I’ve posted previously on the power of the game franchises. Here’s a corker from Brothers & Sisters in London – as they say:
We’ve made a proper scary advert. 20 watches and it’s still chilling the bones
Few can compete with Resident Evil.
The movies and games are guaranteed to sell by virtue of the strength and quality of the franchise.
Most studios would bite off their right arm for this sort of selling power.
As we near the release of Resident Evil 6, this quietly terrifying trailer is hitting cinema screens (not to mention the viral overload).
It is brilliant in it’s understated and chilling simplicity and in the way it portrays the point we have reached in the story.
Production values are top class, but like any horror genre, it’s what you don’t see that scares you senseless…and it also looks like the game.
Here’s what they say in the pre-order blurb:
Resident Evil 6 is the dramatic and horrific fear inducing blockbuster entertainment experience of 2012, delivered by The Godfather of Survival Horror.
• 4 closely interwoven scenarios each with their own protagonists and challenges, come together in Resident Evil to reveal the truth about a global bio terrorist attack
• Experience the horror of Resident Evil 6 from three different perspectives. Feel the intense fear as Leon investigates the President’s murder; the horrific action as Chris fights in China and the tension as Jake escapes from Eastern Europe.
• Team up and share the horror of Resident Evil 6 with online co-op action for up to 4 players
• Face unpredictable enemies in Resident Evil 6. Zombies that run, jump and wield weapons plus the deadly J’avo that, when hit mutate into any number of hideous forms.
• Check online stats, progression and compare to friends on the free residentevil.net service
There is some great outdoor advertising in the UK from Channel 4 that features the line “thanks for the warm-up” in reference to their broadcast of the paralympic games in London.
Australia’s satirical show on all things advertising The Gruen Sweat featured this promo (not ad., but in-house produced promo).
This is one of the best examples of selling a product and subject that isn’t instantly in demand from the general public. As well as agency quality production, the genius is in the creative idea that includes the depiction of accidents that led to injury and disability.
The message is that this could be you.
It is a powerfully produced piece of work and a good effort to get our attention and awareness of Channel 4’s broadcast, whether it will drive actual viewership is another question, but given the momentum of the Olympics this is giving the games the best chance of some serious viewing.
This also proves a point I have long believed in. In-house production teams, who know their brand and content, can do a great job to sell it to their viewers at a fraction of the cost of agencies.
A nice taster here:
Channel 4 says the campaign is the biggest it has run since the station launched in 1982.
The advert was directed by Tom Tagholm for Channel 4’s in-house agency 4Creative. Tagholm said:
“We knew we had to make some noise. We knew we had to add some edge and grit and attitude.
“We narrowed it down to four or five concepts but then someone came up with this line: ‘Meet The Superhumans’. We loved the scale and the confidence of it. So we built up from there to create the strongest, most impactful concept we could get.”
The Channel 4 blog puts it like this:
“As for the scenes in the middle with the explosion and car crash and the mother in the hospital – we thought long and hard about how to include them because one thing that we weren’t interested at all in doing was an advert which said ‘Isn’t it great that these guys have made it to the start line?’ That just didn’t interest me and I don’t think it interested the channel.
“What I wanted to do though was just get a flashback moment – to show that it’s a part of what they are now and a part of their physicality. I didn’t want to dwell on it, just to give a hint, a moment of just how tough these characters have had to be. I could have put those scenes at the beginning or the end of the trailer but I think it’d have been weirdly less impactful that way – having them where they are stops you right in your tracks and hits you in the face.”
The ad, created by DDB Sydney, features Men At Work’s Colin Hay and a cast of Ozzies in London. An unbranded version of the ad was played to the whole Olympic team just after Australia’s flag bearer was announced. This immediately shows that it is hitting the right note with real people.
I like it for its honest simplicity and emotional effectiveness, versus other efforts to convince us of Ozzie roots / provenance or general “Ozzieness”. This spot seems to strike the right “C’mon Ozzie” chord with the locals versus metaphorical skyward gazing from Qantas or too much deep and meaningful from CommBank with Toni Collette.
A few people have referenced this ad in preference to the Qantas effort and I can understand why. Both use music to bring you the brand, but Telstra hit a better note with the locals.
And we might even assume that it is relevant as these Ozzies will all be phoning home!?
A good tune with the right emotional pull can make even a modest ad, with few rational reasons to believe, a memorable and magical effort. At the end of the day and as Hegarty once said: