Rock Band (Xbox360)

Rock Band is every wannabe musician's dream. A game that takes the four key instruments one needs to make a band a rock band (guitar, bass, drums, vocals), and builds a highly playable and intensely addictive game around them. To a degree, developer Harmonix got a head start on the process of creating Rock Band when it developed the first two Guitar Hero games, but whereas those games were all about the decidedly solo act of severe simulated shredding, Rock Band goes in an entirely different direction. The solo play has taken a backseat to cooperative multiplayer. This game is all about the act of performance as a band, getting a group of four people together and working together to get the highest score bonuses possible as a group, all while fake guitaring and realistically singing and drumming your way through more than 40 different licensed rock hits. The steep $170 price tag for the game and bundled hardware might prove to be a barrier for entry for some, and in addition, the hardware itself comes with a few flaws. But if you're willing to make the investment, Rock Band is a guaranteed good time for any music lover, and one of the best party games you'll ever play.

In a sense, Rock Band is a little like three distinct games built into one. First, there's the guitar game, which lets you play approximately the same sort of game as Guitar Hero on guitar and bass, but with a few key differences. For one, the guitar itself is built quite differently from the Guitar Hero guitars. It's bigger, with a longer neck, and its body feels more solid. The fret buttons are larger, and are flush against the neck of the guitar, and there is a second set of narrower fret buttons all the way down the neck that you can tap on for solos. The guitar even comes with a built-in effects switcher, which puts effects like echo, flange, and wah-wah over the in-game guitar track. The only difference between guitars in the Xbox 360 and PlayStation 3 versions of the game is the fact that people who buy the 360 version get a wired guitar, whereas PS3 owners get a wireless one. On the flip side, PS3 owners don't get a USB hub to connect all the instruments to, whereas 360 owners do. That shouldn't be an issue if you have an older PS3, but if you have a newer one with the two USB ports, you'll need to buy one of those hubs separately. It's also worth noting that you only get one guitar with the bundle on either platform, but if you own a Guitar Hero guitar for the 360, you can use it with the 360 version of Rock Band.

The actual guitar gameplay isn't much different from Guitar Hero, with you strumming along and periodically tilting the guitar to engage "overdrive" (the game's equivalent of star power), but a couple of neat twists do add some flavor. For one thing, solos are given their own scoring section in each song, and the game tracks the percentage of notes hit during a solo. The higher the percentage, the higher the score bonus you get at the end of the solo.

The guitar game is of good quality, though a couple of things about it might drive a few longtime Guitar Hero fans batty. For one, the difficulty of the game is a good deal less challenging than what the hardcore Guitar Hero fan base is probably accustomed to at this point. The goal with Rock Band seems to be more about bringing in newcomers, so as a result, the difficulty level sits somewhere between Guitar Hero and Guitar Hero II overall. Not a bad thing if Guitar Hero III gave you conniption fits, but potentially less exciting for some of the hardcore guitar gamers out there. Also of note is that the note charts for guitar are handled a bit differently, with notes that can be pulled off via hammer-ons and pull-offs appearing as half-sized notes on the chart. It's not quite as easy to see these notes as in, say, Guitar Hero III, so you might end up screwing up a few solos until you get used to this new methodology.

Lastly is the guitar itself. It's a good guitar, but it does some things differently than the standard GH model guitars. The strummer doesn't click when you strum up or down, and the fret buttons seem a bit less forgiving in terms of timing in solos and other, tougher sections. It's not that it's bad or wrong--it's just different, and it takes some getting used to. Also, you're not going to get a ton of mileage out of things like the second set of buttons and the effects switch. Most people will probably forget the switch is even there until they accidentally turn on wah-wah, and sliding down to the second button set is a bit vexing to do just as you're about to head straight into a solo, since it takes a while to get accustomed both to the smaller buttons and to finding exactly where they are on the neck without staring at the guitar for a few seconds. Fake-guitar virtuosos will probably dig it, but most people will likely stick to the standard method.

Next there's the singing game, which closely emulates the mechanics of Karaoke Revolution and SingStar, but, again, with a couple of specific differences. You sing along as the lyrics display on the screen, trying to match your vocal pitch to the meter that moves up and down with the original vocal track. The key thing about singing is that the number of sections where a singer actually gets to do his or her thing is somewhat limited. But even those down moments aren't left for pure silence. Sometimes the vocal area of the screen will turn yellow, indicating for you to "make some noise," which then engages overdrive. There are also sections where you can simply tap the microphone to the rhythm of the song to get a tambourine or cowbell section going.

Beyond these wrinkles, the core of the vocal game design is to just sing, sing, sing...and occasionally rap. If there is any complaint to be made about the vocals, it's that it doesn't leave a lot of room for interpretation. On the higher difficulty settings, the game is extremely intent on you hitting the mapped pitches as closely as possible, even in situations where it seems like the mapped pitches aren't quite exact to what the original vocalist is doing. The same goes for the timing of each word. In some songs vocalists will trail off, but you can't really do that and still get the max score, which makes the vocals feel a bit robotic. Still, most vocal pieces are quite fun regardless, and in a nice touch to help middling vocalists everywhere, you can adjust the original vocal track volume via the controller as you play, so you can use it for as much or as little of a guide as you prefer.

Finally there are the drums, easily the most intense and enjoyable instrument of the bunch. The kit consists of a collection of four color-coded pads and a kick pedal, along with a pair of drum sticks. There's really no reference point for the drums portion of the game except for, well, real drums. You hit the pads in time as you would with a realistic drum kit, and on expert, the game practically maps out each song's drum part note for note. Make no mistake: When you are playing on expert, you are playing the drums. If you can do well on expert, you can probably pull out a decent beat on a real drum set at will. The good news for novices is that easy difficulty does a pretty good job of easing you into the act of drumming. The number of notes is much more limited, kick pedal usage is rare, and drum fills are eased back quite a bit.

Speaking of fills, one really cool thing about the drum portion of the game is that it allows for some improvisation. The way the drums handle overdrive is to give you some blocked-out sections where you can just bust out any kind of drum fill you want. The pads act as a snare, two tom-toms, and a crash cymbal. Go nuts, but just be sure you hit the last crash cymbal note at the end of the fill, at which point you will engage overdrive.

If there is any issue to be taken with the game's hardware, it's its reliability. For instance, one of our pre-release kick pedals from the drum kit, which is made up of a somewhat thin piece of plastic hooked into a spring underneath it, actually snapped in half during a particularly heated rendition of The Who's "Won't Get Fooled Again." The other pedals we used for testing held up despite some extreme thrashing, but all the same, our suggestion is that if you've got a Mr. Heavyfoot in your band, tell them to go shoeless and ease up on the pedal slammage a smidge. Another issue is the USB microphone. One of our retail boxes came with a broken mic that cut in and out and wouldn't register our vocals properly. Any supported USB headset mic will apparently work in a pinch on the PS3, and the standard Xbox 360 headset works on there as well, but regardless, that's still a concerning issue. At least EA seems to be aware of potential hardware issues, as a big flyer inside the box explains the 60 day hardware warranty that comes with the game and directs you to an EA Web site. You might want to keep that URL handy if you run into any issues.

Those are all the technicals of the instrumental gameplay, but none of that quite emphasizes how excellent the game is at emulating the act of band play. By themselves, each instrument is basically fun, but when you get four people together playing at once, something spectacular emerges. Part of it is the way in which scoring has been designed for cooperative play. Overdrive can be turned on by anyone, but the more people you have in overdrive at once, the higher the score bonuses. By the same token, if one person in your band fails out of a song, another can simply engage overdrive (provided enough is stored up at that point) and come to the rescue, bringing the player back into the fold. But it goes beyond even the scoring mechanics. There's just something intangibly brilliant about the way having everyone play together feels. For instance, because the drums emulate the real-life instrument so closely, having a good drummer is paramount for success. If your drummer gets off beat, it can badly screw everyone up. Along the same lines, when your drummer is in a solid groove and the rest of the band is able to lock into that groove, the feeling that you're actually performing a song as opposed to simulating one is palpable, and it is quite the exhilarating feeling.

The game's song list goes a long way toward making that multiplayer even more enjoyable. Though the game includes only 45 licensed songs (along with 13 bonus tracks from lesser-known bands), many of these 45 are big-name tracks that are immediately recognizable and span multiple rock genres. Alternative rock fans will find such '90s delights as Weezer's "Say It Ain't So," Smashing Pumpkins' "Cherub Rock," and Nirvana's "In Bloom." Modern rockers will find The Killers' "When You Were Young," Foo Fighters' "Learn to Fly," and Yeah Yeah Yeahs' "Maps." Classic rock fans will delight in being able to rock their way through Black Sabbath's "Paranoid," The Rolling Stones' "Gimme Shelter," and KISS's "Detroit Rock City." Other, less specifically denominational yet altogether awesome songs include The Ramones' "Blitzkrieg Bop," Rush's "Tom Sawyer," and Metallica's "Enter Sandman."

