the game's files (read-only, they're the developer's) and the target languages your adaptations translate into. Targets are created by the New adaptation flow rather than added here, so this is a read-out plus a delete. |
| Game details | Developer, publisher, release date, genre, tags and the engine, pulled from the store catalog with a note saying when they last synced. |
Changes on this pane are not written as you type. The header carries a Save changes button and a pill telling you whether there's anything pending, which is the same pill the Translate page uses.
Settings for an adaptation
A game can hold several adaptations (say, your Japanese translation and a Portuguese one you started later). These panes apply only to the adaptation you're currently working on, and there are three of them.
- Overview
Everything about the active adaptation on one screen: a coverage ring and stat tiles, the release history, the state of its cloud copy, and the name.
- Team
The people working on this translation with you, what each of them is allowed to do, and how many seats your plan covers.
- Audience
Who can find the translation on Tranzio once it exists on the cloud.
The one field on Overview that deserves care is the name. It is what players read in the install picker and the public catalog, so it is the thing that tells someone choosing between two Japanese translations which is which. "Main translation" tells them nothing; "Community edition by the Lantern crew" tells them everything. A preview under the field shows the row players will actually see while you type it, and the name is saved on purpose with a button rather than on blur, because clicking away from a half-typed name should not publish it.
| On the Overview | What it tells you |
|---|---|
| Status pill | Planned, In progress, In review, Released, Paused or Abandoned. It moves to Released by itself when you publish, so it's a report rather than a switch. |
| Where it lives | "Local, not uploaded", "Uploaded, not published", or "Published". Uploading puts the files on your account; publishing is what lets anyone else install them. |
| Coverage | Text strings translated out of the total for this adaptation's language, plus how many audio lines exist. Live from your own database, not a stored guess. |
| Target language | One language per adaptation. It locks once you've uploaded, since players have already installed against it. |
Team and what each person can do
Collaboration happens through the cloud copy, so the Team pane only has anything to offer once you've pushed a build. After that you can search for someone by name or handle, pick a role, and add them. They get a notification and an email with a link straight to the translation.
A role is not a special kind of account. It is a preset over eight switches, and you can flip any of them individually afterwards; the row then simply reads Custom instead of claiming a preset it no longer matches.
Writes and edits the text.
One of those switches is worth calling out. Answer support lets somebody read and reply to the problems players report about this translation, which means writing to the public in the project's name. Only a Manager has it by default, and you can hand it to anybody: it is off for a Translator because being asked to write text is not being asked to answer strangers.
The person you add still has one thing to do that nobody can do for them: have the game. A translation is written against the game's own text, so their copy has to be installed and scanned on their machine before they can write a word. Opening the invitation walks them through exactly that, and it asks for nothing else: the game, its name, the language and the translation all travel with the invite.
Because that takes a download and a scan, the Team list says where each person has got to. Invited means the invitation is unopened. Setting up means they are adding the game locally. Ready means it is scanned, the work so far is pulled, and anything they write will reach you. You get a notification when someone reaches Ready.
The invitation is waiting in their notifications.
From then on it works the way branches do: everyone keeps their own copy, writes in it, and exchanges work with Push and Pull in the header. The numbers on those buttons are how much is waiting in each direction, so you can see at a glance that an afternoon's work is still only on your laptop. Releasing stays with the owner: a collaborator pushes, and the owner publishes.
What travels is the translation itself: the lines, the labels on them, the glossary, the comments, and the font each of the game's fonts is replaced with. What stays local is everything tied to one machine, which is the game's own files and any recorded audio. So a teammate who joins gets a copy that builds the way yours does without ever being handed the game.
People take up seats, and a meter at the top of the pane shows how many your plan includes, how many you've bought, and how many are in use. A seat applies to every adaptation you own rather than being spent on one, and if a seat goes away the person it covered is paused rather than removed. The owner is never listed and always has everything.
Audience
Uploading a build never makes it public by itself. The Audience pane is what decides who can find the translation, and it has three answers. Choosing anything other than Everyone is a paid capability, so free accounts publish to everyone, which is also what the catalog assumes for an adaptation nobody has narrowed.
People you invited
John Doe
Jane Doe
The full publishing flow, including channels and release versions, is in Publishing & My adaptations.
Cloning: what other people may take
Cloning is not sharing. Somebody who clones your translation owns what they walk away with, the way forking a repository works: they can take it in a direction you would never have chosen, publish it, and never speak to you. That is a good thing for a catalog that wants a second translation of a game to start somewhere better than an empty file, and it is exactly why you get asked first.
The Cloning pane asks in two parts, on every plan. The first is whether anyone may clone this at all. A new translation starts private: the Clone button is not on the game's page and none of your work can be taken. Turn on Allow cloning when you are happy for people to start from yours.
The second part is per kind. Text, labels, fonts, dubbed audio and Studio work each travel only if you say so. Once cloning is on, the translated text and the labels are offered and the rest is not, and you can untick any of them. The asymmetry is deliberate: a translator who is glad to seed somebody's script is often the same translator who would rather their recorded voice did not turn up in a stranger's release.
Anyone who can see this translation can start their own from the parts you allow.
- Translated text
- Labels
- Fonts
- Dubbed audio
- Studio work
Whoever clones you picks from what you offered, so they can take less than you allow but never more. Tranzio records where every clone came from, so a translation that seeded a dozen others stays connected to them however far the chain runs.
The other side of this, what somebody sees when they clone yours, is in The game page.
Scanning again after a game update
A game gets patched, and a patch can bring new lines, new voice clips or a new font. Before, the only way to pick those up was to remove the game and add it again, which threw away every translation with it. Scan game runs the same wizard over a game you already have, and only the steps that still have a question left: scan, languages, assets, confirm, import. No new game, no new adaptation.
It adds and never replaces. A string, clip or font that is already imported keeps its row, so translations, dubs, labels and comments stay exactly where they are, and only what the scan sees for the first time is brought in. A line the patch removed also keeps its row: your work on it is not something to delete because the game stopped shipping the string this week.
When it finishes, every count is worked out again and the sidebar badges update where you are standing: strings, voice clips, the clips it managed to link to a line of text, and the fonts the game can draw with. You do not have to reopen the game or restart Tranzio to see the new numbers.
A scan ignores Tranzio's own work in the game folder: the mod pak it installs, and the original audio it moved aside to make room for a dub. Without that it would read your finished translation back in as the game's source text, and list one voice line twice.
Leaving part-way through only stops the scan. The game keeps everything it already had, and you can start another one whenever you like.
The danger zone
Two irreversible actions live at the bottom of the sidebar, on their own, deliberately far from everything you touch daily. Both ask you to confirm in a dialog that spells out exactly what disappears.
Delete adaptation
Remove one translation and its work. A game always keeps at least one adaptation.
Delete game
These actions cannot be undone.
Two guardrails to know. A game always keeps at least one adaptation, so the delete button is disabled when there's only one left; add another first if you really want that one gone. And deleting removes the cloud copy before the local one, on purpose: failing up there after the local folder was gone would leave a published translation listed with no copy left to withdraw it. Your Steam copy of the game is never touched, and patches players already installed stay on their machines, but updates stop.