ECHO’s amazing launch trailer—and the difficulty capturing “fun.”

I just finished Ultra Ultra’s ECHO this morning, and wow! It’s something special: there’s truly nothing like it. The closest thing you could say is that it’s if a bunch of Hitman developers really loved the film Moon, and managed to build an entire science fiction universe using only one on-screen character—who is also all of the enemies.

I bought it because the trailer was so great:

Unfortunately, I didn’t enjoy the game as much as the trailer. When I say I finished the game, that’s a partial truth: instead of playing through the last two difficult chapters, I just skimmed them on YouTube and watched the ending. Because everything about the game is great, except that, it wasn’t as fun as I had hoped.

The stealth survival horror mechanics are tight, and everything you hear and see in the game has an elegant beauty unlike anything else. But I lost my draw to completing the objectives in the game. Maybe it was one too many cases of, “Find all thirty-two blue orbs to unlock the gate, while being hunted by your echoes.” Or how the plot lost its lure of, “Why are these echoes here and why do they look like me?” Also, I never got an answer on “What really is this place?” Instead all dialogue between your character En, and her AI companion, London, focuses on her relationship to an off-screen (and off-script) character named Foster, who we only hear her talk about. It’s not much of a carrot on a stick.


The trailer is still a front-runner for my favorite trailer I’ve seen this year. I’m here to talk about what makes the it truly exceptional, highlight that elusive secret sauce it may be lacking, and how devs can learn from this trailer / game relationship. So here we go!

“What are the trailer’s two strongest hooks?”

There’s two: (1) the beautiful framing mystery, and (2) the fresh new mechanics.

The mystery framed in the launch trailer is among the best of any game trailer I’ve ever seen. Right off the bat, we’re wondering why any of the things we’re seeing are happening, and where the story is going. The voice of the AI, London, makes it sound like he’s a trustworthy companion. And when En says, “It seems familiar, somehow…” that line evokes a powerful twist and reveal that we as the would-be player just want to unearth. Then there’s empty space of just taking-in the beauty of the mysterious palace setting. The mystery gains an extra potent layer when En meets the forming echoes of herself that then attack her. Color me intrigued.


The new mechanics get framed through this mystery (another brilliant choice) where you discover “they do what I do, the learn from me.” while we’re punctuated with shots of all the mechanical verbs. The action takes over, the music ramps-up. And we have just enough time to realize that this “teach your enemies” gameplay is really special.

The trailer then alludes to En’s ambition with restoring this Foster fellow (which I never remembered). I’m more interested in seeing how the gameplay verbs play out. The trailer ends on a creepy mysterious blank stare coming from En while she asks, “Foster, are you doing this?” Her pupils contract. And we land on the feeling of “WTF is going on here?”


This was enough for me to get the game and want to play through all of it, even when I wasn’t enjoying it. I wanted to find out where the mystery led. So, for that: the trailer is beyond excellent. It’s what kept me playing the game, even when the game itself lost its lure of mystery.

“What’s the trailer missing?”

In a word: fun. Admittedly, this is a terrible and elusive word that can mean next to nothing, but that’s why it’s so hard to get at—especially with a trailer. The trailer certainly captures tense and gratifying moments from the game: pulling off a last-minute shot, getting away from enemies, and enjoying mechanical tension. But I don’t know if it effectively says, “you will enjoy this game.”

Truth be told, most game trailers don’t—or can’t—effectively convey this. But that’s why trying is so important.


Many developers say that their games aren’t fun for most of development—and may never get to that fun factor at all. Even more difficult is making sure that a game is continuously fun.

I’d be lying if I said I didn’t have fun with Echo. It’s earliest teaching moments were where I had a big goofy grin on my face. But I fear Echo is more innovative than it is enjoyable. As such, it’s incredibly difficult to nail down the brief windows of fun in the experience overall—especially in the trailer. But I think that Ultra Ultra did the very best that was possible with what they had.

“What’s the trailer takeaway for devs?”

