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 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.
Game marketing mogul, Justin Carroll joins me with game PR expert Racheal Mack as we put our heads together answering the toughest questions game devs face with marketing their games. It’s been great for all of us: lots of cross-learning and skill-refining that come along. Plus, devs are smart people who ask smart questions, which generally means that we get to dig deep for answers.
We’re only four episodes in, but you can watch our previous episodes on the following topics:
Our best episode so far is our latest, one about elevator pitches. I’d recommend starting there.
If you’ve got any questions about game marketing, want to propose a topic, or ask a question?
We’d love to deep-dive a topic you’ve been thinking about, and make it the focus on one of our next streams. You can reply here in the comments, on one of the YouTube videos, or shoot me an email at email@example.com.
And be sure to check the show out when we’re live on Mondays at 4pm EST. We’ll be out December 26 and January 2 because of the holidays, but be sure to check us out on December 19, January 9, and every Monday after that!
Also, you can subscribe to the show and set a notifications to get an alert when we go live on our YouTube Channel.
You need to build an honest game trailer — without sacrificing an ounce of sex-appeal. Now that we’re officially in a post-No-Man’s-Sky world, everybody is deathly afraid of overselling their game. But I promise that there’s a greater danger: not selling your game at all.
You can have both. It’s not that hard.
Step 1. Show good hitting of things.
When Rocket League’s ‘OMG’ trailer came out last year, it grabbed me with one moment: when that rocket-car hit the ball for the first time. I bought it full price. No questions asked.
Show good hits in your trailer, and you quickly separate your game from the hype train, and open yourself up to being able to flesh out the rest of your trailer with non-hitting-of-things shot. Because once you show that first good hit, you bring confidence to your action-players.
Does your game have killing? Show somebody getting killed. Make those jabs, stabs, and metallic clanks blast at full-volume. Showing in-game action with real chunky flashes with matching sound-effects tells viewers right away: this game has a good hitting of things.
Do me a favor, count the “hitting of things” shots in the firstNo Man’s Sky trailer. It’s not hard. You only need one hand — a problem that persisted through many of the trailers. The bigger problem was that the sizzle already hit the air well-before any steak got on the grill.
Sometimes it’s hard to show good hitting of things. If you’re building a game in a genre without combat (like a management sim, adventure game, or visual novel), then you’ll find a lot less things to hit. But you’re not out of luck: showing a climactic mechanical event, such as a simulated bar completing and producing a reward, or placing a key into a fancy keyhole and unlocking, or picking a dialogue option and showing a happy character response. Each of these register as “good hits” in the player’s mind, and can be instrumental in transforming trailer viewers into players.
Step 2. Show the ideal gameplay.
Say your game is a stealth game: don’t show your character just waiting in the shadows — at least not for the whole trailer. That’s boring.
Don’t focus on the boring bits.
Show players what the ideal action moments are. It’s okay to not-show 90% of stealth gameplay (searching dark corners, waiting under tables, listening for guard footsteps). Hide your low-emotion gameplay and go for the high-emotion highlights! Show the five seconds of payoff from hunting a mark from the shadows for five quiet minutes. Anticipation edits are useful too, but don’t feel obligated to show your less-attractive gameplay in your trailer.
Fellow trailer-maker Derek Lieu says, “The goal for game trailer capture is to show an idealized version of what it’s like to play the game. The only reason it might look “better” than the player’s actual experience is because capture for a trailer is perfected by doing take after take. I think anything goes as long as the capture doesn’t misrepresent the game or its mechanics.”
Derek’s point is clear: as long as you’re building the trailer in-engine and informing actual mechanics and/or plot-points, you’re golden. When Derek made the E3 trailer for Firewatch, he captured the core activities of the game, but in order to capture great “WTF” mystery of the game, he had to work with the devs to construct a moment not in the game, and show that. He details this process on Campo Santo’s blog — where he explains the how and why behind that decision.
Building-out custom scenes for your trailer is often absolutely necessary for your trailer. However, it’s essential that they run in-engine and do not betray the core interactions and experiences of your game. If you’re building your game to run primarily on PS4 hardware, it’s probably a bad idea to rely on any performance that’s only possible on a top-end PC — unless the general public’s version of the game will be able to do the same exact thing. Integrity here counts, especially since the player community will hold you in contempt if they discover that you’ve done something otherwise.
