Contrarian Corner is intended to be a place for a more holistic discussion of games which have been the recipient of either an abundance of single-minded praise, or an undue amount of criticism. Our intent is not to contradict or undercut our own reviews, but rather to expand the spectrum of discussion on some of the most important games of each year. If you’re interested in joining that discussion, keep reading. Read the official review of Alan Wake for Charles Onyett’s extensive thoughts.

Alan Wake is an action game about shooting things in the dark. You’ll mostly be engaged in combat against a shadowy legion of lumberjacks, the occasional swarm of night crows, and possessed objects like refrigerators, barrels, and bulldozers. The central innovation in these gameplay scenarios is the addition of a second aiming system. In other action games you’re limited to pointing and shooting with a gun, but in Alan Wake you have to point and shoot with a flashlight for a few seconds to weaken your enemy. Only then can you finish them off with your gun.

Aiming — now with more flashlights.

Aiming with a flashlight is operationally identical to aiming with a gun. They share the same controls and operate on the same principle of limited ammunition that periodically needs to be reloaded (flashlight batteries and bullets). This system adds some interesting tactical complexity, but the net impact is that enemies basically have longer life meters. They can endure double as much aiming and shooting, which makes choosing where and when to square your shoulders and point a bit more important. Keeping track of how much energy is left in your flashlight affects how long you can afford to aim before having to scurry around for a few seconds reloading batteries and bullets.

The other half of Alan Wake is a moody exploration game. Through its six episodes, each about the length of a movie, you’ll wander through darkly linear switchbacks trying to reach a glowing high point. On the way you’ll discover abandoned cabins, gas stations, a farm, a mental hospital, and a church. You’ll also collect coffee thermoses and manuscript pages, listen to a nightly radio program, watch a Twilight Zone homage on television, and study the historical details of Bright Falls at various tourist billboards. None of these collectibles affect the gameplay in the action-shooter portion of Alan Wake. Rather, they exist as distributed busywork that affect your completion stats in the pause menu, and sometimes add context to the meaning of custcenes.

Mechanically, Alan Wake is not about horror or fear, but redundancy. It’s about completing an action and then doing it again. The art and plot made me expect that some mystery would be explained with each finished setpiece, that some essential pattern would eventually emerge from the jigsaw of manuscript pieces. The opposite is true. I understood less about why I was killing lumberjacks, and why they required light to be weakened, at the end than at the beginning. I understood less about coffee (it’s a David Lynch joke!), Alan Wake’s new novel, and the “darkness” residing at the bottom of Crater Lake.

At least Agent Cooper took a sip once in a while.

I think that’s a beautiful arc for a game–to end at a point of dissolution instead of resolution. It reminds me of the last pages of Viriginia Woolf’s The Years where the eighty year-old Eleanor, once a single woman of lung-filling ambition, ends up staring out the window in senility trying to remember what was supposed to come next while surrounded with the indifferent and self-obsessed energy of her young nieces and nephews. When Alan Wake concludes, after having fought a tornado of darkness with a flashlight, realizing, “It’s not a lake, it’s an ocean,” I empathize. The final image is piercing, a white period on the black screen, followed by two more dots a few seconds later, turning the ending into an ellipsis. It’s a great way to end a movie about a writer’s search for meaning.

On the other hand, it has little to do with a game about shooting lumberjacks, crows, and haunted oil barrels in the woods at night. It isn’t all that connected to the process of collecting little glowing beads of light that, in the menu screen, magically transform into manuscript pages either. The conceit of playing a writer and, through progressing, gradually discovering the consequences of the creative choices made, is a terrific one. The game’s last playable section has a brief taste of one way a game about this experience might have been made. Instead of aiming at lumberjacks, Alan points his flashlight at words, causing objects to materialize to the sound of a clacking of a typewriter. Players can choose to bring a telephone booth or barrel into the world, or they can choose to ignore those details.

Yet, there’s no real choice in what to render. You have to make a bridge appear, and then the cabin on the other side of the bridge, but everything else is superfluous. Still, I can imagine moments built around this system, where there are actually choices built into the words. Not unlike Heavy Rain’s floating UI, a wide variety of scenes could have been built using this mechanism to make interactive the theme of writerly invention.

This might ruin continuity but Alan Wake doesn’t need continuity, only the perpetually unfolding cloud of new mystery. If games as huge and plot-oriented as Fallout 3 and Grand Theft Auto IV can have significant narrative forks in the road, there’s no reason Alan Wake couldn’t have. This is especially true considering how fundamentally illogical the entire plot is in the first place. Whatever continuity exists in Alan Wake, it’s certainly not worth preserving.

Alan Wake’s story is a swamp of homage. The first words in the game are a quote from Stephen King, and things only devolve from there. You might have thought setting a surreal mystery game in a small mountain town in Washington called Bright Falls would be an obvious enough reference to David Lynch, but Remedy has seen fit to add in every bit of elbow nudging and eyebrow arching possible to make sure the point hits home. Episode One ends with Roy Orbisson’s “In Dreams,” the same tune that an ambiguously dandy Dean Stockwell crooned to Dennis Hopper in Blue Velvet.

There’s a colloquial sheriff, an FBI agent from the big city, and a cast of eccentric locals scattered around trailer parks and isolated farms. And there are coffee vessels in every conceivable location, both as collectible thermoses and as background detail. David Lynch really likes coffee. David Foster Wallace described him as a “prodigious coffee drinker” while visiting the set of Lost Highway. He was never without a cup of black goo to wash down his American Spirits. While no one in Alan Wake actually drinks coffee, or experiences its energizing and jittery effects, its image is borrowed and set on display everywhere as if it meant something.