I don’t think mystery and innovation is enough to secure the confidence in your audience for your game. I used to think that differentiation, quality production, and emotional impact were enough to grab your would-be players’ attention in a trailer, but now I’d suggest that if there’s any way to really ensure the most-fun parts of your game are what we land on, maybe there’s a stronger way to convey this.

It’s a long hard question that’s not easily solved in the trailer crafting process, but one that should effectively haunt you: “How can we show that our game is fun?”

Thoughts on Axiom Verge (and its trailer)


What makes Axiom Verge great

Axiom Verge sits near the top of my list of Switch games for two reasons: It subverts what powers you’d expect to get next, and it turns a video game essential into a framing device. First, it turns its unique save system into a major plot point. No spoiling, but imagine the potential of an egg shaped save station. Any time you die, the egg regenerates you: the “you” who just died. You remember everything up to your death — and get to keep all your new progress since the last time you saved.

In other games, death is a rewind or a “No, no, no. That’s not how it happened.” Then the story picks up as if your last actions never happened. In Axiom Verge, it did happen: you died and were reanimated in a Rebirth Chamber. That death is a part of your story.


Shadow of Mordor uses this similar kind of death-remembering mechanic to frame its famous Nemesis system: while you are reanimating from death, the orc who killed you got a major promotion, maybe changed the whole orc hierarchy / ecosystem. Axiom Verge’s deaths don’t change everything, though: they go for something far more subtle.

Subtle implication seems the chief aim in Axiom Verge: the 8-bit-inspired graphical language suggests definition of every unsettling alien creature in the game’s hostile world. And of course this fares more loudly when you get your reliable secondary weapon: a wave of pure-glitch that reduces enemies to their bugged-out state. That’s all well and good, but the most disquieting element of the game is your monolithic alien-village-sized allies, the Rusalki. In fact, much as Axiom’s greatest mechanical influence is Super Metroid, it goes over Metroid’s head, direct to its inspiration: HR-Giger’s work in Alien. Thus, every encounter with life forms aches at a subtle sense of horror.


Tools and weapons serve-up this same trend of subtle subversion: Want to turn into a ball so you can fit into those itty bitty tunnels? How about a “cute” mite drone. See that ledge just out of reach? Need a double jump, right? Nope. Here’s a weird grapple claw shooting out of your body (I think). Need a new gun to bust through that wall in your way? Nah. You get a brown trench coat with a short two-tile teleport. You’re welcome.

Axiom Verge subverts whatever new mechanic you’re expecting. That’s the chief reason why I kept playing.

What makes the trailer great

Let’s take a look at what Marlon Weibe did with the PS4 Launch trailer (which was used as a foundation for the others):

I just want to draw attention to a few moments. The first is the establishing shot: three simultaneous close ups of a bunch of science devices—with sound effects. This defines the “Axiom” name subtly by saying “it’s science stuff…” Narrative puzzle solved. Next, they establish the Egg save pods and perspective of the game—very smart, subtle way to establish the game’s genre. But that’s not enough, so there’s some basic jumping right after that. Genre established. Now you can do whatever. And that’s what Marlon does: focus on the game’s cut-scene art and press quotes.

The smartest thing about this first Jeff Gerstman quote is how it establishes that narrative surprise with better words than they could ever use. Gerstman says, “You think you know how Axiom Verge will play out. You don’t.” This is gold, because it adds credibility to the game that it couldn’t say or establish on it’s own. It’s undoubtedly why Happ and Weibe elected to go the press quote route. If you can’t say things well yourself, use other’s voices.

My biggest takeaway is the purposeful use of over-zoomed shots. The 300% zoomed-in shots where we see the player drilling, launching and activating a mite drone, or using short-range teleport to hop through walls. These mechanics don’t make sense to new eyes from a distance, so getting super close like this says, “You might not get why this is special yet, but trust me, it’s really a special tool that’s super different.”


The last several shots (from 0:40-0:50) are ten shots in ten seconds. They’re far too quick for you to wrap your mind around them, but they’re there for one core reason: variety. They subconsciously say, “This game has a lot of action and variety.” And it’s relatively easy to throw a ton of shots into a trailer quick and call it a day, but Marlon’s composition here shows a deep understanding of shot-pairing harmony. It takes time to get this right, but it’s essential if you want to communicate depth and longevity to the game experience (the viewing player’s question of the value proposition).

