Video Game Voiceover Agency

A bark is a short reactive line triggered by something happening in the game rather than by a conversation: a guard spotting you, an enemy calling a flank, a passer-by reacting as you walk past. The difficulty is repetition. A line the player hears twice in a row stops building the world and starts breaking it, so a single trigger usually needs many variations of the same idea. Bark sessions therefore run long relative to their word count, and they are quoted on variation count rather than character count.

Yes, and for most titles that is the sensible way to do it. A good game actor holds several genuinely distinct voices, which keeps the bank affordable and the casting consistent. There is a limit: push one actor across too many roles in the same area of the map and players start hearing the same person twice. We plan the split so repeated voices never sit next to each other in the world.

Yes. Efforts, sometimes called exertions, are the non-verbal half of the job: jumps, climbs, lifts, hits taken, falls, deaths and breathing under load. A combat system runs on them. They are physically demanding and cumulative, so we schedule them as their own block rather than stacking them onto a dialogue day, and we protect the actor’s voice across the run.

Yes, and we would rather have it before the first session than after the first delivery. Send us the naming spec, sample rate, file format and any handle or room tone requirements, and audio arrives ready to drop into the build. We deliver for Wwise, FMOD and direct engine implementation. Renaming tens of thousands of files after the fact is somebody’s week, and it should not be yours.

Yes. We cast native performers market by market rather than translating subtitles, and we run every language through one pipeline so you get a single naming convention and delivery format. Our roster runs past forty languages. We also handle linguistic QA in the build, because a line that reads correctly in a spreadsheet can still be wrong once you know who is saying it and to whom.

Yes. For performance capture, the voice is recorded alongside body and facial performance so the take is one piece rather than a voice grafted onto animation afterwards. For ADR we record to picture, in sync with what is already animated, which comes up most often in cinematics and in localisation where a translated line has to land inside the original window.

Game audio outlives the launch, which makes usage more complicated than it looks. Trailers, marketing cutdowns, DLC and a remaster years later are all separate questions. We settle them at contract stage rather than leaving them open, because going back to an actor two years on costs more and is sometimes not possible at all. Tell us the platforms and the planned life of the title and we will build that into the quote.

Yes. Send us a few lines of your actual dialogue and we will come back with custom auditions rather than stock demos, usually three voices per role, within 24 hours. No charge and no commitment. Hearing a voice handle your character’s actual words is far more useful than a showreel.