Why Indies Should Care About Web Gaming:

Most indie developers think about Steam. Some think about mobile. Very few think about the web, and that gap represents a real missed opportunity that Romy Halfweeg, a developer relations specialist at Poki, laid out clearly on the Indie Game Business podcast with host Dan Long.
Poki is the current market leader in web gaming, with 90 million monthly players and 100 billion gameplays each month. That is not a niche audience. That is a platform with serious reach, and most indie developers are not paying attention to it.

What Poki Is and Why Web Gaming Is Growing:

Poki is a Dutch company based in Amsterdam. It operates poki.com, a platform where players can play HTML5 games directly in the browser, no download required, no account needed. Poki made the switch from Flash to HTML5 in 2015, three years before the Flash shutdown in 2018, which put them in a strong position when the rest of the web scrambled to catch up.

Beyond dedicated gaming platforms, HTML5 games are being integrated into apps and services that were never primarily about gaming. WeChat in China has built gaming into its all-in-one app. A banking app in Korea lets players run a quick game while waiting for a payment to process. DiDi, China’s ride-hailing app, offers players an HTML5 game while they wait for their car to arrive.

The growth is being driven by a younger audience that is used to instant access to content. Downloading an app, watching an ad, and then trying a game is not how this generation consumes content. They expect to click a link and be playing within seconds. Browser games fit that expectation perfectly.

Is Web Gaming Actually Right for Your Game?:

Romy was direct about this: web gaming is not the right fit for every developer or every game. Before you port anything or start a new project for the web, you need to be honest about what you are making.

Web gaming is a strong fit if your game has these characteristics:

• Simple, accessible mechanics that players can grasp within seconds
• Short session lengths, where a player can get value from a two to five minute play
• Low file size that loads quickly in a browser
• Broad genre appeal such as casual, arcade, puzzle, idle, or hyper-casual
• No need for extended narrative, complex controls, or deep progression systems

Web gaming is a poor fit if your game requires:

• Elaborate story systems or narrative depth
• Complex control schemes that do not translate to browser play
• Long session investment before the player gets value
• Heavy file sizes that create slow load times

If your concept requires players to commit significant time and attention before it pays off, the web audience will not wait for that. They will click away within the first few minutes.

How Much Money Can Indie Developers Actually Make on Web?:

This is the question every developer wants a real answer to, and Romy gave one. The honest version is that revenue on web depends heavily on genre, update frequency, and how long the game has been live. But for a first web game, developers can realistically expect somewhere between five hundred and three thousand dollars per month.

That is not the same ceiling as a breakout Steam release. A hit game on Steam can generate millions in a matter of months. On web, hitting that level takes longer and typically requires multiple successful games building a cumulative audience over time.

The revenue model on platforms like Poki is advertising-based. Developers earn through revenue share on ads shown during gameplay, which means:

• High session time drives higher revenue
• Games that retain players and get replayed accumulate more ad impressions
• Genre matters significantly, since casual games tend to have higher replay rates than single-run experiences
• Updates that bring players back extend the earning period of a game

Poki also offers licensing deals, where they pay a developer upfront or on an ongoing basis to have a game exclusively or primarily on their platform. These deals are not publicly standardized, but they represent an option beyond pure ad revenue share for games that Poki wants to feature prominently.

What Poki Actually Looks for When Reviewing Games:

Romy explained that Poki reviews every game submitted to their platform before it goes live. They are not running an open marketplace where anything gets published. The team plays the game and evaluates it against a set of standards that prioritize player experience.

The things that matter most to Poki during review:

• Retention: Do players stay? Do they come back? This is the single most important metric.
• First-session experience: Can a player understand and enjoy the game within the first three minutes without dying or failing?
• File size: Games need to load fast. Large files are a dealbreaker for browser-based audiences.
• Polish: The game should feel complete, not like a prototype. That does not mean it needs to be complex, but what is there should feel intentional and finished.
• Mobile compatibility: Poki’s audience plays significantly on mobile browsers, so touch controls matter.