The vast majority of these songs are original tracks from the artists, with only a few covers scattered throughout the tracklist. Only a few of the covers really stick out much. The Geddy Lee on "Tom Sawyer" is a bit overblown, and the singer of Mountain's "Mississippi Queen" is a bit odd sounding as well. But by and large, the covers blend in nicely, and whoever did the vocals for Steven Tyler and Bruce Dickinson on the Aerosmith and Iron Maiden songs respectively deserve some kind of vocalist soundalike merit badge.

The only real problem with the tracklist is that some of the songs aren't the kind of immediately recognizable stuff you would expect in a game that's all about a bunch of people getting together and making elaborate band karaoke. Quick, off the top of your head, immediately think up the melody to The Police's "Next to You," or Molly Hatchet's "Flirtin' With Disaster." None of these songs are unpleasant to play or anything, but they don't quite fit into the scheme of songs anyone can just pick up and rock to, especially on vocals. Heck, just about anyone can probably whine their way through "Cherub Rock" or snarl through "Enter Sandman" on the lower difficulty levels. But Aerosmith's "Train Kept a Rollin'"? Maybe not so much, but perhaps that just depends on you and your friends' personal tastes in music.

Clearly Rock Band's focus and ultimate strength is as a multiplayer game, specifically a cooperative one. This is also evidenced by the game's somewhat less captivating single-player element, at least compared with its multiplayer game. You can play solo in quick play, or in one of the three solo career modes, one for guitar, one for vocals, and one for drums. These all follow the basic formula laid down by Guitar Hero, with tiers that unlock in order of increasing difficulty. One nice thing is that each instrument's career offers a totally different track order, scaled to the difficulty for that specific instrument. The other cool thing is the fact that you can customize your own rocker for each instrument. You start out with some basic edits, and then as you go, the cash you earn in the career mode lets you buy all sorts of wicked rock garb, tattoos, haircuts, and the like. But as far as the progression of the career itself is concerned, it's pretty boilerplate. Nothing of note really happens during the course of the career, and it ultimately lacks the dynamism of the band world tour mode.

Band world tour is the co-op career mode. Two to four players can create their own rockers and start rocking right away, and band members can jump in or drop out at any time, so long as the profile of the band founder is always signed in and playing. The mode is essentially a much more fleshed-out version of the same sort of tiered career mode as the solo tour. You start out as a nobody band, playing the teensiest club in your hometown. As you play gigs and perform well, you'll earn more fans, which helps propel your band ever forward toward rock stardom. You also earn stars in each gig, and the more stars you collect, the more gigs that will unlock in each available city.

This mode is, in a word, addictive. Working to gather as many fans and stars as you can becomes almost compulsive after a while. If you've got friends with you willing to stick it out, you could potentially lose a lot of hours of your life touring the world. Another thing that makes band world tour so cool is the presentation of it all. As you grow your fan base, you'll earn the opportunity to get a crappy van, then a tour bus, and even a jet. You'll have the chance to win another band's roadies, hire a sound guy, get signed to a label, and eventually work your way into the hall of fame. It's an awesome experience, to be sure.

The mode itself never actually ends, letting you continue to earn fans and keep playing gigs, though after a while you will forced into the higher difficulty settings, which potentially spells trouble if you start running into songs you don't really know yet, and you eventually start to run into a fair amount of song repetition, especially if you haven't already unlocked all the game's songs in the solo tour. Starting out fresh guarantees you'll be playing a lot of the same songs again and again from the very beginning. If you unlock everything in solo, the tour opens up a great deal. While 58 songs might seem like a lot to pick from, you're still going to end up repeating songs a fair amount, especially when you do the special challenges, which automatically pick random songs for you.

It is perhaps a good thing, then, that Rock Band is supported with lots of downloadable content. Several song packs (including artist packs for bands like Queens of the Stone Age and Metallica), single-song downloads, and full-album downloads (The Who's "Who's Next" will be the first) have been announced thus far. Pricing on these songs is slightly cheaper than the Guitar Hero song packs, but not so much cheaper that you won't notice the hurt on your wallet if you start splurging for every song that comes along. Still, the idea of getting regular downloadable content is great (Harmonix and MTV are apparently going to start out by releasing songs on a weekly schedule), and the full-album download idea is awesome. Even better, any song you download makes its way into the rotation in the band world tour, which should alleviate some of the repetition over the long haul.

The one truly unfortunate thing about the band world tour mode is that it isn't online. That might be a dicey prospect for those without regularly available friends with a similar love of music games. The good news is that there is an online co-op quick play option, so if you and your buddies just want to get together and play single songs as a band for fun and high scores, you can. The online also includes competitive options, such as a basic score duel (same instrument, same difficulty, play the entire song) and a tug-of-war mode (same instrument, any difficulty level, trade off sections of the song, try to win the crowd over to your side by performing the best). These modes are about as enjoyable as Guitar Hero III's online component, so if you dug that stuff, you'll definitely dig this. The online modes also performed well across the board, with no noticeable lag while playing.

Perhaps one of the best things about Rock Band is its presentation. The in-game visuals are of very high quality, with great character modeling, top-notch animation work on each musician, and lots of neat lighting and visual effects during the course of the performance. And the best thing about all of that? None of it causes the game to slow down whatsoever. The note charts stay steady no matter how much craziness is going on in the background. If there's any flaw to be found in the visuals at all, it's that the notes on the note charts are a little on the small side. It's not a big deal in one- or two-player play, but when you have both guitars and drums going at once, it can sometimes be tough to make out whether you've hit a note or not. Also, if you're trying to figure out which version of the game to get, visuals won't make much difference. Both the Xbox 360 and PS3 versions of the game look pretty much identical to one another.

The presentational quality goes well beyond the visuals. Everything about Rock Band just feels authentic. It's the little details, like how some arenas will put your band's name in big lights behind you on stage, or how when you're performing well the crowd will start singing along with the vocalist. Awesome stuff. Heck, even the game's loading screens are cool, offering up some neat band trivia, as well as dynamically generated band photos featuring your created musicians in a variety of delightfully exaggerated rock poses.

All told, Rock Band turns in an absolutely stellar performance. And much like any real band worth its salt, it's not just because of one or two things that it does well while the rest fall by the wayside. Each individual component of the game is good on its own, but it's when you put those things together into a collective whole that the game truly shines. Ultimately, the $170 investment is bound to be a sticking point for some, especially those who don't have readily available friends who can come over and rock whenever the itch needs to be scratched. But even with that caveat in mind, Rock Band is easily one of the most ambitious music games ever produced, and that it is so successful in its ambition makes it something really special.

Unreal Tournament 3 (PC)

Unreal Tournament 3 probably shouldn't feel as fresh and as exciting as it does. When you get down to it, UT3 doesn't change a lot of the things that you liked about Unreal Tournament 2004. It's still the same fast-moving and action-oriented first-person shooter. Yet the game's new maps, the requisite graphical overhaul, and easy-to-understand gameplay modes all feel great. The way the shooter genre has changed over the three years since the previous game is also a factor. With most other games slowing things down and going for a more realistic, militaristic pace, UT3's hypercharged gameplay explodes out of the gate feeling refreshing and new.

The UT games have never been about single-player action, but like in the previous games, there is a campaign mode in UT3. It's a series of matches against bots wrapped around a basic but uneventful storyline. The big switch this time around is that Unreal Tournament is no longer a sport. Now it's war, and you play as a character on the hunt for revenge against an evil Necris woman who led an assault against unarmed civilians on your colony. You and the survivors of the attack join up with a corporation, fight to gain territory held by other corporations, and so on. It's little more than a five- to seven-hour training mode to help you get up to speed on the maps and the modes so you can go into multiplayer with a fighting chance. One cool addition is that you can play the campaign mode online with up to three other players. Although joining other humans to combat the artificial-intelligence-controlled bots isn't exactly the most fun you can have in this game, it's more compelling (and easier) when you're playing with other people. You can set the skill level of the bots, too. At the lowest setting, they're complete idiots that won't even bother to turn around and fight you if you start shooting them from behind. The highest setting, godlike, is appropriately stiff, though not entirely impossible. It's just tough to fight against opponents who rarely miss.

