Then we’re suddenly in Sandbox mode, tugging on those creative-emotion strings. But that’s not all: then we show level selection (“whoa, that’s a lot of levels!”), which provides a bit of emotional rest. Notice how the biker looks like she's gonna miss the jump (“oh no!”), then at the last second, the bike flips around and turns into a surprise landing (“huzzah!”). Take for example, our motorcycle jump shot at 0:36 - this begins Act 2 of the trailer’s emotional arc. You can find these hearty multifaceted feelings in most film, and video game trailers are no exception - as long as you specifically design them in. Start by bringing joy and sadness together to create advanced and complex emotions (like Inside Out). Do your trailer’s shots show emotional range? Or is it all “kill time” and “now we walk through the world?” That has it’s place, but you really want a more varied emotional response. You need to show the emotional journey of ups and downs that players face throughout your game. Remember this: early disappointment catalyzes the joy of breakthrough when learning.
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Take us through the ups and downs - of the player’s emotional journeyįailure is essential to learning, especially in Poly Bridge. So we made it a special point to showcase that kind of failure early on - with a two-car bridge collapse (while teaching viewers how to read the game). Can you teach somebody how to play blindfolded? This might sound extreme, but it can help. If you really want to get your trailer literacy right, know your intro levels backwards and forwards. This is basic immersive psychology - and something players look for without having words for it. If you can get them to think they actually know how to do something, it’s even better. “I could do that” is the Ultimate Weapon for game trailers. We want viewers to be like the kid who watches Power Rangers and suddenly “knows karate.” That way when we toss the car with a catapult, they think, “I could do that too” (with a little training, of course). I learned that they show best when you record them in backwards-order (Memento-style) - to make sure the engineering shots made perfect sense with a final build. I played Poly Bridge’s intro levels about twenty times up front and another twenty throughout production. Your trailer’s literacy layer gives viewers what they need to understand late-trailer complexity (like a triple-decker hydraulic bridge). It’s not easy, but it’s essential for teaching viewers how to make sense of what they see (and doing it fast, while you've got them). You need to teach viewers how to play the game - and you need to do that within about twenty seconds. Think of how you might show all four of those things in your first shot:Ĭan you find a shot that does all of those things at once? I know it’s hard, but it’s worth it.īuild player literacy - as soon as you hook their attention
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