On the retention point, Romy stressed that the first three minutes of a game are critical. Players who die or fail within those first minutes will not stick around to give the game another chance. They will simply move on to the next one. The web audience has no patience for a steep early learning curve.

Her specific advice: in the first three minutes, players should not be able to die. Hand-holding at the start is not a design weakness for web games, it is a necessity. Once a player is past that initial window and has decided they like the game, difficulty can increase. But during those first few minutes, the game should be convincing the player to stay, not punishing them for being new.

The File Size Problem Most Developers Underestimate:

One of the most practical pieces of advice Romy shared is something developers often overlook until it becomes a problem: file size.

The web audience expects instant play. If a game takes more than a few seconds to load, a significant portion of potential players will leave before they ever see the title screen. This is not a user experience preference, it is a behavioral pattern baked into how people use the web.

• Keep total game file size under 30 MB where possible
• Optimize all assets aggressively before export
• Test load times on a standard connection, not just your developer machine
• Prioritize loading the core gameplay loop first so players can start playing before all assets are fully loaded if possible

Audience Demographics and What They Tell You About Game Design:

Romy described some of the audience behaviors and preferences that affect what games succeed on the platform:

• The audience is accustomed to short-form content and instant gratification. Games that deliver fun quickly outperform games that require setup time.
• Girl-skewing audiences on Poki respond well to creativity and self-expression. Dress-up games, character customization, and games with no win condition but open creative space perform well with this segment.
• Multiplayer games benefit significantly from avatar customization. Players want to express themselves and be recognized within the game.
• Puzzle games work on web, but not overly complex ones. The puzzle difficulty curve should stay accessible for longer than it might on a platform where the audience has made a deliberate, high-investment choice to be there.

Understanding the audience means understanding that web players have not necessarily decided they want to play a game when they land on it. Many of them arrived through a link, a search, or a recommendation and are still deciding whether to commit. The game has to earn that commitment quickly.

Where Web Gaming Is Headed:

Romy’s view on the near future of web gaming is that the pattern already visible in 2024 and 2025 will continue and accelerate. More platforms and apps will integrate HTML5 games as a natural part of their user experience, not as a gaming product but as a utility. Games to fill waiting time, games embedded in apps, games triggered by real-world events like being on hold with customer service or waiting for a delivery.

At the same time, dedicated web gaming platforms like Poki and Crazy Games will continue to grow a player base that comes specifically to play games on the web. Romy sees the space splitting into two distinct player types:

• Players who encounter games incidentally through apps and platforms where gaming is not the primary purpose
• Players who seek out web gaming specifically and want a deeper, more intentional experience from a dedicated platform

Both represent audiences for indie developers. The first group rewards ultra-simple, frictionless games that require no context to enjoy. The second group is more willing to invest time in a game that has more going on, as long as the first-session experience is still smooth.

The international angle is worth noting for developers thinking about reach. Poki’s 90 million monthly players are globally distributed. Web games are inherently cross-platform and cross-region in a way that app store games are not. A game that performs on Poki has potential reach across markets that would require significant localization and platform investment to access through traditional publishing routes.

Practical Advice for Your First Web Game:

If you are building your first web game, Romy’s advice is consistent and practical: start small, keep the scope tight, and treat it as a learning exercise.

The bar to publish on web is lower than on Steam or in app stores, not in terms of quality, but in terms of what constitutes a complete experience. A game built around a single mechanic that is executed well is a legitimate web game. You do not need secondary gameplay loops, a progression system, or a narrative arc for a web game to succeed.

Key principles for your first web game:

• Build something you can finish in a month or less
• Focus on one core mechanic and make it feel good
• Add game feel through juice: effects, sound, responsive feedback when buttons are pressed or actions happen
• Make sure the first three minutes do not punish the player
• Keep file size as small as possible
• Test on mobile before you submit
• Ship a version that works, then update it based on player data

The Bottom Line for Indie Developers:

Web gaming is not a replacement for Steam or mobile. It is its own platform with its own audience, its own standards, and its own revenue model. For developers who build the right kind of game, it represents a real distribution channel with 90 million monthly players and significantly less competition than established stores.

