Marcel Winatschek

Las Vegas in Ruins and Megan Fox at the Trigger

Being killed by Megan Fox is the single best outcome I can imagine for any first-person shooter. I’ve considered alternatives. There aren’t any.

The trailer for Call of Duty: Ghosts—which arrived in November 2013 alongside the actual game—turned Las Vegas into a crater and placed Megan Fox at the center of it, doing whatever Megan Fox does, which is exist in a state of hard indifference that reads simultaneously as threat and invitation. Four soldiers were running through the rubble. Everything was on fire. She looked the way she always looks: like she’s already bored by the fact that she’s the most dangerous person in any room she enters.

The game itself was the usual machine—a military shooter on a scale that required celebrity marketing to justify the budget, available on every platform simultaneously, designed to sell tens of millions of copies to people who would have bought it regardless of who was in the trailer. I don’t begrudge it any of that. The trailer had Megan Fox in it. I watched it several times. Call it research.