We had the opportunity to sit down with Mexican voice actor Christian Strempler to talk about some of his most iconic characters, his career trajectory, and the current state of the Mexican dubbing industry, exploring some of the systemic problems currently affecting it and the importance of making them visible.
Christian is best known among anime fans for voicing Suguru Geto in the Latin American dub of JUJUTSU KAISEN, but his extensive career spans over 40 years. Thousands of Latin Americans have grown up hearing his voice across a wide range of anime and non-anime media, forming lasting emotional connections with the characters he brings to life.
With the Latin American premiere of the Hidden Inventory / Premature Death Arc movie just around the corner on August 14, we began our conversation by asking him about his role as Suguru Geto.
This interview was translated from Spanish and has been lightly edited for clarity.
Q: About Suguru Geto…
Christian: “You know, I started recording the character back when the first season was made. Then came the JUJUTSU KAISEN 0 movie. And honestly, I had forgotten about the character until the second season came around. We’re constantly going from one place to another, working here and there, and a lot of times, you forget what you’re doing, you forget what you’re dubbing. Sometimes you don’t give it much importance, or you just don’t realize how significant the character is. It wasn’t until I saw how crazy social media got, the way people followed him, the memes, the WhatsApp stickers, and so many other things that I realized the impact he has.
Pepe Vilches, Gojo’s voice actor, called me one day and said: “Hey, do you go to conventions? They’re asking for your number so we can go to a convention together in Puebla. You in?” And I said, “Sure, let’s do it.” So we went to do a panel together, Pepe and I, Gojo and Geto. And that’s when I truly saw how excited people were about the character. It was incredible to see how hyped the fans were. After that, I bought my costume and wig on Amazon… and now I cosplay as Geto when I go to conventions (laughs).
It really cracked me up, and made me curious too, all these memes and stickers on social media of the two of them kissing (Geto and Gojo). And I was like: “Why? Why do they sexualize them so much? What’s with that?” Then I found out about the whole thing. I learned it from a colleague in Guadalajara, Mexico, sending a shoutout to Tania by the way, who’s basically my JUJUTSU KAISEN teacher. She has been the one guiding me through all of this, giving me great tips about the story and what to bring up at conventions.
And now I get it! I get the reason why there are so many memes of those two. And some of them are wild, I’m telling you! (laughs).”
Q: From your perspective, what do you think connected Satoru Gojo and Suguru Geto so deeply?
Christian: “Well, first of all, the friendship, right? It all started as a friendship. And second, I’d say there was some kind of competitiveness between them, especially around magic and the Jujutsu High School. But then… came love, right? (laughs).
I think it’s Gojo who says one of the iconic lines: that one of the most twisted curses is love. So that’s where it all comes from, the curse of love between the two of them.
I believe they started out as close colleagues, almost like brothers… but something happened there.”
Q: So even if it’s never said explicitly in the story, you think that’s the nature of their relationship?
Christian: “You know those words Gojo says to Geto when he is dying, the ones you can’t hear in the movie? Well, at a Christmas convention, a fan once came up to me and said: “I know what he said.” She had it written down in Japanese and translated it for me. She told me: “What he says is, ‘I love you. Do you understand?’”
I think those are the words we don’t hear in the film.”
Q: There is also a fan theory that says it is a line from the opening “Ao no Sumika”: “Mata aeru yo ne,” which translates “We will see each other again, right?”
Christian: “Well… maybe they will see each other again. Maybe they love each other. Maybe they already did. Who knows? They are super brothers… with an added layer of love, right?
I was told about yaoi manga, stories about adventures, and emotional and romantic bonds between male characters, which the creator of JUJUTSU KAISEN used to read (an example often cited by fans is The Night Beyond the Tricornered Window, which the author has publicly mentioned reading). I was told all of this, okay? (laughs).”
Q: The first time we see Suguru Geto on screen, it’s not actually him, but his body being controlled by another entity. Later on, we meet the real Suguru, who has a different personality. What was it like for you to portray basically two characters in one? To voice these two contrasting versions both under the name of Suguru Geto?
Christian: “Well, the director places me in a specific time and context. He tells me, “You’re in the past now, you’re younger, still in school,” and he guides me through it, right? That happens for everyone. Whenever you’re going to voice a character, they need to give you a quick psychological breakdown of the character. You get context, all of that shapes a personality you have to embody on the spot, almost instantly.