The barrier to entry is lower than most other platforms, both technically and in terms of what the audience expects from a first release. A small, polished, fast-loading game built around a single strong mechanic has a genuine shot at finding an audience on the web.

Want more insights like this?:

Join us for our IndieGameBusiness Deep Dive, taking place on May 27th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Romy and other industry pros.

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Indie Game Press Coverage

Getting Indie Game Press Coverage is one of the most common pain points for indie game developers. You’ve spent months or years building something you believe in, you send out press kits, and then nothing. No reviews, no previews, no mentions. Meanwhile, games that seem less polished are landing features on major outlets. What’s going on?

On a recent episode of the Indie Game Business podcast, host Dan Long sat down with Mike Straw of Insider Gaming for a candid conversation about how games media actually works, what journalists are looking for, and the specific things developers do that quietly kill their chances of getting coverage. Mike has been in games media for sixteen years and has worked his way from freelance writing to managing editorial roles, and he brought a refreshingly honest perspective to a topic that a lot of developers struggle to find straight answers on.

How Games Media Actually Decides What Gets Published:

One of the first things Mike addressed is something many developers assume but rarely understand clearly: the metrics behind coverage decisions. A lot of indie studios think there’s a data-driven formula, some algorithm that editors run press kits through to decide what’s worth their time. The reality is messier and, in some ways, more encouraging.

Large outlets do look at traffic data and audience interest, but individual journalists often have significant editorial latitude. Mike explained that he personally picks games he’s genuinely interested in covering alongside titles he knows will resonate with Insider Gaming’s audience. His audience skews toward extraction shooters, story games, and action RPGs, so he weights his selections accordingly. But he also reserves space for games that speak to him personally, including his love of roguelikes and turn-based strategy.

What this means for developers is that coverage isn’t purely a numbers game. A journalist’s personal taste and editorial instincts matter. Your goal isn’t just to hit metrics; it’s to connect with the right person who genuinely wants to tell your story.

The Single Biggest Mistake Developers Make With Press Outreach:

When asked directly what kills coverage opportunities, Mike’s answer was immediate: being unresponsive.

This might sound obvious, but it’s far more common than developers realize. A studio will send out a press blast, generate genuine interest from a journalist, and then go silent when that journalist follows up with a question or request. By the time the developer responds a week later, the story window has closed. Games journalism runs on timing. If a journalist can’t get the clarity they need quickly, they move on to something they can actually publish.

Mike put it plainly: when developers send out a press blast, they should expect people to email them back. If you’re not ready to be responsive to media inquiries, you’re not ready to run a press campaign. Responsiveness signals respect for the journalist’s time, and journalists notice when studios take that seriously.

Beyond responsiveness, having a solid press kit matters. But the press kit alone won’t carry you. Journalists work with dozens of press kits at any given time. What separates the games that get coverage from those that don’t often comes down to the relationship and communication around the kit, not just the assets inside it.

Why Your Story Matters More Than Your Trailer:

One of the most valuable things Mike shared is how much story drives coverage decisions, particularly for indie games. He talked about covering Steam Next Fest and how he approaches game selection. Even for games outside his personal taste, he’s looking for something that his audience will connect with. But more than that, he’s looking for games with a story worth telling.

He mentioned games currently out that aren’t getting the traction he believes they deserve, and how the upcoming Insider Gaming showcase is being built specifically to spotlight titles that need publisher support or funding to cross the finish line. The common thread in coverage he wants to do is the story behind the game, the context, the people making it, and the creative risks being taken.

This is where many indie developers miss an opportunity. A press kit has screenshots and a trailer. What it often lacks is a compelling narrative about why this game exists, what problem it’s solving, what risk the developer took that nobody else was willing to take. That narrative is what Mike is actually looking for when he decides whether to pitch a feature to his team.

