Once you were playing the game, with its B-movie-like cast of characters with accents that owe more to daytime soap operas than comparable-budget video games, and an emphasis on swearing to look cool, you saw how removed the marketing was from the base tenets of play. It certainly turned heads, but it generated a level of hype for the game's release that the reality of the experience in store could never live up to. It's hardly surprising to learn that the trailer was produced by an external agency, rather than Techland themselves. Perhaps the interest in that incredible debut trailer was partially to blame for derailing the conveyance of how the game worked, as beyond sharing the same location as the end product and the presence of zombies, there's little else to link the events of the clip and what the player was tasked with upon commencing their campaign. Players were wowed by some of its marketing-that announcement trailer, I mean, really-but when it came to what you did in the game, that information got a little lost in translation. And I'm thankful Dead Island received such a treatment, because if it hadn't I'd never have played the Ryder White DLC missions.ĭead Island suffered at launch because of poor communication. All GOTY editions represent, typically (as some of these things do win awards, after all), is the vanilla game in question plus a selection of downloadable extras in one box. No publication declared Dead Island to be the game of the year, of any year. Now, if you know a little about how video games marketing works, you're probably well aware that these GOTY-branded versions, which come out some months (or years) after the first retail wave, aren't really the recipients of real-world awards. I need to begin by clarifying that I first played Dead Island in its "Game of the Year" edition.
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