A different kind of script
A film script is read from start to finish, and actors usually record scenes in a rough order, or at least with the whole story in mind. Game scripts are different. Dialogue can branch depending on player choices, repeat in short snippets, and be triggered by events such as being spotted, taking damage or entering a room. A single character may have thousands of lines, and many are heard by only some players.
This changes how voice work is planned. The goal is not just to record good performances but to make sure each line is recorded in a form that can be placed in the game reliably.
Writing for the voice
Lines that read well on the page can sound awkward when spoken. Writers usually test their work by reading it aloud, and cut or reshape lines that are hard to say. Because the player may hear the same sound many times, short reactions, such as a quick warning or a comment on a pickup, should be brief and easy to repeat without sounding annoying. The craft of writing dialogue players actually read applies here as well, though spoken lines have the extra requirement that they sound natural in the actor’s mouth.
Each line also needs information that the actor and director will need later. A typical script for recording includes:
- a unique line identifier, used to name the audio file and connect it to the game;
- the character who speaks it;
- the text of the line;
- the context: where it happens, who the character is speaking to, and what just happened;
- the emotion or intent, such as angry, tired or joking;
- any technical notes, such as whether the character is shouting, whispering or running.
Context is especially important, because lines are usually recorded out of order. An actor who sees a line labeled “the character has just learned the truth and is trying to stay calm” can give a more fitting performance than one given only the words.
Casting and preparing
Casting means choosing voices that fit the characters. A voice should match the character’s age, personality and background, and should remain comfortable over many hours of recording. Small teams may hire actors through agencies or casting platforms, or use friends and team members for early temporary versions. Whichever route is used, written agreements covering payment, usage and credit are advisable, similar to the points in music licensing.
In the recording session
Sessions can be at a professional studio, a rented space or, for smaller projects, a quiet room with good equipment. Common practices include:
- Consistent setup. The same microphone, distance and room should be used from session to session so that lines recorded on different days sound as if they belong together.
- Multiple takes. Actors usually give several versions of a line with different readings, so the director can pick the best.
- Variations for repeated lines. Lines that repeat, such as combat shouts, often get several alternate performances so the character does not say the identical thing every time.
- Effort sounds. Grunts, breaths, jumps and pain sounds are recorded separately and in quantity.
- Care for the voice. Shouting and strained sounds can tire an actor quickly, so these lines are often scheduled in short blocks and with breaks.
- Reading the line in context. Directors often play back the previous line or describe what is happening so that the actor can respond naturally.
When more than one actor is in a scene, they may record together for a more natural exchange, though in games it is common for each actor to record alone on different days. That makes the director’s context notes even more important.
Fitting lines into branching dialogue
After recording, the lines must be edited, named and connected to the game’s dialogue system. Each line identifier points to a specific audio file, and the game triggers it when the right condition is met. Branching conversations raise a few particular problems.
- Continuity. If a line can follow several different earlier lines, the actor’s tone must work in all of those cases. Writers often keep opening and closing phrases neutral so they fit more than one path.
- Variables. A line that uses a player’s name or a number is difficult, since an actor cannot record every possibility. Writers usually avoid such lines or build them from separate pieces that sound natural when joined.
- Interruptions. If the player moves away or another event interrupts a line, the game needs a rule for stopping or finishing it.
- Order. The system must avoid playing the same line too soon after it was last heard, and must not say something that makes no sense given what the player has already done. This ties into broader interactive narrative design.
Matching lines to animation is another stage. Some games animate the character’s mouth from the audio automatically; others have hand-crafted performances. In either case, the length of a recorded line may differ from the temporary version, so timing in scenes often needs adjusting.
When lines change
Scripts change throughout development, and a rewritten line means another recording. Teams reduce the cost in several ways: using temporary temporary voices, such as text-to-speech or team members, until the script is stable; locking dialogue as late as practical before booking actors; and keeping a log of every line’s status, including recorded, approved, replaced or cut. Planning for pickup sessions, short recording sessions for missed or revised lines, is common.
Translation and subtitles
If the game will be released in other languages, voice work multiplies, since each language needs its own recordings or subtitles. Lines translated into another language may be longer or shorter, which can affect timing. Clear, accurate text is also needed for subtitle options, which are important for players who are deaf or hard of hearing and are used by many other players as well.