Your goal here is to first identify: what is my ideal gameplay? What does my game do the best? Show that, build tools to showcase it if you have to, but whatever you do, show your game doing what it’s the greatest at.
Step 3. Build your world extravagantly — but do it honestly
Awe may be the single most important aspect of your game. This is the part of your trailer where you’re revealing how big the world is, showing the most beautiful shots, the most iconic and pristine moments. There are no limits to what you can do, say, and how here. Seriously. But there’s a reason why this is Step 3.
Only once you’ve qualified your lead are you able to provide your pitch. And gamers feel the same way: if the game has qualified itself with a good hitting of things and an ideal gameplay establishment, you can go on to say whatever you want.
Take the launch trailer for Alien:Isolation for example. There’s not a ton of hitting or ideal gameplay moments, and most of it focuses on setting and tone, but that’s because they’ve established the hits: the alien kills you very suddenly. You run. And the hits come. It might not even say everything in that trailer because it assumes the hits from previous trailers have hooked you. But those popping moments leave a ton of play-room.
Facts matter, obviously. So don’t show anything that’s not a qualified fact. If you’re using accolades, don’t misquote. Be sure to cite your source. And as long as you don’t use artificial HDR lighting (that your game can’t pull) or any other disingenuous tricks, run free. Make your trailer as impressive as it can be.
Once you work with the baseline foundation of honesty, you’re free to do just about anything.
Step 4. Deliver the goods (release a game that matches your trailer)
This is the easiest step for me, because I edit trailers and I don’t have to worry about this at all. But for you, the developer, this is where the goods come into play. If you’re able to make good on all the promises you’ve put forth, then that’s wonderful. And speaking of wonder, it’s the talent of an experienced craftsman that bridges the gap between ambition and wonder.
Don’t be afraid to leverage your previous successes (and failures) towards the direction of your brand. Your name might not mean something this time; but it will after you find your audience. Hold on to your longevity: wear it around your neck.
And if at first you release a game that doesn’t match the hype of your first trailer, be like Slain: Back From Hell, which spent several months refining itself after launching to a poor reception — until it “came back from hell” with a better hitting of things.
At the end of the day, people remember your game for what it became (even if at first it didn’t make a good impression).
Step 5. Double-check: did you cover Step 1 and Step 2?
Once you’re almost done your trailer and second-guessing each shot, come back to Step 1 and Step 2: are you showing a good hitting of things? Are you showing your ideal gameplay scenarios? If so, you got the most important parts. Those are the parts people will remember even if they forget everything else in your trailer.
Towards the end of the process, the finishing touches often take way longer than you expected, but know that the more polish you put into the edit, the more it shows. Your trailer may be the first impression your game makes with a player. Be sure to make it count.
The best movie trailers make me cry. It doesn’t happen often. But it’s happened. Game trailers, on the other hand, have never once made me cry. Yet the best ones are getting closer.
The best and most-powerful game trailers toss us through a ringer of ups and downs. That rapid-fire assault of emotional intensity is what grabs us. It’s what makes us say, “I want that.” The thing is, most game trailers forget the player’s emotions. They tend to land as one-note threads that focus too much on the features — and not enough on the game’s emotional roller coaster. It’s a shame because that roller coaster sells your game.
Take the final trailer for Life Is Strange for example. Track the emotions as you watch:
It starts full of fear, then tension builds. And just after the heroine sits and thinks, the tone shifts. The music turns into a melancholy hope. The colors shift to a warmer hue. Suddenly things feel hopeful. It seems like the game gives us the tools to try to fix things. Suddenly we’re in a montage all of the terrifying storm shots contrasted with scenes of optimism. It shifts from dark, to light, and back and forth. Scenes of danger come after scenes of loving support. Notice that progression: fear, tension, optimism, joy, destruction, hope, storms, friendship, and blood. That’s how you capture a player’s emotional journey!
There’s just one problem: you aren’t making a game like this.
