{"id":12103,"date":"2025-07-24T07:00:00","date_gmt":"2025-07-24T12:00:00","guid":{"rendered":"https:\/\/terralocalizations.com\/?p=12103"},"modified":"2026-04-02T07:24:52","modified_gmt":"2026-04-02T12:24:52","slug":"jorels-brother-localization-case-study","status":"publish","type":"post","link":"https:\/\/terralocalizations.com\/ja\/2025\/07\/24\/jorels-brother-localization-case-study\/","title":{"rendered":"Jorel\u2019s Brother and the Most Important Game of the Galaxy: A Localization Case Study"},"content":{"rendered":"\n<p>When a cult Brazilian cartoon is slated to become a global video game, the localization journey goes beyond simply addressing technical processes to tackling deeper emotional, creative, strange, and intriguing challenges.&nbsp;<\/p>\n\n\n\n<p>This is the story of the journey behind <em><a href=\"https:\/\/store.steampowered.com\/app\/1398910\/Jorels_Brother_and_The_Most_Important_Game_of_the_Galaxy__Complete_Edition\/\" target=\"_blank\" rel=\"noreferrer noopener\">Jorel\u2019s Brother and the Most Important Game of the Galaxy<\/a><\/em>, developed by Double Dash Studios and localized by Terra. What started as a regionally beloved cartoon series evolved into a multilingual gaming experience that now resonates with players around the world.&nbsp;<\/p>\n\n\n\n<p>The project was recently presented at <a href=\"https:\/\/latam.gamescom.global\/en\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Gamescom LATAM<\/strong><\/a>\u2019s second official edition, held in S\u00e3o Paulo. The panel featured insights from Terra\u2019s Business Development Manager, <a href=\"https:\/\/www.linkedin.com\/in\/alexisbiro\/\" target=\"_blank\" rel=\"noreferrer noopener\">Alexis Biro<\/a>, and <a href=\"https:\/\/www.doubledashstudios.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Double Dash Studios<\/a>\u2019 Co-founder and Creative Director, <a href=\"https:\/\/www.linkedin.com\/in\/jandesf\/\" target=\"_blank\" rel=\"noreferrer noopener\">Jand\u00ea Saavedra Farias<\/a>, as they offered a look inside the creative choices that brought the game to life in both English and Latin American Spanish.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Irm\u00e3o do Jorel: Cultural Aspects in a Multilingual Game - Alexis &amp; Jand\u00ea | gamescom LATAM 2025\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/yeWOd1OXDbg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">From Cult Classic to Global Game&nbsp;<\/h2>\n\n\n\n<p>The cartoon that started it all, <em>Irm\u00e3o do Jorel<\/em>, is one of the most iconic animated series in Latin America. As the first original show in the region to be produced by Cartoon Network, <em>Jorel\u2019s Brother<\/em> was quickly beloved for its absurdist humor, fast-paced dialogue, and rich visual gags. Given its many dimensions, the show presented a unique localization challenge from the start.&nbsp;<\/p>\n\n\n\n<p>The game adaptation of <em>Irm\u00e3o do Jorel<\/em> had a key goal: to feel like a playable episode to its audience. But its developers and <a href=\"https:\/\/terralocalizations.com\/2025\/04\/03\/analysis-and-anticipation-in-localization\/\" target=\"_blank\" rel=\"noreferrer noopener\">localization<\/a> team also had a bigger ambition: to achieve the IP\u2019s first official launch in English-speaking markets. That meant creating something that would resonate with new audiences, without losing the identity that longtime fans cherished.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img fetchpriority=\"high\" decoding=\"async\" width=\"594\" height=\"901\" src=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-4.png\" alt=\"\" class=\"wp-image-12108\" srcset=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-4.png 594w, https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-4-198x300.png 198w\" sizes=\"(max-width: 594px) 100vw, 594px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">The Localization Goals&nbsp;<\/h2>\n\n\n\n<p>&nbsp;Together with the developers at Double Dash Studios, Terra set out to:&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img decoding=\"async\" width=\"413\" height=\"443\" src=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-5-e1753366258931.png\" alt=\"Jorel's Boxing Bear\" class=\"wp-image-12112\" style=\"width:218px;height:auto\" srcset=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-5-e1753366258931.png 413w, https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-5-e1753366258931-280x300.png 280w\" sizes=\"(max-width: 413px) 100vw, 413px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>adapt the Brazilian humor and tone of the series, originally created in Portuguese, into English and Spanish LATAM,&nbsp;<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>remain consistent with pre-existing translations and character identities where they were identified,&nbsp;<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>localize thousands of lines of dialogue and keeping them fun, punchy, and immersive,&nbsp;<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>support the development team with queries, creative rewrites, and cultural insights, and&nbsp;<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>build and utilize workflows that kept every team member aligned, even across multiple languages and cultural frames.