Jason Spisak 访谈：谈《Arcane》与 D&D 5.5e 工具 Onyx（Supanova 2026）

Whether he’s bringing tragic depth to the ruthless Zaunite kingpin Silco in Arcane, voicing fan-favorite heroes like Wally West in Young Justice, or rolling dice live on stage in The Scoundrolls, Jason Spisak is one of the most versatile actors and creative minds in voice performance. We caught up with Jason to talk about the complex love behind Silco’s ruthlessness, the art of live D&D, and the moment he realized Arcane was going to take over the world.

Jason Spisak Interview

**Your portrayal of Silco in Arcane earned massive acclaim for its tragic depth and complexity. How did you approach finding the heartfelt, protective instincts inside a ruthless underworld kingpin?**

When you grow up like Silco—in a place where love is hard to come by and stability even more so—if you have the spark of revolution and a dream like the nation of Zaun, it is actually out of love for the people who would inhabit that nation that you do the things you do. While ruthless in his pursuit, it is a noble one

When Silco adopts Jinx, it is an individual example of what he would like to see happen on the grander scale. He is an imperfect man by all measures, doing the best with what he has with a difficult set of life experiences. However, in the end, loving his adopted daughter is similar to loving the people who would inhabit the nation of Zaun. Although his methods for getting there seem ruthless, he believes success can only be achieved through any methods necessary. I imagine he is “ruthlessly kind” to Jinx in the same way, despite the chaos surrounding them—just as he is “ruthlessly protective” of her. So maybe, in a way, it is his ruthless commitment to those ideals that allows those ideals to be possible at all in such a circumstance.

**From the youthful optimism of Wally West / Kid Flash in Young Justice to the chaotic dark tone of The Joker, how do you shift your mental prep when switching between heroes and antagonists?**

Actually, my mental preparation is the same regardless of the character on the page. My job is to create a believable human in a set of imaginary circumstances. I commit to that set of circumstances as fully as possible. The Joker is just the hero of his own story, as is Wally… as are we all.

The mental preparation is the same for heroes and villains because there are no heroes and villains, only interesting humans who are driven by a set of ideals to which they are committed because of their circumstance. As an actor, my job is to commit to those same imaginary circumstances from the moment the character comes to life in my voice.

**You play Grimm in the live D&D show The Scoundrolls. How does live tabletop roleplaying and improvised storytelling feed into your scripted voice acting work?**

I love playing Grimm for The Scoundrolls! It keeps me grounded and in the moment. The instant you have an idea of where you “think” the story should go in a live theater experience with no script, that’s the moment the story becomes less engaging for the audience. It helps me remember that my job is to experience the character’s emotions, actions, and interactions with the other players for the first time, every time.

It also helps ground me in the circumstances because with D&D you have no choice, since the circumstance is truly unknown and changes in an instant. I love it! I’ve played D&D for decades, so getting a chance to play live on stage for audiences around the world is a dream come true.

Beyond acting, you have produced documentaries like The Unbelievers and co-founded tech and media companies. How does your entrepreneurial background shape your creative perspective on entertainment?

Like it or not, all creatives who want to make a living with their art are in “business.” They are either in business for themselves or in business with others to produce a product of some kind. While there is objective good in expressing yourself as an artist, to make a living you have to put on your business hat. Entrepreneurism is a side of my brain that I have always been able to exercise.

I think recently the consolidation of creative expression under the umbrella of a few corporations has dampened the spirits of many artists, along with the rise of machines that attempt to imitate their expressiveness. Getting back to our roots and becoming entrepreneurs who create under our own umbrellas can help reopen some doors that were closed in the entertainment industry. I think we’ll see this with independent film, and possibly some new tools will help artists express themselves in ways that would not be possible without that entrepreneurial spirit. For example, I’m nearly done building a full suite of tools to build and run D&D 5.5e characters and campaigns called “Onyx,” which respects privacy, runs locally without the software being hosted on servers, and has no “subscription lock-in.”

**Looking back at the runaway success of Arcane, at what point during production or broadcast did you realize the show was going to resonate so deeply on a global scale?**

I’ve told the story on stage before, but it has stuck in my mind and will be there forever. When the trailer for Arcane was projected on the Burj Khalifa in Dubai, and I could hear my voice on the video echoing out across the city, that was the moment I knew Arcane would be a global phenomenon. I felt it in my stomach.

So many people in the world would be touched by this story because of the intense creativity and commitment to excellence that went into its production. It was an honor in that moment, and it is an honor now to be a part of it.