Lightsabers, Kickstarter & Cardboard: The Creative Path of Ori Kagan

Hi, I’m Ori Kagan, and I run Kagan Productions, where we create high-quality animated trailers for board games - specifically to help them get funded on crowdfunding platforms like Kickstarter and Gamefound, and to actually get played around the table by players all around the world.

To be clear, we are talking about physical board games, not apps or video games. It’s a niche but expanding industry, and for me, it’s deeply personal. Board games have always been a part of my life. I grew up playing them almost every day with friends and my siblings. They’ve been a huge part of my relationship with my wife, and now, they’re something I share with my own children.

As a kid, I always wanted to be a filmmaker. I was that nerd with a plastic lightsaber filming Star Wars fan films in the backyard. But at some point, as I was going through film school at Tel Aviv Uni, I realized that the reality of that film industry is incredibly tough. It's cutthroat, connections-based, and even the most talented directors will tell you their careers were one-in-a-million shots.

So I pivoted to marketing firms. I started as an editor. But that didn’t stick either. I realized the corporate world wasn’t for me - too much pressure, too little creativity, and zero recognition.

Eventually, I decided to go freelance. And that worked better than I expected! I made all kinds of marketing videos for local businesses and institutions and found decent success. But something was missing. I wanted to have fun again. I wanted to reconnect with that kid in the backyard making lightsaber sounds with his mouth, who dreams of directing the next Star Wars film.

And that’s when I noticed this weird gap - board games at the time found new life through crowdfunding. Lots of new publishers were launching new games that were blowing up on Kickstarter, and every campaign always needed a trailer, but most of them were terrible. Like, really basic and sloppy, sometimes just a talking head begging for support. I thought, “Hey, this could be a fun side gig. Let’s make something cool instead of that.”

So I found one client through a board gaming Facebook group. Made them a video. Gave it my 200%. And I just had the time of my life. It didn’t feel like work. I was animating dragons and spaceships and all the stuff I loved as a kid.

Then word of mouth kicked in. One more client led to another, and suddenly, I had more work than I could handle - especially during COVID, when demand for board games was through the roof.

That’s when the big breaks came in with board games based on huge IPs - Skyrim: The Board Game, Rome Total War: The Board Game, and even a new Dungeons & Dragons licensed board game! As demand grew, I realized I couldn’t do it all alone and built a team of talented freelance animators - all of them are dedicated board game fans as well. We scaled the business and built an efficient pipeline.

Then came the next evolution of Kagan Productions. I noticed that many of my clients, while being very talented board game designers, were all struggling with marketing - hoping their games would magically sell in an ever flooding market. Adding marketing strategy as a staple part of the business seemed the natural step to help bridge this gap.

I developed a simple but deep framework to help clients figure out the positioning of their game, who it’s truly for, and how to speak directly to those people - the superfans.

Fast forward to today, we’ve worked with hundreds of creators, helped raise over $30 million in crowdfunding, and just as I got the email saying we won this award, I also got offered a Star Wars board game project!

So yeah. The circle is complete.

I’ve actually been meaning to submit my work for an award for years and just never got around to it. There was always another deadline, another project to tackle. I’m genuinely proud of the videos we make. I love going back and rewatching them. Each one holds a memory: the late nights, the creative “aha!” moments, the jokes we made on Slack, and most importantly - that moment when the client’s mind is blown as they watch the final cut.

I’ve always tried to treat each video as a unique piece - no cookie-cutting. I believe that every game has its own voice and story to tell, and I’ve always believed that we need to remember that we were always aimed at one real goal: not making just a cool video, but actually helping the campaign succeed.

But I’ll be honest - it wasn’t always a perfect story. Some videos we worked on tirelessly launched alongside campaigns that completely bombed. And while no one ever blamed the video, it didn’t sit right with me. I was getting paid for work that didn’t deliver results. Not because of the video - but because the campaign wasn’t ready.

That frustration pushed me to dig deeper. I started adding marketing strategy into our process. Helping clients understand how to sell their game properly. How to de-risk their launch. So the question isn’t “Will it fund?” but “How high can this go?”

The Botany project was the first time we saw that fully in action - a client who followed our framework to the letter, paired with a beautifully animated trailer. The result? Over a million dollars raised.

And now, with this award, that milestone gets an extra layer of recognition. It’s not just about one successful game - it’s about setting a new standard for how this industry can market itself.

I truly believe a rising tide lifts all boats. And if this win helps shine a light on that path for more indie creators? Even better.