&nbsp;<\/li>\n<\/ul>\n\n\n\n<p>Achieving these goals meant that <a href=\"https:\/\/terralocalizations.com\/2025\/06\/05\/cultural-nuances-brazilian-portuguese-game-localization\/\" target=\"_blank\" rel=\"noreferrer noopener\">localization<\/a> couldn\u2019t be done in a vacuum. The process had to be baked into the game\u2019s development from the start, with teams aligned on tone, timelines, and creative intent. That early collaboration helped transform <em>Irm\u00e3o do Jorel\u2019s<\/em> localization into something more than a process. Put more accurately, the localization became part of the game\u2019s DNA.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Preserving Soul, Humor, and Heart&nbsp;<\/h2>\n\n\n\n<p>As teams set forth, it was clear that beyond naming conventions or string limits, this localization effort had to carry the show\u2019s soul\u2014its sense of chaos, whimsy, and deeply Brazilian humor\u2014into two new linguistic worlds.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img decoding=\"async\" width=\"213\" height=\"213\" src=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/people__Nicolas-Sales-1.png\" alt=\"\" class=\"wp-image-12271\" style=\"width:143px;height:auto\" srcset=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/people__Nicolas-Sales-1.png 213w, https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/people__Nicolas-Sales-1-150x150.png 150w\" sizes=\"(max-width: 213px) 100vw, 213px\" \/><\/figure>\n\n\n\n<p>Excellent examples of this deeply creative process can be found throughout the game in characters\u2019 names, its universal tones, wordplay, and cultural adaptation. Take the character <em>Klebinho, <\/em>for instance. In Portuguese, his name is a diminutive that sounds soft and affectionate. The <a href=\"https:\/\/terralocalizations.com\/2023\/11\/15\/transcreation-in-videogames\/\" target=\"_blank\" rel=\"noreferrer noopener\">localized English version<\/a>, <strong>Lil\u2019 Kleb<\/strong>, preserved that same feeling. \u201cWe wanted it to sound like a nickname your best friend might give you,\u201d said <strong><a href=\"https:\/\/www.linkedin.com\/in\/nicolassales\/\" target=\"_blank\" rel=\"noreferrer noopener\">Nicolas Sales<\/a><\/strong>, one of the game\u2019s translators. \u201cSomething that felt casual but close,\u201d he added.&nbsp;<\/p>\n\n\n\n<p>In a gym scene, the iconic line <em>\u201cEi, que isso, franguinho?\u201d<\/em> was reimagined as <strong>&#8220;Bro, do you even lift?&#8221;<\/strong>, which referenced a globally recognized gym meme. \u201cThe idea was to keep the punchy attitude, but in a way that made instant sense to non-Brazilian audiences,\u201d Nicolas explained.&nbsp;<\/p>\n\n\n\n<p>Wordplay was everywhere in the series\u2014and so needed to be a part of the game, too. In Portuguese, the pun-heavy <em>Jogos Ol\u00edmpicos Pulgueses<\/em> became the <strong>O-Flea-mpic Games<\/strong> in English. And <em>\u201cVida loka aos vida longa\u201d<\/em> was transformed into <strong>\u201cLivin\u2019 la vida loca\u201d<\/strong>\u2014a pop reference that retained a similar tone and rhythm to the original. \u201cWe weren\u2019t just translating a phrase,\u201d said Nicolas, \u201cwe were translating the <em>feeling<\/em> it evoked for players.\u201d&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"213\" height=\"213\" src=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/people__Paula-Bonaparte-1.png\" alt=\"\" class=\"wp-image-12120\" style=\"width:152px;height:auto\" srcset=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/people__Paula-Bonaparte-1.png 213w, https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/people__Paula-Bonaparte-1-150x150.png 150w\" sizes=\"(max-width: 213px) 100vw, 213px\" \/><\/figure>\n\n\n\n<p>Cultural adaptation played a major role in the Spanish LATAM version of the game, too. Brazilian-specific foods like hot dogs with mashed potatoes, which has both its fans and detractors across the country, were replaced with <strong>pizza with pineapple<\/strong>\u2014a similarly polarizing food combo that was guaranteed to spark debate across Latin America. \u201cI figured the original combo wouldn\u2019t land the same way,\u201d said <strong><a href=\"http:\/\/www.linkedin.com\/in\/paulabonaparte\" target=\"_blank\" rel=\"noreferrer noopener\">Paula Bonaparte<\/a><\/strong>, who led many of the game\u2019s Spanish adaptations. \u201cBut pizza with pineapple? That\u2019s controversial <em>everywhere.