Why I Chose Games, Animation and Audio Drama
- Jul 30
- 1 min read
Why I Chose Games, Animation and Audio Drama
Commercial voiceover is wonderful. Documentary is satisfying. Continuity has its own delicious rhythm. But character work is the place where my brain starts behaving like someone has plugged fairy lights in.
The pull of character
Games, animation and audio drama ask for more than a clean read. They ask who the person is, what they want, what they are hiding, what just happened before the line and what might happen if they fail.
That is the fun bit.
Games are not linear, and neither are people
Game dialogue can be fragmented: barks, efforts, alternate takes, emotional shifts, combat reactions, quiet moments, failure states and player choices. The challenge is to make all of that feel like one living person.
Animation lets the voice misbehave
Animation gives permission to stretch. Not to shout randomly, but to find physicality, rhythm and point of view in a voice. A character can be strange, furious, elegant, tiny, ancient, heroic or deeply suspicious of sandwiches.
Audio drama is home turf
Through podcast and radio work, I have become increasingly aware of how much can happen when sound carries the world. Audio drama trusts the listener’s imagination, which is a beautiful and slightly dangerous thing.
Why my background helps
Linguistics, travel, public speaking, textiles, community stories, family accents, reinvention and an old love of acting all feed into this. Character work rewards curiosity, and I have never been short of that.
Listen to my gaming, animation and audio drama reels on the website or get in touch with me at sonia@soniasopeaks.co.uk to discuss your project.
