Video game ads can be, quite frankly, terrible. If you’ve watched any TV appealing to the nerd demographic, you’ve seen them. Horribly forgettable and captive of their genre, they use the same crunching music over and over again, the same jumpy cuts from one FPS kill to the next. Even good games can be made to look uninteresting and cliched - while great games, like the beautiful Shadow of the Colossus, just aren’t the sort of things that play well in the 30-second ad format. It’s similar to movie trailers that way - the more features, the more complexity, the less ability to simplify and sell - so a crappy and formulaic genre film paired with a recognizable drumbeat, an ominous voiceover, and a quick jump cut at the end is transformed into nicely motivational preview, while plot-heavy indie films can be harder to scale down. Sometimes impossible.

That said, after seeing the PS3 ad mashing up Shakespeare’s Henry V St. Crispin’s Day speech tonight, I was reminded that really is some quality ad work out there. So here’s a quick list of my personal Top 10 Video Game Ads.

The only rules: no fan made inclusions - otherwise Half Life Full Life Consequences or Half Life in 60 Seconds would take the cake, and no print media, even though that’s where some of the best work has been done (who can forget the impressive Divine Comedy PSP promotion).

10 - Water Balloons

A devious little ad promoting the online multiplayer capability of XBox Live, set to the creepy strains of “Teddy Bear Picnic.” Frank Budgen has done some great work on this front - he worked on at least three of the ads on this list, besides his work for Nike and other big names.

9 - Gears of War: Mad World

This is on here mostly as a contrast with the kind of FPS game ad I noted before. It’s similar in some respects to this ad for BioShock set to “Beyond the Sea”, but the Gears ad featuring Gary Jules’ Mad World has an enduring following, and hits the right note for Gears’ post-apocalyptic environment.

8. George Plimpton doesn’t know Henry Thomas

This ad just gets more bizarre every time I see it. George Plimpton was the spokesman for Intellivision, and made a host of good ads for them, but the humor here is that Henry Thomas had just finished making E.T. - the idea that Plimpton wouldn’t recognize him was just ridiculous.

7. Pole Position

Turn your speakers down for another throwback. “Hey! You look like a real jerk!” “Well, I am a corporate executive…”

6. Mountain

Another multiplayer ad, with much the same feel as the XBox one, albeit for a different system. But I love this one more, not just for the soundtrack, but the perfect encapsulation of the exhilarating feeling you’ve experienced if you’ve ever broken into a national Top 100 list (I’ve only done this once - Warhawk, right when it came out) on a multiplayer game.

5. Ratchet and Clank

The Ratchet and Clank ads were ahead of their time in their Youtube-esque feel. I always liked the one with the gravity boots best. Also, Cloverfield is totally a ripoff of these ads.

4. Halo 3

These are all ads from the Halo 3 “Believe” campaign, which are just a phenomenal representation of the war documentary feel. I wish the game was as good as these ads - but I’ve always loved the initial teaser, which ran during the Super Bowl, even better:

3. PS9

Now this is a classic. There is still a minor cult around this ad - and a running joke that whatever console problems there are, they’ll be fixed at the PS9 stage - and the design in it is excellent. The only problem: at the rate we’re going technologically, I doubt we’ll have to wait til 2078.

2. “Banned” XBox Shooting ad

I still kind of doubt that this ad was actually “banned”, as opposed to just released as a bit of internet fodder. But it does take me back to the days of running around the backyard with fingers raised or nerf guns, and the inevitable arguments that would emerge about whether someone got hit or not.

1. Double Life

By far, the best ad ever done for any game system ever. And one of the few bizarre ads created for Sony (and there have been a lot of those, many of which are magnificent triumphs of awful) that actually works. This doesn’t just work: it speaks to anyone who’s ever played a game and loved it so much as to enjoy “a life of dubious virtue.”

Not those books: these books. The brilliant Michael Lopp’s extensive ruminations on the perfect notebook may seem odd to some, but to people who still can’t get through a day without jotting down their thoughts, it’s an excellent piece:

The primary goal of a notebook is to get out of the way… to disappear. It does this by perfectly fitting into your writing situation. How accessible does it need to be? What notebook tangibles do you need? How will it withstand a beating? By fitting into how you write, a notebook becomes invisible. It wastes none of your time because any moment you spend noticing the notebook is a moment you could be noticing something else, and writing about it.

But that’s not what makes a notebook truly sexy.

I have years of experience with some notebooks, weeks with others. As you can see, I’ve explored a wide variety of notebooks. The photo above is ordered chronologically, with my oldest journal on the bottom and my newest discovery, the Field Notes brand, the notebook in which I’m writing the first draft of this article, on the top. Like The Gel Dilemma, I’ve evaluated notebooks according to specific buckets of criteria.

He proceeds to evaluate the different brands, based on a variety of factors. I agree that paper weight is the Achilles heel of the Moleskine brand, thought the Cahier pocket size is quite durable in my experience, and is the notebook I’ve used the most simply because it’s inexpensive and easily replaced if you drop it somewhere or spill coffee on it.

