By the time an actor reaches the microphone, we want them to have an opinion about their character. Something they have noticed in the writing, a relationship they want to explore, an idea they are keen to try. Preparation gives them the time and context to arrive with those possibilities.

At VISHUDDHA, that starts with a conversation before recording. We introduce the role, listen to the actor's first thoughts and work through questions together. It gives voice direction something concrete to build on when the session begins.

Put a conversation in the schedule

Our normal planning approach is to budget for around thirty minutes with the actor, five to ten days before recording. We adapt this to the role, the project's schedule and the material available. A substantial character and a small supporting part may need different preparation.

The gap matters: it gives the performer time to absorb what we have discussed and find their own way into the role. During the conversation, we hear initial ideas, clarify the brief and identify anything that needs an answer from the development team. Those answers can shape the performance before anyone enters the booth.

Give the actor something they can use

We gather the context that helps a performer make choices. Who are they speaking to? What do they want from that person? What are they concealing? In a branching scene, knowing what the player has just chosen can change the way an actor approaches the next line.

We enjoy discovering a character's place in the world with them. A faction's history becomes useful when it changes how someone gives an order, or whom they trust. We draw out those connections from the writing and the creators' intentions, then discuss what they might mean in performance.

Depending on the role, the preparation can bring together:

• The character's circumstances, relationships and dramatic stakes.

• Relevant artwork, footage, music or written references.

• The actor's questions and early performance ideas.

• Timing, pace or gameplay requirements that affect how a scene is played.

Find the way in that suits the performer

Some actors respond immediately to an image or a piece of music. Others want to talk through a scene, watch footage or spend time with a written brief. We adapt the material and the conversation to the person doing the work.

References give us a shared starting point while leaving room for discovery. An unexpected reading might reveal something valuable about the character. We want the actor to understand the role well enough to contribute ideas, and to feel able to ask when something is unclear.

As the project develops, we work with production coordination to keep the brief up to date and pass on decisions that affect the performance. Even if a line stays the same, a change in the scene around it may need to reach the actor.

Preparing the cast of Sanctuary: Shattered Sun

For the English voices in the Sanctuary: Shattered Sun demo, our work included detailed character and performance briefings. We introduced actors to the game's world, its factions and its dramatic stakes. That preparation supported the subsequent direction of voices suited to the game's scale and military atmosphere.

Some of the voices of Sanctuary: Shattered Sun (démo) :1. Chloe Elmore (Sergeant Thompson). 2. Eoin Lynch (General). 3. Ryan Highley (Prefect Anekitos).

Explore the project and cast

A practical question

Can preparation begin while the script is changing?

Yes. We work from the established character and world information, and make clear what is still being decided. Questions that affect the performance go back to the team, and relevant changes need to reach the actor before recording.

Tell us about your characters and recording plans. Let us know what material is available, who is already cast and when you expect to record, so we can plan the preparation with you.