The maps you'll see in the single-player campaign are the same maps you'll see online, at least until the mod-making scene shifts into high gear. You'll get into matches using a typical PC-style server browser, but the game tries to keep you away from a full list of every server running by moving you through some console-game-style menus to filter down to the gametype you want to see. UT3 comes with six different modes of play. Deathmatch is the standard free-for-all battle. Team deathmatch, as you'd expect, breaks you up into two teams. Duel is a one-on-one mode where two players go at it while other players spectate. All three of these modes are played on the same set of deathmatch-friendly maps. UT3 also has a standard capture-the-flag mode, complete with the translocator, the teleporter gun that has made UT's take on CTF stand apart from most others. There's a new vehicle CTF mode, which takes the standard CTF concept and places it onto larger battlefields. As the name suggests, you have a number of vehicles that you can use toward your goal of grabbing the opposing team's flag and getting it back to your base. The largest mode is called warfare, and like onslaught mode before it, it's played on even bigger maps, with more vehicles.

Warfare is a node-based mode where each team has a base with a power core that needs to be damaged and destroyed for a victor to be declared. The power core is linked to other nodes at various spots in the map. You must push forward, capture nodes, and link them together until you've got your team's nodes linked to the opposing team's base. At that point, you can damage the enemy core and, ideally, blow up it for a victory. There's a ton of pushing and shoving back and forth across the map when two great teams square off, and it's also the most strategic mode. It differs from onslaught mode by offering secondary objectives, like unlinked nodes that can be captured to give a team forward spawn points and access to more vehicles and a countdown node that will occasionally drain energy from the enemy core if you control it. Each of the objective-based team modes comes with its own set of maps.

Overall, the map quality is high, with plenty of symmetrical, interesting level layouts for the objective-based modes. One deathmatch map, called Gateway, has multiple areas that look really different, all of which are linked together with portals. You'll also get a new remake of the classic Unreal map Deck. Furthermore, the Unreal mod community has always been pretty rabid, so you know it's just a matter of time before someone makes one of those "giant world" levels where you can hide in a sink drain and snipe people with an instagib shock rifle while they float down into the bottom of a bathtub. Yes, that's right, the instagib mode is also back in the game, along with a handful of other basic mutators you can use to make quick changes to any of the modes.

The weapons in Unreal Tournament 3 should be old hat to anyone familiar with the series. The shield gun has been ditched in favor of the impact hammer, and your default weapon is the slow-firing enforcer pistol, but beyond that, the weapon differences feel limited to minor balance changes. The bio rifle's gooey projectiles seem to do more damage, which makes it somewhat more useful. The secondary fire on the flak cannon seems as if it flies out at a slightly higher, slower arc, which forces you to make a few changes to how you aim. But again, the changes are minor. The rocket launcher can still lock on, the sniper rifle is still great fun for headshots, and the redeemer is still a huge missile that you can guide into targets to cause a nice, big blast that's handy in some of the larger vehicle CTF games. But when isn't a large explosion handy?

The other gameplay changes also feel relatively minor. Recent UT games have employed an adrenaline counter, which built up as you killed enemies or collected large pills around each level. When the meter was full, you could activate a special ability, such as invisibility or regeneration. This system isn't present in UT3. Also, the rules for double-jumping after a dodge move seem to have been altered a bit. Again, these are minor differences that don't really get in the way or drastically change the overall feel of the game, but they're noteworthy just the same. A more dramatic difference is the hoverboard, which is in vehicle CTF and warfare. The hoverboard lets you pick up a little more speed, which is useful on the larger battlefields. The catch is that getting hit while on your board knocks you over, which gives enemies more than enough time to finish you off as your character slowly arises from the ground. You can even do tricks while on the board, which isn't useful for gameplay purposes but is still totally rad.

Unreal Tournament 3 uses Unreal Engine 3, the same basic set of tools that powered Gears of War. As such, this is a really great-looking game on high-end machines. But even if your PC isn't top of the line, the game scales better than most, giving you a playable experience on midrange machines as well. But, of course, the game is at its best when you're exceeding the game's minimum requirements, in situations where you can run at a high resolution and still get a great frame rate. It supports widescreen resolutions, but playing in widescreen actually gives you a smaller view of the overall action, given that the game appears to cut off the top and bottom of the 4:3 view to fit it onto a wider monitor. UT3 certainly isn't the first PC game to have this problem, but given its highly competitive nature, cutting off parts of the screen seems to be a pretty bad solution.

The game's textures, character models, and animation are all top-notch when you've got everything turned up. Characters can be tweaked and modified using different torso pieces, shoulder plates, and more. The handful of levels that have running liquids in them have good-looking water effects, too. Overall, it's a very sharp-looking game if your machine can hang with its higher settings. The audio fits right in with what you'd expect a UT game to sound like. The music is high in energy, the explosions and gunfire sound great, and the character voices, which occasionally pipe up to taunt you when you get killed, fit right in as well. The announcer is appropriately loud and booming when calling off your head shots, killing sprees, and the like.

It's a very basic, straightforward package, but don't take that to mean that UT3 is a no-frills sequel. With its variety of modes and its occasionally crazy high-speed action, UT3 still feels very different than the typical first-person shooter coming out these days. On top of that, it's very exciting and just as much fun now as it has been in previous installments. UT3 has more than enough content to keep you busy, and with mod-making tools included in the package, the potential for more user-generated content in the future is certainly present.

Mass Effect (Xbox360)

Developer BioWare has always been at the forefront of progressive storytelling in games, so it's no surprise that Mass Effect's story is one of its best yet. It's got a unique take on the chase-the-bad-guy-across-the-universe plot, and just when you think you've got everything figured out, the game throws you yet another surprise. BioWare has created a politically charged universe with an exhaustive backstory and filled it with a bunch of interesting, multifaceted characters. Combined with an exciting and unique combat mechanic, it makes for a fun and absorbing experience that you'll want to see through to the end, just to see how everything turns out--even if the game isn't perfect by any means. In fact, it's surprising that so many small annoyances and glitches made their way into a game of such general high quality. Still, most players will be able to look past them and enjoy Mass Effect for what it is: A terrific role-playing game with great production values and fun, exciting action.

As in most role-playing games of this nature, you begin by customizing an avatar. You play as Commander Shepard, potential savior of the galaxy, but there's plenty of room to mold him or her as you see fit. Physical customization isn't as deep as you'll find in something like last year's Oblivion, but the system is relatively robust, letting you choose from a variety of preset features, and even letting you round everything off with a scar. Shouldn't every badass commander have one? Of course, you'll also choose a class. In this case, you've got six to choose from, each with various strengths in combat, tech, and biotics (Mass Effect's sci-fi equivalent of magic). More impressively, you will select a few autobiographical tidbits--and these choices aren't just for show. Through the course of the game, characters will refer to your past, and your resulting dialogue options will allow you to react to their comments with various degrees of humility, wistfulness, and scorn.

The narrative is pure space opera, yet there's no denying that BioWare has created a tale of surprising depth and appeal. Surprise number one: Humanity is not the political center of the universe. We don't have a seat on the galactic council, or even a representative on the Spectre squad, an elite group of special forces whose members are given wide berth to solve political and military challenges as they see fit. In the meantime, a Spectre has gone rogue, ransacking ancient artifacts and unleashing the violent, robotic Geth race on an unsuspecting galaxy. As Shepard, you pursue him across the Milky Way, visiting one alien world after another and discovering the fallen Spectre's intentions along the way. He isn't the best villain ever created: He disappears for the bulk of the game, which makes finding him feel less urgent than it should. Still, the journey to the game's exciting end is one worth taking.

In true BioWare fashion, you'll be navigating through loads of dialogue trees throughout the game, and how you respond can have life-or-death consequences--though you shouldn't take that to mean that you need to brood over every decision. Oftentimes, multiple choices have the same result, a somewhat transparent trick that makes it seem as though you have a lot more impact on the conversation than you really do. At important junctures, however, your decisions can affect how missions play out. You can turn friend to foe, console (or devastate) a suicide-attack victim, or exploit evil corporate executives for fun and profit. And it all plays out amid an intricate melodrama of political intrigue and racial prejudice, and in a galaxy populated by fascinating, complex characters. There are pages ripped from the Star Wars and Star Trek playbooks, certainly, but quirks such as the interesting speech patterns of the overly-formal Hanar alien race, or the nomadic structure of the Quarian flotilla--a galactic government that's always on the move--make Mass Effect's version of the Milky Way a unique one.

When navigating dialogue, you'll also be earning paragon or renegade points, which is the usual light-versus-dark system we've come to expect from the developer. Unlike in Knights of the Old Republic, however, your decisions here will not affect any abilities you have. However, the intricate relationship between the story and the game proper means that these decisions still affect gameplay--though that effect is usually an indirect one. More interestingly, your paragon and renegade meters are separate, rather than being at opposite sides of a single spectrum. It's a subtle but effective choice that lends itself to Mass Effect's shades-of-gray fiction, where light and dark aren't mutually exclusive.