Everything is already mapped out by the director, who has seen the project already, usually a few weeks in advance, and chooses the actors that fit each character. Characters already have a design: one is goofy, one is serious, one is the father figure… You have to respect that and study it, so you can give it a vocal personality. So again, it all comes down to what the director tells you.
In my case, for Kenjaku the director said: “Your character is possessed, there’s a spirit inside, so it’s not really you.” And for Suguru, he said: “Now you’re not possessed yet, this is before that.”
With JUJUTSU KAISEN, since you have a “before” and “after” version of the character, it’s a little easier to know how to use your voice. But you still have to stick closely to the tone of the Japanese actor. It is a series of things to get what they call “match voice.” You don’t go beyond that range, but you do bring your own touch, your own flavor, so the character has something unique and distinctive.
For Suguru, I give him a more mystical, enigmatic vibe. Somewhere between charming and seductive, but always mystical, like a magician, a wise person. But in the end, it is Kenjaku who possesses him, an ancient curse. This ancient entity has all the world’s wisdom, so he has to speak in a way that captivates the audience.
©Gege Akutami/Shueisha/JUJUTSU KAISEN Project
Gojo, on the other hand, Pepe plays him super suave, kind of like: “Oh come on, baby, you know…” Like James Dean back in the day. And that’s it, he doesn’t need anything else. Gojo is the badass. The one who knows everything, who can’t be beaten. He’s the “Juan Camaney” (a popular Mexican character known for his arrogance), the ultimate cool guy.
Sometimes the director gives you so much freedom that you actually outperform the original. And then the Latin American dub becomes more iconic, more memorable than the original, whether it’s Japanese, German, Chinese, whatever. People go: “No, the Latin Spanish version was way better.”
(Speaking about the “match voice”) The Japanese actor who plays Doflamingo is like 74 years old. I just turned 49. I was like “wow, they give it to me without having that into account”. So what did I have to do to match that deeper tone? I had to go (he plays Doflamingo) super cavernous, like a psychopath, serial killer vibes who wants to destroy the Straw Hats, like a drunk guy at a bar. That’s how I could reach the level of that older actor.”
Q: Is there any particular line or scene from Suguru that you especially liked or enjoyed dubbing?
Christian: “When he is dying and he tells Gojo: “It’s just that in a world like this, I can’t laugh from the bottom of my heart.” That line really wrecks me, seriously. It wrecks me.
Why? Because if you really look at the state of the world, that line makes so much sense. So many people, if they truly saw what this planet is like (wars, hunger, political problems), would say: “I am unable to smile from the bottom of my heart.” It’s a powerful line. So heavy.
It really is such a heavy line. When I delivered it, I got a lump in my throat, I swear. I was like: wow.”
Q: Besides Suguru, you have voiced other iconic, powerful, and imposing characters like Byakuya Kuchiki in BLEACH, Donquixote Doflamingo in ONE PIECE, who we already talked about a bit, and Ryunosuke Akutagawa in Bungo Stray Dogs. All of them are antagonists at some point; they share that trait. Do you enjoy playing villains? Is it something you’re drawn to?
Christian: “You know, quite a few director colleagues have told me they prefer how I play villains over heroes. That they like my vocal acting better when it comes to villainous roles. And I just say, well, thank you. Villains are definitely more enjoyable. They give you more options, more possibilities, vocally speaking and audibly speaking, you can add more nuance and tone than with a hero, a rich kid, a daddy’s boy, a handsome prince who inherits his father’s kingdom. That gets boring, you know? So yes, we villains are more fun. And acting-wise, they definitely offer more opportunities to explore your voice and push it further. That’s a fact.”
Christian’s Path in the Industry
Christian Strempler started working as a voice actor at a very young age, which means he has witnessed several changes and challenges. In the following part of our conversation, we talked about the beginning of his career, how the Mexican dubbing industry has evolved over the decades, and what those changes have brought.
Q: Can you tell us how your journey in the world of voice acting began?
Christian: “I started when I was 8 years old. My dad, may he rest in peace, worked at a film company that eventually turned into a dubbing company. The owner invited my dad to be part of that new project. When I got out of school, he would take me to work with him. I’d see the recording rooms, see them working on movies… but I was 8, I was in my own world.
