Darkest Dungeon stands at the precipice of my most-adored RPGs. The Color of Madness expands the original excursion: DLC inviting you to embark on a new Endless quest, rewarding players with many horrifying secrets. To craft the trailer for this new endeavor was a dream.
Or perhaps… the best kind of waking nightmare?
Creative reign was unfathomable to me — even after receiving Wayne June’s narration, active art files, and Stuart Chatwood’s new musical compositions. My drafts served as springboards — a dozen iterations that received flesh from Chris Bourassa’s direction of creativity. Jeff Tangsoc of Power Up Audio performed a master-pass on the auditory layer that made every vibration feel alive!
Tiny Bubbles does something impossible: it provides tactical-puzzling depth—as it puts a giggling smile on my toddler’s face. We captured some of that “deep, but approachable” dynamic in our PAX West trailer, but we needed to lean further into the “deep” for the Steam audience.
Kristoffer Larson again provided his AAA soundtrack talent, ensuring that every scene swam with auditory life. Tiny Bubbles’ lead developer, Stu and I worked-out the best scenes from his fancy new Infinity Mode. And we leaned-into the “assault to the senses” visual flourish that we established in our first trailer together.
Dead in Vinland is about as system-rich as a game get: the blend of survival, RPG management, exploration, and tactics all come together in a harmonious package.
The key here was framing things on the fierce Welsh heroine, Blodeuwedd, and getting into the psyche of a protective mother who will do anything to protect her family. We wanted to capture her tension—but also the sheer “WTF” moments that the game has to offer (which it does, a-plenty). The biggest trick was figuring out the right blend of those elements. So we went back and forth several rounds, finding the precise synergies of shots and concepts. It grew my muscles for “parsing a giant RPG for those ideal trailer shots.” I wouldn’t have it any other way.
I had a lot of fun trying to wrap my mind around this deep game, and translating it into the trailer. Massive thanks to Marlon Wiebe for the referral on this project; connecting me with Playdius &CCCP. These guys were a pleasure to work with; developing key debug tools to help me hop around their 30-hr epic.
Get the brilliant possibility space that is, Dead in Vinland on Humble, GOG, Steam, or Origin (10% off until April 19).
Spend five minutes with Jarryd Huntley, and he’ll remind you that you’ve valuable. You might even want to give him a hug. For his game, Art Club Challenge, it was essential that we captured his charm.
His game is a wondrous bastion of creativity. Capturing its essence required that we explain, “Solve puzzles by creating art.” So Jarryd talks us through the requirements of solving a basic puzzle, “Make a little blue bird….”
The inviting soundtrack comes from sax artist, Nathan-Paul. He makes the game feel like you’re in a jazz cafe, enjoying your favorite hot beverage, reinforcing that low-pressure “you can make great art” spirit.
For the launch trailer, the new story mode needed to shine. We amended the teaser, but realized it we need to re-frame the intro: different music, new question—and a little bit more open air to take things in.
The most rewarding thing is seeing a ton of new artwork from the game appearing online and from the galleries after its gotten to launch. I love the way it makes things fun for seasoned artists, but also makes it fun and easy for anybody to create and shine.
Tech Support: Error Unknown made me feel like I was talking to real people. I had to stop a few times; remind myself that these were NPCs with procedurally-generated dialogue. But man, the emotional impact of this game experience is intense. So I really wanted to make sure we got some of that emotionally-connected feeling through the trailer.
I also learned desktop game trailers can be quite tricky to direct emotionally. The guidepost for this trailer was bringing in a little sound design to make it emotionally readable. James Marantette made everything come alive by composing the music and designing the sound effects. The creator, Kevin Giguère, crafted a brilliant hacking element in the game, but this mechanic didn’t read clearly until we added James’ keyboard sound where the player clicks on elements in the Terminal, reinforcing my belief that in trailers, everything needs a sound. James’ audio work gave voice to all of the emotions I was feeling when I played the game, especially that notification sound of “somebody’s talking to me!”
You can wishlist Tech Support: Error Unknownon Steam. It releases later in 2018.
Mama Hawk snared me with her talons when I upgraded her: suddenly this loving single parent transformed into something incredible. We wanted to capture that magical moment—showcase that moment of, “Wait, what?”
Kati Nawrocki brought her Mama character to forefront with some custom illustration (that I animated). We wanted the focus to hone-in-on the arcade gameplay (crafted by Andrew Garrahan, and Genaro Vallejo of Computer Lunch).
Mama Hawk is available February 22nd on iOS and Android—for free (ad-free for $1.99).
I cried when Hopoo Games came to me for Deadbolt’s launch trailer. That’s not hyperbole. I was just so excited, tears happened. Stealth games are my absolute jam, but solving the challenge of how to showcase stealth planning and execution is something of a masocore delight: fitting for Deadbolt’s incredible difficulty. Chris Christodoulou’s amazing track The Great Beyond has these amazing snaps and stops that made editing a dream.
The game’s comes out on PS4 and Vita Feb. 20. You can also get now it on Steam.
When Pixelocity Software came to me for a trailer to the sequel of Disc Drivin, I had no idea it was practically THE game of Touch Arcade. After playing it, I got why: flicking your disc is an amazing tactile way to race. Disc Drivin’ 2 improves that formula with a double-flick, power-ups, and more vertical tracks: for more Rainbow-Road-like opportunities to make your own shortcuts. James Marantette came on board for custom musical arrangements. My direction to him was, “Let’s try to do Mario Kart by way of 30 Rock’s show opener, punctuated like an Adam West Batmanaction sequence.” My goal was to keep it humble: provide context, but let the game speak for itself.