The main quest starts you on a huge space station called the Citadel, but takes you across a small series of planets before reaching the game's exciting final moments. Not that you're stuck with the main story, since you can pick up a good number of side quests along the way. Some of them are simple and relatively self-contained, while others will send you across the galaxy to uncivilized planets and derelict spaceships. This involves bringing up your galactic map, selecting a destination system, and going planetside to kick some alien butt. There are multiple regions to choose from, and often multiple solar systems within them, but while that sounds intimidating, it's not nearly as mind-bogglingly huge as you would expect. In any given system, you can usually only land on one planet--and on each of these planets, there are usually only a few things to do before you get to your destination. More surprisingly, once you've finished the mission, there's never a reason to return. Aside from the annoying thresher maws (more on these later), there aren't any hostile indigenous creatures, so once you've dispatched your foes and scavenged for loot, it's time to move on.

When you first land on a planet, you drive around in a rover called the Mako. The thing's possibly the most resilient vehicle ever created in a game. You get dropped onto the surface from hundreds of feet in the air and drive up impossibly steep mountains without much difficulty. Too bad that the driving portions are undoubtedly the weakest of the game. The weird bouncy nature of the rover and the fact that gravity is the same on every world (even Earth's own moon) are both suspect issues, though they don't really affect gameplay.

The rocky planetary design and Mako combat mechanics can really be a downer when combined together. You can spray machine gun fire or launch shells at your foes, and it works fine, provided you are on the same level as your enemies. However, the Mako's turret, for whatever reason, can't move up or down. The result is that bullets don't necessarily land where your crosshair is, so if you're on higher terrain or your target is too close, those endless clips you're unloading are useless (though you can hit enemies above you without difficulty). It's sometimes maddening, since in many situations, the enemy base is nestled below you in a crevasse, and you're forced to either get in closer (often a death sentence in an area swarming with tough foes like the robotic Geth colossi), or get out and try to take on the toughest foes of the game on foot. Be careful if you get out of the Mako in areas like these though, since your adventuring party can slide into a deep valley and get stuck very easily, which forces you to either return to the Normandy (your ship) and return to the planet, or reload a saved game.

The other issue here is with the aforementioned thresher maws, which are sandworm-like beings that burst from the ground, spew deadly goo at you, submerge, and emerge elsewhere. These encounters can be really exciting, since the things are tough to take down and keep you on the move. The problem is that the game doesn't check on the Mako's position before respawning the thresher maw. Multiple times, we had the creature emerge from directly underneath us, which either resulted in an unavoidable insta-kill or getting stuck in the thresher's geometry while the camera jittered madly. That's just not fun, and you will find yourself avoiding flat expanses on planets just to avoid these problems.

Thankfully, on-foot combat is a lot of fun. You'll accumulate six total teammates, two of whom can accompany you on missions at any given time. They have a variety of talents, and each of them is special in his or her own way. There's a variety of guns to choose from, from pistols to shotguns to assault rifles, and each weapon can be outfitted with various upgrades that may increase stability, add scanners that bypass disrupted enemy radar, and more. You can also outfit special ammunition, though you always have unlimited ammo.

On top of that, some characters have magic-like powers called biotics to mess with. It's worth noting, however, that these powers are focused on manipulation rather than direct offense. You can push enemies back with the throw power (awesome to behold at higher levels), lift them in the air, or create a vortex that sucks enemies toward it (another great use of Mass Effect's fun combat physics). Engineers have some nice abilities as well, such as the ability to sabotage weapons from a distance, which makes your enemy's weapon explode, or the power to turn robotic enemies against your own foes. As a rule, your teammates aren't a liability, though they aren't governed by the most advanced artificial intelligence we've ever seen. But provided you micromanage them as described below, you'll not only be getting the most out of the experience, you won't be apt to notice any drawbacks to the AI.

The combat feels like it belongs in a third-person shooter at first, but if you continually approach it this way, you'll die. A lot. Like in many previous BioWare RPGs, you're meant to pause, survey the situation, and perform your actions. As long as you stick to that method, you'll find combat to be a lot easier than it first appears. You can set your party members to automate their actions, simply perform defensive powers on their own (the better choice), or only perform powers on your command. Holding the right bumper brings up the command wheel, which lets you assign orders to your companions, as well as perform your own abilities. You can also take cover behind walls or other objects, though this mechanic isn't all that helpful. Once you get into the groove, battles are rather enjoyable, with a flurry of bullets and biotic powers flying around. The joy of flinging the Geth around, filling them with shotgun shells, and watching them drop from the ceiling after lifting them in the air is a joy few RPGs can approximate.

The spoils of battle are always a fun reward for a job well done, and loot ramps up pretty well. You can also open up various lockers and containers for more loot, though it's best to level one of your party members in the decryption skill for the more difficult-to-open ones. To open locked containers, you have two equally odd choices: Either perform a minigame that resembles the overdone contextual button presses we've seen in far too many games of late, or smear omnigel on the container, which is an all-purpose goo that opens cabinets, repairs the Mako, and, we suspect, may also eliminate ring-around-the-collar. It sounds like a silly mechanic, but all things considered, it's a perfectly legitimate way of keeping the user engaged in the looting process, and it makes you feel like you earned the resulting spoils.

As you can imagine, you'll be doing a lot of fiddling with your inventory, what with all these weapons, upgrades, and party members to deal with, but this is another stumbling block that could have used some streamlining. The menu interface isn't terrible, though on its own, it's a bit clunky. But it's the little things that add up in a game that requires you to spend so much time in menu screens. First annoyance: In some menu screens, you can't hit a button simply to escape to the previous menu. For example, in the weapons upgrade menu, if you decide you don't want to make any changes, you can't just leave the menu--you have to choose something, even if it means scrolling to the top of the list and selecting the same upgrade you already had equipped. In other cases, such as when you convert an item to omnigel, the menu jumps back to the top of the list, which is vexing. You can't even deselect a power from the ability wheel in combat once you've chosen one. You can change the skill, but on the frequent occasion where you will want to change your mind after selection and not cast one at all, you're stuck wasting a skill and waiting for it to recharge.

Other problems rear their heads as well, such as the occasions when you or your party members get trapped on level geometry, which forces you to reload your last save. But you'll be apt to forgive them in light of the depth and variety to be found here. It's fun to get to know your crew, conduct a clandestine romance, or turn Shepard into a hard-line exclusionary (or a racially sensitive diplomat). You could finish a fairly complete play-through in 40 hours--standard for a role-playing game--but there's enough contextual content to make it worth a second play, if only to explore your renegade side, try out other romance options, or see another of the multiple endings. On the other hand, if you ignored the side quests and stuck with just the main storyline, you could be done in 15 hours or less.

Mass Effect's visuals are excellent. Facial animations are among the best in gaming: Characters move their lips believably with the dialogue, further expressing themselves with subtle tilts of the head or with a slight raise of the eyebrows. Character models are beautifully detailed, such as with your Krogan teammate Wrex, whose every wrinkle and ridge is carefully textured and molded. There are some technical hitches, however. The framerate can dramatically dip at the worst possible times, and there is a lot of texture pop-in. There are also frequent load times--some of them hidden by elevator rides, others popping up in the midst of exploration. Nevertheless, Mass Effect looks wonderful. From an artistic perspective, the game looks great, if not quite original. Planet outposts tend to use only one of two interior layouts, and environments owe a lot to games and films of the past (much of the game's look wouldn't be out of place in a Halo title). But even with the obvious inspirations, Mass Effect still conveys its vision clearly, thanks to meticulous character designs and dramatic set pieces, such as the Citadel itself.

It's also one of the best-acted games in recent memory. An all-star cast including such well-known actors as Fred Tatasciore and Seth Green bring Mass Effect's characters to brilliant life. Not once will a drab line delivery or overzealous histrionics get in the way of your immersion. The soundtrack is evocative, with just the right amount of sci-fi shimmering to round out the occasional symphonic swelling. Sound effects are great across the board, from the robotic yammering of the Geth to the din of a planetary blizzard filling the room with its high-powered whooshing.

All told, Mass Effect is a great game with moments of brilliance and a number of small but significant obstacles that hold it back from reaching its true potential. But in the end, if you like RPGs and want to spend some time in an absorbing sci-world populated with a bunch of unique inhabitants, you'll definitely have plenty of fun with this one.

Super Mario Galaxy (Wii)

Here is the game that Wii owners have been pining for, a game that has tons of appeal for both the less experienced player and the longtime gamer. A game that deftly combines accessibility and challenge, all wrapped up in a package that's both deep and addictive. Super Mario Galaxy is all of this and more. It is simultaneously one of Mario's best adventures and a game that doesn't require fandom of the portly plumber's previous engagements to appreciate. The sheer quality of Mario Galaxy's wonderful level designs, tight controls, and brilliant presentation is the sort of thing that just about anyone who loves gaming should be able to appreciate, and that many will fall head-over-heels for.