One day he said to me, “Do you want to watch a cartoon about cats with swords and spaceships?”. At the time, we were still using Beta tapes. He gave me three tapes with around twenty episodes. I put them in the VCR and started watching: it was ThunderCats. I saw them before they aired on TV. I had that privilege because my dad would record the episodes, almost secretly, and bring them home to me. They blew my mind. I was fascinated. And I started mimicking the voices. Some turned out well, others not so much. My dad would listen and say, “Hey, that sounds pretty close.”
One day he came home and said, “We got a movie with only kids, but we don’t have child actors. Do you want to try a voice test to see if it fits you?” I said, “Sure, why not?”
So my brother and I went. My brother is two years younger than I, and his name is Alan. He was in voice acting for about 20 years. He’s not doing it anymore, but he was there.
In that movie were Arturo Mercado Jr., Érika Edwards, Víctor Ugarte, Xóchitl Ugarte, Gaby Ugarte, Sergio de Alba, Azucena Rebollo (daughter of dubbing director Azucena Rodríguez), my brother and I. We all started around the same time. We dubbed the movie, and it turned out well. Two weeks later, my dad came back and told me, “Mrs. Magda really liked your work. She asked if you wanted to go, so she could teach you.”
That’s how I began. After school, I’d go in the afternoons to the company where my dad worked. We’d do homework there, and then I’d record, do voice tests, practice standing in front of the mic, learn how to project my voice. I was 8, maybe 9 years old. That was in 1985. And well, I’m still here. And we’re going for more.”
Q: With over 40 years of experience, you have witnessed major shifts in the industry. From times with limited resources to the digital age. How has that technological evolution been for you? What changes have you seen in the Latin American dubbing industry, and what aspects still need greater recognition?
Christian: “Everything has changed, from the recording method to the dubbing approach. It used to be more acted, now it’s more linear, more muted. In their attempt to direct it in an “organic” way, which is what they call it, right? The term “organic” is very popular in dubbing nowadays. But they’re making it boring, because they want everything flat, quiet, toneless, without nuance. And we don’t speak like that. So it becomes dull, it becomes tedious. Unfortunately, it is a sort of trend that several directors are adopting. Personally, I don’t like it.
Technology has advanced; it has kept us active, current. As an actor, you’re still relevant in all this, and you work faster and faster, but working faster doesn’t mean you’re delivering the same acting quality as before. Back then, you enjoyed the character more, you enjoyed the tone, you enjoyed working with your colleagues, because we used to record with 5, 10, 15 people at the same time at the stand, or all standing together. One would step in, speak, step back, and another would step in, speak at the mic, and so on. That was truly organic. And that way, there was a natural conversation happening at the stand, and the acting just flowed, because you had to be sharp, aware of what your fellow actors were saying. You had to watch your cues on screen, see when you came in, read your lines, and give the performance that was being asked. That was dubbing. And it’s no longer done that way.
Now, each actor records on their own channel. So technology, I think it has helped us, but it has also harmed us. In some ways, it has outpaced us, for example, with corrections made without you even being there. They’re magic tricks using technology, software, the engineers. The engineers are technology wizards, I’m amazed by what they do. But… they’re phasing you out, they’re not needing you like before. That’s the issue. It has helped the industry a lot, but the acting, the dubbing… I think dubbing today is what is suffering the most from current trends, from my point of view.”
The Struggles Voice Actors Face Today
The concerns related to today’s dubbing approach and industry trends aren’t the only problems that are seriously affecting the profession today. One of the most common situations is the increasing number of cases where voice actors are replaced, sometimes without any prior notice, underestimating just how important voice consistency is for the identity of a character and the emotional connection fans build with it.
According to the voice actor, payment problems are one of the key reasons behind this. After dealing with situations where companies failed to pay, some voice actors request specific payment terms to ensure they actually receive their compensation. However, many companies refuse to agree and simply recast the character instead. Christian has experienced this firsthand many times and says the same has happened to several of his colleagues. He shared with us what the situation was like for him.
Christian: “For example, I used to voice Byakuya Kuchiki. I worked on voicing that character at a certain company, and they didn’t pay me. They even stole my retakes. So I quit. I walked away from all the characters I had there, all the work. And of course, I lost that character. They called me, very politely, “empathetically,” according to them, “Sir, would you like to come back to voice your character Byakuya Kuchiki from BLEACH?” I said, “No, thank you. You don’t pay.” They fulfilled their duty of calling me and offering the part back, so now they felt sort of redeemed, like they’d done their part. I was the one who refused.
So they gave it to someone else. I don’t know how he did it, I don’t know how he voiced the character, but I hope he at least did a good job.
