So just what is a trailer, anyway?

Abstract

Purpose – The purpose of this paper is to posit a methodology for exploring promotional trailers in the public domain and a critical discussion of the findings therein. Design/methodology/approach – The approach utilises third part press as a mechanism to limit videosharing website results and allows for a varied corpus of data. Findings – The paper posits that the term “trailer” has shifted significantly since its original use in the film industry and now applies to a certain type of experiential promotion. Originality/value – This is the first time a methodology has been discussed that considers trailers as a shared vernacular term, rather than subject of historical archive.

Paratextualizing Games

“…The difference regarding interactivity aside, the similarity to real-world maps is a seemingly important recommendation in game design and urban game-researcher Konstantinos Dimopoulos explains, "[a]n imaginary, exotic place that hopes to provide us with even a momentarily convincing illusion has to play by the rules we understand." 19 The earlier…”

“…18 -The reduced definition was coined by Werner Wolf. 19 This concept only considers peritexts as paratexts, "while various promotional materials located outside of the game were redefined as other types of framings." 20 -Finally, the expanded definition is the most open of the three approaches: "Any element that forms a figurative threshold of a text and grounds it in a socio-historical context.…”

“…The metareferential relationship between the AGE OF EMPIRES manual and gameworld extends beyond the material and carries over into the content of the manual itself. 19 The player is presented with a commentary that, on the one hand, bears close resemblance to the prefaces of self-aware historical novels, such as Gore Vidal's 1964 novel Julian, and the rulebooks of tabletop games, for instance the boardgame Risk, in that it introduces the game's historical setting and the rationale behind certain representational strategies, while also detailing its underlying rules. On the other hand, the manual refers directly, from its privileged position beyond the confines of the gameworld, to the nature of that world, whether as data on a CD that requires installation, a space to explore historical content and concepts, or as an environment constructed on the basis of sketches, graphical models, and interfaces.…”

“…Through up and downs, Nintendo has shown it can be successful in, as Suominen puts it, "raising new Nintendo and Mario player generations by combining old game characters with new innovations and playabilities." 19 Suominen wrote this sometime before the announcement and subsequent release of the SMM games, but they serve as prime examples of this trend. The first SMM was released on the Wii U and, later, portable Nintendo 3DS consoles and made active use of their touch screen/stylus option for easy use of the game's toolbox, as well as the consoles' integrated social networking service to create and share levels.…”

Editorial

“…We hope that scholars will continue to explore these mediums and also provide contributions on film and cinema. Vollans (2015) presented a methodology for exploring promotional trailers in the public domain as an experiential promotion. Grainge and Johnson (2015) examined the professional and creative culture of UK television marketing.…”