Video game scriptsHero

Free scripts › Video game › Hero

Free video game hero scripts

30 scripts written by us, free to practice with, record and put in your reel. Every one lists voice age, accent and length, so you can pick a read that fits the audition you are chasing.

The Lantern Bearer Wakes

Fantasy hero, opening cutsceneYoung adult (18-25)AnyOne narrator60 secondsabout 75s
[Cutscene. A collapsed chapel at dawn. REN sits up in the rubble, a small iron lantern still glowing in one hand] Okay. Okay, I'm alive. That's... good. That's a good start. [looks around] Where is everyone? Brother Aldis? Mara? [silence. Ren looks down at the lantern] You're still lit. The roof came down on us and you're still lit. [touches the glass] It's warm. It shouldn't be warm. There's no oil in it. There's never been oil in it. [stands slowly, wincing] He told me to carry you to the coast. That was the whole job. Walk to the coast, hand you over, come home, have supper. "Don't open the shutter, Ren. Don't let it touch the ground. Don't let anyone take it from you." Three rules. I thought he was being dramatic. He was always being dramatic. [beat] He wasn't, was he. [looks out through the broken wall at a sky full of smoke] There's no home to come back to. Is there. [beat. Grips the handle] Fine. Then I'll take you to the coast. And whoever did this can come and try to put you out.

What it is for: The player character wakes in a ruined chapel holding a lantern that will not go out. Trains a grounded, curious hero read for the first minutes of a game, where the player is meeting the voice they will live with for forty hours.
Coach's note: Watch out for playing 'epic' before anything epic has happened. This hero has just woken up confused, so start small and close to the mic. Let the wonder grow on 'It's warm,' and only give the last line some steel.
What casting listens for: Casting listens for a voice the player will enjoy hearing for a whole game: likeable, believable and not trying too hard in the first scene.

Ranger Combat Barks

Fantasy hero, combat barksAdult (25-40)AnyOne narrator60 secondsabout 66s
[Session: combat barks. Character: TAMSIN, ranger. Short lines, read each one separately] [ENEMY SPOTTED] 1. Movement in the trees. Get low. 2. There. Two of them, on the ridge. 3. We've got company. [RELOAD / NOCKING ARROWS] 4. Quiver's light. Give me a second. 5. Last arrows. Make them count. [TAKING DAMAGE] 6. [effort, short] Agh! I'm fine. I'm fine. 7. [effort] That one went through the leather! [LOW HEALTH] 8. I can't take another hit like that. 9. Need a healer. Now, please. [ENEMY DOWN] 10. Clean shot. 11. Stay down this time. 12. One less. [ALLY DOWN] 13. No, no, get up! I've got you, I've got you. [FLANKING] 14. I'll go wide. Keep their eyes on you. 15. Circling left. Don't shoot me, please. [MISSED SHOT] 16. Wind took it. Again. 17. Ugh. That was a warning shot. Obviously. [COMBAT OVER] 18. Quiet again. Check the bodies, then we move. 19. Is everyone still breathing? Good. Let's not do that again.

What it is for: A full set of in-combat barks for an archer hero. Trains short, varied, repeatable lines the way a real game session records them, with clear changes in intensity from calm to desperate.
Coach's note: Watch out for every bark sounding the same. The player will hear these hundreds of times, so give each line its own shape and energy. Record the efforts lightly and from the body, not the throat, and keep a sip of water close. Offer an alt take on any line the director might want angrier or cooler.
What casting listens for: Game casting listens for range across tiny lines, consistency from take to take, and an actor who can do a session of barks without burning out the voice.

Last Signal from Relay Nine

Sci-fi hero, audio logAdult (30-45)AnyOne narrator60 secondsabout 59s
[Audio log, recovered. Background hum of failing life support. Engineer OKONKWO speaks into a wrist recorder] Relay Nine, day forty-one. Engineer Okonkwo. Still the only one here, which makes the staff meetings very short. Good news first. I got the water recycler working again. It only took six hours and most of a spare boot. Bad news. The long-range dish is still pointing at nothing. I can hear the supply ship, sometimes. Little pings. Like someone knocking on a door three rooms away. [beat] I'm going out on the hull tomorrow to turn the dish by hand. If you're hearing this and I didn't make it back in, the tether clip on airlock two sticks. Kick it. Hard. It's not personal. [quieter] And if you're from the supply ship. Hello. I've been talking to the plants. They're good listeners. But I'd like to come home now. Okonkwo out.

What it is for: The stranded engineer hero records a log the player will find later. Trains a quiet, intimate sci-fi read with humour under pressure.
Coach's note: Watch out for pushing the drama. This person is tired, alone and trying to stay sane with jokes. Keep it conversational, like talking to a friend on a bad line, and let the cracks show only on 'I'd like to come home.'
What casting listens for: Casting listens for honesty in a log format: a voice that sounds like it's really alone in a room, not performing for an audience.

