"The wicked and the blessed will be judged the same - let nothing stand in your way."
The Last Faith by developers Kumi Souls, is a gothic action-adventure game in the pixel art style of the original Castlevanias, crossed with the Victorian era aesthetic of Bloodborne. I play several characters. The Old Wymond is a withered scavenger all-consumed by his quest for vengeance against the church that wronged his family. Mariano is a wary Scottish quartermaster who assists the player-character in upgrading his arsenal. The Cold One Beast is a man turned monster by a plague that afflicts the denizens of the city of Mythrangil. I also lent my voice to various monster creatures in the game: The Giant Patron, Cold One Stray and Cold One Primitive.

I have voiced for a number of high-profile modding projects, some complete and others in the latter stages of production.

• The Elder Scrolls Renewal: Skywind: I will play a host of roles in the "The Elder Scrolls III: Morrowind" conversion mod, including Dagoth Endus, General Darius, Kaushad, and Tharer Rotheloth among others.
• The Elder Scrolls Renewal: Skyblivion: For this conversion mod of "The Elder Scrolls IV: Oblivion", I am the voice of the developer diary series, and I also voiced the doomed Imperial fighter Calius Rebel for an earlier promotional video.
• Enderal: Forgotten Stories: I played barkeep Ulfur Featherdance, taciturn antagonist Brother Sorrow and other additional voices.
• Fallout: Sim Settlements 2: I voiced hard-boiled avenging nutcase Caleb Saunders.
• Beyond Skyrim: The New North: I will voice the first character you meet in the mod, ship captain Randras Thuvo.
• Skyrim: Interesting NPCs: I played Ogdul, a former bandit gone straight and a mage called Lattimore.
• Skyrim: Helgen Reborn: I played the Khajiit Joto on his quest for a good boy.

"On the desolate moon of Lorian, a long-dormant Deadsuit awakens from slumber. Journey beneath the surface on an atmospheric adventure of self-discovery, ancient mysteries and cosmic terror. Explore winding caverns and acquire new abilities to unearth this world’s long-buried secrets."Nearly a decade in the making, Ghost Song developed by Old Moon Games and published by Humble, has released to widespread acclaim among fans and critics. Solo developer Matt White first cast me way back in 2013 after a successful Kickstarter campaign. I play no less than seven distinct supporting roles - a tremendous challenge that taught me a lot about the creative process of developing character voices.

• Saymund: an enigmatic wanderer who is inextricably tied to the events of the desolate moon Lorian V. He speaks offhandedly about incredible triumphs and horrors, and has a strong nostalgic streak. I played him like an Oxbridge old boy looking back at those halcyon days, when he felt invincible and unlimited. He has become nonplussed by this destructive and decidedly less hopeful future. However,
  "Little Blue" offers him slight curiousity, and grounds for optimism. Just slight.
• Adam: a tragicomic robot whose circuitry has become fried in its dank surroundings. I think an 'old-timey' Transatlantic American accent fits the grandiose atmosphere cultivated within Adam's 'mind' (the antithesis of his reality): a big bash for the elites with chandaliers and curving twin staircases, lobster and fine champagne in crystalline flutes. The mayor is looking dapper this evening... Good show, old sport!
• Hector: a grizzled bounty hunter who is tracking a runaway robot girl. His exoskeleton protects and sustains the life of the ancient, vulnerable man within. His voice similarly is eroded by age and excess; Nick Nolte was a big inspiration.
• The Outlier: Hector's crashed spaceship, that just so happens to be sentient and mistakes the Deadsuit for an enemy drone ship. My inspiration came from the joke of Sat Navs with peculiar celebrity voices (Gilbert Gottfried, Frank Oz etc). I settled on the dulcet tones of Mancunian "punk poet" Dr. John Cooper Clarke. Not sure why exactly; the script somehow reminded me of his dour but lyrical voice. Maybe because Hector might find such a voice grating - or perhaps refreshingly dour. It creates a subtle sense of backstory.
• Lord Pennick, the Excommunicated: another old bounty hunter, blinded, and convinced he saw "Blue" in his childhood dreams, ending his life decades later. I liked the contradiction of a fighting man who doesn't want to fight, but fights anyway because it his fate to fight, and lose - and a boss that the player would doesn't want to not fight but fights anyway, because that's the inexorable nature of violent video games. Even in combat under fire, his voice never changes, and at no point is he aggressive. As with most characters in the game, there is a melancholic and poetic aspect to him.
• Door: a door, believe it or not. A grumpy one that blocks the way to the ruins of a city, and an avid flower collector. I played him as though he had a hangover, and in no mood for malarkey, but warms to the Deadsuit once he has received the flower he wants.
• Bill: a trader whom I played as a "no fuss, no muss" Southerner, with the hidden heart of a poet.