The value proposition is an excellent place to end the trailer before the logo reveal, because it’s a close direct link to the viewer’s wallet. There’s other valuable ways of addressing this (I’m a fan of the “make them feel a powerful emotion they want to feel” approach), but this “Variety and Value” approach is Old Reliable for a Reason.

Axiom Verge is on just about everything, so if you have a way to play video games consider this a recommendation!

Thoughts on Tacoma (and its trailers)

If you’ll indulge me, I’d love to talk about the game, Tacoma. After completing the game a few times, talking to Steve Gaynor, writing about the game’s relationship mechanics, and reading-up on Derek Lieu’s process for both trailers, I think I get what’s really special about the game.

Tacoma’s critical consensus seems to be, “it won’t make the same impact as Gone Home.” But it would be a shame if we didn’t celebrate Tacoma on its own terms: that of its unique medium for connecting with the characters.


An article

In Introverts Welcome: A reflection on Tacoma, I said:

Tacoma’s body-frame recordings are so special to me: I can engage, rewind, process them. I dream of the future where I can receive a recording from a friend or loved one that I can watch over and over, feel connected while not feeling like I have to immediately know what to say.

This creates an imaginative playground—that opens my mind to the possibilities of this new form of interpersonal communication. While I’m more-present with this in-game character than any game experience I can recall, I’m also daydreaming about the future of communication preferences for introverts like me.

There’s something beautiful about being able to feel connected to others, while also not being forced into being present with them, but rather electing to be there.

You can read the full piece if you like.


An interview

Motivations for designing a game like this really matters to me. So I was deeply excited when my buddy Drew told me Steve Gaynor wanted to come back onto our show to talk about what led to the design of Tacoma after his team’s work on Gone Home — and how his beliefs affected that. I was curious how they wove a story that diverged away from popular “Us vs Them” narratives. Be sure to add that interview to your podcast player of choice.


A trailer-crafting reflection

Since trailers are why you’re here, and what you want to think about, I’ll say that first-person narrative games are clearly Derek Lieu’s wheelhouse (especially after his work on Firewatch). So his writeup on the game capture process is pretty valuable, especially since it highlights what made Tacoma’s Launch Day trailer such a joy to craft. In Derek’s words:

At any point during playback you can pause, rewind or fast-forward the recordings. It’s necessary to do this because you can only hear conversations in your immediate vicinity. For game capture purposes, this meant at the press of a button I could rewind a scene, change the camera angle, and get a new take with a different shot composition.

Derek goes on to highlight the unique way he applied the Rule of Thirds, and some physical solutions for recording gameplay that way. I recommend reading his whole post.


Derek also had the opportunity to make a shorter Launch Trailer for the game, and provides some sage advice for rapid turnaround, that largely comes back to game and project familiarity. Derek says:

I managed to do this on a Sunday in about 7 hours (with some breaks for food/cats etc.), with only a few small tweaks the day after. My familiarity with the game greatly expedited my edit/capture creative decisions, otherwise I never would’ve considered taking on a project with so little time available.

That blog post is also very worth reading, as he details a bit more about giving the audience “a bit more about the universe, and set it to pretty images and music.”


A recommendation

I loved this game, and I would encourage anybody thinking about a first-person-narrative game trailer to study this game and the trailer resources around it. Tacoma is available now on PC and Xbox One.  

Humility: Quick Tip (The Mortician’s Tale)

[Transcript from the Video above:]

The gameplay trailer for A Mortician’s Tale is brilliant for one easily repeatable reason: Humility.

Welcome to Game Trailer Quick-Tip. I’m M. Joshua. I make game trailers, but I also like to celebrate other’s great trailer work. Today we’re looking at one quick tip that’ll be helpful for you making your game’s trailer.