Courier on the Glass Road

Post-apocalyptic hero, gameplayAdult (25-40)Any (character choice)One narrator30 secondsabout 38s
[Gameplay. The courier, JUNE, walks through a dead town of melted glass, a package on her back] Package for Mister Hollis. Ninety-one Pike Street. [looks at the rubble] Pike Street's a crater. Great. Love that for Mister Hollis. Three hundred miles. Two sandstorms. One very rude goat. And the address is a hole in the ground. [checks the label] "Fragile." Sure. Because everything else out here is so sturdy. "Signature required." From who? The crater? [hears something, stops] Okay. That's either the wind or something with teeth. [draws a pipe wrench] It's never the wind.

What it is for: A wasteland courier comments on a delivery as the player walks into a dead town. Trains a dry, lived-in hero who talks to themself during gameplay.
Coach's note: Watch out for narrating like a trailer. These are under-the-breath lines heard while the player explores, so keep them low-key and real. The humour is dry, not winking.
What casting listens for: Casting listens for a voice with texture and wit that can carry long stretches of quiet gameplay without getting tiring.

Lights Out in Ward C

Horror protagonist, gameplayYoung adult (18-25)AnyOne narrator60 secondsabout 75s
[Gameplay. A dark hospital corridor. DEV holds a phone up as a flashlight, whispering] Okay. Generator's in the basement. Basement's at the end of Ward C. Easy. Easy, easy, easy. [a door creaks somewhere ahead] Nope. That's just the building. Old buildings make noises. It's settling. It's been settling for thirty years. [walks. Stops at a gurney] Who leaves a gurney in the middle of a... why is the sheet warm? Sheets don't stay warm. Nobody has been on this floor since they closed it. Nobody. That's what Marcy said. "Nobody goes up to Ward C, Dev. Not even the cleaners." [beat] So why are there wet footprints going into room twelve? [backs away] Okay. Different plan. New plan. I'm going to walk very quietly and very fast. [the phone light flickers] No, no, no. Battery, please. Ten percent. You can do it. Stay with me. [the light dies. Silence. A slow breath] Okay. Okay. I can see the exit sign. Just follow the green. Follow the green. One foot. Then the other foot. I'm really good at feet. [something breathes behind Dev] [very quietly] Don't turn around.

What it is for: A night-shift orderly explores an abandoned hospital wing after the power fails. Trains a scared, breathy horror read that still stays clear and controlled.
Coach's note: Watch out for whispering so hard the words disappear, or breathing so loudly the line becomes noise. Keep a little voice under the whisper and stay back from the mic on the gasp. Fear lives in the pauses, so take them.
What casting listens for: Horror casting listens for believable fear that the player can feel, with diction clean enough to survive a mix full of creaks and music.

First Harvest at Thistle Hollow

Cozy farming hero, gameplayAdult (any)AnyOne narrator30 secondsabout 33s
[Gameplay. Morning on a small farm. The player character, ROWAN, pulls up a turnip] Oh! Oh, look at you. My first turnip. [holds it up] You're slightly lopsided. That's fine. I'm slightly lopsided too. [looks at the field] Twelve more where you came from. And a row of carrots that I'm fairly sure are weeds. Granddad would have laughed. He grew three hundred a season. [smiles] But he started with one too, I bet. Right. Into the basket. Then pancakes. Farmers need pancakes.

What it is for: The new farmer brings in their very first crop. Trains a warm, gentle, smiling hero read for cozy games.
Coach's note: Watch out for going sugary. Cozy is not baby talk. Play a real adult who is proud of a small thing, and let the joy come from specifics like the 'slightly lopsided' turnip.
What casting listens for: Cozy game casting listens for warmth that feels genuine and restful, a voice you'd happily hear every in-game morning.

Take all 30 hero scripts with you

One printable sheet with every script on this page, ready to mark up in the booth. Leave your email and it opens straight away, and we'll send you new scripts as we write them.

Fourth and Long at Kessler Field

Sports hero, career modeYoung adult (18-25)AnyOne narrator30 secondsabout 33s
[Cutscene. The huddle, final seconds, rain. The rookie, CASEY, looks at ten tired faces] Alright. Alright, everybody breathe. I know. I'm the rookie. I know you all wanted Marcus back. [beat] He's not here. I am. Forty yards. Eight seconds. One play. Line, give me three seconds. That's all. Three seconds and I'll buy everyone dinner. Wilder, you run deep and don't look back. I'll find you. [hands in] We didn't come this far to kick a field goal. We're going. On two.

What it is for: A rookie quarterback in a career-mode cutscene steps into the huddle for a final play. Trains a young, nervous-but-brave sports hero read.
Coach's note: Watch out for playing it like a movie speech. This is a twenty-two-year-old trying to sound older than they feel. Let a little shake sit in the first lines, then let the confidence arrive for real on 'We're going.'
What casting listens for: Sports game casting listens for a believable athlete, not an announcer: young, physical and real.