Unless you’re in triple-A development, your trailer can’t include high quality character models with emotive human acting. The litany of positive press quotes and top-tier production elements are a pipe dream. So for most of us, we’ve got to find a way to make a trailer that captures the emotional journey in a different way. We have to think smaller. Weirder.
“Weird” is a badge of honor for us indie guys, and we have to wear it with confidence, but that doesn’t mean that we get a free pass for being oddballs. We need to work hard to capture the emotional journey through (and around) our eccentricities.
I think I have a solution.
Capture the player’s emotional journey. And I mean that literally. I record real players playing the games I’m making trailers for. I capture the sounds they make, and I watch how they react to the games. These are people I know that aren’t impressed with me or starstruck in any way. It’s just normal folk having honest reactions to the game. Sometimes they’re not positive reactions. And that’s okay. Their emotional lows mix with the highs to provide you the blueprint for your roller coaster.
Feel free to copy this approach.
While it’s hard to get people over to my place to play the games, it’s so worth it when they do. It puts a human angle on the games. It allows me to find the games’ key qualities that resonate with players. And it lets me hone-in on those highlights so that I can show those moments to would-be players through the trailers.
Take a look at my first example:
Recording players playing Threshold helped me to find the emotional gold. Players truly resonated with the “ah-ha” moment of discovering a puzzles solution. I also saw that women preferred the game more than guys. So right after about four play tests, I learned right there that I should record women playing the game with guys so that there’s clear audio contrast and the players are verbalizing their experience (which few did by themselves). This worked splendidly.
The emotional journey wasn’t complete, however, until I figured out how to get the low-moments in there. Players started to show visible signs of frustration as they went through the “what the crap do I do?” moments. And I realized that these moments were critical to making the breakthrough moments enjoyable. So I used both the players’ frustration and discovery experiences to build that coveted roller coaster. That’s the real story for a puzzle game: a player’s journey from confusion to clarity, often repeated.
I have no illusion that I make the best game trailers. But I do believe that there’s something ripe and potent about this player-journey approach. It’s not to say that it’s a one-size-fits all solution. Each game genre is completely different: a spacecraft engineering game will require a different trailer storytelling method than a four-player brawler. But the overarching rule is consistent: the player’s emotional journey is always what makes them want to play your game.
My next trailer example takes us to the arcade. More specifically, the arcade action game genre. Story doesn’t matter here as much as the exhilaration of play. It can be a challenge to capture the emotional journey of this genre, but this is how we went about it for Super Flippin’ Phones:
Notice how the journey starts at comedy, dives into the game’s tension, ends in a moment of defeat, and then resolves in another “brave attempt,” punctuated with more humor. This was key for showing off the arcade action. We needed to show the victory and the defeat in a play-through; Winning is intense. Failing is easy to recover from. It’s an emotional roller coaster.
Emotional contrast is essential. You never start a romantic comedy with love birds already together; they have to be as far apart as possible or it their coming together lacks weight. Similarly, the first Hotline Miami’s trailer focused on this same up-and-down journey (quite literally). There’s anticipation, coldness, a “How could I do that?” moment, small success, dread, and then victory (albeit still melancholy). That sense of loss was key to that game, but it’s somewhat absent in Hotline Miami 2’s trailer. While Hotline Miami 2’s trailer is cooler, richer in game content, and full of energy, it lacks the depth of the low-notes in the first game’s trailer. It’s ostensibly still a cool trailer (and an amazingly well-produced one), but the low degree of despair keeps it away from the same emotional range of the first trailer.
Ask yourself: what are the player’s emotional highs and lows in my game? If either end is lacking in the trailer, the player will subconsciously feel it. The emotional ride will “taste” bland. Think of good Thai food. It focuses on four key notes: sweet, sour, spicy, and salty. Too much of any one of those and you crave more of the other.
Say you have the lows and highs sorted. Next, you have to figure out how you’re going to capture the emotional journey.