The premise for Mario Galaxy begins in fairly well-worn territory. Mario receives a note from his beloved Peach to come to the castle, for she has a special "gift" for him. He arrives, only to walk straight into chaos as Bowser and son arrive in a fleet of airships and use a giant UFO to pluck the Princess' castle right out of the ground. Mario gives chase, but is unable to rescue her before the fearsome twosome jet off into space. This all certainly sounds par for the course, but it's where Mario ends up that gives Mario Galaxy its own flavor. Mario eventually hooks up with a creature called a luma, from a race that looks like some kind of cross between an invincibility star and a headless chicken. The lumas are led by an enigmatic woman named Rosalina, who lives with them on a crazy spaceship called the comet observatory. Mario learns that Bowser has made off with a gaggle of power stars used to power the observatory. To reach Bowser's hideout, Mario has to travel to all the various galaxies in the universe to collect as many power stars as he can in order to power the ship back up, fly to the center of the universe, rescue the princess, and set everything right again.

Mario 64, anyone? If you played that seminal game, Mario Galaxy's star hunt progression probably sounds familiar to you. But apart from that basic structuring, you can hardly call Mario Galaxy a Mario 64 rehash. If anything, Mario Galaxy simply takes the basics of what made Mario 64 such a dynamite game, and turns them completely crazy.

The definition of crazy here has a lot to do with gravity and physics. Each galaxy contains a series of little worlds that can't even really be called planets so much as they are floating puzzles. In many of these worlds, Mario can walk just about anywhere. When he lands on a sphere, he can walk all over it, going sideways and upside down in the process. Sometimes you'll simply jump in one area and end up gravitating toward the ceiling or walls or even another nearby planetoid without even realizing it. Often Mario will need to track down launch stars, which, when you shake the Wii Remote while standing near or inside one, will send you flying to a whole new, previously inaccessible area. There are even sections where you'll be floating through space, using specialized pull stars to hop from area to area, all while floating through the spatial void.

Practically every galaxy you explore is an absolute joy to experience. The level designs here are top flight in every regard, with tons of clever and sometimes dastardly traps and puzzles for Mario to navigate. The difficulty doesn't start off terribly high, but as time goes on, the game ramps up nicely, building the challenge steadily until the final areas, which, though perhaps a bit frustrating to inexperienced players, provides the exact sort of tough workout you've come to expect from a Mario adventure. But even aside from the challenge level, simply exploring all these various galaxies is half the fun. Whether you're floating from land mass to land mass on a giant spinning flower, running frantically around a giant series of platforms that shrink to nothing the first time you touch them, or taking on one of several terrific 2D side-scrolling areas reminiscent of New Super Mario Bros. for the DS, you won't be wanting for variety while playing through Galaxy's dozens of levels.

In a sort of nod to the suit-happy gameplay of Super Mario Bros. 3, Mario can don a number of different costumes that give him new abilities. For instance, in several levels, Mario can take on the abilities of a bee, buzzing around through the air via his new pair of wings, and wall-climbing specific honeycombed areas of the environment. With others, Mario can freeze water to walk over it, launch fireballs (natch), fly, wrap himself in a Mario-sized spring and jump to great heights, turn invincible (natch, again) and even turn into one of those pesky boos, allowing him to float around and pass through some solid walls. In most cases, the game takes great advantage of these abilities in the context of each level. A few involving the bee suit are a bit frustrating (given that you lose the suit when you touch water) and the spring suit is kind of a pain to control given Mario's perpetual bounciness, but otherwise, these abilities add a great dimension to the already excellent gameplay.

Apart from the screwiness of the spring suit, there's very little issue to be taken with Mario Galaxy's controls. At its core, it controls much as Mario 64 did, but with a couple of Wii-centric twists. For one, Mario's primary attack is a basic spin move (the same spin move you use to activate launch stars). Simply shaking the Wii Remote engages the spin, and it's an extremely responsive mechanic. The one trick to it is that you have to wait a second before spinning again, so you want to make sure you're able to get away from whatever bad guy is nearby if you happen to miss.

The other key change is the addition of the Wii Remote as a pointer. Simply by pointing at them on the screen you'll collect star bits, which can be found just about everywhere and serve as both Super Mario Galaxy's currency and as a weapon. Firing star bits is as simple as aiming the Wii Remote at an enemy and pressing B to launch. But you don't want to fire off too many of those, as they come in handy for unlocking new stages later on. Only in a few specific cases does the game really dabble in true motion control, such as sections where you're surfing on a manta ray or walking on a boulder. But even these few divergences from the standard gameplay formula are largely successful and quite fun.

Mario Galaxy's journey is scattered and epic all at once. There isn't much of a thread tying together all these disparate worlds, apart from the fact that they have power stars hidden within them somewhere. And yet, at the same time, the lack of cohesion in what you're doing never really gets in the way of your enjoyment of it. Because each level is so much an island unto itself, it actually makes each one stand out all the more.

It helps that practically every stage in the game has a great deal of replayability purely on its own merits. These levels are just inherently fun to go back to again and again, and that the game gives you plenty of reason to is even better. Once you complete an area, you can go back and engage in a specialized version of it in certain cases. Essentially, comets will enter orbit in some of these galaxies, and thus change the way you play in some bizarre way. Whether it's speeding up all the enemies in an area, putting you on a timed run, or having you race against a doppelganger Mario, there's a nice variety of change-ups to experience. The adventure probably won't take you more than 12 to 15 hours if you just collect the minimum number of stars necessary to get to the end level, but you can certainly tack on a great deal more to that if you're into going back and collecting all the stars. And if you want to unlock the game's neat end surprise, you'll need to get all of them.

There is even a multiplayer component to the game, albeit a limited one. Another player can point their Wii Remote at the screen and take part in some of the basic fun, like collecting star bits, shooting star bits, and the like. You can even directly assist Mario by pointing at him and pressing A at the same time as your friend to make him do a super jump, and stop certain enemies from attacking by highlighting them with the pointer. It's not the most involved co-op mode you'll ever experience, but it can be fun if you've got someone enthusiastic alongside you.

As wonderful as Mario Galaxy's gameplay is, its graphics are even better. There simply isn't a better-looking Wii game available. A great deal of credit is due to the art design, which is simply phenomenal. The character designs, level details, animations, all of it is incredibly colorful and vibrant, and just a joy to look at. The technical engine does its part as well, keeping the frame rate drops to minor, infrequent bouts. One area especially worth noting is the game's camera, which takes a largely cinematic perspective, albeit with a limited amount of player control. You can adjust it right or left in certain areas, and go to a first-person view if you just want to look around. There are a few areas where the camera prevents you from seeing things perfectly, but mostly it does an excellent job of framing the action, especially considering all the kooky perspective shifting the game does as you run around these oddball environments. The only thing that's kind of a bummer is that you'll undoubtedly wish at some point while playing that the Wii could support resolutions higher than 480p; but even with the limited resolution, the game just looks beautiful.

Audio is also excellent, thanks largely to the top-notch soundtrack. Much of the music is made up of classic Mario tunes from a wide variety of different games, and it's all modernized and orchestrated. These are some of the best renditions of these tracks since the originals, and you're sure to be humming along as you play. There's little voice work in the game, but the few voice samples that are there are used to nice effect. It's probably better to just hear Bowser snarling than it is to hear him being a chatty Cathy, anyway. The sound effects are a touch on the shrill side at times, but the bulk of them fit the vibe of each stage nicely.

When all is said and done, the thing that really makes Super Mario Galaxy such a standout game isn't the fact that it's another Mario game, but the fact that it doesn't even need to be a Mario game to be successful. Sure, it's got all the nostalgic flavor Mario fans would want, with the updated soundtrack, familiar foes, and various other Mario-related bric-a-brac scattered throughout the adventure, but the game never leans on these nostalgic aspects as a crutch. It instead puts the whole of its focus on its gameplay design, and with good reason. You could probably swap in just about any other characters from practically any other franchise, and this would still be a phenomenally fun game. That it layers all these memorable characters and components on top of that phenomenal design just makes it all the sweeter. If ever there were a must-own Wii game, Super Mario Galaxy is it.

TimeShift (PC)

Given TimeShift's long, tumultuous development cycle that saw the game change platforms, swap publishers, and miss several release dates, it's surprising the game has made it to stores at all. So it's too bad that TimeShift isn't really worth the wait, thanks to a barely-there story, extremely rudimentary puzzles, and tired first-person shooter objectives like going through an entire level just to push a button. It does have some redeeming features, though. It's fun to pause time and whale on helpless soldiers, and some of the weapons are really satisfying to shoot.