Pit Lane Radio, Lap Fifty-Two

Racing hero, driver radioAdult (25-40)AnyOne narrator30 secondsabout 32s
[Driver radio. In-helmet, engine roar implied. Driver AVERY NAKAMURA-COLE] Box, box? No. No, we're not boxing. Tyres are fine. [breath] Okay, they're not fine. The rears are gone. But I can hold him. [effort through a corner] He's got nothing on the straight. He's got nothing. [beat] How many laps? Four. I can do four. Just tell me the gap. Don't tell me about fuel, don't tell me about the rain. Just the gap. [breath] Point eight. Copy. Watch this.

What it is for: A racing driver talks to their engineer over the radio late in a race. Trains a breathless, focused, physical read with short phrases.
Coach's note: Watch out for forgetting the body. The driver is pulling g-forces, so phrases are clipped and breath is short. Don't yell over imaginary engine noise; the mic is in the helmet, so keep it tight and close.
What casting listens for: Racing game casting listens for realism under strain and lines short enough to drop into gameplay at any moment.

Rooftop Whispers

Stealth hero, barksAdult (25-40)AnyOne narrator45 secondsabout 50s
[Session: stealth barks. Character: WREN, thief. Whispered unless noted] [SNEAKING, IDLE] 1. Slow. Slow. Rooftiles are loud. 2. Guard below. Wait for the lantern to pass. 3. Nobody looks up. Nobody ever looks up. [PICKING A LOCK] 4. Come on, little pin. Come to me. 5. There. Easy. Easier than his last one. [TAKEDOWN] 6. Shh. Sleep now. 7. Sorry, friend. Nothing personal. Mostly. [BODY HIDDEN] 8. Into the crate you go. Sweet dreams. [SUSPICION RISING] 9. Did he hear that? Don't move. Don't breathe. 10. Too close. Back into the shadow. [SPOTTED, louder, urgent] 11. That's it, I'm seen! Go, go! 12. Over the wall, now! [ESCAPED] 13. [breath, catching it] Okay. Lost them. Lost them. 14. Note to self. Never trust a quiet chimney.

What it is for: A set of stealth barks for a thief hero moving across rooftops. Trains whispered barks that stay clear, plus quick shifts between calm and spotted.
Coach's note: Watch out for a breathy whisper that kills the consonants. Use a 'stage whisper' with a little voice in it, and keep the plosives off the mic. On the 'spotted' lines, jump in energy without screaming, because the hero still doesn't want to be heard.
What casting listens for: Stealth game casting listens for tension and control: a whisper the player can always understand and a voice that sounds like it's holding its breath.

Pip Bounces In

Kids' platformer hero, barksAny (cartoon character)Any (character choice)One narrator15 secondsabout 19s
[Barks. PIP, a round little hero who bounces everywhere] 1. [jump] Hup! 2. Wheee! 3. Got a star! 4. Shiny! 5. [bump] Oof! I'm okay! 6. Ooh, a secret door! 7. Next level, here I come! 8. Pip power! 9. Bye-bye, grumble bug! 10. That was fun! Again?

What it is for: Quick barks for a bouncy cartoon hero in a kids' platformer. Trains instant energy and clean, tiny lines.
Coach's note: Watch out for squeezing the throat to sound small and cute. Keep the placement bright and forward with an open throat, and smile through every line. These play over and over, so make each one a little different.
What casting listens for: Casting listens for a cheerful, sustainable character voice that a child would want to hear again and again.

The Oath at Dawnspire

Fantasy hero, rally speechAdult (30-45)AnyOne narrator90 secondsabout 87s
[Cutscene. The walls of Dawnspire, before sunrise. CAPTAIN IRISEN faces a tired, frightened army] Look at me. All of you. Look at me, not at the hills. I know what's out there. I've seen it. I watched it take Harrowgate in a single night. [beat] And I know what you're thinking. That we are too few. That we are too tired. That we should have run south when we had the chance. Maybe we should have. But I want you to remember why we didn't. [gestures behind her] Behind this wall there is a bakery that still opens every morning. There is a schoolhouse with nineteen names carved into the door. There is an old man who feeds the gulls on the harbour steps and calls every one of them by name. They are not soldiers. They don't have swords. All they have is this wall. And us. [building] So when the horns sound, I won't ask you to be fearless. I'm not. I won't ask you to win. I can't promise that. I'll ask you to stand. One more hour. One more hour, shoulder to shoulder, while the sun comes up over Dawnspire. [full voice] Will you stand with me? [the army roars] Then raise your shields. And let them hear us all the way to Harrowgate!