If you wanna me like me, get the game in front of people and then study how they play. It’s important that they play in a neutral space. Make the player as comfortable as possible so they can provide honest and thoughtful feedback. The more homelike and comfortable, the better. Record that experience both on-screen and the player’s vocal reactions. Video is helpful if you’re doing party games, but the setup, lighting, and environment can make normal players uncomfortable and provide an inauthentic experience. Most players don’t naturally talk or express when they play, but they will if you put multiple people together and encourage them to figure the game out together. Review all of the player input and feedback. This is exhaustive and can take a lot of your resources, but it’s key to finding the essential data that will drive your game’s trailer and subsequent marketing.
Say you do all of this and then find that the player’s voices and input don’t work for the trailer itself. That’s when you need to get creative in how you show the player themselves without them noticing. Check out how we did this in the next trailer:
We used a brilliant voice actress (Leonora Haig) to embody the player’s imagination within the game. The game’s creator and I were ecstatic about how this one turned out, but it started with much humbler beginnings.
The first thing we did was captured his emotional journey playing the game. The journey was there, but it didn’t resonate with tested audiences. You might see why in this earlier cut. We knew the emotional journey was good and rich. But we needed a better storytelling device. After retooling the script and hiring Leonora, we ended up with a trailer that we’re extremely proud of.
Sometimes the player’s emotional journey needs to be told through abstract means. One size never fits all and each project requires a unique approach. But the overarching lesson is true: emotional journeys sell games, and if you tap into the player’s heart, it’s just a matter of time before they hit that “buy” button.
ZAM published an article about the trailer-making craft that featured a lot of input from myself and Derek Lieu. The article highlights my production goals for That Dragon, Cancer’s trailer — and how that informs the importance of emotional journey. You can also a lot out of what Derek says about his production of the Firewatch trailer, and some deep insights from Kuldeep Shah. Check it out.
Almost none of TheWitcher 3’s trailers are particularly exceptional: they don’t capture the player’s journey — or what makes TheWitcher 3 unique. I can say this with confidence after completing the sixty-hour story, watching most of its 46 trailers, and deep-diving the unexpected ways the game deals with love. Despite the weakness of the game’s trailers, they do one thing incredibly right: they secure a HUGE player-base — one strong enough to help developer CD Projekt Red to become worth $1 billion.
How did these trailers help secure so many players?
Indies can use this multi-trailer approach too — even with a tiny budget.
You have to first ask, “How many stories can I tell about our game?” Every detail about your game has the potential for more exposure. Quick snapshots can go a long way. Remember that The Witcher 3’s trailers weren’t great at informing the gameplay experience, but stuck to core branding and just showed more of the world. They trusted that under-informing video impressions would be enough to whet an appetite. And boy did that deliver.
Keep your project in front of players — that’s the key lesson here. By the time somebody sees The Witcher 3: Game of the Year edition’s trailer, they’ve likely seen at least one of the other forty five trailers. And once a product is familiar, it’s that much easier for players to hit that “buy” button.
Some indies have tried this multi-trailer approach successfully. Take Broforce for instance. That game was in Early Access for two years: warranting update trailers out the wazoo — which kept that game in front of players. That’s invaluable. The Broforce team kept pumping-out the update trailers post-release too, which again, kept the attention flowing.
Multiple trailers won’t work for everyone. Especially if you don’t have any time or money to spare for them. But for those who are able to keep pumping out content, the multiplied exposure can be very worthwhile.
Practical multi-trailer tips:
If you’re gonna step-out and try this approach, you’re gonna need some wisdom, planning, and smart re-purposing of assets to craft a unified brand around your game. This kind of process takes a lot time, but these tricks can save you a few dozen hours:
1. Map your plan of messaging and delivery.
This isn’t a mandatory detail, but it will definitely help you to develop a core strategy to stagger your trailers evenly (say, once a month) to keep from an over-abundance or an under-abundance of market saturation.
2. Craft reusable trailer assets.
For the first time around, refine your title graphics to be appealing-enough for later reuse. This allows new footage to be be slotted-in while establishing your core brand as high-quality.
3. Determine a core and consistent voice.
Notice the “Hell Yeah, Bro” voiceover in the Broforce campaign. You don’t have to do something so overt, but each trailer should feel like it’s clearly connected to all of the others.
4. Cut fast and loose.
Don’t worry about getting the edit perfect straight out of the gate. Let velocity be your friend. Don’t worry about having the perfect messaging. Your messaging is “lots of content” and updates, which shows you care.