In September 2023, Old Moon released an update to Ghost Song with new NPCs. I played Xorogon the Undefeated, a hulking raging brute.

In shorter roles, trailers and miscellaneous projects:

• In Lunacy: Saint Rhodes, as protagonist George Rhodes, a bookish loner who inherits a familial mansion that is not all it seems. -July 2023
• In Stasis: Bone Totem, as a corporate hologram who debates ethics with a religious hologram, played by my brother Glen. -May 2023
• In Kingshunt, as pious warrior Isac, brawler Grozny and cackling jester Noxis. -November 2022
• In the trailer for The Worst Movie Ever Made, as various additional voices. -October 2021
• In The Elder Scrolls Detective, as Yagrum Bagarn, the last living Dwarf. -September 2021
• In "10 Rare & Obscure Elder Scrolls Creatures...", as Mock Turtle, Umbra' Keth, M'aiq the Liar & Shehs. -February 2021
• In Rune II, as Heimdall, and placeholder dialogue as Loki, Odin and Thor. -November 2020
• Narrating the trailer for The Low Road on Nintendo Switch. -May 2018
• In Project Charon: Space Fighter, as Skullcut. -September 2017
• Narrating for Seven: The Days Long Gone, in the series "Tales from the Vetrall Empire". -August 2016
• In Hidden: On the Trail of the Ancients, as Thomas Farrell and Nikolay Petrov. -August 2015
• Narrating the intro cutscene for Kholat. -February 2015
• In TR-Zero, as the race announcer. -March 2014
• In Glen Cooper's World's Fair, as Bill White and Aiden White. -February 2014
• Narrating the backstory for Strike Vector. -November 2013

In recent years, I have performed a variety of voice work for Forteller Games, who provide accompanying voice overs for adventure board games, involving hundreds of independent voice actors. In:
Frosthaven: I played Crain Tallengyr, a Quatryl genius, and a Bird Demon straight from the Bayou. Crain was inspired by John Bentley, one of the hosts of "The Gadget Show" on British TV. He has a quintessentially English voice and a "tally-ho" manner that I thought suited Crain. Crain otherwise represents the classic engineer trope who understands people less than how their parts are put together. The Bird Demon is inspired by the character Old Georgie from the movie "Cloud Atlas" played by Hugo Weaving.
Dungeons of Infinity: the third audiobook for which I have narrated. Above and Below: I played several supporting roles.

"You've ruined our family."
In the acclaimed debut title MADiSON by Bloodious Games, I portray John Maxwell, the anguished father of the protagonist. Anguished because his wife and daughter have been brutally slain... and he is convinced his son is the perpetrator. So no real influences here, just unbridled rage and devastation.
I also play Priest Thomas, whose voice can be found across several audio cassette recordings. I channelled Max von Sydow in the Exorcist for this role.

"Welcome, Executor! It's the year 117 After Earth and you have a very important mission. You were awakened to lead the Cell, a secret taskforce assembled to counter the threat of the STROL mutant invasion. Take command of your squad to fight the mutants and find a cure to the virus that threatens to end mankind."
For the sequel to the best-selling The Red Solstice, I play protagonist Executor Ryan and reprise the role of Connor "Grunt" Rhinefield for the M.E.R.C.S. DLC. I wanted to impart a certain falseness and untrustworthiness to Grunt, on the basis that he is a corporate marine (a frightening thought in of itself), and also because he keeps secrets from his allies. I landed on a combination of Buzz Lightyear and a used car salesman.

"Battle for survival against waves of Martian mutants in this tactical shooter. Using the skills of your drone companion, make fight-or-flight decisions that drastically alter the threats you face. Will your choices lead you to freedom... or your doom?"
After voicing the trailer for Red Solstice, I was asked by developers Ironward to return for Solstice Chronicles: M.I.A. I play the sole surviving corporate marine caught deep behind enemy lines, whose only hope for survival lies in an unlikely alliance with a rebel drone called Saffron.

