Here are some takeaways for your own announcement trailers — especially if you’re making a tactics game.
1. TACTICS? Show the interactions in SUPER-SPEED Anybody who plays tactics games knows most of the game is sitting there thinking about what to do. Don’t show that! But do show the fast-breaking action. Make us feel these hits connect — as fast as possible!
2. Frame the player’s role If your game’s objective isn’t clear. Try telling them. You can always pare-back if it’s too hammy. See how the city is under attack by kaiju and the big robots arrive with the, “Protect the city?” This establishes the objective for the player. A little bit of context is all the viewer needs to see themselves in the game.
3. Establish street cred — while establishing new gameplay
If you’ve got experience, show it, but highlight your new hotness.
4. Use some swirly-twirly camera focus!
It’s your job to make sure folks only see what you want them to see. When your game has a really-busy heads-up display, you gotta snag the camera control, zoom-in, get in there, keep the camera moving along. Drive their eyes.
5. UNIQUE FRIGGIN’ GAMEPLAY
I don’t know any other tactics games that involve time travel, at least not off the top of my head. This line right here: “If you really can go back in time, do it now?” That’s fancy! Highlight, underline, ALL-CAPS that stuff! Be unique.
Once again, those key takeaways are:
TACTICS? Show the interactions in SUPER-SPEED
Frame the player’s role
Establish street cred — while establishing new gameplay
Use some Swirly-twirly camera focus
UNIQUE FRIGGIN’ GAMEPLAY
I’m M. Joshua. Find me at mjoshua.com. And? Feel free to subscribe — for the next time we look at a damn-near-perfect trailer.
Here’s some takeaways, from Flinthook’s trailer, for your own game’s trailer:
1. Use #BRANDCOLORS™
Notice these Flinthook™ color bars! We haven’t even started the trailer yet! And already the game is subconsciously establishing its unique voice.
Here’s a quick test: can somebody look at any screenshot from your game and instantly tell that it’s your game?
2. Try a sweet one-shot opener! Notice how in the first fifteen seconds we’re treated to everything we need to know about the game: the genre, Flinthook’s unique-take on the genre: specifically, the sweet hook-shot! And, killing enemies to bag the loot! If you can show everything that your game does in one shot? Do it right away!
3. Use a bit of “outside” voice You’re biased and your opinion doesn’t matter. What others say about you, though? Yeah, use it if you got it. The more variety and big names here, the better.
4. UNIQUE FRIGGIN’ GAMEPLAY (This is important)
Nobody else out there has sweet hookshot action like Flinthook. I mean — it’s in the name: flint-hook. But what’s most important is that this one-of-a-kind hookshot action is front-row-center. The trailer opens on hooking. And the trailer ends on hooking.
Make sure you tattoo this on your forehead: your unique gameplay is how you stand out against the SEA OF STEAM RELEASES.
5. Sneak some player motivations in there.
Notice when the trailer says, “Become the greatest space pirate,” and then shows some action. Then it’s all “Plunder randomly-built spaceships.” This is great too: I love how this line addresses the roguelike structure of the game.
These little statements say so much about why you wanna play the game. And they speak to you kind-of on a subconscious level.
Once again, those key takeaways are:
Try a sweet one-shot opener!
Use a bit of “outside” voice
UNIQUE FRIGGIN’ GAMEPLAY
Sneak some player motivations in there.
I’m M. Joshua. Find me at mjoshua.com, where I’m available for trailer consultations and trailer projects. And? Feel free to subscribe — for the next time we look at a damn-near-perfect game trailer.
Here’s the second episode in my game trailer takeaway series, ‘Damn-Near-Perfect’:
[Transcript] So, Bokida — Heartfelt Reunion: it’s out today! I did the trailer — working with Rice Cooker Republic. So I can’t objectively speak to its quality, but I can say we tried to make it Damn-Near-Perfect. Now, I started this series only planning on talking about others’ work. But, hey! It’s timely, so let’s check it out.
So we learned a ton on this, and I think we’ve got some useful takeaways for those of you making your own game’s trailer: 1. Hard-to-explain game? Let style drive. Bokida is…a puzzle sandbox, open world, exploration game where you are trying to reunite two stars with block-building—and powerful momentum mechanics.
Forget about all that. Let’s just run with style!
What’s your game’s weirdest most-style-distinct element? Yeah. Focus on that. But don’t forget to explain the game (with that style). 2. Ground things in a human voice. The first thing that we experience in life are human voices and human faces. So in lieu of one of those, use the other. Make your game feel human, and relatable. After all, your trailer is trying to build a relationship with the player. And like I said, if your game doesn’t have a voice, use a face. It doesn’t have to be a real face; could be a character face. 3. Focus on the player’s verbs and motivations Please, for the love of all that is gameplay, show me what I’m doing in the game! Even if it’s a little hard to follow, I need to know that the game lets me do something interesting. So, focus on your player verbs. And if possible, help me understand why I’m doing any of those things!