What it is for: The hero rallies a beaten army before the final battle. Trains a big, earned speech that builds without shouting the whole way.
Coach's note: Watch out for starting at full volume. If the first line is a ten, there is nowhere to go. Begin with the people in front of you, quietly, and build in steps. Support the big lines from the belly and stay back a little from the mic on the peaks to protect both your voice and the engineer's levels.
What casting listens for: Casting listens for leadership you believe, a build that feels earned, and a big finish that is powerful without becoming a scream.

Three Ways Past the Gate

Hero, branching dialogueAdult (25-40)AnyOne narrator60 secondsabout 68s
[RPG dialogue. The hero, SOREN, at a city gate. A guard has just said: "No one enters after dark." Record each option as its own take] [OPTION A: Polite] I understand. You're doing your job, and you're doing it well. But my sister is inside, and she's sick. I'm not asking you to break the rules. I'm asking you to bend them, just once, for someone who's frightened. Please. [OPTION B: Threaten] Here's what's going to happen. You're going to open that gate. Because if you don't, I'm going to climb it. And then you'll have to explain to your captain how a tired traveller with a broken boot got past you. Your call. [OPTION C: Charm] After dark, you say? Funny. It doesn't look that dark to me. Look, there's the moon. There's your lantern. There's your lovely face. Practically daytime. Come on. I'll even bring you back a pie. [GUARD REFUSES: shared line for all options] Fine. Fine. I'll find another way in. There's always another way in.

What it is for: The hero answers a gate guard three different ways, depending on the player's choice. Trains making clear, distinct choices on the same moment, the way branching RPG dialogue is recorded.
Coach's note: Watch out for making all three options sound like the same person in the same mood. Each branch is a different attitude, so commit fully: kind, sharp, then playful. But it's still one character, so keep the voice itself consistent across the takes.
What casting listens for: RPG casting listens for an actor who can play several versions of one scene cleanly, with the character still recognisable in every one.

Cold Start in Bay Four

Sci-fi hero, mech pilotAdult (25-40)AnyOne narrator30 secondsabout 30s
[Cockpit. Alarms. PILOT KAYE RASHIDI straps in] Okay, okay. Cold start. Reactor to thirty. Gyros, spinning. Hands are shaking. That's fine, hands don't need to be calm, they just need to work. [switches clicking] Weapons, safe. Legs, unlocked. Comms open. Bay Four, this is Kestrel. I'm awake, I'm mostly dressed and I'm ready to walk. [beat] What do you mean three of them? You said one. [sighs] Okay. Opening the doors. Let's go dance.

What it is for: A mech pilot powers up for a sudden launch. Trains crisp technical lines delivered under pressure with personality.
Coach's note: Watch out for gabbling the jargon. Pilots say these words every day, so make the checklist sound routine, then let the fear and fun show on the last lines. Hit the consonants so it cuts through engine noise in the mix.
What casting listens for: Sci-fi casting listens for an actor who can make made-up tech sound completely natural and still keep the character alive.

Hurt but Not Done

Hero, efforts and painAdult (any)AnyOne narrator30 secondsabout 39s
[Session: efforts and pain. Character: the hero, MALIK. Read top to bottom with a short pause between each] [LIGHT HIT] 1. Hnh! 2. Ow. Okay. [HEAVY HIT] 3. [effort] Aagh! 4. [winded] Oof. That hurt. [FALL] 5. [impact] Hhuh! [LOW HEALTH, quiet, breathing] 6. Come on. Get up. Get up. 7. Not like this. Not here. 8. Can't see straight. Just keep swinging. 9. Anyone? I could really use a hand. [HEALING] 10. [relief] Ahh. Better. Much better. [REVIVED] 11. I'm up. I'm up. Who hit me? Point at them. [DEATH] 12. [last breath] Sorry... I tried.

What it is for: A session of pain efforts and low-health lines for an action hero. Trains vocal efforts that sound real but protect the voice.
Coach's note: Watch out for grinding the throat on every grunt. Efforts should come from the gut with an open throat, like lifting something heavy. Pull back off the mic on big ones, take water between sets, and stop if anything scratches. A director would rather have ten safe takes than one great take and a lost voice.
What casting listens for: Game casting listens for efforts that sound physical and varied, from an actor who clearly knows how to do them safely.

Steady Hands, Breathe Out

Hero, tutorial guidanceAdult (any)AnyOne narrator30 secondsabout 35s
[Tutorial. A quiet range. The hero, NELL, coaches herself, and the player] Alright. Just like Dad taught me. Hold the bow up. [button prompt appears] Draw back. Slowly. Don't yank it. [beat] Feet apart. Shoulders down. You're not carrying the world, you're carrying a stick and some string. See the target? Don't stare at it. Look through it. Now breathe in. And out. And while you breathe out... [prompt: release] Let go. [SFX: thunk] Ha! Look at that. Not the middle. But it's on the board. Again.