If you need more out of a game's story than "shoot guys until the credits roll because an angry soldier and a computer voice say so," you're in trouble here. If you piece together the fragmented cutscenes, scour the manual, and read the back of the box, you'll learn that a certain Dr. Krone has stolen a special suit that lets its user travel through time. This has created an alternate reality, which is a bad thing--you'll have to trust the game on that, because it's tough to figure out just what has happened that's so bad, other than a big robot spider that shoots lasers terrorizing the city. (OK, maybe that is bad.) It's up to you to take the other, experimental beta suit (ohhhh, dangerous!), travel through time, and stop Dr. Krone from doing something sinister--which he has already done, so you want to undo whatever it is he's done...or something.

Even though the story is an incoherent mess, it's still possible to enjoy TimeShift. Why? Because you can time-shift. Your suit has the ability to pause, slow down, or even reverse time--kind of like a TiVo you can wear. This lets you pause the action, run up to a guy, and shoot him to bits. Or if you're feeling like humiliating him before you kill him, you can steal his weapon, restart time, and watch as he wonders where the heck it went, and then make him dead with a barrage of bullets. It's even possible to regenerate health by seeking cover and pausing time. You can't rewind time and prevent your own death, but if you're quick you can reverse it and unstick a grenade from yourself. You only have a limited amount of time you can manipulate before the suit's energy runs out, but it regenerates quickly. The game promises all sorts of other "exciting" uses for altering the flow of time, but it never really capitalizes on the potential of the mechanic. Rather than challenging you with complex puzzles that require you to think outside the box or use the game's quality physics engine, you're mostly limited to slowing down time so you can press two buttons in quick succession or pausing time so that you can get through a door before it closes. Thank goodness for technology.

Other than the time-shifting stuff, the rest of TimeShift plays like a linear, run-of-the mill first-person shooter--and a dated one at that. Most of the level objectives are routine tasks like finding a button that opens a door or, sometimes, locating a lever that opens a door. Heck, sometimes you have to do both! There are a few scenarios where you ride around on an ATV and some others where you man a turret on an airship, but most of the time you'll be moving from checkpoint to checkpoint on foot, taking out wave after wave of unintelligent foes. It's good, then, that the gunplay is entertaining. This is mostly due to the game's powerful weapons that are so much fun to shoot. It might not be exactly challenging, but it's fun to pause time and take the crossbow that shoots an arrow that sticks in the target and then blows up, and then unpause time and watch your foe explode into a charred, bloody mess. There are other cool weapons too, like the automatic gun that looks like it shoots bullets, but these bullets cause the target to burst into flames when they hit, and then the dude screams like a little girl as he fries. Even the basic machine gun is powerful and useful all the way through the game. There's always plenty of ammo to be found, so you never have to be conservative with your bullets.

It's too bad that these powerful weapons, combined with the ability to manipulate time, make it all too easy to fall into a rut of approaching every situation in the same way. Even on the harder difficulty settings you can be successful finding cover, pausing time, unleashing a few shots, and then retreating to cover while your suit and health recharge. Enemies won't always stay back and wait for you to cap them, but their aggressiveness actually makes things easier. You can hide, watch their dot on the radar get closer, and then shoot them as soon as they come around the corner. There are a few instances where you'll have no choice but to seek shelter behind destructible cover, but those situations are rare, and there's usually someplace safe you can scramble to once you've been flushed out.

In addition to a lengthy 10- to 12-hour single-player campaign, TimeShift offers a full-featured multiplayer component. A modified version of the single-player game's time-shifting ability is found here, too. You can slow, pause, or rewind time by throwing one of three different chrono grenades. Everyone within the blast radius of an explosion is affected. It's a neat idea, but one that people seem all too keen to rely on--they just throw them like crazy when they see another person. You can play ranked and unranked matches in a wide variety of game types. There's deathmatch and team deathmatch, one-on-one, capture the flag, and a few unique modes. King of time has you try to gain control of the time sphere, which makes the person who holds it impervious to time effects, allowing them to rack up kills with ease. Another is called meltdown madness. This is a team mode where you try to prevent the other team's machine from counting down by throwing chrono grenades at it. You can also create your own fun by using the multiplayer modifiers. These let you increase players' running and jumping abilities, reduce gravity, or play alternate game types like rockets or snipers only, vampires, or last man standing. The multiplayer mode isn't exactly amazing, but it definitely has its moments.

One of the reasons TimeShift was delayed so long was because the visuals in the early versions of the game weren't up to par. It's not an amazing-looking game, but the graphics have improved significantly over time and there are some nice visual effects to be seen. Explosions look fantastic, especially when viewed while the game is in slow-motion or paused. It's not just the explosions that look good, but the object being destroyed as well. Crates will splinter, bad guys' limbs will fly in all different directions--there's plenty of carnage. The rain effects in the first level are good, too, though they feel overdone, as if the developer were showing off how hard it had worked on making the game look better. The quality of the rest of the game's visuals depend on what system you're using to play the game. The PC version looks best thanks to higher-resolution textures and a fast, smooth frame rate. The Xbox 360 has markedly lower-quality texture work and the frame rate experiences frequent hitches, especially in the first few levels.

It's ironic that TimeShift had such a long development cycle, because the game really could have benefitted from more time in development. If the story had been fleshed out more and the developer had made the decision to challenge players with tougher puzzles and mission objectives, this could have been a very good, if not great game. Instead, it's just another ho-hum first-person shooter with an interesting gimmick.

Guitar Hero III: Legends of Rock (Xbox360)

You wouldn't have been wrong to come into Guitar Hero III: Legends of Rock with some sense of trepidation. With original Guitar Hero developer Harmonix off the project and Tony Hawk creators Neversoft now on board, it would be fair to wonder if anything that made the wildly popular rhythm game franchise so awesome would be lost in the shuffle. The good news is that Guitar Hero III is Guitar Hero through and through. The core gameplay that fans love hasn't changed outside of some basic tweaks, and the long and varied tracklist is the best of any game in the series to date. If there are any chinks in the armor of this sequel, it's that some of the newer mode additions and a few odd design decisions do more to get in the way of the fun than anything else. Likewise, the extreme difficulty of some of the game's more severe songs might end up turning off newer players. Those issues aside, it's hard to argue with what Guitar Hero III offers from a content perspective, especially if you're a longtime fan of the franchise.

We won't spend a great deal of time trying to educate you on the ways of Guitar Hero if you've never played one of these games before. The quick and dirty explanation is that you have a guitar controller with five fret buttons and a strummer. Notes appear on the screen, you hit the matching buttons, and rock is made. In Guitar Hero III, you'll be making the rock with one of the best soundtracks to be found in any rhythm game. The soundtrack spans multiple eras and genres. Classic rock is represented with songs such as Santana's "Black Magic Woman," the Rolling Stones' "Paint it Black," and ZZ Top's "La Grange." Alternative rock from the '90s is present in a big way with tracks such as The Smashing Pumpkins' "Cherub Rock," Red Hot Chili Peppers' "Suck My Kiss" and Pearl Jam's "Evenflow" on-hand. Classic punk fans will dig being able to play the Dead Kennedys' "Holiday in Cambodia," Social Distortion's "Story of My Life," and the Sex Pistols' "Anarchy in the UK." Modern rock hits such as Bloc Party's "Helicopter," The Killers' "When You Were Young" and Queens of the Stone Age's "3's and 7's" are also available. And for all the metalheads, you get major classics such as Slayer's "Raining Blood," Iron Maiden's "Number of the Beast" and Metallica's "One." It's an all-around fantastic list with only a few blemishes here and there. It's easily a much higher ratio of quality over crap than what Guitar Hero II had.

It's worth noting the number of original tracks added into this year's game. Well over half of the songs in Guitar Hero III are the original songs by the artists, as opposed to covers created for the purposes of the game. A couple of bands, including the Sex Pistols and early '90s funk-metal outfit Living Colour, actually went into the studio and rerecorded their songs for the game, which is pretty cool. The one downside to having so many master tracks in this game is that it does make the songs that are still covers stick out all the more. It doesn't help that the general quality of the covers has also been downgraded a good bit since the last sequel. The woman covering Pat Benatar's "Hit Me With Your Best Shot" doesn't really sound anything like the '80s songstress; the version of Black Sabbath's "Paranoid" in the game features a uniformly unimpressive Ozzy Osbourne impersonator; and the entire cover of "Holiday in Cambodia" has been pretty badly butchered with some weird structuring changes, badly edited lyrics, and a guy who sounds more like someone trying to parody Jello Biafra than anyone remotely authentic. Of course, the guitar parts in these covers don't suffer much and in fact do a fine job of emulating the real-life songs. It's just the surrounding pieces that rob the tracks of authenticity.