Player motivation is the single biggest factor to picking up your game. They might not know exactly why they really want to play your game, but you better know that. And you better connect those dots in the trailer.
4. FPS-Cam: Keep it clean, but include the player movement First-person trailers are nasty for the creator—I just gotta be honest with you. And getting gameplay footage that looks clean takes too many retries. So you need some clean, smooth trucking shots—typically made in the game’s debug mode.
So, not real gameplay.
But here’s the thing: I need to know what it’s like to move around in your game. So you better show me some first-person gameplay movement, so that I can see myself in the game. It’s just gonna take a few dozen tries to get right.
5. Build a story around a theme We spun this trailer around the theme, “To reveal beauty” — which is what the word BOKIDA means. So for your trailer, you gotta figure it out: what’s your game’s theme? Take time, and really answer that question: “What’s your game’s theme?” Then when making decisions, you can always ask, “does this moment support that theme?”
Once again, those key takeaways are:
Hard-to-explain game? Let style drive.
Ground things in human voice.
Focus on PLAYER verbs and motivations
FPS-Cam: Keep it clean, but include player movement
Build a story around a theme
I’m M. Joshua. Find my trailer work at mjoshua.com, where I’m available for trailer work and consultations. And? Feel free to subscribe — for the next time we look at a damn-near-perfect trailer.
I started a new video series today: What makes this trailer Damn-Near-Perfect? Here’s the first episode:
Dead Cells is out today! And I’m there. Why? Because the reveal trailer is damn-near-perfect. Let’s check it out.
There’s some takeaways from this trailer — that you can reproduce if you’re trying to make one for your own game.
1. First? Establish genre! If they don’t’ like action games, or “rogue-vanias”, they’re not gonna like this game, and that’s okay, but you’ve got to get there as soon as possible. Qualify your audience.
2. Show your GREATEST HITS! Dead Cells is a safe place — for you to hit things as hard as you possibly want! You gotta show the chunky-delicious fallout of your interactions! When players see this, they’re like, “Oh, okay! I wanna make these decisions in a game, myself!”
3. Emotional range, PLZ!
This moment with the scene changed to the ramparts — You’ve got to get to the emotional highs and lows. Give your audience some relief from tension. Then, get back to the tension! But make sure that you show the full breadth of emotional range through the journey of your game. Also, how did they fit a moment of rest in a thirty-second trailer?!?
4. Slow down to get a hurried-up trailer!
Thirty seconds in, and the trailer is done. How did they do that? The irony is that it takes a lot of time, to make a really short trailer. If you can take your time? Do it! It’s worth it.
5. Land on the emotional destination
Let’s just back up for a second (0:19). Where you land — what emotion you leave the trailer with — that’s how people are going to remember your game.
In this case, that’s TENSION!
Once again, those key takeaways are:
First: establish genre
Show your Greatest Hits
Emotional Range, PLZ!
Slow down to get that sweet hurried pace
Land on your emotional destination (TENSION!)
I’m M. Joshua. Feel free to subscribe — for the next time we look at a damn-near-perfect trailer.
I could play What Remains of Edith Finch a thirdtime right now (I loved it so much that I make all my friends play when they come in my door), but I think the game’s trailers struggled — as first person narrative trailers do —to show what makes the game great.
This trailer introduces the heroine, provides context to the setting, has spot-on editing, top-tier camera work, and perfect auditory composition. But I want to talk about the one thing left unanswered.
“What do I do in this game?”
Sometimes you pick things up.
(This is where the magic happens.)
As you pick up certain memoirs, you trigger a role-shift into that person’s shoes — at the most-permanent part of that person’s life: their death.
The PSX trailer (and the launch trailer) do a great job of framing this memento mori idea, but they chose not to show the player engaging these memoir moments. I mean, I get it. It’s a hard choice: do we show the player’s first-person gameplay (with all the drunk-wonkiness of movement — and time-constraints of gameplay animations), or do we wrest camera control and show the game’s beautiful setting instead?
By choosing setting, they got beautiful footage, but sacrificed the player’s voice (player-cam). I respect this decision. But I’d like to consider the player-cam option. Would this work? While I can’t guarantee that, I can guarantee they would have had a ginormous hot-sticky mess on their hands (though a potentially delicious one).
First-person camera movement is a hot-sticky bastard.
