How to Run a Game Playtest That Gives You Useful Feedback

Your friends will tell you your game is good. Other devs will tell you what they would have built instead. Neither of those is playtest feedback, and both of them will waste weeks of your development time if you treat them as data.

A useful playtest is a controlled situation where you learn something specific about how strangers behave in your game. Here is how to set one up.

Decide what you are testing before you invite anyone

“Come try my game” is not a playtest. It is a demo.

Before you schedule anything, write down one question you want answered. Examples:

  • Can a new player get through the first five minutes without asking me anything?
  • Do players understand that the blue meter is stamina?
  • Is the third level too hard, or is the second level not teaching enough?
  • Do players use the dodge, or do they tank hits and heal?

One question per session. If you try to test the tutorial, the combat balance, and the art direction at once, you will get vague impressions of all three and answers to none of them.

Who to test with

The biggest recruiting mistake is testing only with people who already like your genre. They will fill in gaps automatically because they have played forty games like yours. They will not notice that your controls are unexplained, because they already know the convention.

Mix your pool:

  • Genre fans. Good for balance, depth, and whether your systems hold up.
  • Genre-adjacent players. Good for onboarding and clarity.
  • People who barely play games. Brutal and extremely useful for your first five minutes.
  • Other developers. Useful, but hold their feedback separately. Devs critique implementation and pitch alternatives. That is a different signal than “I did not know where to go.”

Avoid testing repeatedly with the same handful of people. After the second session they know your game and stop being able to see it fresh.

For usability problems, five testers will surface the large majority of the issues. If four out of five people walk past the same door, the door is the problem, and testing fifteen more people will just confirm it more expensively.

Balance and difficulty tuning need more, because those depend on skill spread. Onboarding and clarity need very few.

Running the session

Say almost nothing

Hand them the controller or the keyboard. Tell them two things: think out loud if you can, and I am not going to help you. Then stop talking.

This is the hardest part and the part everyone fails. Watching someone struggle with something you built is physically uncomfortable, and the instinct to say “oh, you have to press X there” is nearly irresistible. Every time you give in, you delete the exact information you invited them over to produce. Your game will not have you sitting next to it on Steam.

Write down the moment you wanted to intervene. That moment is a bug in your design. Take notes on what they do, not how they seem to feel:

  • Where did they pause?
  • What did they try that did not work?
  • What did they ignore entirely?
  • What did they do repeatedly that you did not intend?
  • Where did they die, and did they understand why?
  • When did they check the menu, and what were they looking for?

Timestamps help. If you can record the screen, do it. Face cam is optional and mostly useful for spotting confusion versus frustration.

Thirty to forty-five minutes is plenty for most sessions. Past that, testers get tired and start being agreeable to end it faster.

Asking questions afterward, not during

Save your questions for the end, and ask about what happened rather than what they thought.

Bad questions:

  • Did you like it?
  • Was it fun?
  • Would you buy this?
  • Do you think I should add multiplayer?

These invite politeness, speculation, and design suggestions, in that order.

Better questions:

  • What were you trying to do when you were stuck at the bridge?
  • What did you think that item was going to do?
  • How would you describe this game to a friend?
  • What was the most frustrating part?
  • If you stopped playing at some point, when and why?

“How would you describe this game to a friend” is worth asking every time. If their description does not match your pitch, your game is not communicating what you think it is.

Players identify problems well and solve them badly

Take this one seriously. A tester saying “the combat felt slow” is real information. That same tester saying “you should double the attack speed” is a guess.

Your job is to hear the complaint and diagnose the cause yourself. Slow combat might be attack speed, or it might be enemy health, hit feedback, wind-up animation, or the fact that the player never found the weapon upgrade. The fix is often nowhere near the thing they pointed at.

The same applies to feature requests. If three people ask for a minimap, the actual problem is usually that your levels are hard to navigate, and a minimap is the only solution they know how to name.

When to ignore feedback

Not all of it counts. Reasonable grounds for setting a piece of feedback aside:

  • One person said it and nobody else did
  • It came from someone outside your audience
  • It contradicts the core thing your game is about
  • It is a preference, not a problem

Log it anyway. If the same “one-off” shows up in three more sessions, it was never a one-off.

Remote playtesting

In-person is better for observation, but remote scales. Options:

  • Steam Playtest. Built into Steamworks, ties to your store page, and testers already have Steam accounts.
  • itch.io with a password-protected page. Fast and free.
  • A Discord server with a testers channel. Good for ongoing feedback, and lets you ask follow-ups.

For remote, you lose the ability to watch. Compensate with a short structured form, in-game telemetry if you can manage it, or by asking testers to record their session.

Team of young computer programmers and graphic designers cooperating in the office, creating new video game.

Log everything and look for repeats

Keep one document per session with the date, tester, build version, and your raw notes. After three or four sessions, read them together and look only for repeats. Anything that shows up three times is a priority. Anything that shows up once goes in a backlog.

This is also how you avoid re-fixing things. Without a log, you will get the same feedback in month four that you already addressed in month two, panic, and change something that was fine.

Getting testers

If you do not have a pool yet, the fastest path is a local community. Bring a build to an SDC meetup or the Progressive Game Jam and trade sessions with other devs. Test each other’s games, take real notes, and swap. It costs you nothing but an evening, and it beats waiting for strangers on the internet to volunteer.

