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In Technicolor’s corporate Day-Glo precincts, she cut an incongruous figure, projecting a pleasant, outdoorsy affect that stopped just short of hippie. Hale is in her late thirties, with long, thick dark-brown hair that has faint almond highlights, and dimples that colonize her face when she smiles. Hale told me that when she drives around Los Angeles and sees billboards for games she has worked on, she sometimes feels like “the invisible girl,” but she understands that this is a necessary corollary of voice-over work. (Sanford Meisner’s classic, “On Acting,” insists that “the foundation of acting is the reality of doing,” and that “making readings in order to create variety” is fraudulent.) Strangest of all, perhaps, for a profession in which one’s face is an important source of one’s fortune, video-game actors work in conditions of near-anonymity.
![uncharted 2 voice actors uncharted 2 voice actors](https://www.syfy.com/sites/syfy/files/cast_magicians_margo_0.jpg)
Most actors are happiest when they understand their character’s “motivation” and “arc.” Video-game actors become skilled at working with little or no context, and at providing varying inflections for any line on demand-a practice discouraged by many standard acting texts. Video games-in which the variable fortunes of any given player tend to necessitate a script that is a maze of branching possibilities-often aren’t.
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Most acting, from Ibsen to the thirty-second skin-cream ad, is linear. But the peculiarities of the work extend well beyond the need for silent attire. To actors, accustomed to the vagaries of a fundamentally insecure profession, the burgeoning and profitable world of video games represents a welcome growth area. Jennifer Hale at a voice-over studio in Los Angeles.