5. Try new things (like dev diaries and experimental “weird” trailers).
Show and team members being themselves can be a great way to break-up the expectations on what your game is. Focus on what makes your team unique, while interspersing shots from the other trailer cuts. Or try something completely different and maybe a little crazy. Nobody got kicked out of the indie game space for being too weird.
Let me know if any of that helps your game. I’d love to hear from devs who have tried this multi-trailer approach and hear how it worked.
You made your game’s trailer — and something isn’t quite working. You (and your testers) love your game, but that love is getting lost in translation to video. In my experience, trailers often feel lifeless — like a skeleton going through a living person’s motions — up until a clicking moment. Once you get to that key breakthrough, it feels awesome. Often, you just need one readjustment for it to all come together. These tricks can get you to that moment.
1. Track eye-flow.
Notice where you’re looking. Which part of the screen has your eyes’ attention? Eye-flow is a delicate and essential thing: motion speaks to our survival instinct. When things move, your adrenaline spikes. Is there danger? Where is it? Use this to your advantage.
You’re driving their eyes.
Move their attention all over the screen, but keep in-mind where you want them to go — and what shape you want that motion to move in. Sudden changes in movement feel jarring, so consider pausing or cutting to a shot that complements the shot before it. Work your way to your destination. Avoid jump-cutting-around (unless that is a part of your game somehow). Your key here is to flow — keep their eyes where you want them.
Super-important detail: if your gameplay has tons of action all over the screen, you need to hone the focus on the one thing you want them to look at. Feel free to be super-controlling here and clarify things or it gets really disorienting otherwise. Focus where you want people to look — by any means necessary.
2. Try sound design.
Your players feel the game through the sounds, though they might not realize it. If you’re showing a trailer with just music and no sound effects, more than likely, it feels dry and lifeless. Some talented composers and editors can use music alone to convey interaction, but in that scenario, there’s still some serious sound design and composition.
Your trailer will go from boring to amazing in very little time with the right sound designer, since their work will make each of your cuts and edits feel completely intentional. Use your game’s sound designer if they’re talented enough. If not, I have some recommendations of amazingly talented sound designers that have been a pure joy to work with: James Marantette, Adrian Talens, and Jon Hillman.
A good sound designer will improve your trailer — more than anything else you can do.
3. Consider the See-n-Say approach.
A title card can save your trailer from confusion — with that extra push of explanation. This is called the ‘See ‘N Say’ approach.
Game trailer savant, Derek Lieu says, “Make a title card that says something about your game — then show the thing. This seems like such an obvious thing to do, but I have consulted on multiple trailers that think telling is enough.” Derek’s right: you have to show that idea in action. This makes people believe what you’re saying — you’re backing it with evidence.
Notice how this approach works in the Inversus Launch Trailer:
4. Shorten your intro.
Answer player’s biggest question: “What do I do in this game?” Do this and every other detail suddenly becomes relevant.
Get to the point. Now do it faster.
How many seconds pass before you show gameplay? If you answered, “10,” you may be alright. But if you said “30,” your viewers will scrub-through your timeline for anything interesting — you’re likely to lose them once they start that.
Heck, make your whole trailer faster.
5. Hide your HUD.
Your HUD is the least important thing in the trailer. If you can hide it, you should. The same goes for any in-game text.
Any information that isn’t primary will attempt to steal your viewer’s eyeballs. You don’t want your viewers trying to read something they can’t. That’s frustrating. Plus, they don’t know how to read your user interface anyway, so showing it won’t help.
It’s okay. Just let the action tell the story.
6. Teach how to play.
You know how to play your game, but nobody else does. If your game is even remotely complicated, you need to build literacy — fast.
You have twenty seconds.
How fast can you teach somebody the core basics of your game? Start by saying, “Here’s how you play:” and then fill in the blank. Now try it again, but faster. Build your tutorial backwards and forwards in your mind. When you really have these basics down, you’re ready to teach viewers in record time. Only then will viewers be able to read the crazy action at the end of your trailer — feel free to go buck-wild!