He also made a pointed observation about where storytelling is succeeding right now on platforms like YouTube Shorts. The content that performs isn’t the polished, hook-optimized stuff. It’s developers telling an actual story about something in their game, a character, a mechanic, an unexpected moment during development. The human element is what cuts through.

The AI Problem in Games Media and What It Means for Developers:

Dan asked Mike about AI in games journalism, and the response was candid. Mike said the threat is real and something he thinks about seriously. AI tools are scraping content, misrepresenting quotes while still sourcing outlets, and showing up in search results in ways that pull traffic away from the journalists who did the original reporting. It’s not a hypothetical threat; it’s already affecting outlets.

But there’s a counterweight. Audiences are pushing back on AI-generated content. When Metacritic briefly hosted an AI-generated review for Resident Evil Requiem, the backlash was swift enough that Metacritic not only pulled the review but removed the outlet entirely. That kind of public reaction gives Mike some confidence that authentic journalism still has a strong place, but it also means journalists need to work harder to find angles and stories that AI aggregation can’t replicate.

For indie developers, this dynamic is actually good news. AI content farms can package up news about big-budget titles easily. What they can’t do is tell the specific, personal story of why a small studio in some city made a weird, risky game that shouldn’t work but somehow does. That kind of story requires a journalist who cares, and there are still plenty of those.

Why Taking Creative Risks Helps You Get Covered:

Mike closed the episode with a message directed at developers, speaking as a gamer rather than a journalist. He said flat out that indie games are keeping the industry alive because they’re the ones still willing to take risks. Big publishers optimize for safety. Indie studios are where the genuinely experimental stuff happens.

From a press coverage standpoint, this matters because risk creates story. A game that tries something no one else is trying is a game worth writing about. A safe, polished clone of an already-popular genre gives a journalist nothing interesting to say. When you make a bold creative choice, you’re not just making a better game. You’re giving a writer something to work with.

Mike’s specific advice: don’t play it safe. This wasn’t abstract encouragement. It was rooted in his experience that the stories he most wants to tell are the ones where a developer did something unexpected, something that required courage to ship. Those are the games he gets excited to cover, and that excitement comes through in the coverage.

What the Insider Gaming Showcase Tells Us About What Journalists Actually Want to Amplify:

Mike shared details about the first-ever Insider Gaming showcase, scheduled for May 28, which received nearly three hundred submissions and ultimately selected fifty-four games. The curation criteria are worth paying attention to: no games with large publisher backing, no hundred-million-dollar budgets. The showcase is exclusively for games that need funding or publisher support to reach their next milestone.

This is a direct signal about what Mike and his team believe in. They’re building a platform specifically to serve the games that get overlooked by traditional press cycles. Several of the fifty-four selected titles are already out but not getting the attention they warrant. Others are still in early development and looking for Kickstarter support or investor interest.

The goal is to run it twice a year, continually surfacing games that most players have never heard of. For developers wondering whether press is still accessible to small studios without PR budgets, initiatives like this one are evidence that there are journalists actively building structures to cover exactly those games.

How to Actually Get on a Journalist’s Radar:

So what should developers actually do differently? Based on everything Mike shared, a few practical patterns stand out.

First, build your press campaign around a story, not just assets. Before you send anything to a journalist, be able to answer the question: why does this game exist? What would have been lost if you hadn’t made it? What creative risk did you take that the market told you not to? Those answers are the foundation of a story worth covering.

Second, when you send outreach, be ready to respond the same day. Treat incoming journalist emails the way you’d treat a message from a potential publisher. If someone is interested enough to follow up, that interest is perishable. Every day you don’t respond is a day closer to them moving on.

Third, know which outlets actually cover games like yours. Insider Gaming’s audience, as Mike described it, leans toward action games and extraction shooters. If you’re making a farming sim or a narrative adventure, that outlet might not be the right fit, and sending to the wrong press contact wastes everyone’s time. Do the research before you build the list.

