The story: problem, solution, and the action-title method

Every pitch is a chain of small agreements, and the problem slide is the first link. It carries all the weight: the audience has to nod, silently and involuntarily, when they see it. "Yes, that is real. That annoys me too." If they instead think "is that actually a problem?", they close the topic in their heads, and nothing you say afterwards gets heard. Not because they are rude. Because attention follows agreement.

Make your problem statement so agreeable that nobody in the room can argue with it. That means no jargon, no insider knowledge, no setup that needs three slides of context. State it from the customer's point of view, not from inside your product. The bigger and more familiar the pain, the better. And show why the current options fail, because "why has nobody fixed this yet?" is the first silent objection in every room.

The solution slide has one job too: the quiet "wow". It does not need every feature. It needs the one move that closes the gap you just made everyone feel.

Here is where game studios get stuck. A game is not a painkiller. Most games do not "solve a problem" in the classic startup sense, and founders with technical or scientific backgrounds resist the exercise hardest. We have heard the objection in almost exactly these words: "The mouse is good. The keyboard is good." True. And beside the point.

A bicycle was never a problem either. Nobody suffered from bicycles. Someone still invented the car, because underneath "the bicycle is fine" sat a gap: distance, speed, weather, cargo. When your product does not solve a problem, your job is to name the gap underneath the status quo. What can your players not do, not feel, not reach today? Which itch does the current market leave unscratched? That gap, stated plainly, does everything a problem statement does: it makes the room nod before you show the product.

If we could hand every founder one habit, this would be it. It comes up in almost every coaching session, because it fixes the most common deck disease: slides labeled "Problem", "Team", "Market", each buried under bullet points fighting for attention.

The method: every slide gets exactly one core claim as its title. Five to ten words. Written as a statement, not a label. "Team" is a label. "A lean team with deep experience and shipped success" is a claim. Everything else on the slide, the image, the number, the testimonial, exists only to support that one claim. If it does not support the title, it goes.

The workflow we demonstrate live in sessions: start with blank slides. Write only the one sentence you want to say on each. No visuals, no charts, nothing else. Read the sentences in order and fix the story at that level first, because it is cheap to fix there. Only then add the supporting material.

Read only your slide titles aloud, in order: if that is not your 30-second pitch, your titles are labels, not claims. Here is what the rewrite looks like in practice, blended from real coached decks and anonymized:

Notice what changed. Each title now makes a claim someone could disagree with, which means each title now carries information. A label tells the audience what category of slide they are looking at. A claim tells them what you believe, and dares them to check the evidence underneath.

A personal story belongs in your pitch. It is the only real emotional connection in an otherwise numbers-driven few minutes, and we push almost every founder to include one. Then we cut it down, because the same founders tell it for ninety seconds.

The line that ended one of these origin stories mid-session: "I do not want the whole life story. Thirty other founders are waiting." Harsh, and exactly how a jury feels by pitch number twelve.

Three sentences, maximum. The moment, the itch, the decision. "I asked a friend what his most valuable gaming asset was. It was an account worth more than his PC, protected by nothing. That is the day we started building." Everything past sentence three is biography, and biography is not connection.

A good analogy is the shortest pitch there is. "Airbnb for garages." "Tinder for dogs." "Google Maps for bathrooms." A few words each, and the listener already understands the model, the market and the interaction. Games get the same effect through references: "Civilization meets chess, with the strategic depth of Slay the Spire" tells a genre-literate listener more than a paragraph of feature descriptions ever could.

The trap: an analogy only compresses if the listener already knows the picture you are borrowing. Compare your game to a niche title only your community knows, and the analogy does the opposite of its job. The listener now holds two things they do not understand. We call it the insider analogy, and it shows up constantly when gaming founders pitch generalist investors.

Before you use an analogy, check whose knowledge it borrows. Pitching gaming investors? Reference deep cuts freely. Pitching a family office that has never held a controller? "Netflix" beats any game title you could name. Test the analogy on someone outside your bubble, and if they squint, swap the reference.

The masterclass walks through three classic frameworks. You do not need the books. You need what each one changes about your pitch.

The Golden Circle says start with why. People do not buy what you do, they buy why you do it, and competition usually fights on the "what" level, where everything sounds the same. So open with purpose, follow with your approach, end with the product. Emotional storytelling gets much easier once the purpose leads.

SUCCESs is a checklist for sticky messages: Simple, Unexpected, Concrete, Credible, Emotional, Stories. Run your pitch against all six. Most founder pitches score high on concrete and credible, and near zero on unexpected and emotional. That imbalance is fixable in an afternoon.

AIDA settles the question every founder asks about short formats: how do I fit everything in? You do not. Attention, Interest, Desire, Action are stages, and each pitch format owns different ones. The 30-second pitch covers attention and interest, nothing more. The investor meeting covers desire and action. A short pitch is not a compressed long pitch. It owns different letters.

Your story now has a spine: a problem people nod at, a solution that answers it, and titles that carry the whole argument on their own. Chapter 5 turns that spine into slides. Chapter 9 compresses it into thirty seconds you can say in an elevator.