Baldur's Gate 3 Exclusive: Unveiling Orin the Red and the Dark Secrets of the Villains!

Baldur's Gate 3, released earlier this month, has made a significant impact with both critics and players. It has received widespread acclaim and has had over 800,000 players playing simultaneously on Steam. The game's success can be attributed to the exceptional freedom of choice it offers to players as they explore its vast world. Additionally, Baldur's Gate 3 is highly anticipated as the long-awaited third installment in one of the most beloved Dungeons & Dragons-based RPGs of all time.

During an interview with Game Rant, Maggie Robertson discussed her role as Orin the Red in Baldur's Gate 3. Orin is one of the key villains that players will encounter on their quest. Robertson shared the challenges she faced in portraying a character who must respond to countless possibilities, as well as how Orin compares to other characters she has portrayed in games. The interview has been condensed and clarified for brevity.

Robertson: Absolutely! Every villain possesses distinct qualities, so it's crucial to approach each one separately and discover their unique attributes. These two characters, Lady Dimitrescu and Orin the Red, are actually extremely dissimilar. Although both are formidable and influential in their own right, they possess fundamental differences.

Lady Dimitrescu's violence is driven by a mixture of rage, anger, and a profound sense of hurt that is overshadowed by a strong capacity for love. It is this love that ultimately shapes her actions within the game.

In contrast, Orin's violence is fueled by joy. It serves as a means of self-expression and pleasure for her. Similar to Lady Dimitrescu, both characters yearn for approval and recognition throughout the game. Orin believes she is chosen by Bhaal and strives to prove this throughout the game. However, her upbringing was incredibly brutal, leaving her with only a familiarity with death as her guide in navigating the world. In contrast, Lady Dimitrescu maintains a stronger connection to her humanity. From the very beginning, Orin's humanity was violently stripped away from her.

I actually feel a lot of sadness for Orin, because at the end of the day, she really is just this broken little girl who's desperate for approval. To me, it's heartbreaking.

When players initially encounter Orin, she may seem like a deranged lunatic intent on ruining their day. However, it is refreshing to discover that there is more complexity to her persona than meets the eye.

Robertson: Undoubtedly, she exhibits those traits. Nevertheless, I hold the belief that villains are not just born, they are shaped. As an actor immersing oneself in the role, it is essential to continuously question, "What drove them to become who they are? What decisions have molded their character?"

Our choices define our character, and it is through these choices that we truly reveal our true nature. It is always intriguing to delve into a person's life experiences, particularly when it comes to understanding their upbringing. In her case, it has been undeniably harsh and challenging. Such a difficult background inevitably shapes one's perspective and leads to a skewed, twisted, and even sadistic worldview. It is crucial to acknowledge and appreciate your empathetic stance towards this character, recognizing that she is not inherently evil. Something has influenced her path, causing her to become this way.

Robertson: When embodying a character, it's crucial to withhold judgment. Otherwise, our portrayal remains superficial and constrained to a single dimension. To truly bring these characters to life and captivate audiences, we must adopt a non-judgmental stance and even develop a fondness for them. It might sound peculiar to admit that I can find something to love in a cruel and sadistic killer, but it's a necessary step. We must learn to embrace their essence in order to fully invest ourselves in portraying them believably.

Q: Do you plan to continue playing villains, given that you have portrayed several already? Are you particularly drawn to exploring evil characters, or has it simply been a coincidence?

Robertson: It's interesting, I seem to have become known for these types of villainous roles. Without a doubt, it's an immensely enjoyable experience for me. There's a certain thrill in playing villains, as they are not confined by the usual boundaries of morality and ethics that heroes adhere to. As an actor, you have the freedom to push these characters to the extremes of humanity, or even beyond if they are not human, and explore the various emotional subtleties that come with it. I find it incredibly rewarding and an exciting challenge.

I believe that every actor is constantly searching for fresh challenges and opportunities. Personally, I have a keen interest in broadening my horizons and enriching my portfolio by exploring diverse roles and encountering intriguing characters. I eagerly anticipate what the future holds and am content with my current situation, while also being excited for what lies ahead.