Because I have had young fans come up to me and say:
— “That character sounded great with your voice! Why don’t you do it anymore?”
— “Because they didn’t pay me. I’m sorry. It wasn’t my choice, I apologize. If I could still do it, I would. But I can’t anymore. I already quit the company.”
— “Aw, that’s a shame, sir, your voice really fit that character.””
Payment issues aren’t the only reason behind this. Christian also points to the existence of tightly knit circles of influence within the industry.
Christian: “What’s happening is just insane. They take characters away from you on a whim, they take voices, they switch things around… Supposedly, Disney respects that. But at the end of the day, they don’t.
There are power circles in the dubbing industry, well-known ones, with names and surnames. It’s real. They give all the work to each other. They don’t hand out opportunities, they don’t share jobs. And if they give you something, it’s always something small, something insignificant, because the bigger roles have already been handed out among themselves or to their friends. That’s the sad reality of Mexican dubbing today. Work is becoming so scarce that they hoard whatever’s left and keep it in their circle. I think it’s really hurting the industry, but they don’t get it.
Another huge blow to dubbing is overpopulation. Every week, 25 to 30 new people join the field. They’ve “taken a course with so-and-so,” or “attended some workshop”… and they start flooding the dubbing world.
But the problem is that they’re not trying to build a career. They’re chasing 15 minutes of fame. They want to voice an anime character so they can go to conventions and make money: quick money, easy money.
Many of them have pulled it off. But when you ask them to act in something else, they’re not actors. They only know how to do anime, and that’s because they’re fans. Then they start charging companies less, and companies love that. These new, young people are very profitable for studios. Some of them actually work, I won’t say they don’t. Some of them have talent, they have the gift, they get the job done. But they don’t charge what they should, they don’t do what they should, they’re not unionized like they should be. It’s a bunch of issues that, in the short, medium, and long term, are destroying and burying Mexican dubbing. Add to that the rise of AI, all the problems with artificial intelligence, and it’s even worse.
I talk to colleagues every day, and I ask, “How many recording calls are you getting?”
We used to get 6, 7, 8 calls a day, really good ones. Now it’s one, two, three at most. That’s hitting the jackpot now: three recording calls in a day? wow!
But now there are so many people, and they’re filling positions they shouldn’t be filling. Because in dubbing, we haven’t set up filters or any kind of certification system for the newcomers. And yes, they have the right to work; no one’s denying that. It’s in the Constitution, but they are not actors. Unfortunately, it is affecting certain projects. Some sound awful. And clients say: “Well, if it sounds the same in Argentina, I’ll just take it there. It’s cheaper.” And they take it to Argentina, or Venezuela, or Chile. Because in Mexico, there are no quality standards anymore, everything sounds the same.”
Q: Fans often try to expose these situations through social media… Do you think that if fans come together, they can help impact casting decisions or at least open a dialogue so that companies understand how strongly the audiences associate a character’s identity with a specific voice?
Christian: “Nowadays, thanks to social media, fans do have some power. They carry some weight in the industry. They can say, “No, I don’t like this; take it down, remove it from the platforms.” Did you hear about those K-dramas that were dubbed using AI? Well, the fans of that kind of content complained heavily on social media, they wrote directly to the companies, to the clients… and the shows were taken down. They sounded awful, just horrible.
So, do fans have power? Yes, they do. Can they make change happen? Yes, they can. If you go straight to the client and say, “We want this voice for this character because it’s the one that fits best,” the client might just say, “Alright, give it to them. Why not?””
Q: In other entertainment industries, actors often have contracts that protect their roles long-term. How does that work in voice acting? Is there any way to take collective action to push for protections in Latin American dubbing?
Christian: “No, because here in Mexico, there’s no unity. There never has been, and there never will be. Everyone just looks out for themselves, sad but true. Rarely, very rarely, have actors actually come together. Everyone’s scared: scared they’ll lose work, scared they’ll stop getting calls. Because they’re parents who are supporting families, they’d rather stay silent than speak out. That’s the issue. Sadly, there’s no unity. That’s the sad reality.”
Our conversation with Christian Strempler gave us a closer look at the voice behind iconic characters: from his first steps in dubbing to the issues voice actors are dealing with now, he shared his reflections and valuable insight into a profession that, in Latin America, often goes unrecognized.
We are really thankful to him for taking the time to speak with us and for sharing his journey.
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