Risk of Rain – Launch Trailer – Nintendo Switch

Game: Risk of Rain by Hopoo Games and CodeMystics
Music: Chris Christodoulou
Direction & Edit: M Joshua

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.

Get it now on Nintendo Switch.

Dimension Drive’s Trailers: new eyes to new mechanics

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.

gameplay
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.

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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. 

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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.

Indie trailer lessons from the Nintendo Switch announcement

You already saw this First Look trailer. You already know whether or not the Nintendo Switch will have a place in your life. But do you know why you have this already figured out in your mind? I would suggest it’s because of how this trailer is produced and edited.

Can you remember any of the faces of the people playing the Switch in this trailer? I can’t. But I can remember their emotional reactions or their looks of concentration, and I felt connected to the experiences they were having.

I could see myself in their shoes. 

This is game-trailer gold.

You may have had a different experience with this trailer, but I, for one am really excited to discover the price-point on this device — there’s a chance I’ll be there day one. The key is that I felt like I was having these same experiences with the Nintendo Switch as I watched. That may be because I love playing games on the go and with others, so the mileage may vary. But here’s the key: When you show people in an experience that they can insert themselves into, you grab your game’s audience.

It also helps to hand your game off to players and see what they do with it.

How do players prefer to play your game?

When you’re showing your game at a PAX or Gamescom event, you control the setup and you control the experience — it’s not authentic to how player actually play your game. This can be very hard and scary — since you have no idea what players are going to to when they get their hands on your game. But try this out: just give a few regular players (not developers) your game. Then see what they do with it.

What do players do with your game when you give it to them? This leads to a whole litany of questions from that experience:

  • How do they sit?
  • At a desk?
  • On the couch?
  • On a plane?
  • Do they share it with their non-gaming family members?
  • Is any of that special?
  • What surprises occur?

You’re going to be surprised. That may be because of how foolish their play experiences seem to how you intend. Or they may come up with something you never thought of. When I shared That Dragon Cancer with my game group, we had fourteen people cram into my living room. We found ourselves passing the controller from scene to scene — meaning everybody got to play and feel connected to the experience. We didn’t plan that; it just happened naturally — and it worked perfectly. These kinds of discoveries only happen when games are given a proper chance to be put in players’ hands.

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These player-surprises can make your marketing material story. Who wanted to play Skyrim on an airplane? I don’t know, but give that person a medal. That created one of the most powerful selling points on the system — and I could easily play the game on my laptop in a flight right now, but the idea of playing it with a controller on a personal sized screen that sits in front of me (and not overheating my lap)? That’s attractive.

Put your game in player’s hands.

See what they do with it. Make note of the surprises. It doesn’t have to be an open alpha event — just a few friends are fine. This will tell you so much about what actual player experiences are like — and most importantly: how to show your game.

Local multiplayer and co-op games have the biggest advantage in this department — it’s why Nintendo Switch’s strongest trailer moments relate to player interaction. But there’s still benefit to trying this out if your game is, say an RTS or a hidden object puzzle game. There’s this thing about heartfelt player reactions that tell a story even greater than that which is grasped on-screen.

Consider showing your players in your trailer.

The most powerful tool in comedy is the human face. Since they’re the first thing we learn to connect with after we’re born, it’s amazing that there’s so few faces in trailers. We connect with emotions by seeing them on somebody else’s face.  I would argue it’s the standout feature in this Move or Die trailer. And again — you don’t remember any of the actual faces, but you remember their emotions.

Your connection with your players can come through those sincere reactions of player’s faces. And when they’re not sincere, players recognize that immediately. The tricks to capturing honesty is an art unto itself — we’ll get to that in a future post. For now I’ll leave you with a reflection:

Did you connect with a moment in the Nintendo Switch trailer?