Dead Island Trailer

I need to write this down, so I can clarify my thoughts on this. It's something that is annoying me a lot, and yet I am almost a lone voice in the wilderness and I feel somewhat displaced by that fact.

A new trailer for a video game was released a few days ago. It's a zombie killing slaughter type game, one of many in a widening genre, called Dead Island. From what I can tell, it's no more unique than any other of its kind, but for those people who like that sort of thing I'm sure it will be fun to play. Or not. Who knows?

The trailer, however, has gotten a huge reaction of positivity. People look at it as though it was the greatest work of art that has crossed their field of view in months, and they are all talking about it like it was the video game equivalent of the Mona Lisa.




What bothers me is that they have all failed to realise that it is a badly made piece of shit.

It starts out close on what appears to be a dead girl of about 8 years old, and reverses, in slow motion, for us to see how she ended up that way. Intercut with this at random intervals are quick shots of earlier in the sequence of events, this time in regular speed, and in forward motion.

Ideas like this are not uncommon to see in various media. Teaser trailers, commercials, montages, etc, in TV, and for movies. It can be intriguing, it can have a great emotional impact, and it can inform the story and its stylistic approach in a very simple yet powerful way.

The problem is the makers of this trailer don't seem to have understood at all how and why this works.

1) The main story is in reverse. This should be to tell the viewer that the end is the important part, and now we need to know how we got to that point, and the final shot in the sequence should fill in the last piece for it to fall into place.

2) The forward motion parts that are intercut should be juxtaposed with the reverse sequence to inform us at each moment of the cut. i.e. when we see a moment in the reverse sequence, the forward sequence gives more detail on that moment, either its origin, or what it means in a wider context.

3) The music should match what we are seeing. It should impact us emotionally, as well as augment the visuals.

4) It should be an accurate representation of the game it is promoting.

5) It should have high quality rendering, modelling, effects, and animation.

Well, here's what it actually has:

1) It's in reverse because they thought it would look cool. It tells us nothing to know this girl is dead at the beginning of the trailer. We do not gain any more information on how she died, or why she died. As it turns out, she was already bitten long before the entire sequence we see. No matter what was ever going to happen in the sequence, she inevitably was going to be dead anyway.

Plus, the conclusion at the end of the trailer is meaningless. It's just the point where the forward and reverse shots meet, there is no significance to that moment whatsoever.

2) None of the forward shots relate to the reverse shots at all. They cut together completely randomly, with no additional information being doled out. All of the relevant storytelling occurs only in the reverse sequence. The constant cuts to the forward motion violence are just childish "Boo!" scares, but aren't actually of any more scary imagery than what we see in the reverse sequence. You could almost have left out the forward sequence entirely and just played the whole clip in reverse, for all the difference it makes.

3) The music doesn't match the cuts, doesn't build the right atmosphere, and is deliberately manipulative without augmenting the visuals.

4) It has nothing to do with the game. Neither this sequence, nor these characters, appear in the game at all.

5) The modelling looks like they were ripped out of Poser 4. The animation is average at best, mostly motion-capture poorly applied to the character rigs. The rendering is ordinary, tolerable if this was the in-game engine, but it's pre-rendered. The cloth dynamics are non-existent and make the character models look like Barbie dolls.

This whole trailer has been made using only well-worn tropes and by-the-numbers tricks, without any understanding of the art involved; copied from others without realising why or how they made it work; a jumble of mismatched concepts that in a competent artist's hands would have merit and impact, but instead all we get is a shallow imitation assembled by a talentless hack.

I wouldn't mind so much if it had been dismissed by everyone else, just as I did, just as so many things are deservedly ridiculed or forgotten. But instead they are all lapping it up and praising it as one of the best things they've ever seen!

It's even being immediately signed up for a movie adaptation, all apparently based on this one teaser trailer that I insist is made up entirely of "fail"!

I am upset. Upset at all those who cannot see how bad it is. Upset that I can see something so clearly, and yet nobody agrees.

It's like I am lost, trapped, tossed amongst a sea of, well... brain-dead zombies.

One Way Out

I'm not very good at video games. I don't play them very often, certainly not as much as I once did, but even back then it was an infrequent pastime, as I was universally crap at almost all of them. Much like board games, and sport, and most other similar activities.

I do still occasionally open a video game up and give them a burst of effort, but it's half-hearted and brief before I get frustrated, or bored, or more likely killed eight times in a row, and so give up and move on to something else.

There are a couple of game types I like more than most of the others. When I was a kid, text adventure games were my favourite. Espionage Island is a title that leaps to mind. I was continually frustrated by them, though, as the aim wasn't to solve the game, but figure out what the right word commands were. Was it "pick up rock"? Or "get rock"? Or "throw rock"? And then it would crash and you'd have to reload it.

Then graphical adventures started to appear. Same idea, but with cool pictures to go along with it, sometimes even animated in a limited way. This gave rise to such classics as King's Quest, The Secret Of Monkey Island, and Myst.

I did play other games, platform or shoot-em-ups or whatever, but generally I found them less satisfying, especially as death was the usual and frequent outcome, whereas with the LucasArts and Myst games you couldn't die or lose the game, you'd just get stuck for a while, desperately clicking on every option until you'd stumble upon the answer that was, in retrospect, obvious.