Of note as well is the fact that Guitar Hero II's focus on extreme shredding over simple yet memorable riffs is even more intense in this sequel. The easy and medium difficulties are as good a starting point as they've ever been (though even they are a smidge more difficult than previous installments), but the curve definitely takes a steep incline when you bump up to hard and expert. The jump in expertise required for each setting is far greater than ever before, and at times it comes across as just too much. As awesome as songs like "One" and "Raining Blood" are, they're so intense that it's unlikely that anyone who didn't get all the way through expert in Guitar Hero II will have a blessed clue what to do with these songs. And then there's that pesky song from extreme power metal group DragonForce, "Through the Fire and Flames." It sounds a little bit like a Dungeons & Dragons dork singing over a tape of the Contra soundtrack that's been thrown in a blender and set to "liquefy," and it is so excruciatingly, arthritis-inflictingly difficult that you'll be thanking your lucky stars it's a bonus song and not something you're required to complete to advance. Regardless, there are enough songs that do require completion that aren't terribly far behind in difficulty level that it might just be enough to scare some people off from finishing expert altogether. There's an old adage along the lines of "You win more friends with accessible fun than you do by breaking people's fingers with a fake guitar." Or something like that. Whatever. The point is that Guitar Hero III feels decidedly geared toward the hardcore Guitar Hero fan, and less for the newcomer.

Painful difficulty aside, the game is still lots and lots of fun. The core gameplay hasn't been altered much, save for a few minor adjustments here and there. Hammer-ons and pull-offs, the techniques used to hit crazy streaks of tightly packed single notes, are now easier than ever before (possibly to offset some of the extreme extremeness of the harder songs), and the notes that can be hammered on or pulled off now glow brightly to signify as such. While playing, you'll notice that the game also keeps track of your note streaks both with a counter and with periodic exclamatory text messages on the screen that notify you when you've hit certain streak milestones. There are also some changes to the way your star-power meter is displayed, as well as your score tracker, though these are mostly just aesthetic changes.

You progress through Guitar Hero III much as you would any of the previous games. The career mode uses the same tiered-unlocking system as its predecessors, with encores at the end of each tier. One wrinkle to this year's mode is the addition of animated cutscenes that sketch a minimal story about your band's meteoric rise and eventual fall (literally) into hell. It's not much of a tale, but there are a few moments of amusement here and there. One particularly interesting addition to this year's game is a co-op career mode. This works much like the single-player career mode, but you can play through with a friend who you can divvy up either lead or rhythm guitar/bass duties with. Co-op play hasn't changed much since last year's game, but this new career progression is a neat idea.

Unfortunately, it's a neat idea that's overly restrictive in practice. For one thing, there are six songs you can unlock only in co-op career, which means that if you don't have a buddy with a second guitar that can come over and spend an afternoon playing, you won't get those songs (at least until someone eventually digs up the "unlock all songs" code for the game). Also, no version of the game ships with a co-op quick-play option. The only way to play cooperatively on a single console is to play in the co-op career mode, and you have to unlock six tiers' worth of songs before you unlock all the available songs. Interestingly enough, there is a launch-day patch for the Xbox 360 version of the game that adds a co-op quick-play option. However, if your 360 isn't connected to Xbox Live, or you happen to buy any other version of the game, you're out of luck at the moment.

Elsewhere in the multiplayer arena, the face-off and pro face-off modes from the previous Guitar Hero games return, and they're still generally excellent. However, the one new addition is anything but. Titled battle mode, this mode replaces the star-power mechanic with Mario Kart-style weapons. If you hit a specific note string, you'll gain a weapon you can launch at your opponent by tilting the guitar. Weapons include broken strings, jacked-up whammy bars, amplifier overloads (which cause notes to appear and disappear randomly), and a reversal of the notes to lefty flip (and vice versa). On paper, this mode seems as if it could be amusing, but in practice it's just dumb. Most of the battle-mode matches we played were over in 30 seconds or less because one player simply couldn't recover quickly enough to get a weapon and fire back. It's basically a situation where whoever gets a weapon first wins most of the time. Even when matches do go on for a bit longer, they aren't really much fun anyway.

Battle mode actually finds its way into the career mode in the form of boss battles. Activision went out and licensed a pair of notable guitar players: Guns N' Roses/Velvet Revolver legend Slash, and Rage Against the Machine/Audioslave shredder Tom Morello. At the end of a couple of tiers in the career mode, you go head-to-head against these guys in original guitar tracks that they themselves recorded, during which time battle-mode rules apply. Nevertheless, the same balancing issue pops up. Most of the boss battles can be bested pretty quickly if you get a couple of weapons in a row. The last boss battle has you playing a heavy-metal cover of "The Devil Went Down to Georgia" against a fairly obvious opponent, and that fight is considerably tougher than the other two, but it's also the last boss of the game, so it would kind of have to be. The boss-battle mechanic just feels tacked on. With only three battles out of eight tiers in the game, and only two of them against real guitarists, it feels like a quickly tossed-together mechanic that, again, just isn't that much fun.

Quite a bit more enjoyable than any battle modes or boss battles is the addition of online play for the Xbox 360, PlayStation 3, and Wii versions of the game. Guitar Hero has never been online before, and the ability to go online and take on the top axe grinders in the world is a huge bonus. Online options include all the offline gameplay modes. Ranked matches let you play face-off, pro face-off, and battle modes, and player matches let you do all of that plus the co-op songs. Sadly, you can't do the co-op career mode online, but at least your friends can strap on a bass and play online. There are some key differences between the three online versions of the game. The PlayStation 3 version doesn't include any manner of friends-list support, which means you can play only against random players online. The Wii version lets you play both random players and friends, though the friend options are limited to game-specific friend codes. The Xbox 360 version probably has the greatest ease of use online, with all the standard Xbox Live accoutrements, as well as easy access to downloadable songs (though, depending on your opinion of the pricing of said songs, that might be a blessing or a curse). The PS3 version should also include downloadable songs through the PlayStation Network store; unfortunately, the Wii version isn't set up for any kind of content downloads. The good news about all three versions is that they perform wonderfully online. Lag never got in the way of the gameplay experience in any matches we played.

While on the subject of differences between versions, it's worth noting that each version of Guitar Hero III comes with its own guitar bundle. Xbox 360 owners may not necessarily want a bundle if they already own the Guitar Hero II guitar, but III comes with a new wireless guitar that features a detachable neck, a much better whammy bar, better strap design, and more responsive buttons. If you weren't satisfied with the GH II guitar, this is a good upgrade and potentially worth the $100 asking price for the bundle. PS3 and Wii owners have never had a GH game before, so you will need to buy a bundle to play with the guitar. The PS3 version costs the same as the 360 one, and the guitar is functionally identical as well, save for a small dongle that has to be plugged into the PS3's USB port to make the wireless action work. The Wii version costs $90, and has the most unique guitar of all of the available versions, in that it features a connector for the Wii Remote. The remote fits snugly into a port on the back of the guitar, and the remote essentially takes over as the guitar's tilt sensor. It also does a few unique things, such as buzzing slightly when you engage star power, and playing all the missed note sounds through the Wii Remote speaker. PS2 owners also get a bundle, though unless you really, really want a wireless guitar, there's not much reason to go that route here. The new guitar's buttons aren't much better than the previous PS2 guitars, and the sync process for the wireless controller is kind of clunky. It's a nice-looking guitar, but it's not quite worth paying $90 for.

The change in developers has also resulted in a slight change in visual style in Guitar Hero III. The look of all the various characters and environments has changed noticeably, and everything has been given a more defined and exaggerated look. It might be slightly jarring to those accustomed to the standard Guitar Hero visuals, but once you get used to it, you'll find the game to be pretty sharp-looking. The guitarist characters look excellent, and even the secondary band players look more detailed than ever before (though considering how dog-ugly the singer is, maybe he could have stood to have a little less detail). The PS2 and Wii versions look about on par with one another, and look maybe slightly better than the last couple of PS2 Guitar Hero games. The Xbox 360 and PS3 versions are considerably better-looking, even over Guitar Hero II on the 360. However, the one thing that does get in the way with these versions is occasional bouts of frame-rate slowdown, specifically when engaging star power while lots of notes are onscreen. This chugging is really distracting and can occasionally throw you off while you're playing. Rhythm games, perhaps more than any other genre, really need to not slow down, and it's disappointing that this one does.

It's also disappointing that Activision has finally decided to corporate up the Guitar Hero experience with a fair amount of lame product placement and dynamic in-game advertising. It's one thing to get branded guitars and get Guitar Center to sponsor your in-game shop-- it's quite another to have several of the game's environments feature billboards that display ads dynamically, and logos for Pontiac and Axe Body Spray that pop up all over the place. It even goes so far as to have Axe-sponsored guitars you can buy in-game, and Axe-sponsored go-go dancers prancing about the stage while you play. Gross.