My problem with notebooks is that they don’t have quality paper. But that creates another problem: the ones that do, such as a nice notebook I bought in college from Cavallini & Co., are just too nice to actually use. I feel guilty, like it’s bad to mix up the To Do list and callback numbers with random thoughts that will turn into unsuccessful proposals or unimportant blog posts across paper that is at least 90# stock. Thus, the nicest notebook I own - a handmade leather bound embossed hardback I got from London, which looks like it should contain lengthy discourse on Thucydides or at least a good poem or two - is still unused. It sits on my desk in its wrapping, mocking me on a daily basis with its tobacco colored spine. I’ve had it for almost five years, and it is waiting for me to write in it.

But until the inspiration comes, I’ll stick to the best new find I’ve made, via Rands in Repose and Coudal Partners (otherwise known as the creators of Layer Tennis and Jewelboxing) - the solid, confident, and perfectly sized Field Notes.

The leatherbound goddess will have to wait.

This little icanhas-friendly banner was inspired by the announcement yesterday by the McCain campaign that you can create, for a mere $250, a banner expressing your unique satisfaction with John McCain. I’m not sure what to say to this idea, but it reminded me about how aesthetically unappealing presidential campaigns tend to become - their logos the product of hours of debate and committees populated by people who’ve never designed anything worth emailing.

If you want a sign of how conventional politics is, and how the innovation of the Obama campaign really is finally catching up a national campaign with the design trends of the ’90s, check out this collection of presidential bumper stickers, 1960-2008. I particularly love how Fred Thompson’s sticker is crowded, illegible, and the color of prune juice, as if designed for the Law & Order-watching retirement communities of Florida in which he put so much hope.

The best part of any designed branding, though, has to do with the font choice of a campaign. Ah, these are some doozies. And 2008 is no exception - as one of my favorite typography blogs Ask H&FJ recently pointed out. The originators of the Gotham font so famously used by The New Adonis, they even mocked up graphics with the Hillary and McCain fonts in their proper place:

Nor were these designers alone in their fascination with these choices. The New York Times hosted a roundtable on McCain’s font, the overused 90s relic Optima (which nonetheless still has some gravitas, since it’s the font displaying the names of so many heroes on the Vietnam Memorial). The descriptions can get a little silly, but there’s truth in this ridiculousness:

While it is not the most robust sans serif ever designed, it is not entirely neutral either. It embodies and signifies a certain spirit and attitude. And if a typeface is not just an empty vessel for meaning, but a signifier that underscores personality, then it is useful in understanding what the candidates’ respective typefaces are saying about them and their campaigns.

The designers questioned have some interesting thoughts - some like the selection, most hate it, but many concede that it’s a choice that has a good deal in common with McCain’s personality. The newest entry in the presidential stakes, Libertarian Bob Barr, has a font that seems like a solid midwestern pro-American creation, suitable for a beer can or a local sports bar - neither of which, I think, would meet the approval of the Prohibitionist candidate for President (yes, there still are those). Chuck Baldwin, the televangelist Constitution Party candidate, has a logo that looks as if it should grace a can of Play Doh or silly putty. Over at the Green Party, the colorful logo of Cynthia McKinney pits an offkilter insurgency against a staid old Nader logo that looks not unlike his original presentation more than a decade ago. It’s honest, at least - even his logo looks like dried-up ’80s-era socialism.

Asking whether this odd grabbag of out-of-touch designs are any more a sign of what lies within each candidate than Obama’s famous O logo illustrates how foolhardy this talk is: football players don’t pick their NFL team based on the logos on the helmet, or pick a sport based on whether they want to wear Nike, Reebok or adidas. All that Obama’s campaign has done is recognize that they should start abiding by the rules of a different game - not the tired old design choices of prior candidates, with the same color arcs and blocky typefaces, but with the attitude of tried and true corporate ad agencies. Sell a candidate like you’d sell a good pair of shoes, and the same people tend to listen and react.

Of course, if you want to see real font-leveraging in action, you have to go back to the good old days, when things were cool and slick. Yes, the glory days, before everything had to be grungy and worn-in: the 1980s. Watch this first. Read this second.

>> The Washington Times redesign has several interesting elements. You can see them all in a slideshow, posted here. Count me a big fan of the new Sunday edition in particular.

>> I couldn’t possibly tell you how much I’ve wanted something like this.  I’ve given mix albums as stocking stuffers to friends and family for years - now I’ll finally be able to make one that doesn’t involve four trips to a printshop to make a custom case.

>> I love design. I’m not sure I would love design conferences. But I crave this one. And it looks like some people are gravely in need of it.

>> Clearly, I am going to need to get this shirt.

>> Ever wondered who all the wonderful design-minded folks who create t-shirts for Threadless really are? Well, here’s one. His stuff is simply fantastic.