Army Special Operations paratrooper takes a closer look at cod mw3 vet vs noob video trailer

The COD MW3 video trailers have been viewed by more people then many movies. The Call Of Duty: Modern Warfare 3 video is one of the most viewed yourtube videos. As with anything big there will be haters and people questioning how they do things. The main trailer in question is the noob vs vet live action modern warfare 3 trailer. Make sure you check out that video if you are unsure what all this talk is about.

[All opinions expressed herein are that of the author and do not necessarily reflect those of Blog4ModernWarfare3.com]

Red Planet Noir Novelist and former Army Special Operations paratrooper D.B. Grady believes that a recent slam-bang ad campaign featuring Jonah Hill and Sam Worthington “trivializes and satirizes war to an extreme, setting a new low.” The ad he’s attacking features Clash Of The Titans and Terminator: Salvation star Worthington as a hardened-the-f!@#-up “vet” soldier and 21 Jump Street and Superbad star Hill as his bumbling, dangerously-enthusiastic “noob” cohort. The two together blast their way from combat scenario to scenario, until Hill finds himself staying frosty himself.

Grady’s take, according to Kotaku and The Atlantic? It doesn’t do justice to what he and his brethren experience on the battlefield – rival-franchise pun absolutely not intended – any justice at all. More to the point, he deems it more a disservice than anything.

“The advertisement trivializes combat and sanitizes war”, he writes. “If this were September 10, 2001, maybe it wouldn’t be quite so bad. Those who are too young to remember Vietnam might indulge in combat fantasies of resting heart rates while rocket-propelled grenades whiz by, and of flinty glares while emptying a magazine into the enemy. But after ten years of constant war, of thousands of amputees and flag-draped coffins, of hundreds of grief-stricken communities, did nobody involved in this commercial raise a hand and say, ‘You know, this is probably a little crass. Maybe we could just show footage from the game’.”

Grady’s essay adds as a concluding salvo “Two smug, A-list clowns strut toward the camera, rifles hanging over their shoulders, explosions consuming the city of New York, and then the words: ‘THERE’S A SOLDIER IN ALL OF US’ . . . No, there’s not.”

Kotaku writer Luke Plunkett, while copping out that his absence of combat experience makes him unqualified to comment, quips “If he really wants to talk about hideous marketing, someone should point out to him that almost nobody in this business shows actual footage from a game in the trailers.”

Kotaku, ladies and gentlemen: missing the point entirely.

The grim specter of death that looms over a battlefield long after the final shot’s echo has dissipated into the suffocating silence of the past is something that should never, ever be minimized with any genuine sentiment that the battlefield is a playground. For every shot whose report has long since fallen silent, there’s a soldier for whom the echo never ends. But it’s entirely possible that Grady lacks a stronger perspective on the history of Call of Duty marketing. The game itself doesn’t treat combat itself as a joke, and the core audience that will gravitate toward the game knows that. There’s not much – if anything – overtly played for yuks. The game may lack the horrors-of-war gravitas of Homefront, but it’s actually been acclaimed for having a gripping, dramatic single-player campaign with a little substance. Remember, combat shooters like this make their respective names with immersion in a battlefield experience.