“H.P. Lovecraft meets Cyberpunk. Delve deep into a dystopian world and investigate what is happening to you and your friends in a domed city. Solve puzzles, hack systems and plug in to explore other dimensions. Discover a truth that might tear apart your sanity and question your very existence.”
In Stormling Studios' Transient, I portray protagonist Randolph Carter, an outlaw hacker-for-hire who accidentally stumbles across a terrifying truth. I played Carter like his augmented world is always a few decibels too loud, leading to a constant low-key migraine that brings his voice to a hush. This lends itself naturally to the understated protagonists of Tech-Noir classics like Blade Runner and Dark City.

“Beautiful Desolation is a 2D isometric adventure game set in the distant future. Explore a post-apocalyptic landscape, solve puzzles, meet new friends and make powerful enemies, mediate conflicts and fight for your life as you unravel the secrets of the world around you.”
Set in a future South African landscape, The Brotherhood's Beautiful Desolation focuses on two estranged brothers ripped from their original timeline, looking for a way back home. I play four supporting roles.
Atum is a zombified drunk whose brain has been commandeered by a worm-like parasite called the Fley. Driven to physical ruin, the host's final stop is an obscure tavern where he encounters player-character Mark Leslie.
For the performance, I wanted a disparity between the voice of host and parasite to give the impression of two minds in one body. The host is soused, giddy, even promiscuous (and yes Chris, I did have a few shandies for the role, I'm method like that!). The parasite is harsh, desperate, throttled and always in danger of losing control.
I also played zealot-cum-barkeep Bra' Bones, a Cockney publican with a glint in his remaining eye. Grave, a mechanical warrior poet I played as a well-spoken Stratford thespian, which I think creates an interesting dissonance next to his formidable physicality. Finally, there is the chronically depressed creature Narchee: a disembodied human skull effectively enslaved by drones that force him to act as their topographer.

"Ancestors Legacy is a squad-based real time strategy with a strong focus on tactics. Inspired by medieval European history, it brings to life four different nations and their conflicts, usually solved by war."
I play the first King of Poland, Boleslav the Brave, and the bloodthirsty Viking Truvor; both men are driven by a ruthless, unrelenting aggression. The character performances were wrapped in (physically exhausting) live sessions.

In the Winter of 2016, I travelled to the chilly Old Post Office deep in the Arthurian land of Tintagel, for a University of Falmouth production of The Highwayman, based on the 1906 poem by Alfred Noyes. I portray the narrator who bears grim witness to a treacherous tryst. Director Oliver Chater and Producer Henry Isaksen invited me on board after their successful Kickstarter campaign, and to return to the University for additional ADR work.
Highlights include chewing the fat with Poldark and Doc Martin stalwart Rory Wilton, enjoying the splendid National Trust building for the day, and working with a vibrant young crew. The Highwayman was entered into The National Film Festival for Talented Youth among others, and Ben Sutcliffe's excellent score took the runner-up spot at the 2017 LA Shorts awards.

“Private Ranulph Kinny swears his Mongoose- an eight foot-tall powered armor suit- is trying to kill him. Even his sergeant is acting paranoid, invoking the Saints and keeping the platoon battle-ready, just in case. Everything changes when a mysterious broadcast blankets the city and triggers an all-out civil war. Now, Kinny and his power-suited platoon fight for survival as their city crumbles around them. Welcome, Brigador.”
I took on the mammoth task of turning Brad Buckmaster's 2016 novel Brigador into an 7-hour audiobook, serving as a companion story to the video game of the same name. It was the first audiobook to release on Steam, with a 100% user rating and a 4.8/5 rating on Audible. For the performance, I honed what I facetiously call my "Sean Bean" voice. It has become something of a running joke in my household that my performances are often met with comparisons to the world's most famous Sheffield United fan, even when I'm actively trying to avoid them...
The rustic aspect of a Northern English voice seemed appropriate for this visceral military tale (as well as being an accent I could hold for 80,000 words). The challenge came in demarcating the characters from the narration. At one point, I was speaking in a coarsened Northern accent to interpret the grizzled Sergeant Koenig, then a mocking impersonation of it from his own subordinates! The Spacer faction is non-terrestrial, mostly cruel, cold and snobbish. For the marooned Spacer Pilot, I took inspiration from Twin Peaks'The Man from Another Place, and Gman from the Half-Life series, emphasising the wrong words and an unsettling cadence, like he is a chameleon merely passing for human.