An abundance of advertising, a few visual issues, some overly restrictive design decisions, weak new modes, and a major upping of the difficulty level might seem like a lot of potential hindrances for a game to overcome, and yet none of these problems are big enough to rob Guitar Hero III of the same brand of addictive fun that made the previous entries in the franchise so engaging. Certainly the fantastic track list goes a long way toward that end, but the gameplay is really what sells it. Sure, the difficulty can be vexing, but the game never loses that sense of "just one more song" addictiveness, even at the height of its challenge level. Once you start playing, you'll be hooked for hours at a time, both online and off. It might ultimately just be more Guitar Hero, but that's hardly a bad thing--in fact, it's a great thing.

NBA 2K8 (Xbox360)

Developers are often criticized for seemingly doing as little as possible from one year to the next with their sports games. That is not the case with NBA 2K8. It's superior to last year's game in almost every way; there's loads of new content and the gameplay is better than ever. Issues, such as missed shots close to the basket and atrocious documentation, hurt the overall package. But this is still a game that's sure to please both casual and hardcore hoops fans.

There's no shortage of ways to stay busy in 2K8. The series has had a street ball component to it for a number of years and it's back again. It's called NBA Blacktop here, but it has been revamped and improved upon in a number of ways. You can participate in a three-point shootout or play street ball using real NBA players. The goofy story from last year is gone--you just play ball. The big addition to the mode is the dunk contest. Up to four players can choose from current stars and legends, such as Clyde Drexler, Dr. J, or Dominique Wilkins, for a three-round dunk contest that takes place in the streets of Las Vegas.

There are three parts to each dunk: the gather, in-air style, and the finish. A gather is how you start the dunk. You can bounce the ball to yourself, hop off of one foot, toss the ball in the air, and more depending on what direction you move or rotate the right analog stick. In-air style is determined the same way. Here, you can pump fake, spin, windmill, spread your legs à la the Jordan logo, and a host of other actions. To finish the dunk, you press R2 or the right trigger in the highlighted area of the meter. The closer you are to the center, the better your finish. You can also place props, such as ball racks and benches, to add a bit of flair to your dunks. It takes a little bit of practice and the game does a poor job of letting you know what you need to do (though it does tell you what you did wrong after the fact), but once you've spent some time experimenting, you can pull off some amazing-looking dunks. Because the judges are all over the place with their scoring, this mode is best played against friends offline or online when you can trash-talk your opponent and argue over scores. Losing to computer-controlled opponents on a weak dunk is no fun at all.

NBA Blacktop is nice, but it's more of a bonus--the association is the bread and butter of the series. It's still the deepest basketball sim out there, but not a whole lot has changed and it's starting to feel a bit stale. The menus have been redone, but they are still a chore to navigate. A lot of the tasks aren't much fun either, like scheduling practices and scouting future draft picks. The way you negotiate contacts is more realistic than ever and you now have the ability to include no-trade clauses. Hooray! Now you can be saddled with a bunch of horrible contracts--just like Isiah Thomas! You'll also need to assign roles (starter, star, sixth man) to your players in an effort to keep their morale up--unlike Isiah. All of these options may make it seem like going through a season of the association is a lot of work, but the effect they have on your team is minimal. It's possible to use the default roles, never schedule any practices, and scout very little yet still do just fine. But you get what you put into the mode. If you really immerse yourself in the life of an NBA GM and coach, there's a lot to enjoy here. Should you want to only worry about the rigors of a single season, you can do that in the aptly named season mode.

Once again, the NBA 2K series sets the standard for online play. There's something for everyone to enjoy here. Hardcore fans can participate in an entire season, complete with online draft. You can create tournaments, as well as play ranked and unranked matches. The game never really bothers to explain how to do it, but if you go to the online lobby page and scroll down, you'll find that you can participate in all of the NBA Blacktop modes too. Up to eight players can play together on the Xbox 360 and up to 10 players can team up on the PlayStation 3. All of your stats and progress are tracked on your player card, making it easy for you to scout prospective opponents. 2K8 takes a proactive approach to getting player feedback, not only asking you if you want to give Xbox Live feedback on a player after a game, but also giving you its own series of questions to help ensure people know what kind of player they're going up against in the future. None of this would mean a thing if the game didn't run well. Outside of free throws being a little more difficult and the referee sometimes not wanting to put the ball in play, our online experience was quite good.

2K8 boasts some impressive options, but how the game plays is most impressive. The signature jump shots in last year's game were nice, but this year, Visual Concepts has raised the bar with signature style animations. There are countless new layups, dribble moves, passes, and dunks. These new animations complement the already great-looking jump shots. You'll be amazed at how realistically the game plays and moves. The CPU does a great job of taking advantage of all these signature moves by making the players play just as they would in real life. Even though we were on the wrong end of the beating, we were dazzled as Steve Nash threw no-look passes, squeezed bounce passes through tiny openings, and drove the lane with reckless abandon. Other players are just as lethal in the game as they are in real life. Shaq's an absolute terror near the basket, throwing down vicious dunks over anyone who stands between him and the hoop; Kobe will take over a game, owning entire quarters at a time; while LeBron will beat you with his passing and scoring. It's one of those things you've got to see in action to truly appreciate how everything comes together.

You wouldn't know it from the game's horrible instruction manual (save for some load screens, there's no in-game instruction either), but there are a number of new gameplay features this year. We didn't find this particularly useful, but you can use the right stick to raise or lower your defender's hands. You can also control other players at any time, get them open, call for the ball, and then drain a shot. Another addition that will help you get open shots is a diagram that shows you where players need to go when you run a play. This is a great way to learn the proper way to run plays and should encourage you to do more than drive the line or toss up endless three pointers by making it easy to run an offense like the pros. You'll also need to run plays because your players don't do much on their own to get open. They'll shuffle around out near the three-point line, but they don't work hard down low nor do they cut to the basket much on their own. The big change to the way the game controls is that you now perform crossovers and other dribble moves strictly with the left analog stick. If you're playing from the sideline camera, it can be a tough to get the players to do what you want them to do. The system is much more responsive from the baseline view because your actions more accurately mimic what the players are doing. It's a good change because the controls were getting overly complex, but Visual Concepts needs to just swallow its pride and copy NBA Live's use of the right trigger.

These changes and additions are not huge on their own, but how everything comes together is what makes 2K8 such an amazing game. Once you get a handle on the controls, you have a wide array of moves at your fingertips. The artificial intelligence is great--it's more challenging than last year, but it never feels cheap. Even free throws, which were frustrating last year, have been made more forgiving this time around. If you toss in the fantastic signature style moves and the way they're implemented, you've got a great game on your hands.

It's too bad, then, that there are some nagging issues that keep the game from being truly remarkable. Once again, there are too many blown layups. Whether you use the shoot button or the shot stick (it's a little less of an issue with the stick), players will miss wide-open dunks and layups. They'll turn around midair and throw up a circus shot for no reason. They also seem to have an aversion to going strong to the hole. This seems to be the developer's way of keeping overall shooting percentages realistic, but it comes at the expense of completely unrealistic percentages from in the paint. It's such an obvious problem that even the game's announcers see what's going on, chiding players for missing such easy shots. There are also some smaller flaws that bring things down a bit. When double-teamed, ball handlers are too quick to pick up their dribble and often turn the ball over as a result of being tied up. Defenders charge into the ball handler to push him over midcourt for a backcourt violation, the AI does a poor job of helping you rotate defenders to cover the open man, and there are a lot of questionable foul calls. None of these issues ruin the game, but imagine how great it would be if they weren't there...

2K8 doesn't look a whole lot different from last year, but the addition of all the new signature style moves does wonders for making the game appear more realistic. Many sports games have great animations, but none of them react so realistically to what's happening, apply physics, and then transition from one move to the next so seamlessly. Player models are generally quite good, though many of the Caucasian players look downright horrifying, as do most of the coaches. The weird bug where the shorts the players are wearing tear and vanish still rears its ugly head once in a while too. Arenas look fantastic, thanks to great-looking courts, cheerleaders, dancing mascots, players on the bench reacting to the action on the court, and (ugly but active) individual crowd members. The frame rate is generally steady, but it does choke a bit during free throws and replays. The announcers do a nice job of calling the action and mix in a fair amount of game analysis as well. They do occasionally miss some big plays and there are a few situations where you'll repeatedly hear the same call, but they're generally quite good.

It is rare to find a sports game where you're in awe of the moves you see onscreen, but it's something that happens routinely with 2K8. Rather than get upset about how the CPU is picking you apart, you'll find yourself admiring how it happened and then resolving to return the favor the next time down the court. It's just too bad that such problems as missed layups, poor instructions, and a somewhat stale association mode are present because even with these problems, NBA 2K8 is one of the greatest basketball games in recent memory. Whether you're a casual basketball fan or a total hoops nut, this is the game for you.