[05] On voice overs

Voice over is really important to Operation Kanshi. I'd say for myself, at the moment, I view "the conversation" between our main characters as the soul of the game. I tend to care deeply about my characters. So a lot of research is going into understanding how to execute this as best we can. Recently I've spoken to some alumni, attended a talk, and sat in on a Q&A with Sarah Elmaleh. It's given me a lot to think about. I'm going to try to throw some notes of what I've learned about directing voice actors for games.

From Jack's talks: Recording voice acting for choice based games is structured differently. He gave examples of how the recording of dialogue and the script will differ based on the type of gameplay. As a writer, giving context for voice actors via parentheticals in the script is super helpful. He also said it is important to handle logistics: i.e. set-up before the voice actors arrive with equipment ready and water available. Monitoring the recording (for things such as clipping) is important to maintain quality and consistency.  He stressed the importance of being respectful and thoughtful with voice actors. It's important not to interrupt and be considerate by factoring in breaks.

From chatting with alumni: Some graduates of the MFA program used voice overs heavily in their thesis projects as well. I spoke with some about the challenges they encountered. They ran into some issues by recording a little too late in the production process (based on the fixed date of the End of Year Show MFAs need to showcase their thesis projects at). They recommended: 

• Record multiple takes
• Record all at once (if possible), or in the same space with the same equipment
• Save the raw recordings, no matter what
• Be careful that the voice actors don't move around too much while recording

Lastly, here is a selection of notes I took from the Q&A session with  Sarah Elmaleh:

• Traditional movie scripts are what actors are most comfortable with, but it isn't always feasible.
•  Be aware you might asking for stereotypes and research if there is a charged historical context. Be an expert of the character. Be able to answer any question. 
• There isn't equal representation of  people of color so the power structures are uneven. Casting directors are usually in a pinch between the need for particular experiences or skills but the applicant pool is disproportional. You need to honor characters of different ethnicities. Make it the rule.
• In games, if you are a casting director you are going to want heavy hitters who can do over 20 different people. 
• Between dialects, accents, etc., voice actors can ultimately do hundreds of different voices. If you want them to do a lot of voices for your game, ask them to choose three or five so you can hear a spread. Listen to their demo. Is there range? 
• Trust your actors. Tell them what they need to know.
• Cultivate fun. Create a sense of playfulness for the actor. Communicate clearly who the character is, so there is confidence, vulnerability. This is collaborative. Be prepared to take care of them. Have the confidence and excitement that they are right for the job.
• Don't be uncertain, don't make someone feel obsessed with the sound of particular of lines, don't puppeteer.
• When introducing your game to a voice actor and their agent, they want to feel your excitement. They want to know your passion. What is unusual? What is new? What is from you? Convey your angle. Streamline a pitch. Be respectful of their time, and don't be entitled to someone's work. 

I have a ton more notes and scattered thoughts... But I figured I should throw them all here for now! Soon I will post the most recent feedback on our latest prototype.