What it is for: The hero talks the player through their first aim and shot. Trains a calm, clear teaching voice that stays in character.
Coach's note: Watch out for turning into a tutorial robot. The player needs the information, but it should sound like the hero remembering their own first lesson. Keep it conversational and give the button prompts room.
What casting listens for: Casting listens for clarity first, and a character who still feels human while giving instructions.

The Smuggler's Excellent Excuse

Sci-fi hero, rogueAdult (30-45)Any (character choice)One narrator45 secondsabout 54s
[A customs dock in orbit. The captain, LUX MORROW, stands in front of an officer and a very suspicious crate] Officer. Lovely to see you. Is that a new badge? Very shiny. The crate? Oh, that crate. That is... medical supplies. [the crate growls] For a very sick... dog. A large dog. A large, sick dog, who is also my nephew's best friend. [crate thumps] He's restless. He misses home. You'd be restless too in a box. No, you don't need to open it. Opening it would upset him. And the paperwork says "do not open." [hands over a datapad] See? Right there. "Do not open." Underlined. Twice. [beat] ...You're going to open it, aren't you. Okay. Before you do, I want you to know you have kind eyes, and I'm sorry about your shoes.

What it is for: A charming smuggler hero talks their way out of a customs inspection. Trains fast, playful patter with clear thinking behind it.
Coach's note: Watch out for speed without meaning. The joke is that the lie is being built live, so let us hear the gears turn on the pauses before each new excuse. Keep the charm relaxed, not oily.
What casting listens for: Casting listens for charisma, quick timing and a rogue the player likes even while they're lying.

Spellbook, Page One

Teen hero, fantasyTeen (14-17)AnyOne narrator30 secondsabout 34s
[A dorm room at a school for magic. PRIYA holds a wand over a candle] Okay. Page one. Lighting spell. Literally the easiest spell in the book. Small children do this. [reads] "Speak the word with quiet confidence." Quiet confidence. Got it. I have so much quiet confidence. [deep breath] Lumen. [nothing happens] Lumen! [SFX: WHOOMPH] Okay! Okay, that's a lot of fire. That's a lot more fire than a candle. Water! Where's the water? Why is there no water in a magic school?

What it is for: A teenage witch tries her first real spell in an academy game. Trains a believable teen hero voice with excitement and nerves.
Coach's note: Watch out for playing 'teen' as whiny or squeaky. Real teens sound like small adults who are trying not to look nervous. Keep your natural voice, lift the energy and let the panic be honest at the end.
What casting listens for: Casting listens for an adult actor who can sound genuinely teenage without caricature, and stay consistent across a long game.

Grandmother of the North Road

Older hero, story cutsceneMature (55+)AnyOne narrator60 secondsabout 71s
[Cutscene. A farmhouse kitchen. HILDE, seventy, ties back her grey hair. Her grandson watches from the door] Don't look at me like that, Teo. You'll get wrinkles. Trust me, I know about wrinkles. [takes an old sword down from above the hearth] Yes. That one. I told you it was decorative. I lied. Grandmothers lie about all sorts of things. That's in the rules. [tests the weight] Heavier than I remember. Or I'm lighter. Probably both. [turns to him] The riders took the Vossen girls this morning. You know them. The twins. The ones who stole our plums. Their mother came to my door with flour still on her hands. She didn't say a word. She didn't have to. Nobody else in this valley has done this before. I have. Forty years ago, and I was very good at it, and I hated every day. [softer] So I'll go. And you'll feed the goats, and lock the door, and not tell your mother. [beat] And Teo. If I'm not back in a week, the plums are yours.

What it is for: An older hero, a retired soldier, explains to her grandson why she is picking up the sword again. Trains a seasoned, unhurried hero with quiet strength.
Coach's note: Watch out for playing old as frail. She is strong, dry and certain, and her age shows in the patience, not a wobble. Take the time the lines want and let the humour sit underneath the sadness.
What casting listens for: Casting listens for authority and warmth in an older voice, and a hero the player would follow without a single shout.

Dive Log: The Pale Trench

Survival horror hero, underwaterAdult (30-45)AnyOne narrator60 secondsabout 63s
[Helmet comms. Hiss of the regulator. Diver ESME TALBOT descends] Depth, two hundred and ten. Visibility is maybe four metres. Lamp's holding. Topside, if you can hear me, the wreck is right where the chart said. Big. Bigger than the photos. [breath] There's writing on the hull. Not a name. Scratches. Lots of them. Like counting. Rows and rows of little lines, all the way down past my lamp. Somebody was inside this ship for a very long time. Counting days. [beat] Okay. Going in through the cargo hatch. Tether's clear. [a long metallic groan] That's just the wreck shifting. It's settling into the silt. Normal. [quieter] Topside, quick question. Is anyone else on a dive today? Because something just passed my lamp. Something long. [breath, faster] No, I'm fine. I'm fine. Heart rate's up. I'm going to come back out. [the tether jerks] Topside, did you pull the line? [silence] Topside? [very quietly] Something's pulling the line.