<\/em>\u201d&nbsp;<\/p>\n\n\n\n<p>Even meme-style lines got a new life through localization. The iconic brag <em>\u201cAqui a gente constr\u00f3i fibra!\u201d<\/em> (&#8220;Here we build fiber!\u201d) became <strong>\u201c\u00a1Tengo m\u00e1s fibra que un cereal!\u201d (&#8220;I have more fiber than a cereal!\u201d)<\/strong>, which preserved the original humor while localizing the reference. \u201cIt\u2019s not about being literal, but being understood and enjoyed,\u201d Paula said.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">When Wordplay Isn\u2019t Just a Joke&nbsp;<\/h2>\n\n\n\n<p>Often, the localization of wordplay required something a little different for each version. In a scene with Rambozo\u2014a clown-soldier hybrid\u2014the original Portuguese dialogue hinted at bribery with the phrase <em>\u201cfaz-me rir\u201d<\/em> (\u201cmake me laugh\u201d), which players eventually realize means he\u2019s looking for a joke, not a monetary bribe.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"901\" height=\"492\" src=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-3.png\" alt=\"\" class=\"wp-image-12106\" srcset=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-3.png 901w, https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-3-300x164.png 300w, https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-3-768x419.png 768w\" sizes=\"(max-width: 901px) 100vw, 901px\" \/><\/figure>\n\n\n\n<p>In English, this concept was clarified by the term <strong>\u201cpayoff\u201d<\/strong>, which captured both the setup and the punchline in a compact phrase. For Spanish LATAM, Paula adapted the line to <em>\u201cPodr\u00edas intentar comprarme con una sonrisa\u2026\u201d<\/em> (\u201cYou could try buying me with a smile\u201d). \u201cIt was playful, light, and made sense for a clown\u2019s tone,\u201d she explained.&nbsp;<\/p>\n\n\n\n<p>The localization had to preserve the joke\u2019s functionality while making it land culturally. In Paula\u2019s words, \u201cYou\u2019re guiding the player to a solution without spelling it out, so the rhythm of the exchange had to stay tight, witty, and clear.\u201d&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Localizing a Rap Battle&nbsp;<\/h2>\n\n\n\n<p>One of the most intriguing elements to be localized in this game was the scene in which Jorel\u2019s brother faces off in a rap battle with a character voiced by Brazilian rapper Leandro Roque de Oliveira, also known as Emicida. &nbsp;<\/p>\n\n\n\n<p>The game\u2019s translators had their work cut out for them. Rhymes, rhythm, tone, and timing all had to line up\u2014in two new languages\u2014in a scene that isn\u2019t just filler. It\u2019s a beat-for-beat lyrical showdown, complete with setups, punchlines, and the cadence of classic hip hop.&nbsp;&nbsp;<\/p>\n\n\n\n<p>In the end, the localization team\u2019s solution wasn\u2019t a direct translation. Instead, they rewrote each rap line to fit the beat while maintaining the character dynamics and punchline flow.&nbsp;<\/p>\n\n\n\n<p><strong>\u201cIt needed to feel like rap\u2014not just sound like a translation of one,\u201d<\/strong> said <strong>Jand\u00ea<\/strong>. \u201cThe linguists didn\u2019t just translate. They approached the text with full creative intent.\u201d&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Steve Mau and the Power of Creative Trust&nbsp;<\/h2>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"213\" height=\"213\" src=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2023\/12\/Alexis.png\" alt=\"Alexis Biro\" class=\"wp-image-9312\" style=\"width:147px;height:auto\" srcset=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2023\/12\/Alexis.png 213w, https:\/\/terralocalizations.com\/wp-content\/uploads\/2023\/12\/Alexis-150x150.png 150w\" sizes=\"(max-width: 213px) 100vw, 213px\" \/><\/figure>\n\n\n\n<p>Not every localization decision is made by consensus. That was certainly true for <em>Irm\u00e3o do Jorel. <\/em>One of the more debated choices was the game\u2019s portrayal of the character <strong>Steve Mau<\/strong>, who is a parody of Steven Seagal mixed with a regional Brazilian in-joke. The Terra team suggested alternatives that might resonate better internationally\u2014but the developers insisted on keeping the original character as he was.&nbsp;<\/p>\n\n\n\n<p>\u201cThey were very protective of that name,\u201d said Alexis Biro. \u201cTheir stance was: if global audiences can embrace something as specific as Mickey Mouse, they can embrace Steve Mau.