Voice Direction / Direction Artistique. Why ? Who for ?

In English its “Voice Director”; in France it's called a “Directeur Artistique.”

Two sides of one coin.

I’m Ryan, VA, VD, DA, PCP… a whole alphabet of acronyms. I like to say I’m an actor by trade, a voice talent (this one sounds cooler in English) and voice director (this one sounds less pompous in English).

So, what needs a change with Voice Directors? Here’s my take on this job, this essential role in any video-game, in any voice production.

Voice Direction / Direction Artistique : Le Problème

Big games make us dream with acting worthy of the silver screen, yet in too many titles the voices miss the mark, lack of intent, unity, coherence with gameplay or staging.

It’s rarely a talent or writing issue.

It’s mostly a direction issue.

A simple, basic approach would be:

• Clear brief. Context, tone, intentions.

• Controlled session. No fumbling, laser-focused.

• Instant feedback. Adjust without wasting time.

• Original acting. We take inspiration, not copies.

No overacting, no artistic blur, just a voice that fits the game, a voice serving the player experience.

Pretty good already, but I remember a guy in a mass-hypnosis class who said :

“We always have a Plan B, C or Z, if Plan A fails. But we never have a Plan A+ or A++ if Plan A exceeds all expectations.”

I’m after a Plan A+ or A++:

• Briefs that are clear AND DEEP. Talent actually plays the game, sees a scene, living characters, gets a slice of the world, some music…

• Sessions that are controlled AND EXPLORATORY. We let emotions flow, switch things up, move with whatever the scene brings.

• Feedback that is direct AND HONEST. Risk bruising feelings; we’re here for the project. Kill doubts, kill egos, speak plainly.

• Acting that is original AND AMBITIOUS. Risk a sour note to chase something unique and powerful.
  

Voice Direction Baldur’s Gate 3.

PitStop et Larian directed 250+ actors over four years. Their method?

Create a space where actors can breathe, try, commit fully. No crushing pressure, but crystal-clear expectations.

Result: every voice carries precise intent; dialogue fuels immersion. Mistakes happen and stay in the final cut; real risk on every front, and fans adore it because it’s authentic. The game’s human, emotional punch isn’t luck; it’s the product of voice direction that’s rock-solid yet paradoxically flexible.

Direction Artistique Expédition 33

Jennifer Svedberg-Yen directed the voices; French cast co-directed by Serge Thiriet (that's a good start.)

• Dual casting (FR/EN) done in parallel.

• A demand for emotional truth in a stylized but weighty universe.

  
  

  Jennifer shared a story: during a session, an actress broke into tears reading a line. Totally unplanned—but it was right, so they kept it.

  
  

Moments like that don’t “just happen.” You have to build an environment where they can happen. That’s the heart of a voice director’s job.

Star Wars – David W. Collins’ Total Commitment

David W. Collins does it all: direction, sound design, acting. On Star Wars he isn’t just supervising, he’s living inside the project. He knows the lore, rhythm, stakes. He gives context to every scene, every silence, not to hear his own voice, but because he knows exactly what the audience must feel.

His strength? Wearing a million hats yet never losing focus on the final impact.

What to do ?

Want human depth in a game? Real emotion, authenticity? Maybe it’s time to rethink some processes. Rethink the Excel sheets. Involve people more. We already do it for music, for writing, so why is this crucial moment treated like a cost-cutting corner?

“Actors are expensive”… Sure.

How much does a bad game cost?

Lets talk about it? Ryan Highley

Voice Chaman

contact@vishuddha.fr