Trailer Quick Tip: Humility

Humility might be the weirdest ambition of a hype-train. But I would suggest it’s the most powerful tool in making a game trailer. Just humbly offer a transparent representation of your game. This will speak volumes on what your game is actually like. No superlatives. But no self-deprecation. Just an honest look at what your game is actually like to play.

We’ll take a look at the trailer now. Then we’ll explore how that can translate to your game’s trailer. Cool? Let’s check it out!

So, not every game is as simple as Mortician’s Tale. The game clocks in at just over an hour, and only has three or four different scenes—to really show different variety of gameplay. But that’s the brilliance of the humble approach: you show the simple core interactions of the game and as long at they look readable, it reads as “real”

And let’s be honest, that’s what players want from a video game trailer: for things to feel as real to the experience as possible

Who’s This Approach For?

Since this is a simple point and click adventure, it translates well to the humility approach. If your gameplay isn’t easy to read, you might need a little more of an elaborate explanation of what the game even is and why people want to play it. But once you get them there, you can continue to build on that core—and stick to the humility approach. This lets your audience draw their own own conclusions. And that’s the core. You want to build an environment that lets people draw their own conclusions about your game.

Again, this isn’t for everybody. And sometimes you need a way more “over the top” kind of approach. Because let’s face it, game trailers aren’t a “one-size-fits-all” kind of thing.

A key to the humility approach is to just observe how players naturally experience your game. And if you can just represent that as faithfully as possible—without getting in the way—this can work really well.

That’s it for this quick tip. 


I’m M. Joshua. Find my trailers at And feel free to subscribe, for the next time we look at a Game Trailer Quick Tip.

Tormentor X Punisher trailer-first commentary

Being offensive is sometimes a wonderful asset in the world of games. Tormentor X Punisher throws all the gore, vulgarity, and explosive sound that it can muster in your direction, and then frames the trailer around the framing ambition of the game: the score.ere’s my commentary on the gameplay trailer, and how that relates to the core experience (latter half of the video):

Special thanks to Joonas Turner and Roland Smedberg for their ferocious trailer!

Steamworld Dig 2 trailer-first commentary

Howdy, travelers! Steamworld Dig 2 sat at the top of my list of anticipated Nintendo Switch releases. And BOY, if it doesn’t make good on my hopes!

While the launch trailer for the game took me by surprise (with a tiny bit less of the legendary finesse that I’ve come to expect from Julius Guldbog and Tombias Nilsson), it captures everything essential about the game. This trailer serves as perhaps the best illustration of how to make an extremely strong trailer — humbly representing the experience.

After a brief trailer reflection, I jump into the game’s core loop — and get carried away. IT’S JUST SUCH A FUN GAME, GUYS! Stick around as long as you like.

Feel free to subscribe on YouTube for more trailer-and-playthrough reflections or check out my work at

Trailer-first playthrough of Mystic Melee

Mystic Melee sits right inside the sweet zone of my ideal 4-player brawlers: it’s got physics-driven air maneuvers that invite tons of experimentation — while being easy to play.

So how does the trailer fare?

Just after a brief introduction, I watch the trailer — for the first time. This was one of the rare times I bought a game before watching the trailer. Then I dive into the game, offering a sampling of the experience itself.

You’ll get some of my real reactions as well as some (hopefully) useful takeaways for making trailers that also sit in similar (local-multi, 2D platformer) genres.

Massive thanks to the Serenity Forge team for bringing this to my attention, and to Ben Hopkins for making a game with such exceptional precision!

Trailer-first playthrough of The First Tree

The First Tree snagged me with its trailer and concept, even though I don’t know that I fully got it. So I recorded my impressions on the launch trailer, talked about its takeaways, and then stepped into the first several minutes of the game, to process how the trailer and the game frame each other.

Hopefully, this will be a new series from me? Lots of fun to produce. Lots worth talking about. Enjoy!

Six terrible tips from our NEO Scavenger mobile trailer


NEO Scavenger mobile trailer may be the trailer I’m most proud of producing [scripting and editing]. That said… most advice I’d offer from the project is terribleSeriously, it’s awful. But it worked for us. So, hopefully you at least you find it funny?