\u201d &nbsp;<\/p>\n\n\n\n<p>Sometimes, localization is about compromise. And sometimes, compromise means honoring the original vision, even if it means letting some jokes stay slightly cryptic.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Process That Made It Work&nbsp;<\/h2>\n\n\n\n<p>To bring <em>Irm\u00e3o do Jorel <\/em>to English and LATAM Spanish-speaking audiences, we couldn\u2019t adopt a plug-and-play localization approach. Nevertheless, underpinning all the unique adaptation challenges, there existed a solid process. The localization of this game was an active and creative collaboration with Double Dash Studios from the beginning, in which aligning style, tone, and context were aims from Day 1. Along the way, our collective assets included:&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>visual references for every line&nbsp;<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>contextual notes on character emotion and intent&nbsp;<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>shared glossaries and terminology guidelines&nbsp;<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>ongoing query sheets and check-ins&nbsp;<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"901\" height=\"306\" src=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-2.png\" alt=\"\" class=\"wp-image-12104\" srcset=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-2.png 901w, https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-2-300x102.png 300w, https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/image-2-768x261.png 768w\" sizes=\"(max-width: 901px) 100vw, 901px\" \/><\/figure>\n\n\n\n<p>A key example of these assets at work involved the <strong>Microwave Warriors<\/strong> toy store scene. \u201cWe noticed, thanks to the Excel sheet, that Jorel\u2019s brother was getting more and more excited with each line,\u201d recalled Alexis. \u201cThat let us match tone and energy in the translations,\u201d Alexis shared.&nbsp;<\/p>\n\n\n\n<p>Along the way, character actions, mood changes, and visual gags were all shared with the linguists to inform how a line should <em>feel<\/em>, not just what it should <em>say<\/em>.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">What We Gained from the Global Release&nbsp;<\/h2>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"213\" height=\"213\" src=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/people__Jande.png\" alt=\"\" class=\"wp-image-12122\" style=\"width:151px;height:auto\" srcset=\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/people__Jande.png 213w, https:\/\/terralocalizations.com\/wp-content\/uploads\/2025\/07\/people__Jande-150x150.png 150w\" sizes=\"(max-width: 213px) 100vw, 213px\" \/><\/figure>\n\n\n\n<p>In addition to expanding this special game\u2019s global reach, its localization helped introduce <em>Jorel\u2019s Brother<\/em> to players who had never seen the original cartoon. According to Jand\u00ea, \u201cThe United States became the game\u2019s second-largest market, despite the show not being available there.\u201d&nbsp;<\/p>\n\n\n\n<p>Some players even asked where they could watch the series. Others simply embraced the game as their first introduction to Jorel\u2019s world.&nbsp;<\/p>\n\n\n\n<p>From a production standpoint, the <a href=\"https:\/\/terralocalizations.com\/2025\/06\/19\/player-engagement-brazilian-portuguese-localization\/\" target=\"_blank\" rel=\"noreferrer noopener\">localization<\/a> process also helped shape how Double Dash is now approaching future projects. \u201cWe\u2019re applying everything we learned here to our next game, <em><a href=\"https:\/\/www.youtube.com\/watch?v=AOL94aFvJw0\" target=\"_blank\" rel=\"noreferrer noopener\">Shadows of Chromma Tower<\/a><\/em>,\u201d Jand\u00ea said. \u201cWe can\u2019t wait to see how it turns out.&#8221;&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Takeaway&nbsp;<\/h2>\n\n\n\n<p>When a game is built on a beloved IP, what counts the most is how well&nbsp;its localization captures the spirit of the IP, and not just the words.&nbsp;<\/p>\n\n\n\n<p><em>Jorel\u2019s Brother and the Most Important Game of the Galaxy<\/em> succeeded globally because localization wasn\u2019t treated like a grocery list of items to check off, but as a core part of the game\u2019s foundation. From the start, developers and linguists worked together to create something that felt intentional, playful, and deeply human in every language.&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>How Double Dash Studios and Terra spun the humor, chaos, and cultural nuance of a beloved Brazilian cartoon into localization gold and a global 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