What it is for: A deep-sea diver narrates a descent while something follows them. Trains controlled fear and steady breath work through a helmet mic.
Coach's note: Watch out for letting the breathing take over. The breaths are part of the scene, but they should be light and placed, not heavy panting into the mic. Stay calm and procedural for as long as the character can, so the moment they crack really lands.
What casting listens for: Horror casting listens for slow-building dread and a performance that stays readable inside heavy sound design.

Gem Burst Cheers

Mobile casual hero, barksAny (cartoon character)Any (character choice)One narrator15 secondsabout 21s
[Barks. BLOSSOM, a cheerful flower mascot. Rising excitement as the combos grow] 1. Nice match! 2. Ooh, sparkly! 3. Three in a row! 4. Combo! 5. Super combo! 6. Gem burst! Wow! 7. Mega blossom bloom! 8. Level clear! You did it! 9. One more move, you've got this! 10. Aww. Try again?

What it is for: Celebration barks for a cheerful match-three game mascot. Trains bright, short, repeatable reward lines.
Coach's note: Watch out for getting louder instead of more varied. Each tier should feel like a bigger win without just adding volume. Smile, keep it bouncy and give the engineer clean starts and ends on every line.
What casting listens for: Mobile casting listens for instant positivity, crisp delivery and lines that don't get annoying on the hundredth play.

Respawn, Again

Roguelike hero, comicAdult (25-40)AnyOne narrator30 secondsabout 35s
[The dungeon entrance. The hero, BASTIAN, wakes up on the same stone floor, again] [gasp] I'm alive! I'm... [looks around] Oh. It's this floor again. Hello, floor. Hello, torch. Hello, skeleton who I'm fairly sure was me, three tries ago. [picks up a rusty sword] And hello, worst sword in the world. We meet again. [stands, stretches] Okay. Learned some things last time. Don't touch the glowing mushroom. Don't trust the friendly chest. [beat] This is the one. I can feel it. This run is the one.

What it is for: The hero of a roguelike wakes up at the start of the dungeon for the hundredth time. Trains comic weariness and a voice that grows on the player.
Coach's note: Watch out for playing it flat to sound bored. Weary can still be funny and alive. Find a slightly different flavour in each little complaint and land the last line with real hope.
What casting listens for: Casting listens for comic timing and a hero who can say similar things many times without sounding the same.

A Letter from the Eastern Line

Fantasy hero, cutscene narrationYoung adult (18-25)AnyOne narrator90 secondsabout 84s
[Cutscene. A camp at night, campfires to the horizon. ELLIS writes by candlelight. Voiceover] Dear Mam. Dear Pa. Dear Bryn, if they're reading this to you, stop pulling faces. I'm well. The food's bad but there's lots of it. They gave me new boots. They're too big, so I wear two pairs of socks, like you always said I should. The captain is fair. Loud, but fair. There's a lad from Mossbridge called Pell who snores like the mill wheel, and we've become good friends anyway. Tomorrow we go up to the old fort on the eastern line. They say it will be over by supper. They said that about the last one too. [beat] I'm scared, Mam. I didn't want to write that. I crossed it out twice. But you always knew when I was lying, even in letters. So I'm scared. But I'm not alone. And I know exactly why I'm here, which is more than most can say. If the weather turns, bring the hens in early. Tell Pa the gate still sticks. Tell Bryn the wooden horse is his now, and he's to look after it properly. I'll write again after the fort. [beat] I love you. All of you. Even the hens. Your son, Ellis.

What it is for: A young soldier hero writes home on the night before a siege, heard as voiceover across a cutscene. Trains a long, honest, emotional read without sentimentality.
Coach's note: Watch out for crying the whole letter. The soldier is trying to stay brave for the family reading it, so keep the tone light and steady, and let the emotion leak through only in a few places. The turn is on 'I'm scared, Mam.' After that, find the courage again.
What casting listens for: Casting listens for restraint and truth: a young voice that makes the player feel the stakes without being told to.

Sir Thimble Takes the Stairs

Cozy hero, tiny knightAny (cartoon character)Any (character choice)One narrator30 secondsabout 34s
[A kitchen at night, giant from a mouse's eye view. SIR THIMBLE draws a sewing-needle sword] Fear not, Kitchen Kingdom! Sir Thimble rides to your aid! Well. Walks. My steed is a beetle and he has fallen asleep. [looks up. And up] The Great Pantry lies at the top of these stairs. One hundred stairs. Each one taller than my house. [nods firmly] Then I shall climb one hundred stairs. [beat] Starting tomorrow. Knights need a good night's sleep before a quest. It's in the code.

