Corey Wilder is a voice you almost certainly have encountered, and one you should definitely seek out if you haven’t yet. The actor has lent his voice to many iconic and distinctive characters in several major anime releases lately. You’ve likely heard him as Zanka in Gachiakuta, Land in Frieren: Beyond Journey’s End, Will Serfort in Wistoria: Wand & Sword, Polyurethane in New Panty & Stocking with Garterbelt, Rod Bauer in I’m in Love with the Villainess, Haruto Satō in Tales of Wedding Rings, Liu Xiao in LINK CLICK, and Justice in ZENSHU. This year at Anime Central, we got the chance to talk with the popular voice actor about modern dubbing opportunities, how he approaches different character types, and why embracing challenges matters in artistic work.
Portions of this interview have been lightly edited for clarity.
Q: You’ve contributed to two dubs that I think showcase a very modern approach to voice acting, specifically Gachiakuta and New Panty and Stocking. Did you get to improvise or help write any parts of the scripts for those productions?
A: For Gachiakuta, I had just a little wiggle room—sometimes a tiny bit. But with Panty and Stocking, it was a whole different story. The creators actually left us notes before recording started. They basically told us, “Make these characters as Gen Z as you can. They’re laid‑back, not caring, real chill types. When the action’s on, they get deadly serious. When there’s a demon around, same thing. But off‑camera they’re goofy, silly, random.” Because of that, we could tweak a lot of lines in Panty and Stocking as long as it still fit the story. We could sprinkle in lots of “high‑key,” “low‑key,” “dead ass,” and similar slang without breaking the show’s vibe—basically they gave us a ton of freedom. I and Hunter McCoy are both kids from the 2000s, so we just naturally brought in Gen‑Z slang we’d picked up over the years. Because of that, Panty and Stocking saw a lot of improvisation, while Gachiakuta needed less. The show already had a heavily AAVE and Gen‑Z vibe, plus we had a scriptwriter named James Cheek and a brilliant director Lee George—one of the few Black directors at Crunchyroll. Lee loved adding our own flavor, making the dub feel uniquely ours. So overall, the improvisation was far more prominent in Panty and Stocking than in Gachiakuta.
Q: Gachiakuta has some hilarious scenes—many of them at Zanka’s expense. How was recording those scenes? I can imagine it was hard not to laugh during some of them.
A: It’s super funny—my only real laugh came during the plunger scene. That was just such a silly, stupid moment, so over the top Looney Tunes‑style. Usually though, when I’m playing Zanka I stay so locked in that I hardly break character, even during takes. For example, there’s a second fight round where Zeno Robinson does this weird “what’s that sound?” thing with Tasmanian devil noises. He gave a totally different read beforehand, but I stayed so in‑character I didn’t react at all. Director Lee was like, “Why aren’t you laughing at that?” and I said, “Lee, I was too locked in, bro.” The plunger scene was the only time I just lost it, thinking, “Man, this is so ridiculous, so Scooby‑Doo level goofy!”
Q: For those scenes, were you usually recording second or were you often first or did it go back and forth?
A: It was pretty fluid—sometimes I went first, sometimes second, depending on who was available. For the plunger chase, I went first, starting the part where Bryson Baugus chases me with the plunger. Bryson kept recording until the “Dude. Ew.” line when Zanka sniffs Assiststaff. I had no idea how he’d sound, so I just threw myself into it and hoped everything blended well when mixed.
Q: And now talking more about Frieren. You play Land. You deliver some hilarious reveals about his abilities, where he’s been the entire time, but otherwise having a pretty straightforward, serious demeanor. Was that kind of character new for you? And do you have preferences when it comes to personalities?
A: Land was a bit of a departure for me—most of the time I get loud, quirky, or comedic roles, not the deadpan, serious type. My first similar monotone role was Wanshi in Punishing Gray Raven, a sleepy sniper who just wants to sleep. Land felt like that same vibe: monotone, indifferent, not really wanting to be there. When I learned his secret twist, it hit home—I was like, “This character really is like me; he’s taking the easy route.” As for my preferences, I don’t have one. I just try to weave pieces of myself into each character so it feels authentic and uniquely mine. I want it to sound like only I could play that role, using my own experiences and style. I love a good challenge—hard mode in games, complex characters—and I enjoy figuring out how to bring something new to each part.
Q: And my last question. You’ve been absolutely going off as Will in Wistoria this season. How do you approach that particular archetype of the unpowered or “powerless” character in a fantasy series as incredible as that one?
A: I often tell fans that Zanka and Will are mirror images— both carry huge inferiority complexes and feel they’re inferior to naturally gifted peers. I pull from my own high‑school sports days: I played football, basketball, soccer, and track, but never felt I was as talented as others, no matter how hard I tried. That’s where Will’s struggle comes from. I always look for personal resonance.
I connect that to my method: I take pieces of my own life and weave them into the character. The pain and the heaviness in Will come from my past experiences. I’m glad it’s hitting home—people have told me that Will and Zanka inspire them to push forward, keep striving, and believe in themselves. Success doesn’t have to happen instantly; there’s plenty of time. Failure is essential for growth; even Einstein and Edison failed countless times before becoming legends. So don’t fear failure—keep trying, keep moving. Will kept failing but kept getting back up, and now he’s among the best. Zanka did the same. Keep going.
We’d like to thank Corey Wilder for taking the time to speak with us during Anime Central and the staff of Anime Central for assisting with the coordination of the interview. Anime Central will return May 15‑17, 2026. Keep an eye out for registration details so you can meet amazing voice actors like Corey Wilder in person.
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