Player-cam movement shows the player’s role in a first-person game, but the tiniest little slip-up reads like it’s recorded by a teenager on their fourth Monster Energy drink.
Pro-tip: never use a mouse to try to capture first-person gameplay. It doesn’t end well. PS4 and Xbox One controllers work well for getting smooth camera movement, but it still takes countless retries to get just right.
It’s an enormous pain. But I think it might be worth it.
I tried some camera-movement-centric techniques for Anamorphine’s trailer.
We needed to show relationship dynamics in Anamorphine using just the player camera. Our reliance on player-camera movement meant it also took more hours worth of retries than anybody would expect from a thirty second trailer. We also were forced into this decision. Since the game doesn’t have any human voices, we had to show a “human voice” somewhere, so we opted for camera movement (and Beatrix Moersch’s phenomenally-brilliant sound design). The subtle bob of player movement further-captured the human-like movement we were after. And in the end, we captured just what made Anamorphine: it’s about moving towards, moving away-from, and processing a relationship with somebody special.
Consider the hybrid approach: smooth-cam + player-cam.
Watch any mainstream FPS trailer. Count the actual-gameplay shots. If it’s really good, it might have one player gameplay shot. And most of the time it’s just a gun shooting down iron sights to minimize any remote semblance of shakiness. While I’d call this a hybrid-approach, I still don’t get on a horse until I see how it actually rides.
Show me at-least some actual player-controlled movement!
We tried a real hybrid approach (smooth-cam + player-cam) for the the trailer of Bokida – Heartfelt Reunion. See if you can spot the moments that are (A) player-cam or (B) smooth-cam.
How many did you count? Every shot in the trailer was gameplay — honest, natural, un-debugged gameplay, but it doesn’t count to the viewer as “gameplay” until they can see the player’s voice — when the camera moves.
We used these teensy camera movements to hint at the player’s role, up until the real bullhorn moment at 0:31. The player takes control in a single camera tilt—that practically screams (by comparison to the smoother shots before it). Then we’re off to the races: the real player verbs that illustrate explicit gameplay.
Let me back-up a moment. A lot of work went into that one “small” tilt moment (it took me about 50 tries or more to get that two second clip just right). While I’m proud of the effects, it’s a tad disheartening to realize how many dozens of takes (and many hours of work) go into each of these shots. Still, the player-cam-effect offers a necessary window — players might see themselves in those shots.
Let’s look back at What Remains of Edith Finch for a second. I’d love to say that player-cam footage is the solution to the communication problems the game faced. But that’s not the whole story, the whole story needs to be told just as it is: through a grander narrative than the momentary stuff.
A framing device might be the single-most powerful tool for first-person narrative game trailers.
ForThat Dragon, Cancer, we also committed to using a player-cam to frame everything, but more-importantly, we frame the game’s grand concept through a framing device: a baby toy called a See ‘N Say.
In a chapter titled, “I’m sorry guys, it’s not good,” spin the See ‘n Say toy to hear the thoughts of everybody in the room. Pull the picture with the fuzzy-bearded man with glasses to hear what the dad, Ryan, thinks about the doctor’s declaration. Spin the See ‘n Say on the brown-haired woman to hear what the mom, Amy, thinks. You also can hear similar thoughts from both medical caretakers in the room. We realized this toy could frame the whole game: pull the cord, hear a line from that parent. So that’s what we did in the trailer.
Interestingly enough, What Remains of Edith Finch also uses a framing device in their trailers. But because we don’t see the player interacting with this framing device directly (the house), the concept is lost.
It would have further complicated the trailer production should they have taken this approach. I’d actually love to speak again with Ian Dallas (Creative Director at Giant Sparrow) to see if they tried a more-literal gameplay approach that tried to employ the framing narrative. I’d love to hear about their trailer decisions to forego showing player-cam and framing-device interaction.
In the end, maybe it just failed to work.
First-person game trailers require give-and-take, but remember the trailer’s goal.
You have to answer, “What do I do in this game?.”
Edith Finch’s trailers are fantastically produced, but since they they left too much to mystery, we can’t see how you play it. At the very least, they should have taken the hybrid approach: showing beautiful pre-composed shots (like they do), but also some of the player walking in the house (player-cam shots). In addition, we needed to see two memorial interactions (one to establish the action, a second to stress its importance). These moments would help players see themselves in the game, and better bridge that “what do I do” gap.
I get it, every genre comes with difficult trailer decisions: first-person games may be one of the hardest to show, because so much of what happens exists between your ears. Very few first-person trailers are enjoyable to watch when they’re entirely player-cam. And when they are, the work-load is exhaustive. Still, I hope this article helps you strike a balance — as you sort-out the most-ideal technique for your game.