It’s 2026, and looking back, the last couple of years have been absolutely bonkers. Seriously, a total whirlwind. If you’ve lost yourself in the epic saga of Baldur’s Gate 3, felt the weight of the cudgel in Black Myth: Wukong, gotten lost in the political intrigue of Metaphor: ReFantazio, or reveled in the glorious, over-the-top carnage of Warhammer 40,000: Space Marine 2, then there’s a good chance I had a hand in shaping your experience. I’m Beth Park, a performance director, and being named to the BAFTA Breakthrough cohort back in 2024 was just the cherry on top of a wild, wonderful ride. I still haven’t quite landed from it all. My excitement? It hasn’t gone down one bit. I’m still getting used to the skin of this ‘successful woman’ I’m apparently supposed to be!
On paper, my recent projects couldn’t be more different. It’s like my career playlist is on shuffle. One minute, I’m deep in Chinese mythology with Black Myth: Wukong, an action-RPG that’s all about mastering the staff and the journey. The next, I’m navigating the intricate social and political landscapes of Metaphor: ReFantazio, a game from the brilliant minds at Atlus. And then, bam, I’m orchestrating the symphony of chainswords and bolters in Space Marine 2, where the directive is essentially ‘blast as many Tyranids as humanly possible.’ Talk about range!
But you know what? Dig a little deeper, and you start to see the threads that connect these worlds. The secret sauce, the real magic, isn't just about getting big names. It’s about time. You can’t just bang out lines on the first take and call it a day. A lot of dubbed content, especially in anime and some JRPGs, works with super tight budgets and schedules. It’s a rush job. But for projects like Wukong and Metaphor, we had developers who fundamentally understood that crafting a genuine performance takes time, especially when syncing to pre-rendered cutscenes. Matching the timing, the breath, the emotion—that’s a skill. It can’t be rushed. Having that space to breathe and explore is the ultimate luxury and the key to quality.
From there, it’s all about finding the humanity. Avoiding the trap of slipping into a stereotype you’ve heard in a dozen other games. We take the time to ask: What matters to this character? What’s their drive? Their fear? Having a killer script is half the battle—and with Metaphor, those character arcs were so deeply satisfying to unpack. It makes my job a joy.
Another common thread I’ve been passionate about is diversity of voice. There’s historically been a strong bias toward southern English, ‘Received Pronunciation’ accents in gaming. Don’t get me wrong, sometimes a stereotype serves a purpose—if you’re directing a horde of goblins, having them all sound impossibly posh might break immersion (though, honestly, that could be hilarious). But there’s so much scope for regional accents! The rich variety of British dialects is a storytelling tool. Hearing a broad Yorkshire accent in a fantasy tavern or a soft Scottish lilt from a wise mage adds layers of authenticity and texture to a world. I’ve definitely been trying to push for more of that, and seeing the praise for the vocal range in both Wukong and Metaphor was incredibly validating.
Then there’s Warhammer 40,000: Space Marine 2. Oh boy. That was a whole different beast. As the senior casting director, my mission was to nail a very specific, theatrical tone. This isn’t subtle, gritty realism. This is the glorious, tongue-in-cheek excess of the 41st Millennium. We had Games Workshop on the line for practically every session, and they have very specific parameters. These Space Marines aren’t just soldiers; they are demigods of war. They can’t sound too stressed or panicked. They have to sound majestic, even when covered in xenos guts. It’s about finding actors with those powerful, resonant voices who can also… push it. Embrace the camp. The macho-camp space realness! Seeing those voice lines take over social media, and even hearing about fans doing in-person role-play based on them? That’s when you know you’ve hit the right note. It’s pure, unadulterated 40K.
| Game | Core Challenge | The "Secret Sauce" |
|---|---|---|
| Black Myth: Wukong | Syncing performance to cinematic cutscenes; honoring Chinese myth. | Developer trust + time to craft nuanced performances. |
| Metaphor: ReFantazio | Building deep character arcs in a political fantasy. | Excellent scripts + exploring character humanity. |
| Space Marine 2 | Capturing the specific, theatrical lore of Warhammer 40K. | Casting for "macho-camp" majesty + close collaboration with Games Workshop. |
So yeah, it’s been nuts. Truly. There were days I’d get home from the studio and just collapse, completely spent. But in the best way possible. I feel insanely lucky. My job is to go into a studio every day and play. To help actors and developers build these incredible, fantastical worlds one performance at a time. From the mystical journey of the Monkey King to the grim dark future, it’s all about bringing a piece of soul to the digital realm. And honestly? I wouldn’t have it any other way. Here’s to the next adventure! :rocket::studio_microphone: