Rock Band (Wii)

PlayStation 2 owners were bummed when they had to wait an extra month for the greatness of Rock Band, but that's nothing compared to the seven months Wii owners have had to endure. Despite the lengthy period between the release of the PS2 and Wii iterations, the two games are mostly identical to each other. The Wii doesn't have online play and lacks most of the customization options of the PlayStation 3 and Xbox 360, but it still lets you and three friends form a band to rock the night away--and that's the important thing.

Rock Band includes a wireless guitar, drum kit, and microphone. The game supports a second guitar for bass parts, but you'll have to purchase it separately (FYI: the Guitar Hero 3 controller doesn't work). To use all four instruments at once you'll need to plug the included USB adapter into the Wii and then hook the instruments and wireless dongles into the adapter. Other than the drum kit now being white and the pads feeling a bit softer and bouncier, there doesn't appear to be much of a difference between the Wii hardware and other versions--the instruments are responsive and feel great. While we experienced no problems with the hardware during the course of reviewing the Wii game, it's worth mentioning that previous versions of Rock Band have had issues with hardware reliability that often weren't initially apparent.

There's plenty to do if you're a solo act (you can sing, drum, or strum along to any song), but Rock Band is a game best played with friends. Even without the ability to customize the appearance of individual band members and despite the fact that you can no longer travel the world earning new fans, equipment, and money, it's tremendous amounts of fun to come up with a name for your band, argue over song selection, activate overdrive at the same time, blame bandmates for messing up the end of songs, and swap instruments between tunes. The game mirrors the band experience so closely that nobody wants to be the bass player. Now that's realism!

Rock Band's tracklist features a great mix of songs that includes classic rock, punk, '80s rock, alternative, and modern rock. Most of the songs are performed by the original artists, though there are a few covers. There's music from the Rolling Stones, Aerosmith, KISS, Bon Jovi, R.E.M., The Who, Weezer, Stone Temple Pilots, Radiohead, Beastie Boys, Soundgarden, and many more. There are a total of 63 songs, five more than in previous releases. The five new songs are "Roxanne" by The Police, The B-52's "Roam," "Dirty Little Secret" from the All-American Rejects, Oasis' "Don't Look Back in Anger," and "Rockaway Beach" by The Ramones. The Wii version has no online play, nor does it have the option to download tracks. However, starting in July you'll be able to purchase a disc that includes 20 songs that were previously available as downloadable content on the PS3 and 360. It's not the ideal way to get new tunes, but it's better than nothing.

The visuals aren't impressive, but they're functional and the frame rate is steady. When you aren't too busy rocking, you'll see that while the virtual band that rocks in the background looks pretty cool, they're nothing more than footage of prerendered characters. They don't react in real-time, and because there's only one pre-made video for song, you'll tire of seeing the same routine repeatedly. It's too bad, because seeing your customized characters own the stage was a blast on the 360 and PS3, and it was amusing to see the goofy photographs of your band in the load screens in those versions.

But it's not that important for a music game to look good; it's supposed to sound good. For the most part, Rock Band sounds terrific. The cover songs are generally very well done, and some of them, like "Train Kept a Rollin," are amazingly true to the original. If you don't have a stereo hooked up to your Wii, you're missing out. This is a game that's best played loud. The only (minor) gripes are things you probably won't notice if you haven't played the Xbox 360 or PS3 versions--the crowd is lively but doesn't sing along, and the effects that you can use on the guitar during solos and overdrive don't sound very good (though the normal guitar sounds just fine).

Thanks to a lack of online play and a stripped-down feature set, the Wii version of Rock Band isn't the best one available. But that doesn't mean it's not a great game; it absolutely is. Whether you're a lone rocker or have more band members than Parliament Funkadelic, there are dozens of hours of entertainment to be found here. Short of signing with a shady manager, developing a substance abuse problem, and dying tragically young in some sort of transit accident, there's no better way to live the life of a rock star.

Battlefield: Bad Company (Xbox360)

In Battlefield: Bad Company, no one is safe. Not a sniper hiding inside a tower. Not a soldier driving a massive tank. And definitely not you, as you bob and weave across a fiery sandbox of destruction. If you thought the action of the Battlefield franchise was intense before, you haven't seen anything yet. Thanks to a fleshed-out single-player campaign, Battlefield's trademark multiplayer action, and a new level of destructibility, Bad Company is quite simply one of the most fun shooters released this year.

With its Frostbite engine, Dice has created a warzone that is almost completely destructible. Nooks and crannies that were once a safe haven in other shooters can be reduced to rubble with a well-placed tank shell or mortar strike. Is a quaint Russian home standing between you and an objective? Blow a hole in a wall and walk right through. The system is not perfect since not all buildings can be completely destroyed. Some materials like brick may crumble to dust, but wood crates will often withstand whole missile strikes. Frostbite has its foibles, but Bad Company still gives new meaning to breaking and entering.

A good place for new players to enter is Bad Company's single-player campaign. That's right, a Battlefield game has a bona fide single-player campaign and not a collection of multiplayer maps littered with AI bots. You play as Private Preston Marlowe, recently reassigned to the 222nd Battalion, B Company, which is a collection of misfits and castoffs that the Army likes to send into battle first. B Company, in short, is expendable. You complete a four-man squad composed of Sergeant Redford, a grizzled veteran who volunteered for B Company so he could retire early; Sweetwater signed on to take advantage of a college scholarship without realizing he may actually have to fight; and Haggard is a country bumpkin and demolitions expert who loves to blow stuff up. Together, you'll fight your way into Russian territory and take out a number of well-guarded installations. When the Army leaves you stranded behind enemy lines--something about plausible deniability--the squad goes AWOL in search of mercenary gold. Along the way you'll rescue a flamboyant dictator that resembles Saddam Hussein on ecstasy, and then make your escape in a pimped-out gold chopper. No, the story isn't exactly the stuff of Stephen Ambrose, but the tongue-in-cheek humor and numerous unlockables scattered throughout the campaign make it worth fighting.

Marlowe is a jack of all trades and can handle any of the weapons and vehicles in Bad Company. Often he'll be in control of a mortar strike or laser designator that can lay waste to entire villages. The designator is meant to be used on heavy armor, but it's hard to resist dropping 50-ton bombs on lone troops just for the heck of it. There's a short recharge time so you don't inadvertently start World War III here, but you'll never get tired of unleashing explosive mortar strikes on our foes.

Your squadmates are full of friendly chatter during the campaign, but they never die and don't work together very well at times. Whereas multiplayer requires you to coordinate with your teammates, single-player feels as if you're truly playing alone, with three characters in the background that only list new objectives and provide a little comic relief. They'll take out a few enemies, man turrets and take cover, but you're doing the bulk of the work. This wouldn't be so much of an issue if friends could jump online for a little co-op, but there's no option to do so unfortunately.

Enemy soldiers are not exactly the sharpest bunch and some have no problem standing in the open, waiting for their own demise. Luckily there are so many enemies and objectives that the game never feels easy, but the firefights would be even more intense if enemies more frequently made use of cover, if only so you could blow it up. Marlowe comes equipped with an automatic health injector that refills your life bar and can be used over and over again after a short recharge. Is stabbing yourself in the heart with this panacea any more unrealistic than regenerating health as seen in Call of Duty 4 and Rainbow Six Vegas? Not really. But it certainly feels cheap plunging that needle into your chest every 20 seconds during an intense battle, something you'll surely do toward the campaign's final few missions that border on ridiculousness. You would think that four Army oddballs versus an entire mercenary force and Russian army equipped with tanks and attack choppers wouldn't stand a chance, but you would be wrong, thanks to the handy health injector.

When you've got the hang of the weapons and gadgets of the single-player campaign, jump into Bad Company's excellent online multiplayer mode. It's called Gold Rush, but it's really just a basic attack and defend mode in which an attacking team tries to blow up crates of gold. If you're successful, a larger portion of the map opens and the attackers push forward to do it all over again. This has been done before in other games, but no one does it better than Bad Company, thanks to absolutely massive maps that support 24 players, a vehicle list that includes tanks, jeeps, choppers, boats, and Humvees, as well as laser-guided rocket turrets and artillery cannons. There are five character classes in multiplayer and each has its own special abilities and unlockable extras that will make you giddy. The specialist can lace enemy vehicles for demolitions experts--their rockets will automatically hone in on tagged targets. The sniper can utilize the laser designator to nullify tanks, and the specialist can drop med kits, repair vehicles, and call in mortar strikes.

It's strange that the conquest mode in which teams vie for points on the map and drain enemy tickets, a mainstay of the Battlefield franchise, is absent. The mode will purportedly be made available as a free download at some point, but it should've been in the game right out of the box. That said, you're not likely to get bored of Gold Rush anytime soon. The maps are perfectly balanced with defensive turrets and offensive weaponry, and often matches are decided by the smallest of margins. This is the kind of game where you call your friends to let them know you somehow sniped an enemy chopper pilot or dropped a missile on the final gold crate on a map for the win. The game would've benefited from more vehicles; there aren't nearly as many on each map as you find in Battlefield 2, so teammates will often fight over fun toys such as choppers. But with its persistent ranking system and unlockable weapons, Bad Company is surely the most addicting multiplayer shooter since Call of Duty 4.

Be sure to crank the volume up to 11--Bad Company has some of the finest sound design out there. A sniper shot echoes perfectly through the mountains, while indoor firefights are so loud you may want earplugs. Visually the game does not fare as well. While it's by no means ugly, there is a strange graininess on each texture. Even looking into the clear blue sky in the first scene of the game, you'll be amazed at how fuzzy it looks. Of course, the destructible environments and exciting explosions make up for any graphical shortcomings.

Battlefield Bad Company is the most fun, addictive shooter released so far this year. While far from perfect, the intense sandbox warfare is something that you have to experience. Dice calls it tactical destruction. We call it explosive fun.

Burnout Paradise (Xbox360)

Is there any developer buzz term more meaningless these days than "open-world gameplay"? Let's face it, it's kind of been done to death at this point, so you have to look on with a bit of skepticism when a developer touts the concept as the next big thing for its franchise. It's understandable, then, if Burnout Paradise's concept freaks you out a little bit. Burnout has, by tradition, been a fairly structured arcade racing game up to this point, and one would have to wonder exactly how well an open environment would serve the series' crash-happy gameplay methodology. Evidently, the answer is quite well. Developer Criterion has invented a world wonderfully suited to Burnout's nature, a city built exclusively to cater to your destructive whims. And while a few design hitches here and there get in the way now and again, by and large Burnout Paradise delivers an experience that is both true to the Burnout name and wonderfully fresh-feeling all at once.

The star of the show is Paradise City itself. Coming complete with the titular Guns 'N Roses song (because Burnout: Night Train or Burnout: Mr. Brownstone probably wouldn't have been as catchy), Paradise City is, at first blush, a pretty standard racing game city, complete with all the usual landmark locations and boring background traffic. But it quickly becomes evident that Paradise City is meant for a greater purpose than just being a simple city to race around in. In effect, the city is a blank slate, a pristine canvas on which to paint your own obliterative masterpiece. The simple act of driving aimlessly around the city constantly presents new roads, shortcuts, and destructible objects for you to experience and, often, destroy. Nearly every intersection of road hosts a new event of some kind, and even after you've worked your way through the game's progression of driver's licenses (the only specifically linear portion of the game design), you'll still be finding new things you didn't even know were there.

That might sound a little overwhelming, especially if you've grown accustomed to the rather specific brand of racing that Burnout has always subscribed to. And at first, it most definitely is. Though the in-game tutorials do a decent job of explaining the event types and basic mechanics, you're initially left to your own devices and only have the small minimap to guide you through the many twists and turns of the city as you race--unless of course you want to hit the pause button regularly and use the larger map, which is a bit annoying to do. Those well accustomed to Burnout's previously track-based racing model might find having to explore to find the best route to the finish a bit frightening, but the good news is that it doesn't take a great deal of time to get a feel for the city's various ins and outs.

Until that time, you will experience some trial and error (with a heavier focus on the error), but the funny thing about that is that while you may initially find yourself failing races, it's not often you have to just go back and keep doing that same race again and again. The focus of Burnout Paradise isn't on doing specific events so much as it is about doing whatever you feel like. If you fail a race, odds are that there are roughly a dozen starting points for other races near the finish line of that previous race, and unless you've done them all, you can just hit up any one of them to get another notch on your license. Toward the very end of the game, when you've bested the bulk of the game's events, you may find yourself lamenting the lack of a quick return feature to get back to a race's starting point. But for the majority of the game, it's not really an issue.

It's a strange design to get used to initially, but once you do, it becomes incredibly rewarding. You can spend hours at a time just dawdling around the city and still make forward progress within the game. Don't feel like racing? Just go break through shortcut gates or bust up billboards, which are tallied up as you break each one. Or, track down one of the cars you unlocked on the road and take it down to add it to your collection. Or, you can opt to pick a road and attempt to "own" it. There are two types of events associated with each of the major roads in the game. Time trials are as you'd expect--you simply start at one end of the road and start driving down it, attempting to get the fastest time you can. Secondly, there are showtime events, which are the game's effective replacement for the crash mode found in previous installments of the series. Whereas crash mode was sort of like a puzzle mode in the way it made you create elaborate car crashes out of painstakingly built traffic designs, showtime is the polar opposite. These are elaborate car crashes born from little more than a bunch of nearby cars and your ability to control what is, in essence, a sentient car wreck.

In a word, showtime mode is absurd. The goal is similar to crash mode in that you're aiming to create as much damage as humanly possible, with various types of cars offering up different cash bonuses that feed into your final score. All the while, you can move your busted husk of a car around by pressing the boost button, which causes you to bounce around like a rubber ball. Again, totally absurd, but also totally awesome. It might lack the puzzling nature of the crash mode, but for pure visceral thrill and laughs-a-minute wrecking, showtime mode delivers in spades. It would have been nice if Criterion had found a way to have both the crash mode and showtime mode coexisting, as neither would make a particularly good replacement for the other; but on its own, showtime is a great deal of fun.

A number of other elements from previous Burnouts are also missing or altered here. The lack of aftertouch (the mechanic that let you steer your wreck into opponents during races and take them out) is a real bummer, as it makes wrecking during races a pure nuisance rather than an opportunity for more destructive glee. Traffic checking is absent as well, though it isn't sorely missed. The racing artificial intelligence has seen a bit of tweaking here and there. You still get the sense of rubber banding that the series has always employed, but as the game goes on and the racers get tougher, your opponents become more aggressive and don't just tank right before the finish line. By and large, the game is actually a bit easier than the last couple of Burnout games, but the challenge toward the later stages of the game definitely ramps up significantly.

The racing itself is as exciting as it's ever been. Standard races are intense and thrilling, road rage events are full of wreckful delights, stunt runs have you jumping, barrel rolling, and flat spinning all over the place, marked man races are tense fights to the finish line as multiple enemy cars bop you around trying to wreck you beyond repair, and burning routes have you taking on challenging time trials to earn new cars. If there's any flaw to be noted with the core game design, it's maybe that there aren't enough event types. There's no shortage of events and random stuff to do, but running the same event types, and even some of the same specific events again and again, can grow a bit tiresome after a while. After each license upgrade, all the events you've raced (except for burning routes) reset, so you end up doing a lot of them over and over again. This wouldn't even be an issue if there were a greater variety of event types, but as it stands, there are only those few, and you may wear out on doing races and marked man events again and again.

If you do get a bit bored with the single-player action, you can always hop online and race against others. Doing so is quite seamless. Simply press right on the D pad to bring up the online menu, and then decide if you want to join up with other existing games or create your own. Online in Burnout Paradise is quite a different animal than that of previous Burnout games. You don't just hop into a lobby menu and pick races to engage in. Instead, the city itself is the lobby, and while the host decides what he wants to unleash upon you, you can just mess around and do whatever you like.

When hosting, you have the ability to both race and take on challenges. Races are of your own design, with you setting the beginning and ending points anywhere in the city. Challenges are set, and there are literally hundreds of them. The trick is that there are a limited number of challenges depending on how many players are in a group. There are 50 challenges for two players, 50 for eight players, and 50 for each denomination in between. This means that once you've exhausted all the challenges for two players, you'll have to get three, then four, and so on and so on if you want to complete them all. That might prove unwieldy for those who don't have a lot of friends online to play the game, but at least the challenges themselves are creative and fun. The challenges range from competitive bouts of drifting, crashing, and jumping to cooperative versions of all the same stuff. It's an inventive mode to be sure and an exceptionally fun one when you've got a good crew of friends to play with.

It also bears mention that while online, you can use the PlayStation Eye or Xbox Live Vision Camera to take shots of your rivals online. When you take down a rival player that has a camera hooked up, the cam will take a mugshot of that player's reaction. It's kind of a neat feature that, unfortunately, will probably be abused by all manner of nudity over the course of the game's lifespan, but that's inevitably what happens when you let people do things with cameras.

Paradise's visual presentation is precisely the kind of top-notch work you've come to expect from the series. Once again, the game sets a standard for how a sense of speed should feel in an arcade racer. This game is lightning fast, and the frame rate in both the Xbox 360 and PlayStation 3 versions of the game holds up regardless of the chaos onscreen. The car crashes in this game are absolutely fantastic, thanks to some dynamite particle effects and camera work in each and every mangled wreck. Cars deform to wonderful effect, scrunching up like an accordion in head-on collisions and bending and twisting nicely in other situations. The only thing that continues to look a little weird is the total lack of drivers in all the cars around the city. It's understandable that Criterion would leave out mangled corpses or what have you for the sake of an E 10+ rating, but it still looks strange seeing all these disembodied cars driving around like a society of Turbo Teens.

It's also worth noting that Burnout Paradise is a game that commands an HD display, and not just for full graphical effect. On the standard-definition TVs we tried, we found the minimap to be borderline useless unless we squinted like crazy. On an HD set, the minimap is detailed and blown up enough to rely on, but when playing in standard definition, it simply became a hassle to use.

If you're looking for differences between the two versions, you won't find many. The PlayStation 3 version looks maybe a hair crisper than the 360 version, but that's about the only visual difference to speak of. On the flipside, the 360 version has a slight edge in that you can use custom soundtracks to drown out the miserable collection of songs EA has amassed for the game. There are a few highlights that fit well with the theme of high-energy racing, but the vast bulk of the music consists of irritating modern rock that's about as ill-fitting as humanly possible. Avril Lavigne's "Girlfriend" might, itself, be a car wreck of a song, but it doesn't fit the vibe of the game at all. Add in the collection of original Criterion-produced guitar rock tracks from previous Burnout games that sound like they were culled from Joe Satriani's nightmares, and you have a pretty unpleasant musical experience all around. The annoying radio DJ who pops up now and again to give hints, mock you obnoxiously when you fail, and make one glib comment or another about something going on in the city doesn't help matters. He's merely an annoyance that probably wouldn't even be worth mentioning save for the fact that you cannot turn him off. At least the sound effects are still top-flight in every regard. Crashes thunder, engines roar, and tires screech with terrific clarity all throughout the game. If you've got a surround-speaker setup, it's all the better.

It's entirely possible that some people might not enjoy Burnout Paradise's significant shift in direction, specifically those who simply wanted another incremental Burnout sequel. Indeed, Paradise is anything but incremental, and while it might prove a polarizing experience for some, most will likely appreciate what a radical overhaul this game really is. The open-world design isn't just a lazy gimmick--it's a wonderfully executed concept that doesn't rob the game of the series' most beloved tenet: the act of driving fast and wrecking hard. If you're one of the people who tried the Burnout Paradise demo and formed a rather negative opinion of the game, you're not alone. But if you have any affection for the series, you really owe it to yourself to give the full game a look. The demo did little to truly represent what a superbly fun racer this game can be.

Medal of Honor: Airborne (PS3)

It seems you can't read a preview or review of a World War II-based FPS without hearing about how many games there are in the genre. With good reason, too--it's a crowded one. But just because there are a lot of them doesn't mean there can't be some good ones. Medal of Honor: Airborne is one such game. It starts off really slow, and the whole parachuting hook is little more than a gimmick; but later on the game realizes its potential and gets good.

There's not much of a story to Airborne. It's WWII; Nazis need killing and the world needs saving. You're in the Airborne division, so you'll be jumping out of planes and doing your part to swing the war in the Allies' favor. Before each mission you're given a brief rundown on what's going on and list of objectives to accomplish. Rather than spawning on the battlefield you'll arrive in style by parachuting out of a plane. As you fall to the ground you'll want to maneuver toward green smoke, which indicates a safe landing zone. In theory, parachuting into the level is supposed to open up a whole new style of play. You're free to land wherever you want, but invisible walls prevent you from getting too clever, and nine times out of 10, when you do land somewhere other than the safe zone you'll end up dead in a matter of seconds. There are some special landing zones to discover, and sometimes these areas will provide you with an advantageous starting point. But because you find most of these locations when you're already on the ground, they're of little use.

Once on the ground you'll take on waves of Axis soldiers over the course of the game's six levels. Six levels might not sound like a lot, but each generally takes an hour or more to complete, so it'll probably take most people around eight hours to finish the game. Your objectives are shown on your radar and you're free to tackle them in whatever order you choose. Between choosing your starting location and being able to pick what to take on first it might sound like there's a lot of freedom here, but there's really not--you can't start from many different places, and you have to do the same tasks regardless of the order you start them. Mission objectives range from blowing up AA guns to clearing buildings of enemy soldiers, taking out tanks, and detonating lots of explosives. On their own these tasks aren't anything unique, but because the levels are so long and feature so many objectives you often feel as though you're performing monumental feats rather than routine tasks.

The first three levels aren't very interesting. They're fairly linear, take place in unexciting settings, and don't play to the game's strengths. Starting with the fourth level the game picks up since you're given more freedom as to how you want to tackle the levels. You might decide to climb towers to take out snipers (their position is given away by a reflection off their scope), clear the area of ground troops, and then make your way into a building, while a different player might head to the building first, clear the ground troops second, and hide from the snipers rather than kill them. The game's artificial intelligence isn't very good, but at least it's aggressive. You can pick off guys as they peek around corners, but they won't just take it lying down. They'll spray bullets in your direction without looking, and they're rather fond of blindly tossing grenades over their backs. If you get too close or they get some reinforcements, enemy soldiers will charge right at you and inflict serious damage until you can fend them off with your weak melee attacks.

The controls are pretty standard for a first-person shooter. A sprint button comes in quite handy when trying to dash from one bit of cover to the next. Once you're behind that cover, the ability to lean and fire is extremely useful, as is the ability to raise your weapon and aim using its sights. As you progress through the game you'll be able to upgrade your weapons, earning bigger clips, faster reloads, and secondary firing abilities. You can carry two weapons at a time as well as a pistol, which isn't very powerful but has unlimited ammo. Grenades are often tough to come by, but ammunition is plentiful, as are health packs, which are scattered throughout the levels. It's a good thing, too, because once you start getting hit your health depletes in a hurry.

While most of Airborne is good, it does have its share of problems. Many of the automatic weapons have too much recoil, making them extremely difficult to aim--a problem not shared by the CPU, who is more than capable of hitting you from across the level regardless of the gun. Your fellow soldiers are sometimes quite useful, but other times they don't do anything at all--or worse, they stand right in front of you and block your shot. We also fell out of the level a few times, though this was usually when we parachuted someplace the game probably didn't want us to. When all of these problems come together the game can be extremely frustrating, as you're forced to try the same part of a level over and over again in an attempt to find the best way to circumvent the game's sometimes cheap tactics. One way in which the PS3 version has seen improvement over the Xbox 360 and PC versions is that it seems to take far fewer bullets to take down an enemy soldier on the PS3. It was really frustrating to empty a clip into someone only to have them shake it off like the Terminator, so it's good that this issue is fixed here.

Unlike the last Medal of Honor, MOH: Airborne has a solid online component. Up to 8 people can hop online and play ranked and unranked matches on half a dozen maps and a few different game types. The action's always fast-paced and for us, at least, lag-free. Interestingly enough, multiplayer is the one area where choosing where you want to parachute into a level actually lives up to the hype. As you descend you can see both friends and foes and, if you're quick enough, can land in areas that are quite advantageous--like right behind that jerk camping on a rooftop with a sniper rifle.

Airborne isn't a great-looking game, but except for a frequently terrible frame rate, the visuals don't hamper the experience. The frame rate wasn't an issue on the PC or Xbox 360, but the PS3 version will often come to a near standstill when the action gets hectic. Outside of a few nice-looking buildings, most structures are simple and look pretty much the same--not only to one another, but to every other WWII game out there. There are only a few different types of soldiers and while they aren't very detailed, you can tell one type from the next easily. At least, you can if you're up close. It's tough to tell the good guys from the bad guys when you're far apart, and it's even harder to hit them thanks to a lack of transition animation, meaning they might instantly jump from one position to the next. Weapons look great, but explosions look embarrassingly last-gen. Not only do weapons look nice, but they sound great, too. The rest of the game sounds pretty good as well. You'll hear the familiar orchestral theme from previous MOH games, and there's lots of chatter from both Axis and Allied soldiers.

Medal of Honor: Airborne is a game that rewards those who are patient enough to stick with it. The first half of the game is dull and just rehashes the same sort of gameplay you've seen countless times before. But about halfway through, things pick up and gradually get better and better until the last two levels, which are quite intense and a lot of fun to play. The multiplayer isn't anything groundbreaking, but it's quite good and adds some value to an otherwise short game. If you're tired of the genre, Airborne won't do anything to change your mind, but if you're looking to fight for the Allied cause yet again, it's a worthy tour of duty.

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.

Rock Band - Preview (PS3)

Guitar Hero was just a jam session compared to Harmonix's next effort, Rock Band. We got to try an early version of the ambitious new rhythm game at an Electronic Arts press event in advance of E3. (EA is merely distributing the game to retail; Harmonix and new parent company MTV are handling the actual development and publishing duties.) As rhythm game fans are no doubt aware, Rock Band will flesh the core Guitar Hero concept out into a full band experience, featuring lead guitar, bass, drums, and vocals. In other words, Harmonix is basically blowing the doors off the original formula it helped create a couple of years ago. EA had prototype guitar and drum controllers, a microphone, eight demo songs, and a case of Pabst Blue Ribbon on hand at their event, and for some strange reason, we felt compelled to spend all our free time at the event glued to the Rock Band Demo kiosk. Let's just say it wasn't the free beer that kept us there.

Of course, you've been clamoring for Rock Band's set list as much as we have, so here's what Harmonix had to show at the demo: The Who's "Won't Get Fooled Again," David Bowie's "Suffragette City," The Hives' "Main Offender," Weezer's "Say it Ain't So," Nirvana's "In Bloom," Blue Oyster Cult's "Don't Fear the Reaper," Black Sabbath's "Paranoid," and Mountain's "Mississippi Queen." Even better? All but the last two of those songs will appear as original recordings by the artists themselves in Rock Band. Harmonix is leveraging MTV's enormous record-industry clout to ensure that as many original recordings as possible will appear in the game; purportedly, the only songs which will be covered in a studio are the older ones for which no master tapes have even survived.

