Rana Daggubati’s involvement with Solo Leveling: Reawakening has generated considerable excitement, especially for Indian fans. As an iconic figure in Indian cinema and voice work, Daggubati has lent his voice to the character of Barca, the Ice Elf leader, in the anime's Hindi, Tamil, and Telugu versions. His engagement with this project has sparked conversations, particularly around the nuances of dubbing and his growing involvement with anime culture. The release of Solo Leveling is eagerly awaited not just for its incredible story but also for the opportunity to experience the anime through the lens of Daggubati’s voice acting.
In an exclusive interview with India Today Digital, Daggubati opened up about the challenges he faced while dubbing for three different languages and the intricacies of his voice performance. Dubbing a character across three languages, Daggubati explained, is no easy feat. “Saying anything in three languages is tough. But the fact that I got to do this and got to live that character three times, that's fun,” he shared. This process gave Daggubati a unique opportunity to connect with the character of Barca in distinct ways, experiencing the character through the diverse tonalities and expressions of the different languages. The emotional depth and cultural disparities across Hindi, Tamil, and Telugu are not lost on him, and he embraces the challenge of giving a consistent performance while navigating these complexities.
Barca, as a character, is a powerful and fierce leader, engaging in one of the most intense battles against the protagonist, Sung Jin-woo. Daggubati praised the character’s development and the emotional depth that the original Japanese voice actor brought to the role. “A character like Barca is written so well. The original Japanese voice artist has done it so perfectly that even though you don’t understand the language, just through subtitle and emotion, the way they pitch it, you kind of get what they’re trying to say,” he said. The translation of the character’s emotional complexity is something Daggubati finds fascinating. He also pointed out the challenges of maintaining the nuances of pitch and emotional weight in languages with different cultural tones like Hindi, Telugu, and Tamil. For him, this added an extra layer of depth to his performance as he worked to capture the essence of the character across languages.
Daggubati’s path into anime began just a few years ago, and his journey has since deepened. His first encounter with anime and manga came through One Piece, a popular Japanese manga series. He shared that it was a gift of One Piece manga volumes from a friend that introduced him to the world of manga. “One Piece is always fun,” he said, and from there, his interest grew, especially as the show made its way to Netflix. This marked the beginning of his appreciation for anime as a medium that blends storytelling with visual artistry. Daggubati expressed excitement over witnessing the full cycle of manga transitioning into anime, and even live-action. “It was actually the first set of manga that were gifted to me about six-seven years ago by a friend. That’s the first time I got into that. Also, why I was excited was because, eventually, Netflix actually made a show based on that as well,” he said, reflecting on how anime can be reimagined across different platforms.
For Daggubati, the appeal of anime lies in its ability to combine complex narratives with rich, colorful characters. He also revealed that while Solo Leveling was one of the first anime he watched in depth, One Piece remains his favorite. “It’s always fun,” he reiterated, illustrating his enduring fondness for the series. Daggubati’s connection to One Piece highlights how anime can have a lasting cultural impact, even for someone relatively new to the medium. This personal journey from manga to anime and live-action adaptations has given him a unique perspective on the storytelling process.
When asked about his favorite graphic novel, Daggubati shared that Watchmen is a standout. He expressed admiration for how it combines deep storytelling with complex characters, making it a must-read for anyone interested in graphic novels. “Watchmen has always been my favourite,” he said, suggesting it’s a critical work in the genre. His appreciation for Watchmen further solidifies his broader interests in storytelling through visual art forms. It also hints at the influence of Western comics on his artistic sensibilities, which he continues to explore in his own career.
Daggubati's voice work for negative characters is something he has been known for throughout his career. He previously voiced Thanos in the Avengers franchise, a role that further deepened his passion for bringing dark, compelling characters to life. When asked about his fascination with villains, Daggubati explained that during his acting school days, he was drawn to the power and intensity of negative characters. “That’s the only class I focused on in acting school, where there used to be heavy voice training,” he said. His fascination with powerful, often villainous voices began as a child, where he recalled how impactful a character's voice could be. “Even as a kid, when you hear powerful characters voice something, that always stays with you,” he said, noting that villains often leave a stronger, more lasting impression than heroes. His commitment to portraying these characters with depth reflects his passion for voice acting and the impact of voice in storytelling.
As the head of Spirit Media, an organization dedicated to Indian comics, Daggubati is keenly aware of the potential for India to create its own animation and graphic novel culture. While he acknowledged that Indian animation is still in its early stages, he expressed optimism about its future. “In India, we have too little... I mean it's too early in terms of animation. There's very little volume to even speak of,” he said. He emphasized that India has a rich tradition of visual storytelling, with unique art forms like traditional paintings and regional comic styles that could be adapted into modern animation. Daggubati sees great potential in these Indian art forms, believing that they could evolve into a distinct genre with their own identity. "Every time we make a volume in India, we’ll find something which is quite unique,” he added, indicating that India’s potential in animation and graphic novels is just beginning to be realized.
Rana Daggubati's reflections on his work with Solo Leveling, his journey into anime, and his broader views on Indian comics reflect his evolving understanding of global and local storytelling. His work not only bridges cultural gaps but also showcases his deep understanding of voice acting, character development, and the power of narrative. As anime continues to gain traction in India and Indian comics find new forms of expression, Daggubati's involvement in these projects signals a future where global animation and local culture can coexist and thrive together. Whether it’s his role in Solo Leveling or his work with Spirit Media, Daggubati’s commitment to storytelling will undoubtedly shape the future of voice acting and animation in India.