What it is for: A mouse knight sets out on a quest across a giant kitchen. Trains a small, brave, very serious hero in a cozy adventure.
Coach's note: Watch out for making him squeaky. Sir Thimble is tiny but believes he is enormous, so give him a full, proud voice and let the comedy come from the size of the problem, not a silly sound.
What casting listens for: Casting listens for charm, total sincerity and a character voice that can hold a whole family game.

Cliff Face Climbing Barks

Hero, traversal effortsAdult (any)AnyOne narrator30 secondsabout 32s
[Session: climbing. Character: SAGE, explorer] [GRABBING A LEDGE] 1. [effort] Hup! 2. [effort] Hngh! Got it. [LONG JUMP] 3. [effort, big] Haaa! [SLIPPING] 4. Whoa, whoa, whoa! 5. [panic breath] Hold. Hold on. [TIRED] 6. Arms are burning. Keep going. 7. Don't look down. Don't look down. [LOOKS DOWN] 8. Why did I look down? Why do I always look down? [REACHING THE TOP] 9. [exhausted laugh] Made it. Never again. 10. Okay. Great view. Totally worth it. Ow. My fingers.

What it is for: Traversal lines and efforts for a hero climbing a dangerous cliff. Trains physical efforts mixed with short lines, recorded safely.
Coach's note: Watch out for holding your breath and squeezing out the words. Move your body a little at the mic so the strain is real, but keep the throat open and the effort in your core. Hold the grab efforts short and keep plenty of water nearby.
What casting listens for: Game casting listens for physicality that sells the climb and an actor who can repeat efforts consistently over many takes.

Rain on Calloway Street

Noir hero, inner monologueAdult (40-55)AnyOne narrator60 secondsabout 65s
[Voiceover. A rainy street, flashing lights. DETECTIVE MARLOWE HAYES steps under the tape] It had been raining on Calloway Street for three days. The city never cleans itself. It just gets wetter. The body was a man named Felix Quade. Owned a clock shop on the corner. Nice suit. Cheap shoes. That's always the first lie a man tells. [crouches] The uniforms had already decided it was a mugging. They like muggings. Muggings fill out the paperwork for you. No wallet, but his watch was still on his wrist. Gold. Expensive. Stopped at eleven forty. A thief who leaves the gold isn't a thief. [stands, looks at the shop] The lights were on in the clock shop. Somebody had locked the door from the inside. [beat] I've been doing this job for twenty-two years. In that time I've learned two things. Everybody lies. And clocks don't stop on their own. [walks toward the shop] Time to find out who was running late.

What it is for: A detective hero's inner monologue over a rainy crime scene. Trains a low, close, rhythmic noir voiceover that guides the player.
Coach's note: Watch out for copying old-movie noir with a fake gravel. Find the rhythm in the writing and drop your voice into a relaxed low place, close on the mic. The detective is tired, not cool.
What casting listens for: Casting listens for a voice that can carry long stretches of voiceover with mood and intelligence, without parody.

The Long Road Back to Ashford

Post-apocalyptic hero, homecomingAdult (30-45)AnyOne narrator60 secondsabout 74s
[Gameplay. A town overgrown with ivy and rust. The hero, CAL, walks slowly down the main road] Ashford. Population, nobody. [stops] That was the bakery. Mister Lund used to give us the burnt rolls for free. He said they had character. [walks on] The school. The bell's still there. Huh. We tried to steal it once. Got as far as the fence. Ruth Pemberton cried so loudly the whole street woke up. We blamed the dog. [stops at a sign, half buried] "Ashford Spring Fair. All Welcome." That was the last one. The year before the dust came. I won a goldfish. He lived for eleven years. Out of spite, Mum said. [stops at a house with a red door, faded pink now] And that's us. [long beat] The door was redder. Mum painted it every spring. Said a house should look like it's waiting for someone. [pushes it open] Hello? It's Cal. I know it's been a while. [silence. Then, looking at the floor] Wait. Footprints. Fresh ones. Small boots. [looks up the stairs] Somebody's been living here. [quietly] Somebody kept the door.

What it is for: A wanderer returns to their ruined hometown after years away. Trains an emotional discovery scene played in real time as the player walks.
Coach's note: Watch out for playing the sadness all at once. The hero recognises things one by one, so let each detail land on its own. Pace it like walking, and let the hope on the last line surprise you.
What casting listens for: Casting listens for an actor who can play discovery live and keep emotional lines honest and specific.

Mission Accepted

Spy hero, quick linesAdult (25-40)AnyOne narrator15 secondsabout 18s
[A dark briefing room. Agent VALE listens, then answers] One guard rotation every ninety seconds. Two cameras. One locked vault. One very nervous bank manager. And a party upstairs with a string quartet. [stands, straightens a cuff] Fine. I'll take the job. But I'm not dancing.