I’m about to head onto the open road tomorrow.It’s a twelve-hour drive to see my parents in Georgia. I need some brainy podcasts for the mind-numbing stretch of highway. I’ve got something for you if you’re in a similar boat.
An episode about crafting trailers
“What goes into a great game trailer?” Dylan Ilvento (developer of Peak) asks me this question and many other great ones. We talked about the way you capture a players experience, and touch-on a game’s emotional journey.
This year I talked to some of the greatest minds in games. We talked on the role that one’s beliefs shape a game’s design—a rare opportunity in this scene. My buddy Drew and I head up the Gamechurch podcast: a conversation about game, life, and belief. We work hard to make sure that folks of all backgrounds have a place where their experience is honored. And so we’ve had some incredible guests this year.
One of the most fun challenges of my job (as a trailer craftsman) is when a game has original mechanics that are tricky to communicate. They lead to a difficult question:
“How do we show this?”
That conundrum was the biggest reason I loved working on multiple trailers for Dimension Drive: a game that splits your attention into two halves (and eventually unifies into one dual set of realities). One half is where your ship is, the other is where your ship will be. Each dimension is separate, but connected. And your core arcade shooter rules apply: avoid enemies and their fire, shoot them when possible. It’s not the hardest thing to describe verbally, but showing it effectively required a little bit of editorial gymnastics.
Today, the game is out on Nintendo Switch.
Since the game has a great story mode, I wanted to bring all of its parts (story, differentiating mechanic, and core mechanics) together in a single opening scene. We ran into a lot of hurdles along the way — not the least of which is that cutting away to other shots in a dual-screen visual is particularly tricky unless there’s some background contrast. So, we changed-up shot-distances, faked a few transitions, and tried to make it flow evenly and quickly. In those early draft stages, I didn’t find that the unique mechanics were coming across. So I got a bit didactic to make sure the framing narrative worked. Fortunately, we had amazing voice talent to carry my “boil it down for me” script. But I may have dialed too far into “let’s make sure they get this.” While we turned-down the explanations for our subsequent trailers for the game, I think this “Over-Explaining” approach was essential for moving forward. If you’re trying to figure out how to showcase what’s special about your game, I think that’s a key takeaway:
“Go full kindergarten teacher, before you trim your candy-coating”
You can see in our Early Access trailer, how I didn’t pull any Kindergarten teacher punches (er, maybe gentle repetitions is a better metaphor), but the hyper-emphatic gameplay framing makes sure that the audience really gets it.
Players take at least half an hour of playing Dimension Drive before they’re able to really see both sides of the screen in unison. But I wanted to somehow simulate that sense of control, by giving just a hint of camera focus, and precise cuts to make sure it feels like your eyes aren’t darting all over the screen (more than they should). This camera-and-cut granularity worked with the voice acting and boss battle sequence in a way that added-up. As a result, we ended up with a pretty meaty trailer (over two minutes long).
When Nintendo gave us the thumbs-up to make the Switch announcement. It was a perfect time to ask:
“Okay, what can we trim-off of here?”
We only shaved off 18 seconds by shaving-out some of the more didactic explanations of the mechanics for the Switch Announcement version. A lot of comments on the YouTube video still questioned how it worked. So it confirms for me that still, some people won’t get all of what the game does unless you spell it out for them.
Nevertheless, we got what we came for. We needed to move on—and highlight what’s really important:
“SHOW ME THE ACTION!” For the launch trailer, we wanted to get to the good stuff as fast as possible. So I had to quickly find shorthand for the mechanical framework. Again, I drew from my inner Kindergarten teacher: and said, “Let’s just repeat the opening mechanic eight times!” But we did this to the stylish beats of José Mora-Jiménez as a bit of a charge-up action before the real stuff kicks off. Essentially, we framed the differentiating mechanic in 6 seconds and then let the action drive itself.
José soundtrack turned into the trailer’s spine for my edits.
José was a real pro. I probably sounded less like a kindergarten teacher and more like a Kindergartner explaining an action movie — describing how I thought the trailer should sound. He just nodded and smiled as I did all this, me not knowing if he was just thinking I was a crazy kid or if there was a method to all my literal ramblings and vocal sound effects. But somehow he knocked it our of the park! Satisfied my vision perfectly, brought his amazing talent to the table, and made the perfect base layer for the action story we were showcasing. The key for me was nailing that intro so it feels like we’re able to set the mechanical foundation in 8 seconds. But he made something perfect and complete in every way. So it mostly started to just fall in place after that.
Other trailer editors may disagree with me, but this is what I believe:
“When you fill your literacy gap, your edits can flow from instinct.”
You kind of just feel where things go—how to smack hard, into the action—or where to force a point. You can kind of just let the music drive, and place the shots where the rhythm lead you.
There’s always more refinements from there, but when you have your core edit, the fine tuning is all you have left (though that often is “the final 90%”). Still, I think that captures how we assembled this final Launch trailer.
That should help you out if your game is hard to show: just put all your eggs in the literacy basket until it fully resonates with new audiences. Then, feel free to go wild!
“But don’t forget about the fun.”
There’s a bit of a test at the end of the process: does the game still come across as fun? As I discussed in my Echo article yesterday, capturing fun is an elusive task. Every player’s tastes vary: one man’s fun can be another’s torture. But playing the game now that it’s done, it’s clear to me that the game delivers a tension that made me want to lean-in. I have had so much enjoyment with the experience, and I can see that gleaned-at in our trailers. It’s more than enough to abate my fears.
It’s been a long journey for the 2Awesome Team. It takes a ton of effort to make a game with such a distinct mechanic — that really stands-out in the minds and imaginations of players. I hope it catches your eye if you see it on Steam and the Switch eShop.