Checkshirted wearing, waxed moustachioed hipsters, this game is for you.
I mean it’s for the rest of us as well, but especially the bearded no logo uniformers who dream of wielding an axe in the wilds. Mana Potion Studios have produced a fine little RTS, city builder, tower defense game to delight us.
Jaunty music, fishing for food, venison for the people, a proper medieval looking castle designed by you, siege engines, classic big marrow shaped club wielding trolls wearing nothing but slashed hulk shorts and Lumberjacks. Lumberjacks galore. I never wanted to be a barber anyway.
There’s a lot to love about Becastled, a wonderful game that is part city management, part RTS. It is like Total War for people who used to play Settlers on wet break in the science labs.
You’re A Lumberjack, Barry. You too, Harry.
You play the master of the Kingdom of the Sun. You guys rule the daylight and life is good.
The deer stroll nearby, the earth is luscious and your people are productive. You begin by placing your central hall or Castle Keep onto a chosen hex and found your settlement. Then you spawn some citizens willing to do your bidding and your first objective is to tell them to be lumberjacks, because almost all of the early currency is in wood. So, site yourself near some trees and get going.
As usual in an RTS management city build you need to get resources and spend them to enable expansion. You will need wood for building more houses to grow your population, you need wood to build taverns to keep them happy, you need wood to build a farm to feed your growing population, you need wood to build training centres for archers or melee warriors to defend the glorious new Utopia you are building, in fact you’re going to need more lumberjacks.
Wood is the currency early game, building, expanding and sustaining that is the key, as it is in any resource management builder.
Here Comes Trouble
As the game progresses you need other things and very much like playing the board game version of Settlers, you need to be located next to lots of varied resources and some of them like stone and gold or a sort of mined solar gem are needed later for upgrading the stockade and towers to stone ones and building a church to restore your dead warriors in the resurrecting power of daylight hours because, you see, you are on a daily clock.
When the day is over, the Moon Warriors spawn somewhere nearby. They are blue goblins and trolls and they come each night without fail from different directions in ever increasing numbers and with better equipment each night. They march inexorably toward you like the hoards of Mordor, carrying scaling ladders, battering rams, cannon and siege towers to breach your city walls and so you must prepare for sunset each day to go once more into the frey to see if you live or die this day. To survive you must protect and defend your Keep. Citizens and troops may die, buildings may fall, but your founding Keep must survive or the game is lost.
The controls are delightfully simple, the expansion tree is entirely open, the only thing that holds you back is…lumberjacks. If you can get going fast enough and manage food and housing, then you can get other careers going for masons, miners and engineers.
The first few days are easy to defend against, by which time you need to be up and running with defensive structures and plenty of varied methods of defense. The only help you get is that a blue mist signals the spawning site for the Moon Warriors that coming evening. If you have not planned or do not have a productive enough village then you could find they are due to spawn on the most exposed side.
So, you need a strategy and you need to act quickly and consistently, managing choices and resources to sustain, defend and develop…much like any standard RTS. The difference and appeal with Becastled is the varied nature of how you can play.
Hoards of Hordes
It has stacks of playability with challenges split into eight difficulty levels, with three levels of combat difficulty, on seven different terrain types with resources either abundant or scarce and most interestingly you can alter the length of the game, effectively your win point.
Keep the Solar Kingdom safe for 10 days in the easiest instance or try for up to 30 days. With each added day of challenge the Moon Warriors get more powerful and more difficult to defend against, but potentially your castle starts to resemble Carcasonne…another fine board game Becastled clearly draws influence from.
And if you are feeling like Henry V then you can take the ultimate challenge of an infinity mode and see how long you can survive the nightly mounting hoards. I have seen some people on YouTube try to build a wall around the entire map and another who fought for 50+ days. That you can alter the challenge so greatly and try to break the game with challenges like walling the entire map is great freedom for a game.
Who Just Died?
There are some problems with Becastled; some men stop working sometimes and it often isn’t clear who has died when you begin the day after an attack and you have to check absolutely everything to reassign workers otherwise the city will start to fail and you need to work hard each day to grow and repair if you are to survive the night.
Pathfinding is another problem, the AI isn’t great at this, when you send troops to certain locations or to engage in combat with a group of the enemy they take the shortest direct path, but this can lead to them being stuck on a cliff edge or behind a gatehouse or something. With a battle raging this can be disastrous and you can be left wondering where that unit you sent to help got to, but it’s now all too late.
Visit The Solar Kingdom Today!
However, these minor problems for a game in Early Access and the devs are patching these sorts of things at least once a month so by the time you play they may even be gone.
On top of this they have published a clear road map of exciting development that includes tech trees, city building expansion and boss fights. I can only hope they make PvP possible in the future.
Becastled offers hours and hours of medieval fun at a bargain price. It proves both accessible and challenging at the same time. You really would be medieval to not go and get this, especially if RTS is your thing. Can you go 50 days without defeat? I can, but then I’m a Lumberjack, so I’m ok.
Yay…another Roguelite. If your game isn’t procedurally generated, then you’re not with the programme.
It’s a tough deal these days, after Hades; the bar has been set high. So along comes Skul: The Hero Slayer, joining the group like a new pop-up artisan burger joint, offering Japanese corn-fed beef patties on a piece of slate, in a brioche bun and serving Argentine beer whilst they play full Bob Dylan albums… on vinyl.
Just like a few years ago when burgers became artisan…roguelites are everywhere at the minute and there is no sign of let-up. Don’t worry, I’m here to help you know which waygu and which way not to go.
One Large Retro Pixel Art 2D Roguelite, Please
Skul is a pixel art 2D platform roguelite. The graphics and the way the text scrolls one generated letter at a time is very much like an old Nintendo Entertainment System or SEGA game.
The whole look of the game is retro styled and has an early Zelda feel to it. The usual roguelite elements are here. You die lots and keep nothing with you except for small incremental trait improvements which are split into three options, magical attack, melee attack and critical damage chance.
Gradually a combination of mastering the attack styles of enemies and the compound difference of incremental trait advances starts to pay off; you can go further, do more and so the game scales.
The premise is that the heroes of the world have united to finally conquer the demon kingdom and have imprisoned the Demon King, defeating and capturing monsters and wraiths of the underworld in the process. All except you that is… You are Skul, the tiny little skeleton sent on a final desperate mission to expel the Heroes and rescue the Demon King. You do so by journeying through RNG rooms that you have some control over.
Before entering the next room, you are presented with a choice of two rooms from one that delivers a skull, one that delivers money or one that delivers a power-up item. You get this reward when you clear the room full of enemies, but the level of reward, common, rare, unique and legendary are randomised. There is also a blank room which is simply a random pick of any one of the above. This allows you to somewhat control what you get in reward at the end of each room on your run.
Throughout levels there are shop doors to pass through that offer the chance to spend money on a variety of RNG items in each of the categories and a free skull is often offered to you.
You also have the end of level doors marked in red where you fight mini-bosses in the shape of caped heroes or one of six end of section big bosses.
Back To The Grind?
So far everything is pretty standard stuff for a roguelite, it’s done very well, but nothing special. The trick (and difficult bit) of making a successful roguelite is to avoid the improvement seeming like too much of a grind. There is nothing worse than being thrown back to the beginning for the 80th time, hating the idea of having to do those rote early levels yet again. One of our developer podcast guests recently described a lightbulb moment for him.
It was understanding what the central appeal or mechanic of your game was and to not limit it, but give lots of it to the player. That, after all, is why they are playing it. So, a roguelite has to constantly offer you demonstrable character improvement to keep the player in that feeling of ‘this time know I can get further…one more go’.
How does Skul do at this? There are two things that let it down. Whilst the rooms are procedurally generated, the enemies within rooms are not RNG; they are the same ones in the same places, following the same movements each time and there is limited variety in rooms.
There could (and should) have been more on offer here to make replaying them seem like less of a pointless grind in getting to whichever level you are currently powered for. The other problem is that in the early stages of the game, progress is very slow and the difficulty is punishingly hard. You can easily die fifty or sixty times with little progress beyond the early sections and seemingly scant character trait improvement.
Rotate Your Skuls
These issues could cripple Skul, but they don’t, because what lifts Skul: The Hero Slayer out of what would have been a mediocre entry to the genre at best, is an amazing mechanic that is the core attraction of the game. The ability to swap your skull and pick up another with radically different merits and powers.
There are about thirty-five skulls you can be given but you can only use two at any one time so, there are choices to be made. Each skull will be focussed on either speed, physical attack, magic attack or a balanced one of all elements. Within that there are different tiered skulls that give your play a different level of deadliness in attack and variety.
There are common skulls: rare ones, unique ones and legendary ones. These can and do pair with increasingly power with items that you pick up that complement the characteristics of speed: power or balance more so than the other skulls. The right combinations can result in your character becoming a devastating whirlwind of retribution on the heroes invading your land.
Oh yes… and if the difficulty is too hard there is a rookie setting that halves incoming damage, which 20 % of players choose to switch on – ooufff clearly tough then.
At first it might feel that you are at the mercy of getting an early unique drop of a rare or legendary skull to have any hope of progress, but as your character increases trait power with each run the common skulls become very playable and both the common and rare skulls can be upgraded to become as powered as a legendary one.
This means that not only are there a vast range of playstyles open to you with these RNG skull drops, but as your character levels your ability to use almost any of them effectively also increases, making for an enormously different experience of play each time. Perfecting them and settling on a preferred playstyle is fun and you can very much single-mindedly focus on this from a restart, keep only physical skulls and always choose/buy the physical upgrades.
You can also crush all other found skulls into bones to use as a currency to upgrade your Skul. Make these decisions early on based on the first skull given and you can rapidly compete with a legendary skull, you need not wait on the RNG to gift you one. This is only really possible when you have enough compound trait progression though.
This bewildering choice of gameplay styles and power-up make the early rooms playable on a repeat basis because you are forced to learn several different playstyles, hitting from distance, melee, special moves that are directionally dependent and ones that aren’t, the list goes on, all dependent on the skulls dropped for you in the early rounds.
Games do not usually make you learn more than one or two play-styles, but here there are a vast array of combinations and these changes, if you upgrade; remember that you can only ever hold two skulls at a time. This semi-forced variety is a magical mechanic to the game that takes some learning, but is richly rewarding.
All of this combines to produce amazing combat that you can easily control and master to clear dozens of enemies from different directions with wonderfully satisfying and increasingly powerful attacks and combos. It is something that looks like chaotic luck, but isn’t.
Skul: The Hero Slayer Review Summary
You will probably get about 40 hours out of Skul: The Hero Slayer and it is worth every penny of a relatively cheap price point. This isn’t a perfect roguelite, but it is a good one with a marvellous core mechanic that defines the game and lifts it beyond the small problems it has. Being the bad guy has never been so much fun.
It’s a rarity that I end up playing most games in the survival game genre, such as Minecraft and Rust, Subnautica, Don’t Starve, and more. It’s not that these games are bad, but the market has become oversaturated with games in this genre in the last decade or so.
My talents for building beautiful structures, or finding the patience in my ADHD brain to gather the countless resources to craft what I need to advance to the next tier of the game.
But Valheim hits different.
You are a mighty Viking warrior, sent by Odin Allfather himself to the Norse equivalent of Purgatory in order to slay mythical beings that threaten Valhalla. Starting in the relatively peaceful Meadow biome, you build a small home (or find one) and begin to collect resources to better your equipment and explore the world.
Valheim offers a great tutorial system in the form of a huge raven that explains some of the core mechanics of the game, and offers a bit of direction on how to progress forward, which is a big step up from similar games that just drop you into a random world with little to no instructions.
I really enjoy that Iron Gate Studios spent the time to add a good, clear goal as well as a simple but well integrated tutorial system. One of my biggest struggles with Minecraft over the years is how absolutely massive the game is, with little to no direction on how to get to the endgame goal of killing the Ender Dragon or how you should be progressing forward.
Wait, Minecraft Is 12 Years Old?
It’s possible that’s more of an opinion, or signs of age as Minecraft is nearing it’s 12th year, but I’m not as much of a fan of the “figure it out yourself” side of these games. Maybe I’m just old.
The world of Valhiem is a beautiful, slightly haunting world. Danger might not lurk around every corner, but it is ever-present. Beyond the safety of the open Meadows biome, lies a myriad of dangerous creatures that attack relentlessly. From Greylings, Trolls, skeletons and more, they will endlessly hunt you down as long as you leave the safety of your home.
Base building becomes even more important as you delve farther into the world, as attacks on your home will become more frequent and you’ll need to build defenses like spikes and pits to stop them. Crafting your base is a breeze, with pieces snapping into place and requiring you to be mindful of support beams, chimneys for smoke ventilation, as well as protective walls for safety.
Beautiful Visuals, Open World Exploration
Visually, the game’s landscapes are beautiful and the building system lets you easily create nice looking structures without being an architect (in contrast to Minecraft where I can’t build anything). However, monsters and players themselves look like they were ripped out of Runescape, and don’t really mesh with the rest of the visuals of the game.
I do miss the lack of things to discover in the world, but to my credit I have only explored the first two biomes, and have not seen much on the Wiki to change my mind about more discoverable things beyond abandoned structures and small dungeons.
Where No Man’s Sky offers a plethora of locations that overall don’t matter a great deal to progression, and Minecraft offers a huge variety of possible things to explore that are (usually) beneficial in some way, Valheim’s abandoned homes generally only offer the same couple resources (some gems/amber/money that you can’t use for a while longer, feathers, bees, and maybe some arrows). The crypts you find in Black Forest are necessary to create Forges and smelters, but after that there’s never been anything of note to find in them.
The game also offers a skill system where the more you use a skill, the better you get at it.
Or, so I’m told.
I haven’t really noticed any difference between where I started the game and and where I am now. I’ve been sprinting since I started the game, but I haven’t seen a single difference in running speed. The only noticeable progression is upgrading tools and weapons, which make a decent enough difference to feel like progression.
The Final Verdict
Overall, I’m still really enjoying running around the world of Valheim. I’m somewhere around day 35 or so of my current world, wasting time trying to mine more bronze before I craft a ship to sail to the next island to face the second boss. And I’ve enjoyed just about every minute of it.
For an early access title (which is only about $20), it’s a great game at it’s current version. Iron Gate Studio has been adding small patches fairly frequently, improving the game’s stability while also being fairly open about their roadmap for new features.
I hope that some of the visuals are changed as the game goes on, mainly the horrendous looking trolls and player models, but we’ll see if that is just a design choice or not. I’d also like to see more attention paid to the skill system, to feel like there’s an actual progression for all the trees I’ve hacked down over the last 20 hours of game time.
Fans of great emergent storytelling and multiplayer survival games, Valheim is an easy pick. Even if you want to sit and let the game marinate for a bit longer for more content, there’s already plenty to unpack now to keep you entertained for a few weeks with your buddies.
Did you ever wonder how to approach a game publisher with your game idea? Do you like axes? Annoying monkeys? Dinosaurs? How about flannel shirts? Well, this interview is going to be the highlight of your week.
We spoke with the team at Another RoadPublishing, the publisher behind Lumberhill – a crowdfunded chaos-filled lumberjack game you can play with friends. Play in co-op, PvP or solo mode and swing your axe through insane levels that put your axe wielding skills to the test… all against the clock. Expect to see beautifully drawn pirates, raging wildfires, (annoying) monkeys & pandas among other unexpected things along the way, and get unlocking your way to new worlds and skins. Bags of fun, and already critically acclaimed, Lumberhill is well on its way to a raging success.
Sharpen your axe and iron your flannel – this wild co-op will throw you right into the middle of action! Try to get your job done in a crazy race against the clock: collect orders, fight wildfires, pirates and extremely annoying monkeys! Unlock tons of new skins and worlds playing in co-op, PvP or solo mode… and save the world – lumberjack style!
We have started as a video games accelerator, offering financial support and mentorship to students and young studios, aiding them in completing their first professional projects. It became apparent to us that these fledgling studios would also need help with promotion and marketing of their games. So, the Another Road Publishing was created to do just that.
Congratulations on the Kickstarter. At the time of writing, you are almost halfway to your goal! What was the reason you went with crowdfunding?
The team working on the game is young but very ambitious. At this moment, most of the workload is already completed, but we’ve decided that there are still some things that we would like to expand and polish in the game. It could use an additional round of testing, more levels, a few new mechanics and skins. The game will be released in the beginning of 2021 regardless of the result of the Kickstarter campaign, but at the end of the day we would love to include everything we have planned!
The campaign story, video, GIFs and images on the crowdfund page at Kickstarter are very slick and professional. Did you hire a third party or is it all done in-house?
All in-house! We have amazing artists on board who created all of the beautiful images and GIFs for the campaign!
All of the drawn elements were hand-painted and animated by us, and our video editor put together these amazing videos you see in the campaign. Also the live action scene in the promotional video where we are chased by a definitely real dinosaur was one of the most fun things we did this year.
