The Hunt for Steam Greenlight: September 30, 2014

Steam Greenlight is a competitive place. Our Steam Greenlight campaign has been hard fought thus far. We know just how big of a role promotion plays in getting your game onto Steam. It’s time for our semi-regular piece where we highlight some unique, cool, or just plain fun Steam Greenlight games.


It’s time for…

All similarities to any other graphics are completely... "unintentional."

Battle Brothers

Fight with your brothers!

Battle Brothers is a really fun looking strategy game. The art is similar to Diego’s style. (Gorgeous and hand-painted.) Some of the game is procedurally generated, so that’s a replayability plus. If you’re curious to try before giving them the vote, you can even go download their combat demo:

I Can’t Escape: Darkness

Or can you?

On the opposite end of the sprectrum: A horror game! Oh my! The game looks pretty cool, and apparently it’s a follow up from a game on Newgrounds! ( It’s refreshing to see new entries into the genre.


Whoa! Colors!

Ultraworld looks cool and unique. It has a seemingly interesting narrative to deliver. The color palette is appetizing. It is, a bit of a mystery, though. It will be interesting to see more. Again, if you don’t want to wait for Steam, you can check it out at



Thanks for reading! Please check out the projects on Steam, give them a thumbs up, and spread the word! Every bit helps.

Indie Van Game Jam Episode 3 Is Live!

After a two month cliff-hanger from episode 2, Wizards of the East Coast, the second half of the story comes in like a wrecking ball. (Sorry, I had to.)

Check out the latest and greatest episode of Indie Van Game Jam, “Wreckingball Run.” In this episode, the mystery producer from Episode 2 asks us to make them a branded game that has them look “cool,” “hip,” and “with it.” We take the task head on as we take the detour to Baton Rouge, Louisiana.

This episode features Pixel Dash Studios, who just released Road Redemption on Steam Early Access. 

Head over to to see the episode and download the game.

The Hunt for Steam Greenlight: September 5, 2014

As an indie worried about our Steam Greenlight campaign, we know just how big of a role promotion plays in getting your game onto Steam.  Every once in a while we dig around Steam Greenlight, find some really cool projects, and help spread the word about them!

Here’s how it works:

Here are this weeks picks for games that are in The Hunt For Steam Greenlight.

All similarities to any other graphics are completely... "unintentional."

Words for Evil


A typing fantasy RPG? Yeah. The trailer looks pretty awesome and reminds me of games such as 10,000,000 and what we were trying to create, This is My Quest. It purports to have complex combat, multiple varieties of word game based on the action at hand, and tons of content.

24 Killers


24 Killers intrigued me with its cool artwork.  It turns out this one dude, Todd Luke, is like Shakey Graves for indie games.  According to his Kickstarter, which was successfully funded, he is tackling the game’s programming, art, and music alone.   It’s an adventure game where “four miscreant spirits are possessing the people in a small island town, and you’re responsible for finding them.” Sign me up!

A Rite from the Stars


A Rite from the Stars rounds our collection this week. It looks playful. It looks interesting. It has care and attention dripping from it’s pores. The trailer is well done. This game takes our third vote this week.


That’s all folks! Thanks for reading. Please check out the projects on Steam, give them a thumbs up, and spread the word! Every bit helps.

The Hunt for Steam Greenlight: August 22, 2014

As an indie worried about our Steam Greenlight campaign, we know just how big of a role promotion plays in getting your game onto Steam. (People can’t vote Yes if they don’t know it exists, right?) We thought it would be fun to dig around Steam Greenlight, find some really cool projects, and help spread the word about them!

Here’s how it works:

So without much further ado, here are our inaugural picks in something we call, The Hunt for Steam Greenlight!

All similarities to any other graphics are completely... "unintentional."

Chad’s Pick


Look at that evil villain!

We had a chance to play what was the basis for this game while we visited PixelDash in Baton Rouge for Episode 3 of the show. At the time, it was still pretty nifty. (This was in early January.) Even then it had a lot of polish from the weapons and projectiles to the decorations placed about the levels.

Diego’s Pick

Relic Hunters Zero

Oooh! Wavy stuff!
I really dig the gameplay style which is an isometric run and gun style action game with a really fun visual style. Combat looks fluid and fun with a lot of attention given to tactics and positioning. Now, the name suggests there might be some exploration and discovery… I sure hope so!

Scott’s Pick

The Phantom PI Mission Apparition

Wail out, ghostly apparition!

Someone on their Greenlight page described it as Animal Crossing meets Ghostbusters!  The trailer does a terrific job at establishing setting, atmosphere, conflict and some of the mechanics you’ll use to stop the booooolies. (See what I did there?)

Thanks for reading! Please check out the projects on Steam, give them a thumbs up, and spread the word! Every bit helps.

The Making of Indie Van Game Jam, Part IV: Editing

Let’s wrap this up and talk about post-production and editing!

How long does it take to edit an episode of Indie Van Game Jam?

The short answer is two months.   In the spirit of being completely transparent about our process, here is the editing schedule for episode two:

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What’s your editing setup/process look like?

