![]() But I have been enjoying watching people playing it. I've been playing the game myself recently. So the deadpan quality in the performance makes for some wonderful moments. And it wouldn't work if the voiceover made it bigger. There's a lot of humour in Disco, a lot of absurdity. It was a good exercise, and I appreciate getting the chance to do it.ĬDC: He brings out a real deadpan quality too. ![]() It's not about me, it's about the person playing the game. There are some moments that are funny, but I didn't want it to feel like I was the one being funny. LB: It wouldn't have worked if there were too many different voices. If Lenval's performance was too prescriptive-if you put too much character into it-it might take away from the version of Harry that exists in the player's head. But my feeling, which Lenval and I discussed a few times, was that the player has to be able to project their own reading and their own interpretation onto it. That's a different approach we could have taken. ![]() We could have made them wildly different. There are 24 distinct voices inside the character's head-but they don't sound wildly different, because they're all prisms through which Harry is filtered. You want it to almost cradle you in a way. And you want it to be a pleasant experience, because it's going to follow you throughout the whole game. I wanted Lenval's performance to be very intimate, because this is the voice inside Harry's head. (Image credit: ZA/UM) There's something very intimate, almost soothing about Lenval's performance.ĬDC: That's right. The writing for Shivers is so unique that I could always find the right voice and performance needed to record those lines. All the voices in Harry's head have a very different style of writing. LB: Yeah, then I'd make it more tender, more heartfelt. Whenever you saw a line that was referencing Dora, or I told you a line was referencing her, I'd give you that nudge. All I could do was take the direction and do it as best as I could.Ĭash DeCuir: I think over time we developed a shorthand. So I was always on top of it, doing it day to day. I couldn't learn all these lines and I couldn't read too far ahead, because something might change. And that was better for me, because having to act out hundreds of thousands of lines would have been too much. I was asked not to overact and focus on relaying the message to the player. If I was going wrong, Cash would help me out. ![]() It's all one voice, but I tried to put some subtle differences into the performance, depending on which part of Harry's brain is speaking-whether it's logic or electrochemistry or whatever. The voices in your head have to be slow and meticulous and to the point. This dialogue is there to help the player understand what's going on. But the guide was always to do it low and slow. LB: I hadn't played the game and I didn't truly understand what was going on. Lenval Brown (Image credit: Mikee Goodman) How do you approach an unusual role like this? ![]()
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