Skip to content


I end up teaching one simple pitching trick often enough in consultancies that I'd thought I'd write about it: to ask yourself "would anyone ever claim the opposite"?

Rami Ismail
Rami Ismail
4 min read
Photo by Ricardo Gomez Angel / Unsplash

While there are very few things that are absolutely necessary to a pitch, there are a lot of little tricks and preparations (like these ones!) that can help you focus in on the value your project will offer potential funders. While we'll discuss the way I like to teach pitching some other time, for today I want to focus on one specific thing I always look for in a clients' pitch or sales page before sending them off to the races: Unique Selling Points (USP's) that are not unique.

I like to think of pitches (and every part thereof) the same way I was taught math in High School - simplifying a mathematical expression generally makes it shorter, easier to read, and easier to execute. The more we can simplify our pitch and its individual parts, the easier it'll be to follow the story you're telling: the story of why your game should be funded.

For this post, we're going to focus on Unique Selling Points, usually listed in bulletpoint format near the middle of your pitch, or near the top of your game's store page. To simplify our Unique Selling Points, there are a few elements we should get rid of first and foremost - the equivalent of parenthesis and brackets - and that would be the meaningless content - of which most USP lists simply contain too many.

Let's take a fictional example. Say that you're making a short action game about a world of poetry with lots of rhythmical skill-based minigames and interesting dialogue written in rhyme. Now take a look at the following five bulletpoints - three of these don't actually mean anything in the context of a pitch. Take a moment to see if you can identify which ones don't mean anything in the context of Unique Selling Points.

  • Fun gameplay with plenty of things for players to do
  • A short, focused singleplayer campaign
  • Great value-for-money for players
  • High-speed skill-based arcade gameplay
  • Interesting dialogue in an engaging world

The simplest way to check is to ask yourself: evaluating the adjectives, on first glance, would anyone ever claim the obvious opposite about the thing you're trying to sell? If not, there's no point in saying it - you're simply wasting audience's time & attention on things that don't say anything of value. Let's take a look:

  • Boring gameplay with not many things for players to do
  • A long, unfocused singleplayer campaign
  • Terrible value-for-money for players
  • Slow-paced, exploratory, calming gameplay
  • Uninteresting dialogue in an throwaway world

I've bolded out the things that actually are meaningful. Those are the only things in the bulletpoints that are actually of note, so the only notable things here are that we're looking at an arcade game with a short singleplayer campaign, that is high-speed, skill-based. That, of course, isn't super interesting either - but it's far more interesting than anything else the bulletpoints listed.

The people you're pitching to expect that your game is interesting, the levels are good, and the game offers value - so if those are your unique selling points, you're barely meeting the baseline for what most publishers would consider funding. If that's the best you're bringing to the table with your game, you have far bigger problems than these bulletpoints themselves.

You might find it very hard to write three to five USP's that nobody would claim the opposite of, and that is because that is borderline impossible. An incredible amount of extremely different games get made every year, but the point of this exercise isn't to be exhaustive - it's about the gut feeling. I'm sure someone made a game about playing 99 uninteresting characters in a final boss fight without any context because they could, but please don't take that into consideration here - this exercise is not meant to be used that way. It won't magically identify everything that's bad about your USPs.

It could, however, help focus you in on things that are good Unique Selling Points - as they're the opposite of what we're filtering for here. Following that logic, you might arrive at great USPs - things like concise statements that focus on standout features or content, notable atmospheric or emotional qualifiers, unique ways of engaging the audience & potential customers, and subjective qualifiers unrelated to quality. Often enough, specifying exactly what you mean takes a generic statement and turns it into something more unique.

Going over the earlier example of our poetry game, here's an example of how the Unique Selling Points might play out:

  • Playful gameplay full of silly activities
  • A dense but short singleplayer campaign
  • High-speed skill-based arcade gameplay
  • Poetic dialogue in a world filled with rhyme and rhythm

We've replaced 'fun' with 'playful' - which has an opposite in 'serious', 'silly' instead of 'plenty of things to do' because 'silly', too, can be 'serious' instead. 'Short' we keep, but 'focused' turns into 'dense' because 'dense' is more specific & evocative than 'focused'. 'Interesting' turns into 'poetic' and 'engaging' into the far more precise 'rhyme and rhythm'. I got rid of the 'great value for money' bulletpoint - it was unsalvageable.

Note that these new USPs evoke far more of a vibe than the originals that we started from: we now understand the game is playful, silly, poetic - it's high-speed and skill-based, and it's a short game. That is exactly the point of this exercise: if you're going to pitch, treat it like High School math - the fewer ambiguities and complexities that remain, the more useful it will be for everyone.


  1. If you don't have Unique Selling Points at the ready for your game, try establishing them now, and in the future ensure you establish them early in the development process (they should be established before your Vertical Slice). Knowing what is unique about your game gives your more time to identify potential production issues, as they're frequently development-technical unknowns.
  2. Go through your Unique Selling Points and eliminate the meaningless ones using the "Would Anyone Claim The Opposite?" approach. Things to particularly look for are generic claims of quality, engagement, and fun - if those are prevalent in your USPs, see if you can figure out more specific or precise wording.
  3. Do a simple test with someone that doesn't know the game you're working on: if you read out your Unique Selling Points only, can the listener evoke a vague sense of the game when questioned about it? Can they establish the tone of the game, the type of game, the things that you're excited about? What are they missing?

Rami Ismail Twitter

Gamedev. Exec.Director of & creator of presskit(). Speaker, consultant, helps devs globally. 33% of the The Habibis podcast. Traveler. Was 50% of Vlambeer. He/Him. Muslim. Dutch/Egyptian


Related Posts

That Tricky Platformer About Climbing Mt. Anxiety But That's Not The Name Of The Mountain

On why that game about stamping passports is so successful.

That Tricky Platformer About Climbing Mt. Anxiety But That's Not The Name Of The Mountain

Ask Rami: The Ten-Thousands Rule

Rami reassures a South American developer on how much they can negotiate on a publisher deal before the publisher might walk away.

Ask Rami: The Ten-Thousands Rule

Pitch Stalling & The Risks of Publisher Feedback

Throughout 2023, the ecosystem for games has contracted significantly. That has made the practice of something I'm calling "Pitch Stalling" far more common, and as a massive risk to your game project, So what is Pitch Stalling, what dynamics create it, and how do you avoid it?

Pitch Stalling & The Risks of Publisher Feedback