I edit on a Macbook Pro laptop w/ Premiere Pro.

The first step I take is to create a folder structure for the project:

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I’ll then import all the audio and video footage into PluralEyes in order to sync them.  PluralEyes is exceptionally good at syncing — I’d say about an 80-90% success rate — and the rest usually needs to be manually synced (possibly because the camera audio is too low for the program to detect or that either the camera or H4n stopped recording, so PluralEyes can’t find the companion clip).

Next, I’ll set up bins in Premiere Pro like this:

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Then I import the footage.  I’ll also create a few Google documents and share them with the team: (1) Master Assets, (2) VO Scripts, (3) Master Schedule, (4) Color Keys, and (5) Treatment.

After organizing the bin structure, Chad or Zeb and I meet up for several days to cull through the footage and sort it all into folders or sequences.

All unsynced footage resides in a bin called RAW FOOTAGE.  All synced footage is placed chronologically onto a timeline called THE WELL.  Between those two places, we cast our fishing lines and scoop material into folders, giving them scene names.

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I think one of the fundamental theories of editing is that it is easier to work from a micro to macro level than from a macro to micro level.   Simply, this means that it’s easier to build up than to have to remove. (Maybe this holds true to part of the human condition as well; it is easier to forge bonds than to destroy them?  Who knows.)

How do you pick and choose what to add to the timeline?

We’re both watching and listening for funny lines, important game development stories that progress the narrative forward, threads we want to keep or move into the Detour bin, etc.  It helps for me to sit down with a developer to understand some terminology and note the difference between things that were actually carried out during the game jam and things that were part of a wish list.

For each clip, we try to consider sound, image and story as three equally important components to the episode (e.g. Will it be possible to improve this sound later?  Does he go into too much depth here on the topic of free-to-play?  Should we move it the Detour bin?  Let’s grab this bit because of his facial reactions when he plays the game for the first time.)

It’s very important at this early stage to go through all the footage together not only so that we know what we have but also because filtering footage into as many bins as possible puts us ahead of the game when we’re trying to find it again later.  For example, general travel footage can reside in the ‘Travel Bin’ and also ‘Whiteboarding’.  If it sounds tedious, it’s because it probably is — but uber helpful down the editing pipeline.

While we’re sorting, we will also start color coding clips based on their content:

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After one or two passes through sorting, I’ll group the colors together, then make edits into the clips, almost like creating a radio cut without paper.  What we’re doing here is eliminating the time that it takes to transcribe interviews, strike out sentences, and build an editing script.

Sometimes though, I will take story notes in a document I call ‘Treatment’.  It is a prose version of how scenes progress, but I generally use bullet points.  For example, there is a scene in episode 3 where I wrote down:

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After we finish sorting, hopefully the cut is down to a little over an hour.

Then we kind of attack the editing from all sides.

There is a document that’s called ‘Master Assets’.  It’s a list of things we think are necessary for the episode to stand on its own.  That includes Diego’s artwork, character animations, Chad’s code footage, Zeb’s level design footage, Zeb’s music, gameplay footage, VO scripts, After Effects Map Animations, nameplates, game jam scorecard design, etc.

Everyone pitches in to create the assets while I attempt to cut a scene down to its projected run time.

At this point,  I’m thinking a little about pacing, maybe music and moving assets around, but mostly just trying to get through one scene pass from start to finish through trimming.

I am trimming up the uhs, ums and pauses, making everything sound quick and deliberate.  If there are any design ideas that come to mind, I’ll jot those down, too.

At the end of the day, I’ll rig a time code stamp on the video and ship it to the team via Dropbox.  I’ll usually receive feedback the next day but won’t look at it until I’m done doing first passes on all scenes.

The notes from the team are extremely helpful.  They consist of suggestions for assets we need, comments on confusing lines, etc.  The master asset list is updated again.  Zeb made a very interesting observation one day that there’s this kind of ebb and flow happening where the timeline and list of things to do will expand, then contract, and finally we’ll start to see what the episode wants to be about.

We’ll kind of all have this instinctive feeling when we are one or two weeks out from finishing the episode.  Backers are sent a rough cut and encouraged to email us with comments on the upcoming episode and suggestions for improvement.  I do read all of them and take these into consideration!

There are more choices made with regard to music, sound effects, animations, title designs, fonts, etc.

I’ll spend the week leading up to release sound editing in Audition and color correcting, tweaking visual and audio transitions, moving around key frames in Premiere and/or After Effects.

The day before release, I render all the effects, export and upload the master sequence to YouTube on a private channel, type in the episode description and search tags.

On Friday, the episode is out there, and I am like the parent waving goodbye to the kid at the bus stop on his first day of school.

That’s it, folks!  I may edit this series and include more pics on the process at a later time.  I hoped you enjoyed that insight into the making of Indie Van Game Jam!

Ride on.


This is the final part of a four part series. Check out the first part on our gear, the second part on pre-production, or the third part on filming.

The Indie Van Game Jam is a comedy documentary web and video game series in which we travel around the country, interview independent game developers, and make games along the way in our van. You can check out the series on and vote for us on Steam Greenlight.