If you’re looking at composing for games, get involved with the indie scene. Look at indie-attractive sites like Steam Greenlight and Kickstarter and see if anyone’s looking for composers. Search for game jams. Regularly check sites like Tigsource and Meetup. Rack up shipped title credits to use for your portfolio. When you feel ready establish yourself with real living wage fees.
Tag: games
Killer Instinct – Mira
I’m the voice of Mira in Killer Instinct!
XCOM 2
XCOM 2 releases February 5th! You can hear me as soldier voice option American English #2 in your team. You can also hear me in the above video as a news anchor at 1:02.
The Park Review from MMO Games
MMO Games wrote a positive review of The Park and complimented my voice over as Lorraine:
This narrative experience is exactly the sort of thing I fell in love with Funcom for on The Secret World. Between the wonderful voice work of Fryda Wolff and the clever audio threaded throughout the experience, I never really stopped being tense. Whatever happened, or didn’t, there were those phantom sensations and thrills of fear and tension rolling through me. Everyone on the team should be rightly proud of the dark tale they’ve put together.
Audio: Funcom delivers on the audio front for setting the scene but Fryda Wolff promptly steals the scene with her voice work.
The Park – Massively Overpowered Review
Massively Overpowered has posted a very kind review The Park, and included praise for my performance as Lorraine:
See, the player hears Lorraine’s monologue all the way through. And it’s there that the game becomes disturbing and also brilliant because Lorraine’s overwhelming narrative is of a woman stuck in a deeply uncomfortable place while thinking thoughts that any given parent will have felt, even if said parent would never act on them.
In truth, much of the game’s horror is derived simply from this. In Lorraine’s internal monologue, we hear every little bit of scathing anger that you expect from a single mother in a horrid situation. It’s about the fear and pressure of being alone, isolated, hurting, and scared, and simultaneously knowing it’s not the child’s fault whilst hating that child for it. Then you press the button to call out for Lorraine’s son, and her speaking voice is fraught with terror, trembling, almost begging for her son to return to her arms. That disconnection between words and thoughts is a powerful one, and as Lorraine’s own instabilities become clearer, you start to ask yourself where the disconnection starts and where it ends, whether or not there are truths which Lorraine herself would prefer not to admit.
And then you go deeper.
Fryda Wolff, who plays Lorraine, is almost entirely running a one-woman show, and it’s captivating, horrifying, and riveting all the way through.as the players themselves.
Fryda Wolff 