Convention floors work too, with one adjustment: shorten your build. A con demo has about ninety seconds to prove itself before someone drifts to the next booth.


None of this requires a finished game. The earlier you start watching people play, the cheaper your mistakes are. A rough build tested in month two saves you from shipping a tutorial that nobody understands in month twenty. Grab five people, keep your mouth shut, and take notes.

Building a Press Kit for Your First Game

Most indie devs build a press kit the week they need one, which is usually the week a journalist or streamer has already moved on to something else. The people who cover games are working through a lot of pitches, and the ones that get covered are frequently just the ones that were easiest to cover. A press kit is how you make yourself easy.

Here is what to put in one, where to host it, and the mistakes that kill an otherwise good pitch.

Have it live before you announce

The press kit should exist before your first announcement post, not after. The moment your trailer goes up, people who might write about you will look for assets. If there is nothing to find, they will either email you and wait, or move on. Assume they will move on.

A rough press kit that exists today beats a polished one that goes live next month.

Where to host it

Put it on a domain you control. yourgame.com/press is ideal. If you do not have a site, a free option is Rami Ismail’s presskit() tool, which is built specifically for this and used across the industry. Itch.io pages also work in a pinch.

Do not use a Google Drive folder as your press kit. Permissions break, previews fail, and half the time the person clicking your link gets a request-access screen instead of your screenshots.

Your Steam page is also not a press kit. It is a store listing. It does not let people download raw assets, and it does not include your contact info.

What goes in it

A fact sheet

Short, scannable, at the top. Include:

  • Game title, exactly as it should be written
  • Developer name and location
  • Publisher, if you have one
  • Release date, or “TBA” if you honestly do not know
  • Platforms
  • Price
  • Steam, itch, and console store links
  • Content rating, if you have one

Writers copy this block verbatim into their piece. Make it correct.

Descriptions at three lengths

Write your game description three times:

  1. One sentence. Under 20 words. This is what someone tweets or drops in a Discord.
  2. One paragraph. Three or four sentences covering the hook, the genre, and what makes it different.
  3. The long version. Two or three paragraphs with mechanics, setting, and features.

Different outlets need different lengths. If you only provide one, someone has to rewrite it, and rewrites introduce errors.

Screenshots

Five to ten, minimum 1920×1080, PNG. A few rules that matter more than people expect:

  • Include a mix of shots with UI and shots without. Clean shots get used as article headers. UI shots show what the game actually plays like.
  • No debug overlays, no placeholder text, no FPS counters.
  • Show variety. Different environments, different mechanics, different moments.
  • Name the files something useful. buluk_combat_temple_01.png beats Screenshot 2026-08-14 at 3.42.11 PM.png.

Key art and logo

Your logo as a transparent PNG, in both light and dark versions if your logo has contrast issues on one or the other. Key art at full resolution. If you have a Steam capsule, include it.

Trailer

Link to it on YouTube. Also provide a direct download of the MP4, because some outlets host video themselves rather than embedding.

If you have a short GIF or a 10-second clip of your best mechanic, include that too. Social posts eat GIFs.

Developer info

A short bio for you or your studio. Two or three sentences. Where you are based, what you have made before, how many people are on the team. If this is your first game, say that. Solo dev and first-time dev are both angles that people write about.

Contact

An email address that a human checks. Not a contact form. Not a Discord invite. An email.

Add your social handles and, if you have one, a press-only Discord or mailing list.

Everything as a downloadable zip

Alongside the browsable page, offer one zip with all the assets in it. Someone writing on deadline will grab the zip instead of right-clicking twelve images.

Handling review keys

Say up front whether keys are available and how to request them. If you use a key distribution service like Keymailer, Woovit, or Terminals, link it. If you are handling keys manually, say so and give the email.

Two things worth doing: keep a spreadsheet of who you sent keys to and when, and do not send keys blind to anyone who emails asking. Key resellers scrape press kits. A quick look at whether the requester has an actual channel or byline takes 30 seconds.

Mistakes that come up constantly

No contact email anywhere on the page. Extremely common. Fix it first.

Watermarked screenshots. Nobody will run an image with your logo pasted in the corner. Provide clean ones.

Only having a trailer. Video is hard to embed in an article. Stills do the heavy lifting.

Low-resolution assets. If a site wants to run your key art as a header image, 800px wide does not work.

No release date, not even a window. “2026” or “Q2 2026” is better than silence. Coverage gets scheduled around dates.

Never updating it. When your release date changes, when you add platforms, when you hit a milestone, update the kit. A press kit that still says “coming 2025” tells people you stopped caring.

Keep a running assets folder

The practical version of all this: make a folder now. Every time you capture something good in your game, drop it in. Every time you write a decent description of the project for a jam page or a Discord, save it. When it comes time to build the actual page, you will be assembling rather than starting from nothing.

Same goes for your build process. If you can hit a key in-game to capture a clean screenshot with UI hidden, set that up early. Six months of accumulated screenshots is a better press kit than an afternoon of frantic capturing.

The short version

Domain you control. Fact sheet, three description lengths, ten good screenshots, logo, key art, trailer, dev bio, working email, and a zip of everything. Live before you announce, updated when things change.

That is most of what separates a game that gets written about from a game that does not get written about for reasons unrelated to the game.