Welsh voices and the magical localization

References

1. Aaron, Jane (2013), ‘Witches, druids and the hounds of Annwn’, in Welsh Gothic, Cardiff: University of Wales Press, pp. 139–69.
   [Google Scholar]
2. Ari Aster (2018), Hereditary, USA: A24.
   [Google Scholar]
3. Bandai Namco Studios (2015), Tales of Zestiria, Tokyo: Bandai Namco Entertainment.
   [Google Scholar]
4. Barthes, Roland (ed.) (1977), ‘The grain of the voice’, Image, Music, Text, London: Fontana Press, pp. 179–89.
   [Google Scholar]
5. Bernal-Merino, Miguel Á. (2014), Translation and Localisation in Video Games, New York: Routledge.
   [Google Scholar]
6. Campos Calvo-Sotelo, Javier (2017), ‘I Celti, la prima Europa: The role of Celtic myth and Celtic music in the construction of European identity’, Popular Music and Society, 40:4, pp. 369–89, https://doi.org/10.1080/03007766.2015.1121642.
   [Google Scholar]
7. CD Projekt Red (2011), The Witcher 2: Assassins of Kings, Warsaw: CD Projekt Red.
   [Google Scholar]
8. CD Projekt Red (2015), The Witcher 3: Wild Hunt, Warsaw: CD Projekt Red.
   [Google Scholar]
9. Collyer, Rachel (2023), ‘Attitudes to representations of medieval music in role-playing computer games’, Journal of Sound and Music in Games, 4:2, pp. 1–23, https://doi.org/10.1525/jsmg.2023.4.2.1.
   [Google Scholar]
10. Cook, James (2020), ‘Sonic medievalism, world building, and cultural identity in fantasy video games’, in K. Fugelso (ed.), Studies in Medievalism XXIX, Woodbridge: Boydell and Brewer Limited, pp. 217–38.
    [Google Scholar]
11. Davies, Janet (2014), The Welsh Language: A History, Cardiff: University of Wales Press.
    [Google Scholar]
12. Donnelly, Kevin J. (2014), Occult Aesthetics, Oxford: Oxford University Press.
    [Google Scholar]
13. Fimi, Dimitra (2011), ‘Filming folklore: Adapting fantasy for the big screen through Peter Jackson’s The Lord of the Rings’, in J. M. Bogstad and P. E. Kaveny (eds), Picturing Tolkien: Essays on Peter Jackson’s The Lord of the Rings Film Trilogy, New York: McFarland & Company, pp. 84–115.
    [Google Scholar]
14. Fountain, Daniela (2018), ‘“Frame not my lute”: The musical Tudor Court on the big screen’, in J. Cook, A. Kolassa and A. Whittaker (eds), Recomposing the Past: Representations of Early Music on Stage and Screen, New York: Routledge, pp. 60–71.
    [Google Scholar]
15. FromSoftware (2022), Elden Ring, Tokyo: FromSoftware.
    [Google Scholar]
16. Game of Thrones (2011–19, USA: HBO).
    [Google Scholar]
17. Gibbons, William (2021), ‘Open worlds: Globalization, localization and video game music’, in M. Fritsch and T. Summers (eds), The Cambridge Companion to Video Game Music, Cambridge: Cambridge University Press, pp. 359–75.
    [Google Scholar]
18. Hajkowski, Thomas (2010), The BBC and National Identity in Britain, 1922–53, Manchester: Manchester University Press.
    [Google Scholar]
19. The Haunting of Hill House (2018, USA: Netflix).
    [Google Scholar]
20. Jackson, Peter (2001), The Lord of the Rings: The Fellowship of the Ring, New Zealand, UK and USA: New Line Cinema.
    [Google Scholar]
21. Jackson, Peter (2001–03), The Lord of the Rings, film series, New Zealand, UK and USA: New Line Cinema.
    [Google Scholar]
22. Jones, Darryl (2009), ‘Borderlands: Spiritualism and the occult in fin de siècle and Edwardian Welsh and Irish horror’, Irish Studies Review, 17:1, pp. 31–44, https://doi.org/10.1080/09670880802658125.
    [Google Scholar]
23. Leppälahti, Merja (2018), ‘From folklore to fantasy: The living dead, metamorphoses, and other strange things’ (trans. C. Tolley), Journal of the Fantastic in the Arts, 29:2, pp. 179–200, https://www.jstor.org/stable/26627620. Accessed 4 April 2025.
    [Google Scholar]
24. Level-5 (2013), Ni no Kuni: Wrath of the White Witch, Fukuoka: Level-5.
    [Google Scholar]
25. Lovecraft, Howard P. (1924), ‘The Rats in the Walls’, Weird Tales, 3:3, pp. 25–31.
    [Google Scholar]
26. Miyazaki, Hayao (2001), Spirited Away, Japan: Toho Co., Ltd.
    [Google Scholar]
27. Monolith Soft (2010), Xenoblade Chronicles, Kyoto: Nintendo.
28. Monolith Soft (2017), Xenoblade Chronicles 2, Kyoto: Nintendo.
    [Google Scholar]
29. Monolith Soft (2022), Xenoblade Chronicles 3, Kyoto: Nintendo.
30. Noclip – Video Game Documentaries (2017), ‘Translating & adapting The Witcher 3’, YouTube, 11 October, https://www.youtube.com/watch?v=Gxg5INjNopo. Accessed 4 April 2025.
31. Nugent, Simon (2018), ‘Celtic music and Hollywood cinema: Representation, stereotype, and affect’, in J. Cook, A. Kolassa and A. Whittaker (eds), Recomposing the Past: Representations of Early Music on Stage and Screen, New York: Taylor & Francis Group, pp. 112–26.
    [Google Scholar]
32. Sapkowski, Andrzej (1986), ‘Wiedźmin’ (‘The Witcher’), Fantastyka, 12:51, pp. 18–49.
    [Google Scholar]
33. Shimizu, Takashi (2002), Ju-On: The Grudge, Japan: Xanadeux.
34. Smith, Jennifer (2020), ‘Worldbuilding voices in the soundscapes of role playing video games’, unpublished Ph.D. thesis, Huddersfield: University of Huddersfield.
    [Google Scholar]
35. Stang, Sarah (2018), ‘Shrieking, biting, and licking: The monstrous-feminine in video games’, Press Start, 4:2, pp. 19–34.
    [Google Scholar]
36. Stranger Things (2016–25, USA: Netflix).
37. Waggner, George (1941), The Wolf Man, USA: Universal Pictures.
    [Google Scholar]