From The Gaslight District to Sydnova, Supa-Star John Whinfield shares a behind-the-scenes look at what it’s like to be a voice actor Down Under before meeting Supa-Fans this weekend!
How did you get your start in the industry?
I started in 2018 with the Blue Yeti I got for my birthday one year before, a downloaded copy of Audacity, and by searching the phrase “voice actors wanted” on YouTube. My networking skills have come a long way since then, but even then, this method still netted me plenty of paid voiceover work here and there.
I started out mostly in audio dramas and other low-budget endeavours, and started to expand horizons by auditioning through Casting Call Club and the Voice Acting Club Discord server. I am also an absolute pest, and have cold-called many of my past clients, especially those in the indie sphere who might not be as likely to know where to find voiceover talent.
Most of these methods are still ones I’d recommend beginners take a squiz at; these days, I still cold call, look for auditions on the Voice Acting Club Discord, and apply to any rosters that’ll have me.
What did you find most appealing about The Gaslight District?
Hands down, the pitch for the show. When I received the audition in my inbox, it was described as “a zombie gangster series with Dark Souls lore behind all of it”, and that instantly had me hooked.
The show also has very notable influences from media I vibe heavily with, such as Gorillaz (specifically their Plastic Beach and Demon Days albums) and The King In Yellow. That being said, it is absolutely Nick’s artistic vision that had me from the word “go”; dude is an absolute mastermind.
What was your experience working on that project like?
Nothing short of a dream come true. I’ve already praised Nick’s glorious mind, but we share a lot of overlapping interests, so nerding out about this thing and other media we grew up on with him outside of sessions has resulted in some of my fondest memories of working in this industry, and just made working on this thing so rewarding in so many ways. The Glitch team is also just made up of some of the sweetest and most talented souls in the industry. I’ve swung by and bothered them at the office three times now, and every time, I feel like a kid in a toy store.
A special shoutout to the General Manager of Glitch, and our voice director for The Gaslight District, Jasmine Yang, who has been one of the most supportive people I’ve ever met, and for actively making me better at what I do through her incredible vocal direction on this thing.
How did you become involved with Cookie Cutter, and how does voice work for a game differ from animation?
I’m afraid it’s a fairly simple answer to the first part, but it was the same way I often get involved with projects; the developer opened a public casting call via social media, I auditioned for it, and was lucky enough to snag a role! I’ve had experience in side-scroller games before, like Magenta Horizon: Neverending Harvest, so perhaps that scored some points in my audition.
Regarding the difference between animation and video game voiceover, the process is where it greatly differs. Most animation needs to be constructed from the ground up; concept first, and then realising the concept second. As a result, most voice acting is recorded early in the process, so that it can be storyboarded with sound roughly considered early, and then the animators can work to the tune of that voiceover, and make changes later down the line should it need it.
In video games, however, voiceover is more often than not a supplementary element that is added on top of what’s there. Cookie Cutter, for example, only cast me and the other folks after their game was mostly completed; we were just the “cherry on top” of a sundae. My work in another game, New Blood Interactive’s Fallen Aces, was added to the game less than 24 hours before it launched! As a result, video games typically have more readily available examples of the finished product, which can help inform and contextualise performance, which is always nice.
What advice would you give to those looking to break into the industry?
Focus on treating your space and investing in good equipment that is within your means! It’s a very long journey, and it’s not going to pay off for a good while. Take care of your voice! It is your instrument, and it needs to be kept in shape. Look into vocal health resources and practices, and make sure whatever work you end up doing is sustainable and healthy. And, above all else: have fun with it!
Set fun goals for yourself that may gradually result in something more. Do a fandub of that narrative video game that has no voice acting in it, or that webcomic you loved reading. Even voice a silly meme, or do some impressions that may or may not be good! Even if it doesn’t result in a stormcloud of internet clout, it will be practice, and if you’re having fun, you’ll want to do more. Enjoy the process!
John Whinfield will appear exclusively at Supanova in Sydney (21-22 June)