"In the distant future, aboard a seemingly abandoned spacecraft, John Maracheck awakes from stasis. He must push himself to new physical and emotional limits and unravel the mysteries around him. John is in tremendous pain, his wife and daughter are missing, and time is running out as the Groomlake plunges further into the swirling blue methane clouds of Neptune..."
Stasis is the acclaimed debut title of South African siblings Christopher and Nicolas Bischoff, aka The Brotherhood. The game was credited with breathing new life into the point-and-click adventure genre. Rock, Paper, Shotgun said, "Stasis punches so far above its weight that I almost can’t believe it exists." Destructoid said, "There are scenes in Stasis, especially towards the end of the game, that I'm not sure I'll ever forget."
I play the beleaguered protagonist, a teacher whose ship is waylaid by the unscrupulous Cayne Corporation en route to a family vacation on the moon of Titan. I portrayed John as the 'every-man', but with a softness born of a privileged lifestyle- such a holiday must surely be above the pay grade of most.
To Rafael Serrato of Bit Cultures, I spoke at length about my preparation for the performance: "It is important to internalise the character, reflect on the themes of the story and how the characters attract and oppose each other. Family is the central theme of Stasis, and all three lead characters symbolise this in their own way. John has an arc, which I look for in characters. It was vital that he be vulnerable, uncertain and slow to harden to the horror. If the player can connect with the character, they then consider the uncomfortable question: how would I cope in this situation? That is the essence of great horrors, they shine a light on our own lives."
Kim at Later Levels asked for my thoughts on the game and its developers, The Brotherhood: “I was an early-bug tester and a beta Kickstarter backer, so I played it a couple of times before release. For a one-man development, Stasis is a minor miracle really, and serves as inspiration to other small teams. It has been spoken about in the same breath as peers like SOMA, which had several team members with years of experience between them. The game has a timeless quality and won’t really age in years to come. Chris should be very proud of what he has achieved.”

In January 2017, The Brotherhood released a free DLC chapter to the Stasis story, called CAYNE. I played two supporting characters, the nameless man who assists protagonist Hadley from an unseen location, and Danie Boland- a vulgar engineer who comes to realise he won't be walking out of the facility.
I returned for the sequel to Stasis, called "Bone Totem", which released in May 2023. I played a cameo role as a Cayne Corporation hologram who gets into a philosophical quarrel with a religious hologram.

The Old City: Leviathan is described as "an experiment in first-person exploration that focuses entirely on story. All that exists is you and the world. Set in a decaying city from a civilization long past, The Old City: Leviathan puts the player in the shoes of a sewer dwelling isolationist." The Washington Post described the game as an “experiment in literary gaming.“ Known colloquially as a 'walking simulator', the game is my first major credit as a voice actor; I played the protagonist (and sole character) Jonah.
I discussed my experiences in a 2015 interview with Rafael Serrato of Bit Cultures: “It was here I understood the responsibility of the voice artist, in co-ordination with the devs, to form a fleshed-out character that will engage the audience. There was a theatricality in Jonah’s dialogue, so I interpreted him as a worn-down actor of sorts. How many times has he approached that specific brick arch and launched into the same over-rehearsed soliloquy? For how long has he been shambling that facility like a ghost caught in a self-imposed cycle? Surely way before the player arrived. There is a subtle horror to the role.“
To Kim of Later Levels, I went into more detail about the challenges of the role: “Getting into the head space of someone who has spent too much time alone, but has a keen philosophical mind and forms these unique insights into the meaning of life. He comes from a very different place to the average person and therein lay the challenge of making him relatable.
“I put Jonah into terms I could understand, as an actor of sorts. More specifically, someone whose life has become an act, who created Leviathan to avoid the pain of the unknown. Maybe we all create our own personal Leviathan as we get older. Jonah’s life views become his lines, rehearsed to the point of banality, the theatrical pauses more deliberate with the years. Only when he is exposed to the uncertain does the child in him break out. Jonah manages to rekindle a deep ember of childlike curiosity that helps him get off his ass and leave his self-imposed prison.“