E3 this week, so a whole new bunch of trailers are trickling out onto the electric internet. I love trailers, whether they’re pre-rendered or in-engine, whether they feature in-game or are purely cinematic, whether they feature FMV or game or even if they feature the wrong game completely. Go trailers! Go trailers! Go trailers!
A New one for Monolith’s not-FEAR-except-actually-yes FPS Project Origin beneath the cut, complete with my frame-by-frame analysis/mild-sarcasm.
00:01: The “May contain content unsuitable for children” sign, which is always a good thing. If a game doesn’t contain content unsuitable for children, I have no interest in it. Mario would be enormously improved by Luigi punching through Wario’s chest, pulling out his heart and sinking his comedy-italian-immigrant teeth into it.
00:05: Half-destroyed landscape. That HDthingythingy lighting. It’s a PC videogame.
00:08: Pan across landscape interrupted by one of those fuzzy-cuts which are trying to induce unease in an audience. Also, stuff on fire.
00:09: Quick faux-natural shaky-pan around room. Blood everywhere, including blood on walls. Has anyone reading RPS ever tried doing art in blood? Grad students doing work in their own Menstrual blood doesn’t count.
00:11: “What the hell are you doing, Beckett!”. Barks like this in a videogame always amuse me. Playing through Brothers In Arms, I especially loved every time you stood up from cover, your fellow soliders audibly shat themselves in a WHAT THE FUCK ARE YOU DOING, SIR? ARE YOU FUCKING MENTAL! way.
00:17: Lots of cuts here – soldiers sitting around, more blood, Ghosts walking across fucked up landscape…
00:18: A little echo on someone shouting. “We may have a problem?” – pause – “And I don’t like problems!”. Which may be a little ominous introduction of a new puzzle direction to the game. But probably not.
00:21: First shot of that little girl whose name I can’t remember and am not going to bother looking up, in distorted-o-TV-vision. Hard slam into corporate logos. I LOVE CORPORATE LOGOS.
00:27: Woman looks amazed as a hatch opens in her Aliens-esque combat vehicle. Nothing particularly impressive about it – just the sort of slack-jawed oooh-tech! response. I understand this. I still get motherboards and motherships confused. A voice-over starts actually telling the plot, with someone or another being a target. Wasn’t paying much attention, as I’m waiting for blood.
00:36: Slow motion of combat soldiers jumping around with fade cuts, voices overlapping it for deliberate confusion effect. A lot of this is reminding me of aliens, but then again, it is a videogame.
00:38: At last! A really big explosion.
00:39: And some fucked up creature running around the walls and stuff. This continues. More violence. Also, a plane.
00:42: An actually kinda-awesome shot of a guy being grabbed, pulled through a door and instantaneously liquidised, with red goo everywhere.
00:44: A fractio-second shot of an enormous mech-suit exoskeleton thing, for some reason painted bright red.
00:47: Fade to black. There’s still a bit of time to go. We’ll be seeing the girl any second, mark my words.
00:50: And here she is, in Silent-Hill-o-vision. On a swing. A sinister swing. Swings are the easiest of the playground devices to make sinister, by my maths. Making a rocking horse sinister is a little trickier.
00:53: The explosions return.
00:54: And continue, in a melee of guns, monsters, blood, etc, etc.
01:06: Text starts to appear. It’s the word “Fear” in something that looks like the actual Fear Font. Shit! This is ballsy.
01:07: The text continues: “FEAR ALMA AGAIN”. Very good, Monolith.
01:12: “You have a date with destiny, Sergeant Beckett – let’s not keep her waiting” over Alma on the sinister swing. Shit! The sinister swing.
Impressions? Well, Monolith gain extra-cred with me for the FEAR ALMA AGAIN thing. That’s the way to do it.