There is no universally best microphone for voice acting. The useful question is: which microphone gives this voice a clean, repeatable recording in this room and this workflow?
Start with the room
If your room is reflective, noisy or untreated, a very sensitive microphone may faithfully capture everything you wish it would ignore. A tighter dynamic microphone can sometimes be a better choice than a studio condenser because it makes the room easier to manage.
USB or XLR?
USB microphones are simple and portable. They can be an excellent choice for a single actor who wants a compact setup. XLR microphones require an interface or recorder, but they make it easier to change microphones, expand to multiple inputs and build a system over time.
Neither connector makes a performance better. Choose the workflow you can operate reliably.
Dynamic or condenser?
Dynamic microphones are generally less sensitive and can be forgiving in imperfect rooms. They are also comfortable with high sound levels. Condensers tend to capture more detail and transient information, which can be wonderful in a controlled space and frustrating in a bad one.
Polar pattern matters
For most solo voice work, cardioid is a practical default because it reduces sound arriving from behind the microphone. Omnidirectional microphones can sound natural but capture far more of the room. Supercardioid and hypercardioid patterns provide tighter pickup but create their own placement challenges.
Listen to off-axis sound
Actors move. A microphone that sounds beautiful only inside a tiny sweet spot may create extra editing work when a performer turns, leans or becomes physical. Listen to what happens when the voice moves around the pattern, not only when it is perfectly centered.
Self-noise and gain matter, but context matters more
Specifications such as self-noise, sensitivity and maximum SPL are useful, but they do not tell you whether the microphone flatters a particular voice or behaves well in your room. A technically quieter mic can still be the wrong choice.
Test with the performance you actually make
Do not test only with a calm spoken sentence. Whisper. Shout. Turn your head. Move closer. Move back. Deliver the kind of performance your productions demand and listen for plosives, sibilance, proximity effect and room pickup.
Spend money on the whole signal path
A microphone is only one part of the recording. Placement, room control, a stable stand, a pop filter, headphones and an interface with enough clean gain can matter as much as changing microphones.
The best microphone is the one that lets the actor stop thinking about the microphone.