10 Classic Albums of the 21st Century which you should own: Part Two

After a long absence it's time to get back to our Top Ten. It must be a good idea, even Kerrang! have stolen it for this weeks issue, albeit in a more over-the-top manner as usual.

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And so on to numero six, an album which at the time crept onto the scene almost unnoticed, only to gradually increase the new band with a funny name: Kasabian.

Though they weren't the first 'indie' band, a title claimed by another contender who I will get to, they were the first band to make electronic-inspired indie rock and roll cool again, something the Killers continued in a poppier vein.

Their self-titled debut remains a thrilling mix of driving basslines and choral vocals, making the band an immediate live hit as well as a favourite for advert makers everywhere, with epic album opener Club Foot gracing screens the world over.

The album has a song, not for every occasion, but enough variety to ensure listening through the CD won't make your eyes glaze over or think the songs sound too 'samey'.

The standout track is Reason is Treason, a blistering combination of thumping drums and driving bass coupled with a brilliantly crafted chorus makes the song impossible to shake from your mind.

The overall quality of the album is what puts this above mediocre follow-up Empire, which may have had more commercially successful singles, but there's no denying they sounded very similar.

Whether you want to chill out or rave there are songs for you here and the musical arrangement is impressively daring for a first album, shame their later albums couldn't recapture their initial spark of originality.

Critical Tracks: Club Foot, LSF, Reason is Treason

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The seventh entry to the list is another well-know band, Arctic Monkeys, with their debut Whatever They Say I Am, It's What I'm Not.

The reason for this album making the list is three fold: first off, the album is actually good. When you forget about the hype and the band and everything surrounding it there are decent songs with a fun message and an instantly relatable lyrical style (particularly if you're a Northerner).

Secondly, the internet aspect of the Monkey's - no, not the Monkees - rise to fame was unprecedented at the time. This is before Myspace was spewing out a band a week and the group went from unknowns to headling the Reading Festival main stage in a year, a daunting prospect for anyone.

Thirdly, statistics (in this case at least), don't lie. The album surpassed Oasis' Definitely Maybe as the fastest-selling British album of all time when their second single I Bet You Look Good On The Dancefloor. The album shifted 360,000 copies in a week - that's almost 36 every minute - and sold more than the rest of the top 20 combined, eventually going Platinum four times over.

People heralded them as having as much impact as the Beatles, clearly a foolish brag even at the time, but undoubtedly the release was an event for the British music industry and unusually the music justifies all the fuss.

Tracks have a gritty down-to-Earth story element to them, such as Red Light Indicates Doors are Secure which is nothing more than a trip home in a taxi after a night out, but leading man Alex Turners bring it to life, and not in the cheesy way we've come to expect from the pop charts.

The style just works, and gives the North a band to be proud of now that Oasis are shockingly bad (/worse) *runs from angry Northern mob*

Critical Tracks: I Bet You Look Good On The Dancefloor, Dancing Shoes, A View From The Afternoon

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Another slice of British rock takes the stage at number eight with the long overdue induction of Muse to the list with Black Holes and Revelations.

Undeniably one of the heavyweights, Muse have shaken their Radiohead-inspired routes and become a band all of their own.

It was a close race between BH&R and Absolution, but in the end the cohesion of BH&R as an album wins the day for me, from the blissful melody of Starlight, the angered stampede that is Assassin to the air guitarist's dream that is THAT riff in Knights of Cydonia.

The album brings together Muse's best elements, which is why it works so well, and also provides the band with a number of impressive live songs, something which always enhance an albums impact, as was proven with the HAARP live CD/DVD.

What makes the album so special is that despite the fact it's undeniably a Muse album, there are songs which could easily slip into other bands' albums, particularly the B-sides packaged with the singles such as Crying Shame which has a strong Franz Ferdinand vibe.

The album tracks too share this variety, with the apocalyptic Map of the Problematique being juxtaposed by the quiet and heart-felt Soldier's Poem.

Overall though the album is energetic, and the trio's musical skill has clearly reached a peak, though the album doesn't quite seem complete without the standard Sergei Rachmaninov-inspired piano interlude. If you could swap the dreary Hoodoo for the fiery Butterflies and Hurricaines the album would be near-perfect.

As it is, the choppy changes in style may detract from listening to it all the way through, but when considered individually the tracks all hold their own and with a general standard so high it's acceptable that the band may have missed the mark with a song (or two, depending on who you ask).

Critical Tracks: Assassin, Knights of Cydonia, Starlight

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Now we return to the less well-knowns as we near the end of our list with Lights and Sounds from pop/punk specialists Yellowcard.

Dismissed as a gimmick when they first broke through with Ocean Avenue in 2003, the main talking point was, and still is to an extent, that the band has a electric violinist. This is considered something very unusual for pop/punk, but really these bands often synthesise violins and string arrangements so it's not ground-breaking to have a permanent member who fills the role.

What is significant is how it is used. Sean Mackin adds in violin sometimes so subtly it can hardly be noticed and other times it blazes over the top, carrying the song. It can completely change the dynamic of a song in seconds because it is used so well.

In Lights and Sounds the violin work is the best of any of the band's albums and it goes a long way to securing it a place on this list.

The album's blisteringly fast title track only makes such an impact because it follows the slow and tranquil string introduction that is Three Flights Up, and closing track Holly Wood Died trails off and back to a similar arrangement, giving it a cyclical feeling.

