By contrast, the most common criticism of current game trailers is that they do not accurately represent a game, be it in technological capability, emotional tone, or narrative pacing. Even when composed entirely of separately shot scenes, film trailers generally succeed in reflecting at least a semblance of the tone and aesthetic of the final product, however vague. The last few years have seen game publishers place an increasing amount of importance on the quality of video game marketing and advertising, resulting in a wave of visually arresting game trailers that more often than not attempt to engage the same emotional and technical trickery successfully demonstrated by Hollywood.īut film trailers have to work a lot harder to deceive audiences than game trailers do. The disconnect between video games and video game trailers has long been a subject of debate in the games industry.
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