You already have a great following thanks to previous releases. Do you get a lot of organic feedback on Discord, for example, which helps the developers polish a game before release?
Yes, all of the feedback is extremally valuable for us. We’ve got a lot of it on our Facebook page, Discord servers and from youtubers and streamers playing the game.
Sometimes it helps us in not so obvious ways. Let’s say, we have a specific feature in the game, and we feel like it should be visible and clear to the players that it is there, but we get a lot of feedback that says “it would be cool if I could do this that way”. We get a very clear message that there is something wrong with the way we’ve placed that feature in the game and it should be changed. We also listen very carefully to what people think of the game overall and make adjustments where we can. One great example is the tutorial area, which is now completely different from what we had in the previous demo version of the game.
I’d like to take my time here to thank all of our community for their feedback and support! You guys are the best!
Lumberhill looks and sounds like crazy, chaotic fun, enjoyed by many at the Steam Games Festival. What sort of feedback helped the development process?
All of the feedback helped us immensely in creating the experience the players will love to play. As we published the demo version of the game twice (once during the Summer Steam Game Festival and Autumn edition) we’ve received not only a lot of feedback on the game itself, but we could also see how the changes we’ve introduced for the second demo influenced the experience for the players.
We value any feedback, because even something seemingly irrelevant, like a question about the way that the quests work in the game, might push us in the direction of: “Oh, if they ask about it, maybe we didn’t explain it well enough in the game and we should fix it”.
Have there been any in-house full on, all out Publisher vs. Developer Lumberhill battles during playtesting?
Yes! And we had a lot of fun together! (Well I guess the developer had more fun since we have lost all of the matches, but we gave it our best!)
If we can talk about Weakless for a moment: – When publishing Weakless with Punk Notion, how did Another Road help bring the project to life?
As I mentioned before, Another Road Publishing stems from a video game accelerator that was providing support for young developers just starting out in the business.
Weakless came to be as a student project and when we accepted it into the acceleration programme, it was little more than a big pile of concept art and a bold dream of two girls. You could say Weakless was with us from the very beginning, from the conceptual phase, through first prototypes, to the mature, enchanting game we can play today – and we supported it as much as we could along the way.
Weakless is a very unique slant on a traditional puzzle-adventure. The deaf and blind characters are an incredible twist. Did this evolve or was it planned from the beginning?
Actually, it was one of the first thoughts that sparked the game into existence: to have two characters that complete themselves and find their strengths not, like it’s usually found in games, in their superpowers, but through something that is traditionally considered a disability.
The idea for Weakless came from two incredible young artists, Ania Kowalczyk – a graphic designer, and Agnieszka Wlazły – a composer, so somewhat naturally the concept drifted towards deafness and blindness, or rather – an extraordinary sense of hearing and sight. So, yes, it was planned from the beginning and served as a form of foundation for the rest of the game.
Have you ever been approached by a developer and absolutely knew the game would be a hit? …or even hated a concept and didn’t want to get involved with a game at all?
Yes, sometimes we happen to see a certain game and just know that it will be a great fit for players in terms of innovation, fun, polish and overall quality. But we are just people, and sure we have a lot of experience in the field, but we are still limited by our personal tastes and opinions that could not always be in line with specific player base. And that one amazing or not so great game might be great or not so great only for us. This is why we try to remove ourselves from the process a bit and let the player base speak.
We conduct marketing tests to see if gamers like or dislike certain idea and only then we decide if we want to continue to work with the developer. One thing that can cause the project to be rejected from the get-go is the quality of the presented alpha or tech demo; we feel that even the most incredible ideas won’t be successful when realised poorly.
What gives Another Road the edge when developers choose you?
We base a lot of our approach more on “what will the community think” rather than on “what we think”. We conduct a lot of early marketing tests to make sure that we are a good fit for each other. When they start to work with us, we help and fund \ creation of their Steam page (or work together on reworking it) and then conduct the marketing test. If it works out for everyone, we go ahead. If it doesn’t – we part ways leaving developers with all of the marketing assets and a polished Steam page. We also offer extensive marketing campaign plans reaching from community management to performance campaigns on various channels (FB, Twitter, Reddit etc.)
Reddit is known for its “unique” community. What has been your experience with Reddit marketing?