Regarding the preparation for a role like Orin the Red, I am curious to know if you seek inspiration from other characters or actors, or if there are specific films you watch for guidance.

Robertson: It depends on the amount of time available and the uniqueness of each game. In the case of Orin, the process was fast-paced as I had only a week to prepare before filming in London. I had to work swiftly.

I drew inspiration from various sources, particularly villains in media that possess the same chaotic unpredictability as Orin. One of the first things I noticed about her was how quickly her thoughts shifted and intertwined. As an actor, my challenge was to establish the connections between those thoughts. Consequently, this led to a playful and almost childlike use of language, which creates a chilling contrast with the violent and gruesome content of her words.

The conversation revolved around the idea of constantly challenging expectations and surprising players, ultimately unsettling them in their interactions with Orin. She exudes a disconcerting aura, always keeping everyone in the dark about her next move, and showcases immense creativity in her pursuit of goals. Being a shapeshifter, it's even possible to never perceive her presence. With endless possibilities, she undoubtedly embodies a terrifying villain to me.

Q: What aspect of playing Orin did you prioritize in terms of accuracy? Is there a particular aspect of her character that you felt was crucial to convey?

Robertson: Orin exudes a constant sense of pent-up energy, always on the brink of taking action, yet she must constantly suppress and restrain these instincts throughout the game. This creates a fascinating contrast in her movements, which are often subtle and controlled, until the moment she finally unleashes her full potential. Despite her expressive and extravagant language, Orin's physicality remains restrained until she decides to burst into action.

Orin's relationship with her blades is truly captivating. The notion that they possess a sense of reality and personification to her is fascinating. In many ways, these blades serve as the most authentic, sincere, and consistent relationships she has ever experienced. It was crucial for me to pinpoint those subtle movements throughout the game that allowed me to highlight this unique bond. Ultimately, these blades are everything to her.

This strong attachment stems from the fact that violence brings her genuine pleasure. As we've discussed before, death and violence are all she truly understands. For Orin, they serve as a means of self-expression, worship, and even love. The way she approaches these acts is profoundly distinctive, as she finds immense delight and excitement in committing such horrific acts of violence. This aspect is undeniably terrifying.

Robertson stated that the experience with Baldur's Gate 3 differed from past projects due to its sheer magnitude. The game is an enormous undertaking with countless narrative paths determined by player choices. Robertson was amazed when Larian showed him a spreadsheet illustrating the multitude of branching possibilities. He still finds it mind-boggling that they were able to keep track of all that information.

When we were recording and working as actors, this meant that we would repeatedly say the same line, but with minor adjustments depending on what choices the player could potentially make. What I find enjoyable about this is the opportunity to explore the subtle nuances and variations in each line, adding new shades and dimensions to the character of Orin.

For me, Larian as a whole is incredibly supportive and receptive to this collaborative and creative process, and I deeply appreciate that in my own work. Art, in my opinion, is not a solitary pursuit but rather a conversation that takes place within a collective of artists, where ideas are exchanged. I truly value that aspect.

Tom, Greg, Adrian, Jason, and everyone at Larian and PitStop truly foster a collaborative atmosphere in their working environments. There is a profound appreciation for the artistic abilities and contributions of each team member, creating a refreshing work environment. Working with them has been an absolute delight and privilege, as I thoroughly enjoyed engaging in play and exploration. We fearlessly experimented and evaluated our ideas to determine the most effective ones.

As an actor, especially in video games, it is crucial to recognize our limited perspective. I only have a minuscule understanding of the game, while the development team comprehends the bigger picture. They possess the knowledge of how all components should interact and flow within the game's context. Therefore, establishing a strong sense of trust is essential, as I depend on their guidance to make choices that best serve the story.

In regards to my work, I believe it is important not to hold it too dearly. Initially, I may have a certain idea or perception about a character, but it is possible for that perception to be completely altered based on information I receive on the day. I must be open to completely discarding my initial idea and exploring new possibilities, even if they may only be slightly better.

Speaking of collaboration, how much freedom did you have in terms of delivering your lines? Did you improvise any dialogue, or was the script quite strict?

Robertson acknowledges the typically tight scripts in games, recognizing the significant amount of work that has already been put into them before his involvement. As an actor, he understands that his role is the final piece of the puzzle, and that there is an extensive amount of time and effort that has gone into shaping the script to ensure that every word is precisely what it needs to be.

Coming from a background in theater, specifically Shakespeare, Robertson values the sacredness of text. He appreciates the dedication of authors, writers, and playwrights in carefully crafting expressive language for each character, with every word being meticulously chosen. As an actor, he believes it is crucial to pay homage to the artistic communication established by these creators. Their work informs his choices as an actor, as they have already provided him with a clear understanding of the character.

Content must be written in English:

If you possess strong writing skills, the language effortlessly flows through you, as the words already embody the character. When the writing has the ability to effortlessly come to life off the page, it becomes thrilling for an actor, as it makes their job feel effortless. It's almost as if they question if they are even contributing anything, because the words themselves are so remarkable and expressive; the actor simply needs to speak them.

In the case of Orin, her use of language is powerful and exhilarating, making it a delight to work on such characters. I find that Lady Dimitrescu shares a similar quality. Perhaps it is a personal inclination for me to always value language highly. As we discuss the concept of communication within art, it is worth acknowledging that there is also a form of communication taking place between the art itself and the audience who experiences it.

When working on Shakespeare, I deeply experienced the challenge of comprehending every word he spoke, as his language is outdated. The usage of certain word definitions differs from our contemporary understanding. Therefore, there may be a cognitive disconnect, but by simply listening to the language and its sound, there exists an implicit conversation that allows one to intuitively grasp meaning. Your body receives information even if your mind does not fully comprehend the depth of each word.

I strongly believe that this phenomenon also occurs with language in general. Orin's language, specifically, possesses the power to communicate something not only mentally through the meaning behind her words, but also physically through the way she shapes her consonants and vowels. This ability resonates with both the audience and the performers.

That is something I find highly thrilling - delving deep into it. "How can I effectively serve the text, enabling it to fulfill its purpose?"

Q: I recently had a conversation with Jennifer Hale and David Hayter concerning AI in voice acting and its potential impact on the industry. What are your perspectives on this matter?

Robertson: I have immense love and admiration for both of those individuals! They are truly exceptional.

When it comes to Jennifer Hale, I believe she possesses a deep understanding of the intricacies surrounding the issue at hand, particularly as it pertains to the voiceover and acting communities. I wholeheartedly trust her perspective on this matter. As for me, I view AI as a tool – a tool that is already making its presence known in the realm of media. While it has the potential to bring value and enhance productions, it can also inadvertently downplay the noteworthy contributions of fellow artists.

The human element cannot be replaced because physical interaction allows for the exchange of information that intuition can pick up on. Our bodies communicate with each other even if our minds do not fully understand. If we learn to listen and trust our instincts, our bodies can be highly receptive to information. This is something unique to human actors and cannot be replicated or manufactured.

In the end, I believe the human element will always prevail. The shortcomings of AI will become evident once put to practical use. The deficits of using AI, especially in terms of replicating voices and likenesses, can be resolved through consent. It's as simple as that.

Any closing thoughts on Orin the Red, Baldur's Gate 3, or any other projects you'd like to share?

Robertson: The ongoing joke in the voiceover industry is that we are constantly bound by non-disclosure agreements (NDA) about various projects. Rest assured, you can expect to see or hear me in more future projects. I am eagerly waiting for the moment when I can share that information. Additionally, I would like to express my admiration for Larian Studios.

Working with them was an absolute pleasure. I deeply appreciated the partnership we developed and their immense respect for my craft. They provided ample opportunities for creativity and collaboration, and I highly value the work we accomplished together.

Larian is truly exceptional because of the incredible dedication and passion they have poured into their work. They possess a genuine love for the game, just like avid fans, and are wholly committed to delivering a story that is incredibly inclusive and diverse, while also deeply caring for the entire community. This level of commitment is rare and makes Larian truly outstanding. Working with them is an absolute joy, and I cannot speak highly enough of their amazing work. That's it.

Baldur's Gate 3 is available now on PC, with a PS5 version releasing on September 6.