Then along came 3D when Doom appeared on the scene (okay, there were precursors, like Wolfenstein, but I believe Doom was the true turning point). I liked that game, but even better was the appearance of Lara Croft in Tomb Raider. That game was perfect for me! It had all the elements of adventure I liked, i.e. the exploration, the puzzles, the discovery; coupled with the action adventure that was just at the right level to be challenging, but, if you were prepared, easily overcome and never overwhelming.

As the Tomb Raider games developed, I followed along with them, but the most recent versions have changed their control system to the standard gamepad method, which I find inexact and confusing, so I have lost interest. I still go back to my favourite in the series, Tomb Raider II, which in my opinion had the best locations to explore, including: the canals of Venice, a huge Opera Theatre, an Oil Rig, an enormous sunken Ocean Liner, and a Monastery in the snowy Himalayas, each of which were split up into multiple Levels. Unfortunately the graphics are so outdated now it's a little disappointing to revisit, but the gameplay and controls still stand up and are just at my level.

The most common games are still the 3D shoot-em-up alien, soldier, zombie type, where it's wholesale slaughter from start to finish. Or it's the colourful kiddie platform games where you bounce around collecting stars and rainbows to free the princess from the evil genie. Or it's the weird Wii games where you have to do... something with the... weird thing to... save the... whatever (see Mirror's Edge, Spore, Portal, Flower, etc).

And there are numerous other genres, like Strategy, Management, Driving, Simulation, Role Playing (MMORPG's especially), Sports, etc. Most of which I have no interest in (except for Driving games. I can get into them sometimes, even though I don't drive in real life).

It occurs to me that there ought to be a perfect game to suit my interests. Surely I'm not the only one who would be into this particular idea I am about to suggest.

We are all familiar with mazes. You start at one end, and you try to get to the other end, by following a route, and getting distracted and lost down dead ends. A very simple concept that has been around for thousands of years, still popular today. There have been numerous maze-like video games, from the obvious and simple like PacMan, which are more like obstacles than puzzles, to the complex labyrinthine 3D tangles that you find in Doom or Tomb Raider. Most other shoot-em-up or 3D games tend to have complicated multi-level locations, but not really a true maze (some even lead you all the way with flashing arrows and on-screen maps).

What I want to see is an epic 3D Maze game, where there are multiple Levels, each of a different distinct location. For example: an office building; an oil refinery; an Egyptian pyramid; a shopping centre; a cinema complex; a multi-story car park; a mediaeval castle; a city block; a sewer system; etc. Each place would be fully complete and accurate, with every room, alcove, corner, elevator, fire escape, and floor in place. Everything would be interactive, from desk drawers, to cash registers, to food items, to bedsheets, to tools.

But the key would be, there is only one route to get from your start point to the end point, with lots of dead ends and red herrings to distract and confuse you. There would be no other characters seen in the entire game, though there would be evidence of their existence. There would be puzzles that require items you need to pick up, found in logical locations. There would be clues, such as notes and phone messages, that would help you if you got stuck. There would be certain routes that would be a struggle to get through, where you would not be able to go back the same way. There would be some back-tracking required to get missed clues or items. You would only be able to carry a limited number of items at once, so you may need to drop one useful tool to access another, then drop that one again to pick up the previous.

Nobody shoots at you, nothing leaps out and tries to eat you, no deadly traps or dangerous risks. It's just a maze.

So it may go like this:

You begin in the foyer of an office building. The front doors are blocked by fallen masonry, and the outside is chaos. You need to get to the roof to be rescued by helicopter. There are two elevators. Neither call button is working on this floor. You can access the stairs, but the only way clear is down. You head to the basement, where there is a maintenance room full of useful tools. You select a crowbar and a wrench.

You keep heading down, until you get to the underground carpark. There are four or five cars, but the rest of the spots are empty. You check your pockets and discover you have a car alarm lock, which opens your own car. Inside you find your mobile phone, but the battery is flat.

You head back up the stairs where you use the crowbar to dislodge some of the debris blocking the way up, and manage to get to the next floor. This is where a small finance company work, but the floor is scattered with debris. You can get into some of the offices, where all the desk drawers can be opened, and some useful items, and notes in diaries, contain clues useful for later in the game. The computers are all down. But you can pick up a whiteboard pen.

One of the elevator buttons works here, but it can only travel two floors up on this eight storey building. These floors are for the cafeteria and a mobile phone company that has chargers lined up. Though there is no power, there are charged batteries, and you find one that matches your phone.

And so it goes. You can climb out onto the fire escape to get to the next floor, where the second elevator works up to the top floor, where the Penthouse suite is which has luxurious places to explore and fancy items to use, etc etc etc.

And imagine that kind of scenario at an airport, or a science lab, or a prison, or even a jungle setting.

It seems to me that this is an untapped idea that could really sell. Sometimes you just want a game where nobody is trying to kill you, or infect you, or invade your world, that you can spend twenty minutes making your way through the attic of a cathedral to get to the bell tower. It uses existing game technology, or "engine", and therefore would be mostly pretty easy to put together, without requiring huge complexity or fancy new weapons that blast away at things in ever more spectacular ways.

Somebody should make this.