…”be active on different boards, be a part of the community – and genuinely love it”
Another Road Publishing
As for the performance marketing campaigns via Reddit Ads, I found it to be a straight forward experience – if you ran something on Facebook you will feel at home. But outside of paid marketing, Reddit is really specific as a platform. Overall we feel that there is a change coming (and a really overdue one, in my opinion) to the way marketing works on social media channels.
To this day, many games were promoted across multiple channels, creating a situation where we were active on all the channels, but not *really* present on any of them. This, of course, changes with the size of the team: in bigger companies each channel can have a specific person assigned to it, but in smaller teams usually there is one person operating all of them. And I feel that Reddit is the prime example of that need to be *really* present on it to work out well. You have to not just come around once in a while and post one or two updates, but be active on different boards, be a part of the community – and genuinely love it. To sum it up, during the Lumberhill campaign we decided to put more effort into our Discord community, but perhaps with our next projects we will find Reddit to be the best fit.
There has been an outpouring of praise on YouTube for Lumberhill. Do you feel YouTube is a good platform for an indie developer to find “Let’s Play” creators etc. to get it into the wild?
Yes, working with YouTube creators was a pleasant experience and we didn’t stumble on any serious hurdles along the way. Additionally, we were really happy to see that many of the creators just picked the Lumberhill demo straight from the Steam Game Festival without any prior contact with us, and loved it! For us it was more than just marketing, we watched every gameplay video closely and noted all the comments people had while playing, which resulted in a few changes to the game. So it is not only a great way to get more eyeballs on the project, but also receive extensive and very organic feedback on the gameplay.
How would you suggest indie devs approach creators on YouTube?
I would recommend to approach the creators just like you yourself would like to be approached – we all have limited time in our busy days, and presenting your pitch in an organised manner usually works the best. If you contact them via their business e-mail, first tell them what your game is about in quick points and then present the rest of the materials.
If you pick their interest in your “elevator pitch”, there is a bigger chance they will like to learn more about your game. If you try to include all of the info in one huge paragraph, the essence and the novelty of the game might get lost in the details.
As a publisher you must be approached by people all the time who just have an idea to pitch. What is the most common & overused game pitch you hear?
I don’t feel that there are any “overused” game ideas, as with Indie developers due to the smaller production scale they have a lot more freedom to experiment and take creative risks. So even if we receive a lot of game ideas within the action-RPG genre, every one of them will have a different hook or interesting twist to stick up from the crowd.
Have there been any issues with Coronavirus lockdowns impeding progress on Lumberhill?
When the government rung the first alarm bells about the pandemic outbreak in our country we quickly transformed our physical office in to a virtual one and worked from homes ever since. And as easy it was to move computers and other essential hardware in to our homes, the switch to this new way of working took significantly more time. Also the worry about our loved ones – our parents and grandparents didn’t help. In the end we had to push Lumberhill’s release a few months forward, but thankfully we are now at full speed ahead and focused on our goals.
Are you working with any other developers right now on upcoming games?
It is too early to share ?
The industry as a whole has seen an increase in interest for indie games, throughout Coronavirus lockdowns. Have you noticed an uptick in developers coming to you with games?
Most of the game pitches come to us through gaming events that we participate in, such as Gamescom, and usually the devs include some kind of demo or tech demo in their pitch, which naturally requires some time to produce. Since the pandemic started around March I feel that if we might see the increase in the amount of the pitches presented, it will happen in 2021 once the devs will have sufficient time to gather their teams and produce first alphas.
What are the steps Another Road takes to ensure the development runs smooth?
Firstly, we conduct a marketing test; we fund, help to rework or create the Steam Page for the game and present it to the community. If it works out we push forward and fund the development of the game. From that point forward we start to work on the marketing and increase the awareness about the game (so this is not something that happens just one month before release of the game). We also provide QA to the developer if necessary, so they can focus on making the game and we can focus on making sure everything runs alright.
One of the burning questions for every indie developer is: how do I approach a games publisher? What advice can you give an indie developer who wants to get their game published with you?
It is the best when we have a pitch document and some kind of demo/alpha/technical demo to work with. Some important things we are looking for are: what is the overall quality of the presented gameplay, what genre it is, what are your past experiences as a studio, what is the USP of the game and what are the estimated development costs. It is much easier if the pitch document is structured in a way that we can easily deduce what is the essence of the project.