A launch video for an unfamiliar VR game has to answer several questions at once: who am I, what do my hands do, what am I trying to accomplish, and what creates urgency? I used the first thirty seconds to establish those answers, then gave the viewer room to watch the experience.
Why I made this
SeaShell Scuttle was built around embodiment and motion-controller interaction that a flat screenshot could not explain. The player inhabits a hermit crab, scavenges shells with claw-like hands, earns more for larger and more colorful finds, and races an incoming tide.
The trailer needed to make that unusual premise legible without front-loading a long tutorial. It also had to present a finished BunnyGun Games release, not merely document the underlying Unity project.
What I did
I open with the game's core fantasy: you inhabit the sandy world of a hermit crab. That gives the viewer a frame for the non-human perspective before introducing mechanics.
Next I connect Oculus Touch directly to the action. The controllers become the player's claws, shells become the collectible resource, and size and color explain the scoring hierarchy without a separate rules screen.
The rising tide supplies the time pressure and tells the player what sensory cue matters: listen for the waves or risk being swept out to sea. Once those pieces are clear, the longer gameplay footage can demonstrate atmosphere and interaction without continuous narration.
The released itch.io page reinforced the same explanation with written rules, platform requirements, an update history, and a downloadable build. The trailer was one part of a broader product-communication package.
Chapters
Select a chapter to jump the video directly to that part of the workflow.
A note on the archive
This trailer was published in February 2017 for the original Oculus Touch and Rift ecosystem. The store, runtime, hardware, and distribution context are historical, although the product-storytelling decisions remain visible.
The available transcript covers the short spoken introduction; most of the four-minute video is gameplay. The chapter links therefore focus on the narrated explanation rather than inventing structure for the remaining footage.