Konami's “Rock Revolution” suffocates from the absence of radical change its title suggests.

Its most glaring weaknesses surface through contrast with its rhythm game contemporaries, “Rock Band” and “Guitar Hero.” The note lanes that appear angled in those two titles are positioned from a bird's eye view in “Revolution.” Though the change may seem subtle to casual rhythm game players, veterans of the genre's giants will need to rewire their perception to successfully play “Revolution's” falling notes from this new perspective.

The other significant game design trait that distinguishes “Revolution” - to its detriment - is its drum note layout. Kick pedal notes are signified through another one-lane icon, not the lane-crossing line they appear as in “Rock Band” or “Guitar Hero.” Players who've synched their hands and foot to read drum notes in the language of those games will also require heavy reeducation to play with any skill in “Rock Revolution.”

“Revolution” falls short of the musical standards set by its competitors as well. Its track list tallies about half as many songs as “Rock Band 2” and “Guitar Hero World Tour.” About a dozen of “Revolution's” songs can be played in either franchise, and the presence of only two master recordings pales to the 100-percent master soundtrack of “Rock Band 2” and “World Tour.” Players who feel they've finally escaped sub-par cover versions of their favorite songs will find only aural agony in “Revolution's” soundtrack.

The anemic selection of play modes - quick play, practice and a no-frills career mode - is redeemed only by a mildly enjoyable studio mode that enables players to record their own compositions. It's the sole feature of the game that may continue appealing to players after they've inevitably switched back to “Rock Band” or “Guitar Hero” games. Vocalists will make this decision most swiftly due to the lack of singing in “Revolution.”

Though stringently measuring “Revolution's” success by the yardstick of “Rock Band” and “Guitar Hero” may seem unnecessary or even unfair, Konami forces the comparison. Their rhythm game requires players to use the guitars of its competitors because “Revolution” comes with no guitar of its own. And the release of its monstrous drum kit follows the game's release by almost a month, in which time players could use their “Rock Band” or “World Tour” sets in “Revolution.” Owning either of the big two franchises' guitars or drums obviously means those players also own at least one of those rhythm games. “Revolution” gives them no reason to own any more.

If you play

Game: “Rock Revolution”

Score: D-

Parental rating: Teen for lyrics

Developer: Savage Entertainment

Publisher: Konami

Platform: PlayStation 3 (also available for Nintendo DS, Wii and Xbox 360)

Price: $46.99 ($129.99 with drum kit)

Play: Single, multiplayer

The final boss: With skeletal features, oblique design and a dead soundtrack, “Rock Revolution” lacks the sustain of its fellow band games.

Fall back into Spidey's ‘Web'

By David Wilcox

Spider-Man's neighborhood hasn't seemed so friendly to the Wall-Crawler since “Spider-Man 3” was released, and with it a poor tie-in game followed by the mediocre “Friend or Foe.” But “Spider-Man: Web of Shadows” should improve the superhero's status.

Activision's latest title featuring the Web-Slinger merges the expansive open world format of “Spider-Man 2” (the game) with a rich new combat system that enables players to realize fights as balletic and gravity-defying as those of the films. Spidey can throw fists on the ground, in the air and even on the sides of buildings. His arsenal doubles with the inclusion of the black symbiote suit, which provides a strategic alternative to his classic colors. It grants Peter Parker more strength, but wearing it throws him out of favor with the New York City pedestrians and into the graces of its villainy.

The suit passes from its traditional wearer, Venom, to Spider-Man and eventually the citizens of his city. Stopping the symbiote's infection throws Spider-Man into conflict and cohesion with several Marvel Comics superheroes, such as Wolverine, Iron Man and Black Cat. “Web of Shadows'” story feels like the typical series of conflicts first conceived as video game, but the cut scenes never become actively tiresome to watch.

“Web of Shadows” mines its strength from its solid play mechanics. The combat system gives players enough accessible attack plans to never bore them on beating up gang members. Web-swinging suffers from skittish cameras, and Spidey's jump is difficult to achieve with precision, but moving the Wall-Crawler through the beautiful streets of New York City has never felt so liberated. Spidey's New York City may not trump the architectural design of “Grand Theft Auto IV's” Liberty City, but the Wall-Crawler's streets actually look as populous as a real metropolis.

Players willing to let the over-exposed Spider-Man back into their good graces will find few better starting points than “Shadows.”

David Wilcox

253-5311 ext. 245

david.wilcox@lee.net

If you play

Game: “Spider-Man: Web of Shadows”

Score: B

Parental rating: Teen for animated blood, drug reference, mild language, mild suggestive themes and violence)

Developer: Treyarch/Shaba Games

Publisher: Activision

Platform: PlayStation 3 (also available for Nintendo DS, PC, PlayStation 2, Wii and Xbox 360)

Price: $59.99

Play: Single-player

The final boss: Fans of the Wall-Crawler will find sticking points in “Web of Shadows'” immersive New York City environment and dynamic combat system.