Fourth, don’t overlook journalists who cover adjacent topics. Mike came from sports media and stumbled into games coverage because of personal passion. Some of the most enthusiastic coverage for indie games comes from writers who aren’t assigned to the beat but find a title that genuinely excites them. Those organic discoveries often lead to better, more personal coverage than a targeted pitch to a senior games editor.

Burnout Is Real in Journalism Too, and It Affects Coverage:

One of the more unexpected threads in the conversation was Mike’s openness about burnout. After twelve years in the industry, including six years as managing editor at Sports Gamers Online, he hit a wall. He stepped away entirely, tried something different, and was eventually pulled back by a conversation with Tom Henderson at Insider Gaming about the gaps he saw in existing games coverage.

What brought him back wasn’t money or obligation. It was a specific editorial vision: fewer filler articles, more in-depth features and deep-dive reporting where readers could actually learn something. He came back with a renewed sense of what he wanted games journalism to be.

This matters for developers because it’s a reminder that the people on the other end of your press outreach are human beings who care deeply about the quality of their work. Journalists who have fought through burnout to stay in the field are usually there because they love the craft of storytelling. A pitch that respects that, that gives them real material to work with rather than a bullet-pointed feature list, will always land better than one that treats them like a distribution channel.

The Bottom Line for Devs Seeking Indie Game Press Coverage:

Indie Game Press Coverage is genuinely achievable, but it requires thinking about journalism the way journalists think about it. Not as a slot to fill or a checkbox in a marketing plan, but as a collaboration between a storyteller and someone who has a story worth telling.

Mike Straw’s perspective from sixteen years in the industry comes down to a few core things: be reachable, have a real story, take creative risks that give journalists something interesting to say, and understand that the journalists who will give your game the best coverage are the ones who actually want to be there writing about it.

Want more insights like this?:

Join us for our IndieGameBusiness Deep Dive, taking place on May 27th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Mike and other industry pros.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Larry Kuperman’s Farewell Fireside Chat – Celebrating a Legacy in Gaming:

In an era where the gaming industry is both thriving and tumultuous, Larry Kuperman’s farewell chat stands as a beacon of reflection, gratitude, and insight. Hosted by Jay Powell and Mario Kroll, this heartfelt conversation encapsulates Kuperman’s thirty-year journey in gaming, his experiences, and the lessons learned along the way. As we delve into this conversation, we will explore the evolution of the gaming industry, the significance of mentorship, and the future of gaming as envisioned by its veterans.

A Special Occasion:

The podcast opens with the hosts celebrating a special day: Larry Kuperman’s retirement. Jay Powell expresses a mix of admiration and disbelief, noting that Kuperman is one of the few who has successfully navigated retirement in an industry known for its relentless pace. The conversation quickly turns into an emotional tribute as Kuperman reflects on his journey, discussing both the highs and lows of his career.

The Dark Times:

Kuperman shares a poignant story about his professional journey, particularly the challenges he faced before joining Night Dive Studios. He recalls feeling lost and rejected after being laid off from GameStop, a dark moment in his career that many in the industry can relate to. The candidness with which he discusses ageism in hiring practices resonates deeply, highlighting the hurdles faced by seasoned professionals in a rapidly evolving landscape.

The Power of Connection:

Acknowledging the Industry

As Kuperman expresses gratitude for the gaming industry that has been “very, very good” to him, he emphasizes the importance of connections made along the way. He recognizes the role of Mario Kroll and Jay Powell during his challenging times, underscoring the value of support systems in the workplace. This sentiment resonates with many in the industry, where collaboration often leads to innovative ideas and enduring friendships.

Building a Legacy

Kuperman’s contributions to the industry are noteworthy. From his early career to his tenure at Night Dive, he reflects on the projects he’s been part of, including significant titles that have shaped the gaming landscape. His belief in the power of mentorship and fostering creativity within teams is evident as he discusses how Night Dive became a model for remote work during the COVID-19 pandemic.