Personally, this award means the world to me. It’s recognition that we’re not just making pretty videos - we’re helping shape the way this industry presents itself to the world, getting more games to more players.

The video we submitted was for a board game called Botany: A Victorian Expedition - a game about the daring exploits of 19th-century flower hunters (which, yes, was actually a real thing!). And honestly, its success represents everything I’ve been working toward.

This was the moment it all clicked. After years of building up my framework - testing it, refining it, getting client feedback, learning what worked and what didn’t - Botany was the first time a client said, “Okay, we’re all in. Let’s do this your way, from the ground up.”

They trusted the process. From defining their Superfan, to shaping their landing page and pre-launch messaging, to making sure the trailer wasn’t just “cool,” but emotionally resonant. Every piece of the campaign was aligned around the same core hook.

They hoped to raise $100K by the end of the campaign. They hit that by lunchtime on Day One. That’s not just a great launch - that’s what happens when the story, the visuals, the page, and the promise all work in harmony to reach the right people.

For me, it was proof that we’re not just a production studio taking orders. I want us to be strategic partners. We help creators figure out what their game really offers - and who it’s truly for - and then we turn that into a story that moves people to act.

That’s a big deal for me. Because this industry is growing fast, and a lot of new creators are entering the space full of passion but without much marketing experience. They’re dreaming of launching a game that reaches thousands of players around the world - and maybe even turning it into a full-time business.

To make that leap, they need a message that’s clear, emotional, memorable, and effective. Botany was the reminder that when we get it right, we’re not just helping people fund a game - we’re helping them change their lives. And in doing so, they spread their dream to the world.

And people took notice. After Botany’s success, flower-themed board games started appearing everywhere. More publishers started exploring how to speak to untapped audiences - especially female players - who’ve often been overlooked.

That’s what I want to see more of: more creators, more voices, more people finding joy around the table. Botany was a huge step in that direction for me.

What set Botany apart wasn’t just how good it looked - it was how deeply it understood its audience.

That’s the heart of our process. We don’t aim to just make trailers - we build a strategy around them. We approach each trailer as part of a larger ecosystem. The trailer needs to match the energy of the landing page. The landing page needs to match the tone of the pre-launch emails. The game’s story, art, mechanics - those all need to be framed in a way that resonates with the specific kind of player who will fall in love with it.

And in Botany’s case, we knew exactly who that was.

We love giving our Superfan avatar a name to humanize them, in this case we called the Superfan Mary. Mary loves plants. Her guilty pleasure is curling up with period dramas like Downton Abbey or Bridgerton. She’s got a warm home, a beautiful bookshelf, and she takes genuine joy in hosting friends for a classy game night.

The moment she sees something that makes her go “Ooh, it’s pretty,” she’s already picturing it on her shelf. On her table. As something she owns and gets to show off. That’s the hook.

Once we understood who Mary was, the client started changing a lot of their strategies. Ad audience targeting was aimed now at keywords such as “botanical gardens” and “Downton Abbey", rather than “tabletop games”. They hired influencers that would fit Mary’s interest rather than the biggest board game influencers. And this had a direct effect - their pre-launch email list spiked within days as an army of “Marys” signaled their interest.

So we didn’t just make a trailer that showed off gameplay - we made a trailer that spoke to Mary. We used tone, pacing, and visual storytelling to tap into her desire for adventure, elegance, and a bit of escapism.

That’s the real differentiator. While other trailers are often designed to impress everyone, we aim to connect with someone.

And more broadly, that’s why our process stands out. We start every project with a Superfan Workshop. We dive deep into who the game is for, what they love, what they fear, what objections might be holding them back, and how to preemptively solve those objections through story and hit the emotional core of the right person.

The industry is flooded with trailers that look good but don’t move the needle. What made Botany shine is that everything - the visuals, the copy, the voiceover, the structure - was crafted with purpose around a great product.

I’m so happy to say that so far, every single one of our clients who implemented this strategy has found success with overfunding their campaign.

For Botany, the biggest challenge was that it landed right in the middle of a major shift in how I work. I was moving from being a one-person studio - doing everything myself - to becoming a creative producer managing a full team of subcontractors.

This was the first project where every part of the video - scripting, modeling, 2D and 3D animation, sound design - was handled by someone else. And to make things more complicated, I was away at a convention during production.

Letting go was hard. I’m the kind of person who usually thinks, “I’ll just do it myself.” But with Botany, I made the conscious choice to trust the team - to give each person the space to bring their best.

