“One of the best uses of Gary Jules’s version of is in a trailer”
by the zombies, falling to her death from a window.
It’s a cleverly put-together piece of computer-generated video. Half of it, including the fall, is done in reverse, similar to Coldplay’s video for The Scientist, with piano music as a soundtrack. It takes the edge off the horror to a certain extent. Cut into this are scenes showing the child running from the zombies, with the usual horror game sound effects, until eventually, both videos meet in the centre with the father reaching out for his daughter to save her.
In the weeks since its launch, the trailer has polarised opinion. Some love it, hailing it as an excellent piece of emotionally charged video. Other argue that it’s gratuitously violent, particularly because it uses a child as one of the central characters.
The argument over appropriate gaming material has been played out many times, and chances are this particular disagreement won’t be the last. What it highlights is the effort that games firms are putting into producing trailers, including signing up well-known names to push them.
Did you ever think you’d see the day when Ozzy Osbourne and Mr T were promoting World of Warcraft? Or that one of the best uses of Gary Jules’s version of Mad World would be in a Gears of War trailer?
Some of the ads have gone for shock value. A series of US trailers for Dead Space 2 carries the tagline “Your mom hates Dead Space 2” and shows the shocked reactions of a focus group of mums viewing some of the goriest scenes from the game. The ads, which were denounced by parents’ groups in the US, have gained a following online, simply by playing on a longheld perception: if your mother hates it, it must be good.
But it’s hardly surprising that so much effort is being invested in pushing video games. With a market that is expected to be worth as much as $73 billion by 2013, games are now big business, and the competition is getting fiercer.