The track which sets this album apart is tear-jerking ballad How I Go, which is centred around the story of Tim Burton film Big Fish. The use of strings here is nothing short of genius, and unprecedented for a pop/punk band before or since, the band achieve real depth and feeling, helped along by guest vocals from Dixie Chicks lead singer Natalie Maines. The interplay of melodies between here and lead vocalist Ryan Key is truly astonishing.

The album is centred around fictional character Holly Wood who is both loved and hated in songs on the album and serves as the anchor to pull the songs together. The device is just sutble enough not to be noticed unless you look for it, and yet when you do you appreciate how well it works to keep the album cohesive.

Yellowcard came of age with this album, and it deserved more sales and critical success than it got, but that was to be expected after the success of their breakthrough effort, which, though a decent album in it's own right, doesn't reach the levels of excellence this album does.

Critical Tracks: How I Go, Grey, Down on my Head

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The last band on the list is a little Welsh band called The Automatic, and I know what you're thinking: "You don't mean that band that did that Monster song do you?!"

As a matter of fact I do, but the album which that constant radio spam single came from, Not Accepted Anywhere, is not the album that made the list. Instead, it's the band's follow-up, This is a Fix, which deserves the praise.

While their debut gave people a reason to have heard of The Automatic, it wasn't the limit of their potential. This is a Fix goes further and holds together better, you only need to look at the band's live performances during their early days to see the cracks were beginning to show by the time Monster became a hit.

Wailing keyboardist Alex Pennie parted ways with the band in 2007 after he found "the last year increasingly unenjoyable and growing apart from the rest of the band", according to an official statement.

With Pennie gone the band could focus on the new album and it seems without the friction they developed as a group and created their best material to date. They replaced their departed keyboardist with Paul Mullen from Yourcodenameis:Milo, since they were on hiatus, and recorded This is a Fix to be released in August 2008 just after the Reading and Leeds festivals.

The album's lead single, Steve McQueen, reached number 16 in the charts but all other singles and releases from the album were pulled after disappointing sales.

Critically the album was hit and miss, and suffered from high profile slating from the likes of The Guardian despite favourable reviews from Kerrang! and Rock Sound.

The band were quick to cut their losses and move on to album three, but the songs themselves are worth taking the time to listen to, since everyone is a prime example how synth pop/rock can be done well in the 21st century.

The music industry attacking Accessories voices the band's cynicism about music in Britain, and Magazines slates journalists in much the same vein, but despite the similar subjects the songs are quite different and distinct, which is one of the strengths of the album overall.

Critical Tracks: Steve McQueen, Magazines, This Ship

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So that brings us to the end of our top 10 albums of the 21st century, just to summarise:

1. Green Day - American Idiot

2. Adequate Seven - Here On Earth

3. Linkin Park - Hybrid Theory

4. Rise Against - The Suffer and the Witness

5. The Music - Welcome to the North

6. Kasabian (self-titled)
   

7. Arctic Monkeys - Whatever People Say I Am, It's What I'm Not

8. Muse - Black Holes and Revelations

9. Yellowcard - Lights and Sounds

10. The Automatic - This is a Fix

All of these are albums which demand a listen, if not a privileged spot in your CD (or download) library.

Lost part one? Click here

10 Classic Albums of the 21st Century which you should own: Part One

With 2009 speeding along nicely and a wealth of music having been produced since the Millennium, it's high time we stepped back a minute, past the X-Factor winners, past the endless re-releases, re-masters and greatest hits to appreciate the albums which have really defined the decade, and indeed the century.

Though I've picked out only 10 here, I could suggest dozens more which might be worthy for the list, but the important thing is not the album that's sold the most, but those that put quality over quantity and dare to be different and, dare I utter yet another cliché, break the mould - or is that just a VO5 advert...never mind.

So here they are in their divine splendour. You will definitely have heard of one or two, but really it's the ones you haven't heard of you should pay attention to. Every album here has a combination of bold ideas, impressive musical skill - whether it be technically or pop-hook-crunchingly - and contains songs which have made the awkwardly titled 'noughties' surpass critics expectations for brand new music.

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In no particular order, we begin with a more obvious choice: Green Day's American Idiot.

Now I'm not suggesting it was the best album they've ever produced (that right is reserved for 1,039), but there's no doubt that when it was released back on 2004 it caused a bit of a stir across the music world.

The idea of a 'rock opera' concept album is nothing new, with examples dating back to the 1960s and even earlier, but it had never been done with such flair and enthusiasm, or if it had then people must've conveniently forgotten about it.

Based around the failings of modern America, the album boasts two nine minute tracks and follows the story and issues of a boy, the self-proclaimed 'Jesus of Suburbia', as he leaves what he knows behind on a voyage of self discovery which is vaguely referred to throughout the album.

The video for the rock ballad track Wake Me Up When September Ends offers a little more clarity, portraying the boy as part of a couple who are quickly torn apart when he heads of to war.

Despite not being the Green Day fans were used to, it spawned an entire generation of new fans and saw the group play a two-day stint at Milton Keynes Bowl to a crowd of over 120,000, the biggest of their career.

This album will be talked about in years to come as a standard set for the modern concept album, and since Green Day themselves haven't been able to better it with latest effort 21st Century Breakdown, then it deserves some attention.

Critical tracks: Jesus of Suburbia, Boulevard of Broken Dreams, Holiday

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Next up is a band you almost certainly will never have heard of. Why on Earth are they on this list you might ask? The reason is simple: pure musical perfection.

Adequate Seven were, surprisingly, a seven-piece band from Wales who released two albums and then faded into darkness.

While their first album: Songs of Innocence and Experience, may have made more impact, by the time 2006's Here on Earth was released the band had found their stride and put everything into it.

The diversity which came as a result is something almost unprecedented on a ska/punk record, showing elements of hardcore one minute and melodic duet the next.

Musically the arrangement is magnificent, with each instrument playing off the others as the Chili Peppers-esque lyrics dance over the top.

Slap bass has never been used so infectiously, particularly in recent years, and you can't help but get into the groove with this album as each song throws out a fresh hook to keep your attention.

The style is difficult to describe, and despite its similarities to early RHCP there is a lot more to offer here. Adequate Seven is a band which defines the term 'funk punk', an exquisite blend of the bouncing bass of jazz and the passion of punk.

The recording quality may not be top-of-the-line and the drums may come over a little quieter than they should in places, but all is forgiven when you immerse yourself in what the energetic septet (yes, I had to look it up) are trying to do.

Critical tracks: Foward Motion, Seven Mics for Seven Brothers, Gotta Stay Focused (re-record)

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Returning to more familiar territory with the next album, this release undoubtedly made nu-metal a household term. The genre may have broken free from the underground with Korn's Follow The Leader in 1998, but it wasn't until Linkin Park's Hybrid Theory was released that the world realised the genre had truely arrived.

Selling 24million copies worldwide since its release in 2000, the significance of this album is hard to ignore. Songs like Crawling and One Step Closer saw rap and metal collide in a way which the pop-listening public had never heard before.

The most significant part of that of course is that the public didn't like it, which may account for the genre's quick demise, but the most pop-friendly single: In The End, made it to #8 in the UK charts and took the top spot in the US Modern Rock chart, as well as #2 in the main US chart.

The band made significant use of the music video as a medium, putting time and effort into bringing the songs to life, often disturbingly so, and dealing with themes such as paranoia, violence, childhood abuse and isolation.

The video for Crawling was particularly powerful, depicting a child abused by her father, much as lead vocalist Chester Bennington was, and the blood pouring out of her as the video goes on until she appears fine by the end. The chilling beginning and ending sample of water (or what sounds like water...) going down a drain still has the power to make your hairs stand on end even today and encapsulates everything that the album is about.

The combination of Chester Bennington's distinctive screaming vocals with Mike Shinoda's rap creates a unique juxtaposition which gives the album it's unique sound. It's on fourth track Points of Authority that this comes across the most strongly, with Mike's vocals interwoven with Chester's pointed screams.

Critical tracks: Crawling, Papercut, In The End

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Continuing in the hardcore theme we come to the next entry, a little album called The Sufferer and the Witness by Chicago hardcore heavyweights Rise Against.

From the very album artwork your eyebrows immediately raise with this album, what do the patterns on the cover mean? Two figures? One the sufferer and one the witness? Like much art it's best to draw your own conclusions.

Their previous album Siren Song of the Counter Culture gave the band mainstream success, so now that pressure to succeed was lifted they were able to flex their musical muscles a little more on this album and produce something outstanding.

From the first few seconds of the album you know you are in for something special as a voice-over matter-of-factly announces: "This, is noise." From there the album keeps the accelerator down right until the end, tearing through every track, hardly pausing for breath.

Two songs where the album just take a break are the heart-felt Roadside and the depressing tale of loss: The Approaching Curve, which tells the story of a two people tearing each other apart as their relationships breaks down during a late night car journey, ending with the inevitability suggested in the title.

The album is full of memorable riffs, powerful choruses and overflowing with energy. Injection, which tells the story of a struggling drug addict battling his addiction, is a prime example of everything Rise Against is good at, and takes serious issues and combines them with the passion which only music can unlock.

The album also saw the first track to be launched into the mainstream on the back of the hugely successful Guitar Hero franchise, as Prayer of the Refugee began to tear up living rooms nationwide and introduce a whole new generation to the angered musical stylings of the band.

The album stands of one of the most complete and flawless of the decade, each track earning its right to be there and to such quality that it's impossible to skip a single one.

Critical tracks: Injection, Prayer of the Refugee, Under the Knife

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The fifth addition to our list comes from Leeds, a place well connected with good music thanks to its own counterpart to the legendary Reading Rock Festival, which began in 1999.

The Music, forever the enemy of the search engine, formed in the same year and released their self titled first album in 2002. Despite the album getting to number 4 in the charts, it missed out on snatching the title from its successor by not holding together as well as an album.

Welcome to the North, is one of the most complete 21st century albums you are likely to find. At just 11 tracks long the album takes listeners on a voyage in the only way modern hippies can. With 'love' and 'freedom' featuring heavily throughout it's not difficult to start feeling the flower power, albeit in a reserved and controlled way - very 21st century.

An effects laden guitar echoes expectantly as the albums' title track begins, from here is a sound which takes the slow pop rock ramblings of The Beatles and kicks them into gear. It may sound harsh to a band as epic as the fab four but when you compare the trudging beats of the 60s to the hard hitting tempo of the 00s from The Music, it's very difficult to ignore.

Every song has powerful bass grooves, drum beats riddled with hi-hat and multi-layered guitar, giving the music an almost hypnotic quality. Add to that Robert Harvey's simplistic but endearing lyrics, not to mention his mastery of manipulating nonsense words to create irritatingly catchy choruses, then you have something which is truly a sound to behold.

The album itself didn't do quite so well in the charts, with many hardcore fans criticising the newer, more reserved sound of The Music, but the band aren't really holding back, just are more focused on creating rounded complete songs, and succeed time and time again here.

Critical tracks: Freedom Fighters, Breakin', Welcome to the North

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So, that's the first five, five more still to come. Like my suggestions? Feel like sharing some of your own? You can leave a comment or two below, I don't pretend to know all the answers, and, as I said, this list of ten won't be the only important albums to come out of the decade.

Stay tuned for the next part of the list in the next few days...

3D or not 3D? The future of cinema is...the past?! This Is Entertainment looks at Ice Age 3 through 3D specs

I saw my very first 'Real 3D' film yesterday. I felt as though it should have been a massively significant moment, as if it would change the way I looked at films forever and warp my mind in ways never before experienced.

So, I got to the cinema, fashion-disaster 3D glasses in hand, went into the screen, sat down to enjoy the Odeon Digital 3D experience and...

...got a headache.

The film itself, Ice Age 3(D), was reasonable. Your classic kids' film mix of cliché, parody and talking animals sees Manni, Sid and Diago return in another slapstick adventure with added family, another inevitability in kids' film sequels.

While the endless toils of the acorn seeking Scrat raised a smile or two, if hand-in-hand with some eye-rolling moments, the deminishing return of the jokes from the first film was now began to show.

That said, Simon Pegg quickly turned a limited stereotypical role into a filled out comic relief machine. As the other characters collected and toyed with their collective baggage, Pegg's 'Buck' ("short for Buckington") riled off one-liners and delightfully mad mannerisms to keep adults, as well as kids, entertained.

The 3D effect though is an interesting beast. At times the effect was sublime, drawing you into the picture with perfection to make the events on screen grab your attention and 'come to life' all the more. One particular highlight was when the camera flew right through a torrent of molten lava, peppering the screen (your eyes) with intense colour and forcing you try to move your head to dodge it.

Often though, particularly when changing scenes, the action moved too fast for your eyes to keep up with, making the 3D animations blurry and difficult to concentrate on. Too often I found myself longing for characters to stop moving to save my retinas.

The glasses are reasonably comfortable, compared to the red/green specs of old, but if you didn't have to wear them things would have been far more comfortable, particularly since the 3D magic stopped at the edge of the film screen and not the glasses.

The only comparison to make is with IMAX, the only significant 3D experience I'd had before, and it was so much more immersive. Part of that is the far-bigger-than-a-standard-screen aspect, but in Odeon's favour their film was far more entertaining than watching underwater creatures.

Since 3D has been around for so long, Hitchcock famously imagining Psycho and Vertigo in 3D back in the mid 20th century, it's staggering it's taken so long to get from the early stages of the technology to where we are today, and the fact that it still underwhelms is disappointing.

For glasses wearers the toil and trouble is even worse, since you're forced to balance them precariously on the end of your nose to fit your own glasses on in between. Price is another factor, with even a student 3D ticket costing a meaty £8.50.

All in all there is definite glimmers of potential in the technology, but we're not quite to virtual reality film-watching, and with the escapism of film being one of its strongest points, do we really want to be?

Film Review - Transformers: Revenge of the Fallen

We were promised 'Bayhem': more location, more action and, bizarrely, less explosions and Revenge of the Fallen doesn't disappoint on these counts, delivering a marked improvement on robo-duelling as well as believable robot to human interaction.

If you go to see this film expecting more than giant computer generated robots kicking nuts and bolts out of each other you were always going to be disappointed and though Director Michael Bay has done little to convert nay-sayers, there's little more of a plot this time around to hold things in place.

Sam Witwicky (Shia LaBeouf) returns with his impossibly attractive girlfriend Mikaela Banes (Megan Fox) and he's now starting college and trying to get on with his life after disposing of evil nasty Megatron two years ago.

The Decepticons (the baddies) aren't content to shuffle off and leave Earth be though, and have been tackling with ultra-secret taskforce NEST (which may stand for Nuclear Emergency Search Team – we aren't told – but the important thing is it's an alliance between the Autobots and humanity against the remaining Decepticons).

The story this time revolves around the fact that the Transformers have come to Earth before, some 19,000 years ago, and to cut a short story shorter the Fallen is the equivilent of the devil, a Prime (yes, like that Optimus guy) cast out after he decided killing innocents to obtain Energon, the races power source, was a good idea.

What follows is a highly computer generated chase movie with some comedy moments thrown in for good measure, Sam's mum trying some 'special' college brownies is a particular high point, and eventually coming to a climax in the sandy lands of Egypt.

The film works. It isn't flawless, it isn't outstandingly excellent, but it does what it set out to do. With the summer release schedule peppered with heavy releases it lets you forget reality for a moment and embrace this strange world where toys come to life...wait a second that sounds familiar...

The returning cast all put on a good performance, save Megan Fox who rests on her laurels somewhat in her eye-candy role and resorts to a few damsel-in-distress turns. John Turturro fills out Agent Simmons, who's fallen on hard times after Sector 7 was disbanded following the events of film one, and treads the line between action and comedy perfectly to set the tone of the final act.

Megatron seems a little emasculated by title-stealer The Fallen, and bravely runs away at the end to leave the door open for a three-quel, which despite Bay's insistence this was written as if it was the last Transformers movie, seems inevitable, if not for a couple more years.

Already in the two years since its predecessor you can see how much the technical complexity of the robots themselves has left forwards, with fights between up to have a dozen at a time a common occurrence, one particular highlight is the Mortal-Kombat style de-spining of a cougar shaped Decepticon.

The real hero is, of course, Optimus Prime, who, keeping with the Biblical analogy here, is killed and then resurrected for the final face-off against the big nasty, while Sam and Mikaela carry on their (slightly) forced love story, takling the issue of the 'l' word itself, which really pales in comparison to the excitement going on all around.

Bay has surpassed himself to create a film which people are sure to enjoy if nothing else, but he wasn't trying to make people thing or deliver a moral message, he just wanted to blow stuff up.

And, despite his initial claims, he does like no one else could.

Introducing: Streetfight Silence Live from the Cellar Bar Bracknell

Bracknell's Cellar Bar was rocked to its foundations last night when 80s-inspired synth rock band Streetfight Silence took to the stage.

Though they were second on the bill, the three-piece, Bracknell based themselves, wipped the crowd out of their Sunday night comfort zones to get connected with some quality music.

Russ Merry, who spends his days working at Legoland to pay the bills, tackles lead vocals and guitar with Chris Cooley on the drums and Chris Penfold on bass. The group have already won the Wokingham Battle of the Bands, bagging them a cool £200 and time at a high end recording studio, making them a hot contender for this year's Best British Newcomer at the Kerrang! Awards.

The gig drew an sizeable crowd and managed to get them singing along to melodic ballad “After All”. The energetic performance brought the dingy venue to life with some solid drumming, ambitious bass and impressive guitar work from Russ himself.

The band will soon go into the studio to record more material, but you can get your hands on the “Skys The Limit” EP now, or check out myspace.com/streetfightsilence.

Interview with Burnout Paradise's Big Surf Island Producer Pete Lake

Downloadable content is big business in video games at the moment, with Microsoft famously paying Rockstar Games over a million dollars to create new episodes of Grand Theft Auto IV.

One pioneer of DLC in recent years is Criterion Games, the brains behind the car-smashing racing series: Burnout.

As a Burnout enthusiast myself, I decided to get in the passenger seat with Pete Lake, Producer of Big Surf Island, to find out how this latest release would enhance the landscape of Burnout Paradise.

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James Parry: How do you feel the Big Surf Island DLC will enhance the
Burnout Paradise experience?

Pete Lake: Big Surf Island brings a whole new location to Paradise City. People have been exploring the existing landscape for over a year now, finally we can bring them somewhere new to drive and have fun together. With the new location we are also adding more of everyone's favourite activities, new experiences and new vehicles to drive.


JP: There's more of an emphasis on the 'playground' aspect of Paradise with this update, what's the reason for this?

PL: We have been working with our community to understand what people love to do in Paradise City. We know everyone loves the more playground elements of Paradise like the quarry and the airfield. We set out to make the entire Island like one of these, a super condensed, explosion of fun.


JP: Will there be any gameplay updates with this DLC? Such as the ability to place waypoints on the map to allow players to converge on an area more easily?

PL: We are adding many new gameplay updates with the Island, far too many to detail here. Really noticeable things are the new visible checkpoint markers. All of the events on Big Surf Island get you to drive through checkpoints so we needed to make sure the player can see them where ever they are, so adding visible markers in the world was important. On your question, there are numerous Freeburn challenges which get people to meet at specific locations, if you want to meet up with friends try one of these.


JP: After the extensive updates to Paradise to date, what thought
has Criterion put into its next title? Burnout or otherwise.

PL: We are always working on new ideas and figuring out the best way to bring them to our customers. Currently the best way has been to develop them into Burnout Paradise, who knows what else we may develop in the future and how we will get it into people's hands.


JP: Do you think the emphasis on DLC in Paradise is something which will becoming increasingly common for other games in the future?

PL: I know it will for us, it's changed completely how we think about development. It's so exciting to keep bringing new experiences to
people and to use those to bring people together in exciting and fun
ways.

JP: Freeburn Online is a big part of Burnout Paradise, what new
experiences can we expect from the new challenges?

PL: We have a set of 10 new challenges for Big Surf Island which showcase some of the incredible new locations on Big Surf Island. New for the Island is the ability to play each of these challenges with any number of players. No more waiting around for your 8th friend to get online before you can complete the challenge.

JP: The free-roaming aspect of Burnout Paradise as a whole was a
big risk to take after the previous titles, how effective do you feel
it's been overall?

PL: I think it's been a huge success. We have delivered a location people
love whether they race or just like to drive and explore. We can see people all like to play the game in different ways and express themselves. Big Surf Island brings something for all these people; there are new events but there are also new billboards, Mega Jumps and Smash Gates to reward discovery.


JP: Last year the bikes update changed the Burnout landscape forever, what is the future of bikes in Burnout? Are there any tailor made sections in Big Surf Island?

PL: Big Surf Islands offers 12 new roads to rule on bikes during night
and day and plenty of areas to explore at high speed.


JP: Many racing games strive to create a real and authentic simulation of driving, rather than simply a game. How important do you believe realism is to racing titles, and games in general?

PL: I think a sense of believability is very important and is a different concept from a simulation. Players must believe what they are doing
is possible so they can enjoy doing it. We want to make games which are accessible and fun to play, with the Bikes we spent a lot of time on the handling to ensure that it remains a really fun riding experience inside the believable Burnout world. Just creating a simulation of bikes wouldn't have been fun and would have been out of place in our world.


JP: How much have you been considering players' input and opinion
in the updates and changes you make in Paradise?

PL: We have a very active community and we have involved them as much as possible during development of all our DLC. We've even had people tour the office during development. We run our Crash TV podcasts and have developed our Criterion Games Network so we can ensure our community gets the feedback it deserves from us.


JP: Some claim downloadable content is often profiting from content which should have been included in the original retail release, what is your opinion on this?

PL: The downloadable content you are seeing for Burnout Paradise could not have even been thought about until we had released the game and seen how people reacted to it. We could not have designed Big Surf Island without the support of our community.


JP: How do you think the content and significance of DLC, Criterion made and otherwise, will change in the future?

PL: I hope we (and other developers) can continue to offer our players more and more new experiences. The game is bigger than the box it comes in, offering players new ways to experience the product and new ways to expand it are really important.

This Is Entertainment's comprehensive E3 Summary: Part 3 - Microsoft

Here it is then, the one you've all been waiting for, at least I hope so! After watching Microsoft's mammoth E3 press conference in full I'm going to digest that down as much as I can to get you all clued up on the latest and greatest information.

You may have heard a few things blowing around on the internet, so first let's answer a few quick questions:

- What do you mean there's going to be Metal Gear Solid on Xbox 360?!
- Well the creator of MGS announced the next title: Metal Gear Solid - Rising, will be coming to 360, but there's little chance MGS4 will make it over as well, sorry about that! Don't rule out MGS1 on Xbox Live Arcade though...

- I hear Microsoft is partnering up with enough different companies to be declared serial bigamist of the year?
- That's right, well, the partnering part at least, not sure what you're going on about...MS announced partnerships with Facebook, Twitter, Sky, Last.fm AND Netflix. (more on some of these later on)

- So Xbox is trying to be some sort of all-in-one box of entertainment then really?
- That's the idea. They're pushing all possible avenues to bring gamers full 1080p HD video with instant streaming, music, social networks, everything you could possibly want bar going and getting you another beer from the fridge basically.

- Halo Reach? ODST? WHAT IS GOING ON?!
- Calm down! Yes there are now officially two Halo games in the works over at Bungie. Halo 3: ODST (Orbital Drop Shock Trooper) is an add-on to Halo 3 which will include 3 Halo 3 multiplayer maps and a 10+ hours campaign focusing on the ODST troops around New Mombasa, set between Halo 2 and Halo 3. Halo Reach is a "top" secret Halo project Bungie have been working on. My reliable sources tell me that from the name it would suggest it has something to do with the first Halo ring over Reach, which was destroyed in the first game and was a pivotal moment in the war. Not much official info on it exists just yet, but it's due out late 2010, for now, just check out the teaser trailer: http://www.youtube.com/watch?v=MqIEvH7sGQ0

- What on EARTH is this Project Natal thing?
- That's a very interesting question. In a nutshell it's some fancy new technology which lets YOU be the controller, including facial and voice recognition and full motion capture without the need for any strange suits or anything. It's essentially MS' answer to the Wii's motion capture, but done in true MS style...they had to go one better. If it really works like it claims to then it genuinely a big step forward in potential for MS, but the videos seem a little contrived to be convincing, take a look for yourself: http://www.youtube.com/watch?v=oACt9R9z37U

Also, you can check out a blog post on Natal from a good friend of mine, Andy Hemphill: http://tinyurl.com/ndz9m7

Now, I think it's time we had a look at what's the most important thing about a games console, aside from the fancy deals and new technology, which is its games.

The first game to take the floor was Tony Hawk Ride, which uses a skateboard controller to track the gamers motion and movements on the skateboard, and let them have more control than the plethora of Tony Hawk titles of years gone by. The man himself was there to show it off, just the first of MS' star guests of E3, but despite the 'bigging up' it still could be an excellent and innovative game.

Next up was a biggie: Modern Warfare 2. So major it made the cover of the latest OXM, the game is the sequel to the phenomenally successful Game of the Year that was Call of Duty 4: Modern Warfare. The trailer, which you really should have seen by now (but here it is if not), was impressive enough, but the gameplay shown was the most interesting element. It sees a new recruit, codename 'Roach', following COD4 hero 'Soap' McTavish in a snowy blizzard through which the player must claim an icy rock face to the next encounter. The weather plays a massive part, marking the shift between stealth, as you sneak around stealthily before the blizzard clears and colossal frantic fire-fight takes place. The game looks outstanding and the single player was a personal high point so it's good to see that Infinity Ward haven't relied on the predecessors ridiculous success on Live.

Joyride, a FREE XBLA game, will be the first racing title to use your avatars for some funky Mario Kart-esque action. The game certainly gives a decent platform for UGC, and while you do have to pay to get the best tracks and cars, only one of you're friends has to have bought them to play them with you, which is a neat idea.

Teaser trailers for Crackdown 2, Left 4 Dead 2 and Splinter Cell: Conviction mark the emphasis of MS' focus on 'Only on Xbox' titles this E3, and admittedly come of impressively for it. Conviction in particular looks to break free a little from the traditional Splinter Cell format, as Fischer takes off his tri-goggles and dons a distinctly Bruce-Willis-in-Die-Hard attitude as he tries to find out who killed his daughter. A couple of slick design features make this release stand out, namely super-imposing credits and objectives on the landscape of the levels, immersing you in the world while keeping the real-time narrative going, and a refreshingly tasteful use of slow-mo.

Not to be left out, Epic Games, the kings of Gears of War, demoed their old-school 2.5D side-scrolling platformer, which showed a nice level of depth, ironically, for the genre through Xbox Live Arcade.

Halo was always going to get some hype, and the play-through of ODST delivered everything fans of the series have been waiting for, complete with ill-fated TV show Firefly voice actors, which is always a plus.

Natal proved to top off what was near to being a continuous round of applause for most of the press briefing, but where can I hear all this news for myself I hear you ask? Just head over to Gamespot to check out their full press conference video, but be sure you have two hours to kill!

The year looks set to be a good one, and if MS delivers on what it has promised then it will certainly give Nintendo some sales figures to contend with by the time the Christmas spending spree begins.

This Is Entertainment's comprehensive E3 Summary: Part 2 - Nintendo

Nintendo is a name which has been synonymous with video gaming for the past 30 years. Now in its 120th year, having spent it's early years making cards and dominoes, the company is beginning to feel the pressures of the ever-increasing competition in the sector.

This year's E3 was a mixture of the company's "Everyone is a gamer" philosophy and it's traditional strong points, namely that over-enthusiastic, red-hatted plumber Mario.

While it's important to put effort into franchises which consumers associate with the brand, Nintendo's press conference, which lasted just over an hour (nearly an hour shorter than the other two big names), spent around five minutes showcasing only three third party Wii titles: The Conduit, Resident Evil: The Darkside Chronicles and Dead Space: Extraction.

While all three games look interesting and offer a "harder edge", according to Reggie Fils-Aime, President and CEO of Nintendo of America, only The Conduit is an entirely original IP (Intellectual Property).

It certainly looks like Sega have done a good job with it, and it will give people a reason to think again before dismissing Wii as a "kiddie console", but all signs point to it going against the grain of the norm on Nintendo platforms.

Resident Evil: The Darkside Chronicles is the natural sequel to The Umbrella Chronicles, an on-the-rails shooter which made the most of the Wii Zapper, and follows Leon S Kennedy and Claire Redfield as they play through the events of Resident Evil 2, offering a new perspective for the player. If it's predecessor is anything to go by this will be an excellent and addictive title.

Dead Space: Extraction is a prequel of the edgy psycological horror which impressed critics across the world last year when it was released on PS3, Xbox 360 and PC. It's obvious that this will be a different type of game in the same universe, but should still offer an exciting gaming experience for Wii players.

With the non-Nintendo developed announcements hidden away at the end of the conference, it was difficult to ignore the BIG announcements:


Wii

• Super Mario Galaxy 2 announced
• Wii Fit Plus announced
• New Super Mario Brothers Wii announced
• Wii Vitality Sensor announced
• Metroid: Other M announced
• Final Fantasy Crystal Chronicles: The Crystal Bearers
  
• Wii Sports Resort re-announced
• Wii Motion Plus re-announced
  

DS/DSi

• Mario and Luigi: Bowsers Inside Story announced
• Golden Sun DS announced
• The Legend of Zelda: Spirit Tracks announced
• Professor Layton and the Diabolical Box announced
• Pokemon Mystery Dungeon: Prisoners of the Sky announced
  
• Facebook photo sharing announced

Chances are if you just skimmed that you're thinking something along the lines of "same old, same old" or possibly "what on EARTH is a 'Vitality Sensor' when it's at home?!".

Allow me to explain. The Vitality Sensor works in a similar way to the thing you wear on your finger when you're in hospital, and it does the same thing: measures your pulse. According to Nintendo the sensor will " initially sense the user’s pulse and a number of other signals being transmitted by their bodies, and will then provide information to the users about the body’s inner world. "

Concrete details about how exactly it will be used in games are scarce, but essentially the plan is to detect stress levels and other things from your pulsebeat. I'd really like to see it used in a psychological horror, upping the weirdness as your pulse increases perhaps?

The big game releases come as no surprise, with Mario abound, but the prospect of a straight sequel in Super Mario Galaxy 2 seems like a lazy cash-in and risks cheapening the frankly astounding brilliance of the original. Then again, riding Yoshi should be good fun.

As for the DS release, the name Bowser's Inside Story sounded exciting and original, a chance to find a little more about the growling nemesis of that plucky plumber and unleash some of his power, but sadly that potential is denied when the name is taken literally and the Mario brothers go on a journey through Bowser's insides instead.

The latest Samus project, Project M, sounds more promising, if mysterious, but the focus on back story to add depth to the character is undoubtedly a positive step. Making the character progressively more than just a super suit.

Embracing social media, albeit in a small way, with the integration of Facebook photo sharing on the DSi, is definitely another step in the right direction, but a far cry from the bold partnerships Microsoft have announced (full MS round up coming soon).

