Written by: Will Bucknum
Being a dialogue writer for games can be rough. It is difficult enough to get your dialogue to look appropriate in games, but to also sound right is an even bigger challenge.
As someone who rides the line between being a writer for games and a voice-over producer for games, I’ve seen a whole host of scenarios related to how voice-overs are recorded and how much power each person in the process has in a recording.
This SiG Blog is written by Will Bucknum.
Let’s visualize scripts written for game voice-overs a certain way, as how a musician views sheet music. Some sheet music is quite clear: notated with accent marks, dynamics, tempo, and scene changes. Others are more loose, and intentionally so. Jazz sheet music often replaces individual notes with hash marks indicating beats and a key signature, and – do what you will in this set of rules.
Recording voice-overs is the art of taking the “music” written by game narrators off the sheet and into a performance. Just as there are many paths to performing musical pieces successfully, there are many paths to successful voice-over performances. However, music is still music; performance is still performance. Game narration designers can follow several practices that consistently lead to good performances. Continue reading