The Future of Gaming:

Embracing Change

The conversation shifts to the current state of the gaming industry and its future. Kuperman highlights the challenges faced by newcomers, emphasizing the importance of passion and resilience. He urges young professionals to be cautious when entering the industry, advising them to pursue their love for gaming while being aware of the harsh realities that often accompany it.

Opportunities for Growth

Despite the challenges, Kuperman remains optimistic about the future. He discusses the rise of indie games and the potential for smaller companies to thrive in a landscape dominated by mega-corporations. Kuperman’s vision for the future encourages a return to the roots of creativity and innovation, where passion drives the development of games that resonate with players.

The Importance of Mentorship:

Sharing Knowledge

Throughout the podcast, the importance of mentorship becomes a recurring theme. Kuperman reflects on the mentors who shaped his career and emphasizes the need for experienced professionals to guide the next generation. This call to action serves as a reminder that knowledge transfer is crucial for the continued evolution of the gaming industry.

Creating Communities

Kuperman’s commitment to community-building is evident as he discusses his involvement with the International Game Developers Association (IGDA) and other initiatives aimed at fostering collaboration among developers. His belief in the power of community is a testament to the idea that together, industry professionals can navigate challenges and celebrate successes.

Reflections on Retirement:

A New Chapter

As Kuperman transitions into retirement, he reflects on the mixed emotions of leaving behind a career that has defined him for decades. He acknowledges the bittersweet nature of saying goodbye but remains committed to staying active in the industry through mentorship and speaking engagements. This transition marks not an end, but a new beginning filled with opportunities to inspire and educate others.

Leaving a Legacy

In his farewell, Kuperman emphasizes the importance of leaving a positive legacy in the industry. He encourages current and future game developers to embrace their passion, strive for excellence, and build meaningful connections. His parting words serve as a rallying cry for those still in the trenches, reminding them that their work matters and that they have the power to shape the future of gaming.

Anecdotes and Reflections:

Larry Kuperman’s farewell fireside chat is more than just a goodbye; it is a celebration of a lifetime spent in the gaming industry. His insights, experiences, and lessons learned provide valuable guidance for both seasoned professionals and newcomers alike. As the gaming landscape continues to evolve, Kuperman’s legacy will undoubtedly inspire future generations to pursue their passions and contribute to the vibrant world of gaming.

Want more insights like this?:

Join us for our IndieGameBusiness Deep Dive, taking place on May 27th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Larry and other industry pros.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

A Game Launch Is Not the End of the Story:

Many indie developers assume that a game’s fate is decided during launch week. If sales are slow or wishlists do not convert, the common belief is that the game is finished. Developers move on to the next project, leaving the original game behind.

The experience of Jo from JoGameDev tells a very different story.

During an episode of the IndieGameBusiness podcast hosted by Dan Long, Jo explained how his game Spellmasons found new life years after release. The game launched modestly, experienced slow sales, and appeared to settle into a quiet existence on Steam. Then something unexpected happened. Through deliberate marketing efforts, social media storytelling, and an understanding of how discovery works, the game experienced a surge in attention that dramatically increased sales.

The lesson is clear. A launch is only the beginning. If a game is good and developers are willing to learn how to reach players, interest can grow long after release.

This article explores the strategies Jo used to turn an aging indie title into a success and what other developers can learn from his experience.

The Early Days of Spellmasons:

Spellmasons began as a passion project inspired by tactical strategy games and spell combination mechanics. Development lasted years and the game launched with limited marketing preparation.

Jo started building Spellmasons roughly five years before the marketing breakthrough that changed its trajectory. His inspiration came from two games he loved. One was Into the Breach, a tactical strategy title built around small grid based battles. The other was Magicka, known for its chaotic spell combinations.

Jo wanted to combine those ideas into a tactical game where spells could interact in creative ways. The concept grew rapidly during development. What started as a small grid based prototype expanded into a larger physics driven system with complex spell interactions.