7. Do you show uniquely-distinct gameplay?
You know the market is flooded; you need to be unique — hammer on those qualities nobody else has. Jam on what makes your game truly different.
Don’t live in the center of the screen. That’s boring and confrontational.
Photography teachers teach you to focus in a “third” of the frame — this allows lead room and feels more natural. The trick is to imagine your screen as a tic-tac-toe board and each cross-section is where a person’s eyes feel the most comfortable.
Read-up on the rule of thirds, then re-compose your shots to emphasize one of the “thirds” of your screen. It makes a huge difference; even if you’re making a 2D game — where the rule of thirds might be trickier to implement, but can greatly improve the way your game looks and plays.
The rule of thirds isn’t always the right tool for the job. Remember that you can also try lots of other helpful theories on composition.
9. Flaunt your style!
Fellow trailer maker, Derek Lieu loves to showcase stylish games. He says that if a game has enough style, you can coast on that. Of course, show informative gameplay. But if something is stylish or cinematic enough — you can get people hyped up enough to look into the game. Case in point? Watch the trailer he made for Quadrilateral Cowboy.
Your game’s style should be wholly its own, so what could it be like if you were to lean harder into that stylistic inspiration? What does your game’s style remind people of? Maybe play a word-association game to get friends and family brainstorming about what might be a related style that you can re-purpose for your trailer.
Also important is that your whole project has a consistent unified style. Is there another way to make each part feel more connected? Make those little touches that bring everything together.
10. Build mystery.
Start by stripping things away.
Don’t show anything but what you absolutely have to. Then present questions related to the setting and story. Don’t give any answers away. Let them wonder.
Take your time. Realize that this can be a delicate dance between literacy and mystery. You need people to be able to read your game, but you also need them to want to know more.
While perhaps the hardest “trick” of this list, it may be the most valuable — this is the only way to hand your players something: questions. They’ll hold onto those questions ( perhaps subconsciously); then they’ll translate those question into action — seeking for answers.
Consider Hyper Light Drifter’s second trailer.
Notice how many questions this trailer raises. What’s behind that door? Who’s that dog? Where are they going? And what is that giant black thing at the end?!? (I like to call this last question a WTF-moment — essential for building trailer mystery). Every one of these questions was carefully engineered to make viewers thirsty for answers.
11. Variety. Variety. Variety.
All-around master of the craft, Kert Gartner says, “Capture ten times the footage that gets used in the trailer — since it’s so hard to get good clean moments. The word we use again and again is variety: variety of enemies, characters, environments etc to show the breadth of the game. Then, just get a lot of it!”
A player’s second question is, “Will there be enough to do?” The easiest solution: overwhelm their senses with diverse settings and verbs. Here’s an idea: reuse the same action while changing scenes, like in the Dungeon of the Endless trailer.
Zoom distance provides another form of variety. Pixel-graphics scale well, so zooming-in very close can get provide same-scene variety that compliments eye-flow — and keeps you trailer rapid. Kert Gartner is a master of this — which you can see in his Hotline Miami 2 trailer.
12. Aim for impressions — not sales.
You want people to buy your game, but it’s even more important that they want your game. You build that desire by compounding impressions over time. For example, No Man’s Sky had an amazingly impressive string of trailers that, over years, created enough impressions that it broke Steam store records at launch — even at a full $59.99 asking price. It could do this because it build-up impressions. My favorite trailer of recent memory was Enter the Gungeon gameplay trailer. It jam-packs the action so well, that I discover new details upon each viewing that I never even noticed in the main game — even after 90 hours with it.
Your key question should be, “Is the trailer entertaining-enough to warrant multiple views?” Are they going to feel rewarded for re-watching? Did you jam-pack it with advanced-level-play material?
Derek Lieu reminds us: “A successful trailer doesn’t mean the person buys at the moment it ends (though that’s great if it happens of course), but if they want to know more about the game right away — that’s a success. Then it’s up to the game to do the rest of the heavy lifting.”
Try these out.
Let me know how it goes. The worst thing that could happen is that you tried something out that only improves your trailer a little bit. But hopefully, you’ll find a wholly excellent trailer that connects with your intended player-base. And when that happens, that little extra effort is all worth it.