So, here it is — Six Terrible Tips from our NEO Scavenger trailer:

1. Encourage the developer do his own (half-naked) cosplay

NEO Scavenger starts with you wearing nothing but a hospital gown (and a necklace). Then you venture out into the cold and unforgiving world — alone. So when the game’s creator, Daniel Fedor, said “hey I wanna act all of this half-naked hospital-robe-wearing stuff out in real life.” I said, “Of course! Let’s do it!” 

For added fun, think about what it would look like to cosplay for your own game’s trailer. Like I said, it’s probably a bad idea. Though it might be a useful practice If you’re showing your game at an actual trade show like PAX?

Terrible advice number two: show… Wait, no.

2. Tell, don’t show  (live action)

Here’s the thing: NEO Scavenger is… hard to make sense of at first glance. Heck! Even after a good number of glances, you might still be lost. The game really plays up that “tell, don’t show” angle, especially in combat where it’s mostly about what happens in your imagination (and not on screen).

This was where we identified the perfect way to employ Dan’s half-naked cosplay: acting-out a scenario from the game!

NEO Scavenger takes place in a “slightly” crappier version of our world. Plus it was winter when we started this. So a simple backyard in late Winter looks like it’s survived an apocalypse.  Dan was close with a cinematography team, Digital Cyclops — who was amazing, by the way. And even more conveniently, Dalias Blake showed up.

Dude’s a master of looking intimidating.


But yeah, seriously. “Show, don’t tell” is the right way to go with a game trailer 99% of the time. Except for when your game is literally the opposite. We did the live acting thing because it was the best way to put unfamiliar audiences into the mindset of the game.

3. Crowd-source your script

So, this might be the worst advice yet. Never ask your players, “what should I say in the trailer?” You’re gonna get a whole lot of useless garbage that you’ll have to wade through. Glad we didn’t do that. Well, we sorta did. 

If you ask “What precise experience in this game captures this full emotion?” And you really curate the question? You might be able to focus people towards one sentence responses — you might get something usable. You might even find something perfect! Now we actually had players to ask. We had over a hundred responses. So, that’s a lot for me to pick from. But seriously, crowd-sourcing your script is usually such a bad idea.

Now I’m gonna stop right here and show you the trailer. Then we’ll get to the last few pieces of terrible advice. Cool? Let’s check it out.

Cool. Final pieces of bad advice?

4. Shove players’ words into onscreen actors’ mouths.

Nobody likes it when you put words in their mouth, but we did it anyway. You couldn’t see our actor’s mouths because they were (like characters in the game) wearing rags that covered their mouths as rudimentary air filters. So,we made sure our actors acted like they were talking, with the plan of putting another actor’s voice on them.  We did this, because it was important to me that the players of the game really gave voice to the experience. But because players aren’t typically voice actors, I went for the uber players: those who love the game, but also create their own content.

I’m not 100% sure that the we did this perfectly. But I am sure that it was the right call. Because when you share player’s voices, you can actually capture their passion for the game. These guys, Nelson and Phil — they really really love NEO Scavenger. So I was like, “Yes! I’m-I’m going to use you guys because you really really get it!” Usually people can tell if somebody’s just hired help. But passion transcends.

If you dare try this kind of approach? Go for it, but go for the passionate.

5. String random players’ experiences into a singular story

This is the weirdest one: we took all these player testimonies, the half-naked cosplay, voice actors, and glimpses of gameplay, and we brought it all together — in a way that’s… clearly not for everybody

The best trailers are just one clear story. It starts, it ends. You feel like you’re along for the ride. This is a universal truth. You can keep that in your pocket. But we had like over a hundred stories. And we wanted to link it into a single one.

That took first writing a modular script — designed with targeted emergence. This modular script had one goal: extract the stories, and assemble it into one single story.

Like I said, you gotta be super specific to make any of this work. This was really just planning — that mostly worked because NEO Scavenger just kind of automatically naturally generates these kinds of stories, and because of the pre-existing audience.

6. Leave viewers with a sick taste in their mouth

NEO Scavenger’s tone is so weird! Like normally? You want people to feel smart, powerful, capable of doing anything! And excited when they end the trailer. Maybe itching for a fight! Instead, we figured it was better to make people feel icky!