Development lasted two years while Jo worked a full time job. Most of the work happened during evenings and weekends. As the project neared completion, he decided to leave his job temporarily to finish the game and push it toward release.

However, marketing started very late.

Jo began promoting Spellmasons only about three months before launch. This limited the time available to build a following or gather wishlists. The game eventually launched with around ten to twelve thousand wishlists, helped by coverage from content creators such as Retromation and Splattercat Gaming.

Even with that support, launch week was stressful. Bugs appeared due to the complexity of the custom game engine and multiplayer systems. Jo spent long days releasing patches while trying to stabilize the game.

Despite the rocky start, players saw potential in the design and reviews remained positive. That early goodwill would later become extremely important.

The Long Quiet Period After Launch:

For several years Spellmasons continued receiving updates, but sales were modest and development returned to a part time effort.

After the initial release period, Spellmasons entered a phase familiar to many indie developers. The game generated occasional bursts of sales during discounts, but overall revenue was not enough to support full time development.

Jo returned to traditional work while continuing to update the game during spare time. For a while he released updates every month, slowly expanding the game with new content.

The player community remained active but small. Feedback from players helped identify bugs and inspired new features. The Discord server allowed direct conversations with players who cared deeply about the game.

Still, the broader gaming audience had not discovered Spellmasons.

Many developers might consider this stage the end of the road. Instead, Jo decided to examine the situation more carefully.

Identifying the Weakest Link:

A major shift occurred when Jo analyzed where his time was going and realized marketing had received almost no attention.

Jo asked himself a critical question.

Where could his effort create the biggest impact?

Up to that point, nearly all of his time had been spent improving the game itself. While improvements were valuable, they were unlikely to convince completely new players to discover the game. If people did not know Spellmasons existed, additional gameplay features would not change that.

The real weakness was exposure.

Jo realized that even a small improvement in marketing effort could dramatically increase visibility because the game had received so little promotion previously.

This realization changed everything.

The Short Form Content Experiment:

A challenge from a marketing focused friend led Jo to begin producing short videos daily. These videos eventually became the main driver of discovery.

In October of the year before Spellmasons experienced its sales surge, Jo accepted a challenge from a friend who worked in marketing.

The challenge was simple but demanding. Create short videos every day until Christmas.

Jo negotiated slightly and committed to producing five short videos per day across platforms such as TikTok, YouTube Shorts, and Instagram.

The workload was intense. Early videos were rough and attracted little attention. Editing even a forty second clip could take six hours while Jo learned the process.

But something important happened during this period. Jo began studying storytelling.

Instead of posting random gameplay clips, he started presenting small narratives about development decisions, character changes, or interesting gameplay interactions. These short stories gave viewers a reason to watch until the end.

Eventually several videos began gaining traction. Then one went viral on TikTok. Soon after, videos began spreading on Instagram and YouTube as well.

That sudden visibility created a chain reaction.

How Viral Content Triggered Steam Visibility:

Increased traffic from social media generated new sales which attracted attention from the Steam algorithm.

The viral videos did not only produce views. They generated real sales.

Steam pays close attention to revenue trends. When a game begins earning more money in a short period of time, the platform often increases visibility through store promotions.

After the social media spike, Jo received an unexpected message from Steam offering a Daily Deal promotion on the store homepage.

Daily Deals appear in a prominent location and reach millions of users. For an indie developer this exposure can be enormous.

Jo prepared carefully for the promotion by releasing a major update that added a new wizard class along with additional spells and mechanics. The update gave returning players a reason to revisit the game while also improving its appeal to new audiences.

The result exceeded expectations. Sales during the promotion were far stronger than previous events.

More importantly, the increased activity changed how Steam treated the game.

Jo described this as reaching what some developers call real Steam. Once the platform sees consistent demand, it continues recommending the game to more players.

Spellmasons had finally reached that stage years after launch.

The Three Pillars of Game Success:

Jo identified three major areas developers must evaluate when trying to grow their audience.

During the podcast conversation Jo explained a framework he uses to evaluate where effort should go. He divides the problem into three categories.

