Wow! This was a wonder to work on! Marlon Wiebe’s trailers for the game set a high bar when the game came to Early Access several years ago. So honoring his approach was key—while building on the old jokes with a new script (featuring voice legend, Michael Dobson)! Michael’s delivery on the script pushed it just barely over the top: muffin-topped it, I would say. I make no apologies for that metaphor, as that charming British wit served up delicious plates of subtlety that let the gameplay flavor waft through the air before it even hits your mouth; err hands.
Anyway. As it says, “What are you waiting for, smartypants? Go build & manage your own theme parks with Parkitect today!”
For our second Battle Princess trailer (here’s the first), I was again in the director’s chair. First royal order of business? I shed my director role: abdicating creative rights in favor of somebody I deemed ideal.This case: Queen Lina, the mother of Princess Madelyn.
That is, Madelyn, the heroine of the game is a real little girl. Her dad, (King) Christopher Obritsch helped guide her — while crafting the game around her very real experiences. Likewise, Her mom would have a lot to say about how we reveal the game to the world. While I retained editorial creativity, it was really (Queen) Lina Obritsch’s direction that ensured Madeline’s girl-power spirit shined through.
What matters to a little girl? Emotional support. Encouragement, that “You can do it!” And cute ghost dog kisses. These are all facts that I know to be true, but a little extra nudge went a long way to making sure this felt like something extremely familiar, but also rather fresh. Again, thanks to Lina and Chris for taking the abdicated reigns as I handed them over, and for giving them back as we drove this home.
Also, I’d be remiss if I didn’t mention the phenomenal score that crafted to really nail that charming-spooky-fun vibe.
You start this RPG with sticks and stones. After working your way through some quests, you grow your tech. Suddenly you can make pizza! An hour later, suddenly you’ve got a jet! An hour later, you’re exploring a crashed spaceship! Then all of the sudden, there’s dragons!
Aground’s unassuming look conceals this massive 30-hr epic journey that never ceases to escalate into the unknown. So we wanted to trip you out a little bit, make you feel like the game goes too fast! Like you’re rushing through a person’s life in seconds flat. Chase Bethea’s amazing hoppin’ & grinding score made that happen: he and I going back and forth with sound and visuals like a tennis match between best friends.
This project surprised me. And I hope it surprises you.
I crafted this gem out of the granite Tournament update trailer that Weirdbeard and I crafted two years ago. We honed it into this Nintendo Switch variation, thinking it as a “good update to have.” Imagine my surprise when Nintendo’s peeps felt it was newsworthy—popping it front-page of their YouTube channel. Plus looking at it again, I realize we accomplished a clear sense of the game’s joy!
The conversation has changed for indie games: the first question is no longer, “What’s your game about?” Now that first question is, “Is it on Nintendo Switch yet?” GameDrive leaned into that for the announcement on Nintendo Switch. But, then Nintendo had a lot of brand standards they needed the announcement to live up to. So I took the reigns, linked up the brand standards between all parties, and also updated the previous trailers we’ve done for Tricky Towers to appeal to the new platform!
Devader harkens back to the pure chaotic simplicity of Robotron—with the added tensions of “DEFEND THE MATRIX!” Typically I lay down a scratch track for timing in prep for a real voice actor, but Mark liked how I sounded. So Matthias slapped some processing on me to make me sound actually good! I love how it has this 1997 vibe about it. Devader does some really awesome things with set design: the color and shape of the level comes from the blood of your enemies!
I never imagined I’d get to cut a trailer for Risk of Rain. The game came out on PC—before I was even cutting trailers. So now having crafted it and seeing it go up on Nintendo’s channel today is still pretty surreal.
I couldn’t say no to Rapture Rejects, but I didn’t have the bandwidth to write, direct, and edit it myself. So I teamed up with Vanessa Williams, who handled all the editorial heavy lifting while I stood over the construction site and called shots. Her rapid-fire work carried over beautifully: embodying just what it feels like to play this eccentric take on Battle Royale.
YIIK captures all the tensions of Y2K panic, something I’ll forever associate with MTV in 1999, just because that’s how I spent my time back then. Brian Kwek at Ysbryd wanted a quick trailer for the game, but unfortunately I was too busy to edit, so I wrote him a quick script instead: Let’s take that song from the game that Undertale’s creator did, and make it feel like a music video?
Redwall’s library of books approach the status of literary classics, and for good reason. Their tales of bravery and honor paint a world that’s deeply relatable, but equally tragic. As we sought to capture the tensions of this first episode (or Act), I stuck close to the biggest Redwall staples: feasting, camaraderie, and standing up to tyrannical despots.