After 50 Years of Gaming, I Step Into the Spotlight as a Video Game Star

Greg Strangis first engaged me in a rather unconventional manner sixteen months ago, saying, “I listen to you on the radio and I keep hearing your voice in my head!” This unusual introduction led me to his garage, located in a remote area, to discuss his ambitious project, titled Black Tides: Draga’s Wake.

If the scenario seems suspicious, it reminds me of an experience from my youth. At 21, I had a peculiar audition for GamesMaster in a church located in London’s East End, which similarly had its share of oddities.

Upon arriving at Greg’s garage, I was struck by his striking appearance: a meticulously groomed beard, intense eyes beneath a Peaky Blinders cap, and a rapid-fire manner of speech. He encapsulates the essence of a modern-day Rasputin, and his background as a character artist for notable names like Rockstar, Naughty Dog, and Guillermo del Toro immediately set the tone for our collaboration.

As I glimpsed the game’s visuals, I was captivated. Its ambiance is profoundly dark—set against a decaying steamship from the early 1900s, it portrays a survival horror scenario following a heist gone awry. The character, Draga, is depicted as a rugged sailor burdened by his past and afflicted by an ancient god residing within him.

The premise is not only original but also thrilling. Yet, I found the lead character too far removed from my own identity; I am neither a sailor nor physically imposing, and the only ancient affliction I know, humorously speaking, is gout.

This meant I would need to dive into the realm of acting, which I had studied at the University of Bristol during the early 90s. However, my education focused more on obscure Russian plays than on conventional dramatic techniques, which added an element of self-doubt as I embarked on this new venture.

Initially, I was unsatisfied with my voice acting in the game; seeing my portrayal of a formidable character paired with my own incongruous voice was a jarring experience. Adjusting my vocal delivery and honing my technique proved effective, thanks in large part to Greg’s supportive guidance.

Each session ignited my passion further as I observed the dedicated team, scattered across different continents, passionately collaborating in their spare time. Their creative exchanges reminded me of the vibrant programming community during the ZX Spectrum era, driven by an unwavering belief in their concepts amidst a landscape where larger publishers are often dismantling smaller studios.

I was determined not to undermine this remarkable project. I grew to enjoy manipulating the dialogue’s inflections, with my most significant challenge being the improvisation of combat sounds that Greg and the team could seamlessly integrate. The experience often felt surreal; it was just a Scottish dad in his 50s, making noises he hadn’t produced since his honeymoon, all while seeking to appear more ferocious.

Playing the game was an emotional rollercoaster. A single defeat evoked a profound sense of loss, as it felt intensely personal. Watching others play forced me to confront uncomfortable questions regarding the autonomy of video game characters.

However, my children provided a delightful twist. When I played clips for them without disclosing my involvement, their joy upon realizing it was their father voicing a hero was a cherished moment of parenthood.

This experience has also deepened my understanding of voice acting in gaming—a dimension I previously overlooked. The portrayal of characters now resonates with me on a new level, and I find myself appreciating the works of exceptional voice actors such as Nolan North in Uncharted and Ashley Johnson in The Last of Us.

The trailer for Black Tides: Draga’s Wake released a month ago and achieved an impressive 200,000 views within the first few days. Discussions with various publishers are now underway. After half a century of engaging with video games, the realization that I am about to be a part of one is nothing short of surreal.