This week is a big one for the first person shooter with both Resistance 2 and Gears of War 2 going head to head on behalf of their respective consoles. Both of these titles are fundamental elements in the holiday offering of each console and, both being exclusives, the choice between either of these two sequels for consumers could ultimately mean the choice between one of the two machines.

GoW and Resistance have, by virtue of their relationship, become strong and intimate brands since both original titles launched in 2006. When one of the two calls, the other often answers. What is interesting is that both Sony and Microsoft are attempting to offer a similar experience through each of these two titles, and doing so by design. They fill a certain gap within each firm’s exclusive portfolio and more importantly they respond to a specific need within a very significant segment of the gaming market.

That said, whilst filling the same need they must differentiate and argue their superiority in delivering said experience to that particular segment. ‘Fallout 3’ is multi-platform, ‘Far-Cry 2’ is multi-platform, ‘Mirrors Edge’ is multi-platform and even ‘Bioshock’ is now (finally) multi-platform. As such, none these titles really differentiates the offering of either console at this point (unless you’re in the business of obsessing over screenshot comparisons).

It is interesting then to look at the advertising for both of these titles and question how they are trying to build a unique picture and meaning in the minds of consumers looking to make that decision.

This advert for ‘Gears of War 2’ highlights the fact that Gears of War is more than just the sum of its parts. The most striking thing about the ad, from agency T.A.G., is the dark comedy and obvious juxtaposition between the music, the beautiful meadows, the machinery and the commercial’s dramatic climax. However, this emergent bleakness is directly in keeping with the advertising for the original title, which quite famously featured Gary Jule’s cover of the Tears For Fears classic ‘Mad World’. Not only is the atmosphere consistent but the 'Gears of War 2' advert itself features and intriguing and really quite brilliant piece of music from DeVotchKa. This use of a quality, licensed – rather than generic – soundtrack will only drive interest in the game, the song and the relationship between the two. This was certainly the case with the original title.

The Resistance advert, from Deutsch LA, is very different. Whilst ‘Resistance: Fall of Man’ played a huge role in getting the PlayStation 3 through its first year Sony never really allowed the Resistance brand to assert itself with a concretely defined style, the kind of which Gears of War has. This is a mixed blessing because there is nothing through this television commercial for Resistance 2 that really connects it with the original. Perhaps this is due to the fact that Sony’s user base has transformed so dramatically that the iconography of the original may not be relevant, or perhaps they just want to start with a clean slate (however, there is no reason why they would even use the title ‘Resistance 2’ if that was the case).

The advert itself is quite curious. The dialogue and subject matter initially seem to owe a lot to the more mystical elements of the film ‘300’. The line “They will block out the sun,” is an almost complete clone of the highly publicized line “Our arrows will block out the sun,” from that film. It is difficult to understand how this historical/mythological context fits in with the idea of Resistance 2. This incongruence is at its most evident when the shots of the game itself are introduced.

It is easy to overestimate the impact of advertising. There are many more complex factors at work which will determine the commercial and critical success of these two games. For example, the disparity in cost. However, for those about to make the decision between the two consoles advertising will play a significant role in informing their purchase decision. In this economic climate it will be a case of either/or, if at all.