“One of the best uses of Gary Jules’s ver­sion of is in a trailer”

The Irish Times - Friday - The Ticket - - Gaming Reviews -

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.

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