You’re welcome to copy the idea if you think it might work for you. But because we wanted to hit the distinctives of the game, and what made it what it is, we ended on the creep-factor.

If you’re looking for something actually usable here, I’d say that’s it: focus on your game’s distinct one-of-a-kind feeling.

Also, it’s worth noting that we lightened-up the whole “bleak as hell” thing. At least a tiny bit.

So yeah, this is all terrible advice because it’s really specific to NEO Scavenger.

So once again, those tips are:

  1. Encourage the developer to do his own half-naked cosplay
  2. Tell, don’t show (Live Action)
  3. Crowd-source your script
  4. Shove players’ words into (on screen) actors’ mouths
  5. String random player experiences into a singular story
  6. Leave players with a sick taste in their mouth

So yeah, all of this is terrible terrible advice. Don’t do these things unless you’re sure it’s going to work for your game. It’s terrible mostly because it’s so specific to NEO Scavenger, but I want to leave you with…

real useful takeaway

Consider your game deeply. How people play it, how they talk about it, what they dream about after playing it before bed time. Then craft your game’s trailer around these experiences.


I’m M. Joshua. Find me at And feel free to subscribe, for the next time we look at some Game Trailer Takeaways.

Video: 5 Kickstarter trailer takeaways from Blasphemous

Here’s five trailer takeaways from ‘Blasphemous‘ — especially for those making a Kickstarter video game trailer:


Blasphemous just launched [on Kickstarter] not even two weeks ago and it’s already tripled its goal. So it is definitely successful. And even though the trailer might be off-putting to some (okay actually, most) — I still think it’s damn-near perfect. Now, bear with me. You might not dig this trailer and that’s totally alright — there’s some absolutely key takeaways in here for game marketing. So, hang in there.

Let’s check it out.

Now here five key takeaways for anybody who’s making a Kickstarter trailer:

1. Disgust everybody—EXCEPT your target audience

Rally your tribe around what makes you you. Don’t be afraid if that puts anybody off.

Blasphemous knows exactly who it’s after: the kind of folks who see black-metal twisted imagery and go, “Hell, yeah!” Maybe they like Dark Souls, but would like more gore. Gory and twisted things don’t work for everybody, but for those that it does work for, it says to them, “Hey, this this game is just for us!” That’s the thing that makes them click “back this project.”

2. Show mechanical substance

The action in your Kickstarter game is by-definition not complete. But when we see it in motion, we can have grace for it if the audio-visual feedback isn’t quite there yet. As long as it looks cool and there’s some solid tension in there, we’re with you.

Sharp editing — where each player action is linked in separate scenes — that doesn’t hurt, either.

3. Establish your unique setting

We all know in this descending shot is that this is a weird-dark world with graveyards and bloodshed. And just like that, Blasphemous sets itself apart apart from the rest of herd. With kickstarter trailers, your world should draw us in more than anything else. Nobody knows anything about your game. Nobody knows anything about your world.

Suck us in!

4.Distinct musical composition

Notice this song, how there’s this juxtaposition of two kinds of metal at once: the slow droning of Doom and the incessant Black Metal march. There’s even moments where this ultra-gloomy jam gets straight-up triumphant! Nobody else has this kind of music in their game. You can tell the composer created something new and unusual just to match the vibe.

If you can afford an original composer? At the very least, people are going to buy your soundtrack!

5. Land on your theme’s PUNCH

Whatever your game is really about? Be that twisted bloodshed, or rainbow-laden-peacemaking. Stick hard to that tension. And make it the most-important thing that we see the last thing.


Once again, those Kickstarter trailer takeaways are:

  1. Disgust everybody—EXCEPT your target audience
  2. Show mechanical substance
  3. Establish your unique setting
  4. Distinct musical composition
  5. Land on your theme’s PUNCH

I’m M. Joshua. Find my trailer work at [which has nothing to do with this trailer]. And? Feel free to subscribe — for the next time we look at a damn-near-perfect game trailer.