The Gaming Lobby

It’s hard to consider video game talent as celebrities, but it’s happening. You might not know a single voice actor’s name, but your brain tickles with deja vu every time you hear the same similar words coming at you across a plethora of titles.

It’s not until you look at an actor’s Internet Movie Database page that you realize Jennifer Hale is Commander Shepard from “Mass Effect” and also Naomi from “Metal Gear Solid.” Nolan North is the closest thing to a recognizable actor, but that required starring in pretty much every one of the AAA games last year.

As gaming has reached popularity, the celebrities of the domain have been scattered. Some designers such as Cliffy B have found ways to work the press circuit, but the transition has mostly involved pulling famous faces and voices from other media. Vin Diesel excelled at creating his own game studio, but Will Wright is still not a household name.

That vacuum of game-only celebrities might be why so many studios love inserting big Hollywood talent into their games. When I interned at Blindlight, their specialty was getting big names to enter the digital realm.

This strategy has its perks; having Mickey Rourke as your dark protagonist adds a new layer for marketing, and his delivery is recognizable enough that it already sets a tone for the player based on their preconceived notions of who Rourke usually portrays in films.

I’m all for acceptance of video games by Hollywood. As long as developers are able to make original ideas and push the boundaries of the medium, I have no problem with big studios putting money into projects.

The problem is that big-name voice acting is a dangerous weapon. It’s a double-edged sword that can just as easily hurt your project if you don’t handle it properly. If money’s being spent on getting a big celebrity at the cost of another month of quality assurance time, that might not be the best trade-off.

It’s also not wise to discount the huge stable of lesser-known actors who are already familiar with working in games and require a lot less money. I heard Phil Lamarr (the guy who gets shot in the back of the car in “Pulp Fiction”) perfectly recreate Don Cheadle’s voice for the “Iron Man 2” game. It made a strong case against paying large heaps of money for just a name.

I’m glad Hollywood is finding a new place to creep its tentacles into — I just want us to take it slow. Buy us a few drinks and get to know us before you try and cop a feel.