In the end Nintendo seem to have taken their "Games are for everyone and everyone's a gamer" ethos a little to far and a little too literally. It's all well and good making games which appeal to the masses, and work as tools rather than games in the case of things like the blatantly obvious Wii Fit Plus, but it has to remember that games for everyone aren't really for everyone.

Sometimes people want something a bit more specific, tailored for people like them. Nintendo may argue that it fulfils this by letting players tailor games to suit their own tastes, but sometimes it's nice to have things done for you. Rather than being able to adapt games to your needs, it's a nice feeling when you switch on a title and think "This game was made for me".

This Is Entertainment's comprehensive E3 Summary: Part 1 - Sony

So it's that time of year again, when the best gaming minds from around the world descend on Los Angeles for the Electronic Entertainment Expo (that's E3 to sophisticated people like you and me), the event which in the past has given such shock announcements as the undercover launch of the Sega Saturn back in 1995, the first trials of Sony's current gaming monster, the Playstation 3, and the debut of the Wii's patented motion-sensing technology (not to mention motion plus).

It will come as no surprise then that I, and countless gamers around the world, were excited about this year's event, and with good reason. All three consoles are in their stride now, with competition hotting up in the too-oft-mentioned recession.

So, without further preamble, allow me to present This Is Entertainment's quintessential guide to the comings and goings of E3 2009:

Sony (watch the full conference on Gamespot HERE)

The PS3 failed to light a fire of enthusiasm at last year's E3, so what did the Blu-ray kings offer this year?

President and CEO Jack Tretton opened Sony's press conference with a plathora of impressive sounding numbers, boasting there would be an admittedly impressive 364 games released on Playstation platforms in 2009 (you feel as though they could have found one more to make it a year's worth).

Sony reports it made over 30% of 2008's industry sales over it's three platforms: PS3, PS2 and PSP. The problem is, PS2 and PS3 are competing for the same market, so the only reason people would go for a PS2 over a PS3 is price. Hence the latest announcement of cutting the PS2 RRP to $99.

If they would cut the price of the PS3, then it may encourage gamers to opt for the clearly superior console straight away, and save people the money and hassle of swapping over 6 months down the line when developers stop releasing titles on Ps2...hmm...

Despite the questionable marketing strategy, Sony still shifted 22million PS3s in 2008, no doubt helped by titles like the much-hyped Killzone 2.

Other than a handful of PS3-exclusives like Killzone, last year gave the platform little to distinguish it from Microsoft's Xbox 360, with few developers willing to put in the time to stretch the graphics power of the PS3 beyond that of the Xbox 360, one of its key advantages.

Undoubtedly Playstation Network will be a big area for growth in the next year (particularly if the competitions' plans are anything to go by - check back in a few days for details), due to it being free.

The main thing that people need to know about though, is the games, and the PS3 lineup with its plethora of new games was impressive but only 35 of them will be exclusive to Playstation platforms.


The closing of the feature-length press conference was a demonstration of the excitingly shiny-looking God of War 3 - a PS3 exclusive - which saw a hunter-type character take on mythical beasts while a hell-fire demon writhed around in the background. Certainly looking promising on the action stakes, something between the blockbuster feel of Lord of the Rings and the rich imagery of the original Greek stories themselves.

All in all this year should be better for Sony, and since, by their own admission, they didn't do too badly in 2008, it should mean they sail through the economic troubles without a second thought.

Misleading Trailers

Excitement, amusement and bewilderment are three things that can come from watching a trailer. They began as a mere marketing tool, designed to get the word out about new films and entice people in with flashy special effects and big actors' names with "Academy Award-Winner" pasted over the top (Public Enemies, Above), but now trailers have turned a bit nasty.

It's not that there's anything particularly bad about them, but increasingly you find they mislead the viewer into making false assumptions. Take latest Dan Brown adaptation Angels and Demons for instance (here there be spoilers), in the trailer a chilling voiceover says "If god has issues, it won't be with what we've done, it will be with what we're about to do"

Nothing wrong with that you might say, and you're right, it's a decent quote to stick in a trailer as a dead body is chillingly uncovered on screen and conjures up questions for the viewer like: What are they going to do? Why? and Who are 'they'?

Once you get to the film itself however, this subterfuge reveals itself. Rather than a mysterious heinous act, the quote in fact refers to the simple act of murder. Furthermore the quote has been manipulated so the 'we' that was heard in the trailer is actually 'I' in the final print, instantly taking away all the mystery and suspense since it's obvious that a killer who's already killed and has three prisoners is likely to do so again.

Another example is Minority Report, where another line change changes the meaning of what's going on. In the trailer Colin Farrell's character Danny Withwer is in Pre-Crime HQ with Tom Cruise's John Anderton when he says "I've got a warrant in my pocket that says murder".

On the surface this is a pretty good line and sounds pretty cool, but after watching the film you find it makes no sense and is just untrue.

It makes you wonder how far this will go, there's been plenty of trailers or teaser trailers which have used scenes which were eventually deleted from the final cut (see Xmen 3's "We're not kids anymore" discussion), but surely manipulating lines is a slippery slope and could become a dangerous game of deception.

Will we eventually find films changing as radically as this:



If you haven't seen or heard of The Shining, then you could easily be fooled by something as simple as this, admittedly very well done, spoof.

We can only hope that film companies decide that we can, in fact, handle the truth.