On the gameplay side, Harmonix hasn't messed with what's already worked in multiple Guitar Hero products. Mechanically, the two guitar players in any given song will see the exact same fret-board-based five-note patterns they're familiar with. The drummer will see his patterns in the middle, between the two guitar tracks, and this track will show only four notes, to correspond to the four pads on the drum controller. A solid line will appear on the drum track indicating when you need to hit the bass drum pedal. Finally, the song lyrics will run along the top of the screen, using a style similar to those you've seen in numerous Karaoke Revolution and SingStar games before, and singers will get to hit the mic with their hands to approximate a tambourine or cowbell in some songs. If you were wondering how Harmonix was going to fit all this gameplay onto a single screen, you'll see in the screenshots that there's still plenty of room left over for denim jackets, mohawks, and flaming frets in between all the gameplay interface elements.

If Harmonix hasn't shaken up the gameplay model that made Guitar Hero great, it's certainly bolted some interesting new mechanics onto that model. Like in Guitar Hero, you'll build up a points multiplier as you play without missing a beat, and this time around the bass player can achieve a 6x modifier, compared to 4x on the other roles, because bass can get a little dry sometimes. Harmonix is specifically emphasizing Rock Band's multiplayer action with some of these new features. For instance, sometimes you'll hit a "unison phrase" section of a song that will require all players to perform perfectly for the duration of the phrase to nab a big score bonus. Luckily, all players can select their own difficulty levels before a song, but if one of your bandmates fails out of the song, you'll be able to bail them out by pulling off exceptional performance.

You'll actually get to go off the rails from time to time in Rock Band and freestyle a little. Singers will encounter sections where they can sing (or shout) whatever they want for big points (the louder the better, of course). Similarly, drummers can play their own fills during preset sections of the song. But the best of these features, from what we saw, was the wild full-band flourish that happens at the end of a particularly rollicking song. You know how a good band will draw out the end of a big song and improvise for a few bars before pulling off a huge simultaneous finish? Yeah, you get to that in the game. Everyone will flail on their instruments (or scream into the mic) as the points rack up and the song finishes with a big bang. Hey, we saw it work brilliantly in action--this is going to be a half-decent party game, we're pretty sure.

Harmonix is going all-out to extend the Rock Band experience beyond your own console. For starters, you'll be able to create your own rocker by choosing from tattoos, ripped jeans, piercings, and various ridiculous hairstyles. You can use that custom shredder in the game's four-player online mode, but even better, you can join up with some friends to create a persistent band that you'll all belong to, even on the Harmonix Web site. Our favorite part, though, is that the game will generate custom loading screens and band T-shirts based on the custom appearances (and presumably, on the silly name) that you've come up with for your characters and band.

So about those controllers. As we mentioned, the devices EA had on hand weren't finalized, but the new Fender Stratocaster-style guitar controller and the drum kit were looking quite solid. The drums are no-frills--you've got four pads and a pedal. But the guitar blew us away. Unlike the previous Gibson controllers used with Guitar Hero, Rock Band's guitar isn't immediately recognizable as a toy; it basically looks like a miniature Strat. The colors and styling are extremely consistent with the real thing, and there are some nice nods to detail, too. The five-way tone switch on the body actually works, letting you subtly adjust the sound of your guitar in-game. The fret buttons aren't colored on their face--you just get a small colored bar on the edge of the neck instead--which preserves the authentic Stratocaster look. Easily our favorite new feature, though, is the addition of a second set of fret buttons right up next to the bridge for wailing during the most enormous solos. Clearly there are people with a hand in this game who know how to rock with deadly efficiency.

Needless to say, we're extremely excited about the direction Harmonix and MTV are taking with Rock Band. It's not putting the rhythm genre on its ear the way Guitar Hero did, but it's evolving that initial concept to such an extent that it's practically a new experience anyway. Stay tuned for a whole lot more to come on the game next week at E3 and in the months leading up to the game's release on the Xbox 360 and PlayStation 3 later this year.