I remember watching the first cut of the trailer while standing in line to board a plane. And it hit me: this is amazing. That was the moment I knew I could finally step back and still deliver something I was proud of.

Since then, every project has run more smoothly - and I’ve been able to focus more on growing the business, not just grinding through it.

This award is a door-opener. That’s what I see it as.

Our current clients already know us. They’re happy to pay our premium rates because they’ve seen the results. But there are still so many publishers out there who haven’t discovered us yet.

In such a niche industry, having this kind of recognition makes a big difference. It tells people: we’re not just another creative studio - we’re the studio for this kind of work. I’ve already started using the “award-winning studio” label, and I’m excited to see what doors that opens.

At the time of recording this, I haven’t announced it publicly yet. But I can tell you: the Botany team knew we were submitting the video for award consideration, and they were just as excited as I was.

They’ve always been incredibly supportive, and I know they’ll be over the moon when they hear the news. It’s a huge win - not just for us, but for them too. Their game did amazingly well, and now their trailer is officially award-winning. That’s just a win-win across the board.

Here’s the big one: niche down and then niche down some more.

Pick something you love. Something you already understand deeply. For me, that was board games. I didn’t pick it because it was strategic - I picked it because I genuinely enjoyed it. And that joy translated into the work and into how I appeared when speaking to clients.

When you care that much, it shows. You’ll do better work. You’ll attract better clients. You’ll elevate the whole field.

Also: don’t wait to feel “ready” before submitting to awards. I waited way too long - not because I didn’t believe in my work, but because I didn’t prioritize it. Eventually, I hired a VA, gave them a mission to find awards we qualify for, and let them handle the process. That single decision cleared the roadblock, and here we are.

AI is the elephant in the room, right? But for me, it’s not scary - it’s exciting.

We’ve been using AI tools to speed up texture generation, mock-up storyboards, and even do upscaling that saves hours on render time. These tools buy us time, and we use that time to think better. To get more creative and solve bigger problems.

I don’t see AI as a replacement for people. I still hire the best artists and animators I know. But I do see it as a way to amplify what we can do. As long as we position ourselves as strategic creatives - not button-pushers - we’re safe.

We bring context, experience, taste, and storytelling. And no AI prompt in the world can replace that.

You miss 100% of the shots you don’t take.

And the biggest barrier for me wasn’t fear - it was logistics. Forms, deadlines, which categories to pick; it’s a pain. So if you’re like me, outsource it. Find someone who can help you submit. Just make it someone’s job to get it done. You already know your work is good. Let the world find out about it too.

Don’t get comfortable. The second you feel like you’ve got it all figured out, you stop growing. You stop surprising people, including yourself. I try to constantly challenge myself. Like when the tariff crisis hit the board game industry - I’m not a logistics guy. But I reached out to experts, hosted a webinar, and tried to help the industry however I could.

You don’t have to be the expert. You just have to care enough to start something. And lastly: give generously. Free advice, help, perspective - whatever you can. Not because you expect something in return (It always comes back somehow). The more recognized you become in your field, the easier and more natural it becomes to lead with generosity.

First and foremost, I dedicate this award to my incredible team. Every single one of them is a freelancer with their own thriving business - and yet, whenever a new project comes in, they always show up.

They always give their 200%, and it’s never just “do the work and move on.” We grow together. We talk about our goals, we support each other’s creative paths, and we build something bigger than just going project to project. I’m constantly in awe of the talent, care, and passion they bring into every project.

Second, I dedicate it to my wife - who’s believed in me from the very beginning. She’s the one who pushed me to quit my day job and forge my own path, even when I was full of doubt.

As a deeply introverted and shy person, putting myself out there felt terrifying. But her gentle shove (more like the kick in the butt I needed!) helped me find my voice, my confidence, and ultimately - my place in this industry.

And finally, I want to thank the board game community itself. This industry has been nothing but supportive, welcoming, and kind. I’ve never had a bad experience with a client - only collaborators who were passionate, generous, and genuinely excited about what we were creating together. Seeing people light up when we create something amazing together is why I do this.

At this point, I honestly feel like I have friends all over the world - and I couldn’t be more grateful for that.

Well, did I mention we’re working on a Star Wars board game trailer? That’s a dream project for me. But beyond that, we’ve got tons of amazing videos coming up - from both established publishers and passionate indie creators.

And we’re also launching year two of Kagan Duckademy - our three-month program that helps creators go from a designed game to overfunding on Kickstarter. I’m also building more tools, more recorded courses, more systems - because this industry deserves it. And I want to help raise the bar.