The game itself

The game must be genuinely enjoyable. Validation should come from players who have no personal connection to the developer. Honest feedback from strangers provides the clearest signal.

Presentation

Store page quality matters. Screenshots, trailers, logos, and descriptions must clearly communicate what the game offers. If potential players cannot quickly understand the genre or gameplay, many will leave without investigating further.

Exposure

Even a great game with excellent presentation cannot succeed if people never see it. Marketing, creator coverage, and social media are methods of placing the game in front of potential players.

When one of these areas falls behind the others, it becomes the most important place to focus effort.

For Spellmasons, exposure was the missing piece.

Why Storytelling Works for Game Marketing:

Short videos became effective when Jo shifted from simple clips to stories about development and design.

Many developers assume marketing means repeatedly showing gameplay footage.

Jo found that approach rarely holds attention.

Instead he framed each video as a small story. For example, rather than simply announcing a change to an enemy character, he explained the problem the character created during gameplay and how redesigning the ability improved the experience.

This structure triggers curiosity.

Viewers begin wondering why the change was necessary or how the solution works. That curiosity encourages them to continue watching.

The goal is not tricking viewers into clicking. It is giving them something interesting or entertaining during a short period of time.

Developers have a huge supply of stories because game development constantly involves solving problems, experimenting with mechanics, and adjusting designs based on player feedback.

Learning how to share those moments in an accessible format can turn development progress into compelling content.

The Role of Community During Development:

A small but dedicated community provided critical feedback and motivation throughout development.

The Spellmasons Discord server played an important role during the game’s growth.

While thousands of players joined the server over time, only a small percentage participated regularly. This is typical for most communities. A small group of dedicated fans often drives discussions and feedback.

Those players helped identify bugs, suggested new ideas, and even tested experimental changes. Their enthusiasm also motivated Jo during difficult development periods.

Watching someone stream the game for ten hours during launch week confirmed that the core concept resonated with players.

Direct conversations with fans allowed Jo to understand which features mattered most and which improvements would have the greatest impact.

Community feedback did not replace design decisions, but it provided valuable perspective.

Lessons for Indie Developers:

The Spellmasons story highlights several important lessons about long term success.

First, a game can grow years after release. If the game is enjoyable and continues receiving updates, renewed attention can transform its trajectory.

Second, marketing deserves the same level of dedication as development. Treating it as a secondary task limits a game’s potential audience.

Third, short form video content can reach massive audiences if it communicates clearly and tells a story that holds attention.

Fourth, algorithms respond to results. When social media traffic leads to increased sales, storefronts may amplify that success through additional visibility.

Finally, community interaction provides both technical feedback and emotional support. Developers who stay connected with their players often create stronger games.

Building the Next Project With These Lessons:

Jo is applying these insights to his next game by starting marketing earlier and launching the Steam page as soon as possible.

Jo’s new project titled Some of You May Die is already benefiting from lessons learned during the Spellmasons journey.

The Steam page was created early in development rather than waiting until the game was nearly complete. Even if the page begins with placeholder assets or early screenshots, it allows developers to collect wishlists immediately.

Jo also began producing short form marketing content far earlier in the development process.

Another advantage comes from technical experience. The new game uses systems developed for Spellmasons, allowing faster development because many complex problems were already solved.

Building multiple smaller games can accelerate learning and reduce development risk compared to focusing on a single massive project.

Anecdotes and Reflections:

The story of Spellmasons challenges a common assumption in indie development. A slow launch does not mean failure.

With persistence, thoughtful marketing, and consistent updates, a game can reach players long after release. Visibility often depends less on timing and more on how effectively developers communicate what makes their game interesting.

For indie creators, the message is encouraging.

If players enjoy the experience and developers continue learning how to reach their audience, the opportunity for success remains open long after launch day.

Want more insights like this?:

Join us for our IndieGameBusiness Deep Dive, taking place on May 27th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Jo and other industry pros.

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