What it is for: A short briefing reply from a cool-headed spy hero. Trains confident minimal delivery and dry wit.
Coach's note: Watch out for over-acting the cool. The less you push, the cooler it sounds. Keep it low-key, with the tiny smile on the last line.
What casting listens for: Casting listens for effortless confidence in very few words.

Kickflip at Gull Point

Teen sports hero, skateboardingTeen (14-17)AnyOne narrator30 secondsabout 38s
[A seaside skate park, crowd noise. JESSE, sixteen, rolls to the top of the ramp] Okay, okay, okay. Big crowd. That's fine. I've skated in front of people before. Mostly seagulls. But they're very judgy. [looks over the edge] First the rail. Then the bowl. Then the kickflip off the big step. The one I've landed... once. In the rain. When nobody was looking. Okay, maybe twice. The second time I landed on my back, but my feet were on the board. [breathes out, grins] You know what? Nobody's looking at the seagulls either. Let's go.

What it is for: A teenage skater hero prepares for a contest run. Trains a relaxed, real teen voice with nerves and joy.
Coach's note: Watch out for forcing slang or 'cool.' Real teens are funny and a bit awkward. Stay loose and natural, and let the excitement burst through on the last line.
What casting listens for: Casting listens for authentic youthful energy and a hero voice that doesn't sound like an adult doing an impression.

Hold the Bridge, Commander

Sci-fi hero, command barksAdult (40-55)AnyOne narrator45 secondsabout 50s
[Session: command barks. Character: COMMANDER ODUYA, on the bridge of the Steadfast] [BATTLE START] 1. All hands, battle stations. This is not a drill. 2. Shields to the front. Bring us about. [ORDERS] 3. Helm, hard to port. Now, please. 4. Fire everything we've got on the lead ship. 5. Hold. Hold. Fire. [HULL HIT] 6. Report! Where did that hit us? 7. Seal deck four. Get those people out first. [LOSING] 8. We're not dying out here today. Find me an option. [WINNING] 9. They're turning. They're turning! Keep the pressure on. 10. Don't chase them. Let them run. We've done enough today. [BATTLE OVER] 11. Stand down. Good work, everyone. Breathe. 12. Medical to every deck. And somebody get me a coffee.

What it is for: Command lines for a starship captain hero during a space battle. Trains authoritative orders that stay calm under fire.
Coach's note: Watch out for shouting every order. Real commanders get quieter and clearer when things go wrong. Keep the orders crisp and grounded, and save volume for one or two moments where the noise demands it.
What casting listens for: Casting listens for authority and calm, the voice of someone a crew would trust with their lives.

Two Endings at the Ember Gate

Hero, branching finaleAdult (25-40)AnyOne narrator90 secondsabout 1.9 min
[Final cutscene. The hero, ARDEN, stands before the Ember Gate, which must be sealed from the inside. Record each ending as its own take] [ENDING A: Arden stays] Don't argue with me, Lio. Not now. We don't have time, and you'd lose anyway. Someone has to hold the gate from this side. I've known that since the tower. I think you knew too. [smiles] Go home. Fix the roof. Teach the kids to fish badly, the way I taught you. Tell Marta I'm sorry about the boat. She'll know which boat. [Lio tries to grab Arden's arm] No. Look at me. You were the best part of all of this. Every road, every awful inn, every night in the rain. That was you, making it bearable. And when people ask what happened here, don't tell them I was brave. Tell them I was stubborn. It's more accurate. [steps back through the gate] Close it. Close it, Lio. It's alright. I'm not afraid. [the gate shuts] [ENDING B: Arden walks away] No. No, I'm not doing it. I'm not dying in this place for a city that never once said my name. [backs away] Let it burn. Let them find someone else to be a hero. [running, then stops at the top of the hill. Looks back at the fire] It's not my fault. It's not. I gave them years. I gave them my hands and my sleep and my brother. Nobody gets to ask for more than that. [Lio says nothing] Say something. Please. Tell me I'm right. [quietly] Then why can't I stop looking? [turns away] Come on, Lio. We walk until the smoke is gone. And we never talk about this. Ever.

What it is for: The hero's final words in two different game endings, one where they sacrifice themselves and one where they walk away. Trains holding one character across two very different emotional outcomes.
Coach's note: Watch out for mixing the two endings together. Record them as two separate scenes with a reset in between. Ending A is calm acceptance, not tears. Ending B is relief with guilt underneath. Keep the voice the same person in both.
What casting listens for: Game casting listens for emotional range inside one consistent character, and for an actor who understands branching story.

A VO Journey Academy class in session

Reading alone only gets you so far

Members bring scripts like these to class every week and get feedback on the spot, from working coaches.

Join CORE - $39 first month Try a free class first

Use these freely. Every script here was written by VO Journey Academy. Practice with them, record them, post them as demos, reels or social clips, and use them in auditions. Please do not resell them or publish them as your own scripts. A credit is always welcome, never required.