The horror!

Stephen King invocations are no less frequent. The concept itself is homage to The Dark Half. The presentation takes every opportunity to go weaving through the mountains with the same ghostly touch of Kubrick’s The Shining. Episode Four opens in a big stony lodge with an adjoining bush maze. The recurring character of a deep-sea diver cum astronaut who Wake seems to have invented as the light-giving alter ego combating the “darkness” smacks of King’s fondness for filling childhood artifacts with quasi-religious power.

The haunted environmental objects also have the King touch of taking classical fear pieces and increasing their volume and intensity. If one creaky floorboard is scary, why not make the whole house shiver with ghostly possession? The grasping of “the clicker,” a childhood scrap that now somehow has the power to ward off the greatest evil in the universe is another King-like trope, as is the conclusory fight against a tornado of darkness. It’s absurd and shrill in the same way as was his closing of The Stand with the hand of god setting off a nuclear missile; or It in which a few childhood friends held hands and simply wished away a giant demon spider that once was a clown.

Beneath the hollow references, Alan Wake’s story is about existential isolation. Wake has nothing left to achieve, personally or professionally. It’s precisely at this moment everything he’s done begins to disintegrate. He begins to pick needless fights with his wife and muse; he gets writer’s block and needs a purifying retreat into the wilderness to reinvigorate his sense of purpose. Everything Wake wants is behind him. Rather than looking forward to better understand the changes coming towards him, he goes into an isolation chamber to try and resuscitate the magical feelings of his past. Then a witch woman pulls his wife into an echo chamber at the bottom of an evil lake and suddenly getting her back becomes the only thing that matters.

In an evolution of the princess in Donkey Kong, Alice is the imperiled woman as an icon for the irretrievable past. It’s a poetic idea, an echo of the ember-stirring loss the poet David St. John described in The Shore, a collection of poems he wrote in the backwash of a divorce. “…maybe you’d have walked/ Here with me, or come after/ To see what kept me standing in the night –/ You’d see nothing. Only what / Dissolves: dark to dawn, shore to wave,/ Wings to fog, a branch to light.:/ The vague design that doesn’t come/ From me, yet holds me/ To it, just as you might, another time.” That kind of romantic sentiment is absent from Lynch’s work. Lynch’s most transcendent moments are products on an individual ego in romance with itself. When one Lynch character clings to another, it’s usually destructive and animalistic not heartbreakingly sweet.

The appearance of depth.

Alan Wake enforces its sense of tragic nostalgia with the repeating image of Alice falling backwards into the arms of the old woman in black. How do you make a game about that? How do you make a system of rules that evoke that sense of hallucinatory loss and romantic abandonment? It can be done, but that’s not what Remedy has done. Alan Wake is a shooter about resource management, tactical position, and item collection. It can be satisfying, in fits and starts, to fight off swarming lumberjacks with a well-placed flashbang, or to manage to kill five successive enemies on a single battery charge; but what does that say about Alice? What does it say about the ego that seeks to destroy its own foundation once it’s climbed as high as it can go? What does it have to say about old women as the perpetual ciphers for evil, the less youthful and beautiful the more cruel?

Alan Wake is a hamstrung game, an awkward acne-faced pubescent that aims to be about something of which its systems confess inexperience. Fear and ignorance are close companions, which is what makes darkness fear’s perfect embodiment. Alan Wake is a game drowning in its own familiarity. Its episodes unfold in the same patterns, daylight conversations gradually giving way to long scrambles through the combative woods. You’re always fighting the same enemy, from the opening tutorial to the end gauntlet.

The point of entrance is usually a surprise, but the arrival is always expected. When I was fourteen and would torture myself about one day being blind or homeless it had little to do with either. I had just fixated on two arbitrary ideas that seemed safely unknowable from my suburban existence. Alan Wake is right about the lake and the ocean, but Remedy is wrong about the game in which they’ve put that sentiment. It’s not a surrealist horror game, it’s just a shooter.

They’re doing this a couple of different ways. The first, and, in my opinion, the coolest is what’s called TrueAim. TrueAim gives players the truest (see what I did there?) representation of golf in the sense that there are no longer targets that players can move around to perfectly place their incoming shot. Instead, you’ll have to look at the carry distance for the given club, then check how far you are from your target using marks that you’d see on any real world golf course. Not only that, but once you’ve taken the shot, the camera actually stays right behind your character and tracks the ball instead of flying alongside it. That means you’re locked behind your golfer, waiting, sometime struggling to see where your ball lands. If you’re hitting up an incline, that means you’ll likely have to wait for a vocal response from the crowd to figure out how well your shot fared.

TrueAim is pretty neat.

The entire mechanic feels a lot like being on a real golf course. When you hit a drive into the fairway, what’s your next step? Well, first you have to find your ball and discover your lie for the next shot. Tiger Woods PGA Tour 11 lets you do exactly that without having to search for that little white dot in the grass. The addition of determining the quality of the shot by listening to the crowd and announcer’s reaction is also very cool. Once you find your ball in the fairway (or rough), you’ll need to figure out how far you are from the hole. In Tiger, just like in real life, there are markers situated throughout the course so you can gauge which club you’ll need. Remember, the targeting reticule is now totally gone, so while you can tap B (or circle on PS3) to warp out to a spot on the course, that no longer directly corresponds to your aim (note that all of this is assuming you’ve flipped TrueAim to “on” in the menu screen).

Another new aspect to Tiger Woods PGA Tour 11 is a focus meter. Much like TrueAim, focus is designed to keep the virtual golf closer to reality. Focus is represented through a meter that depletes whenever you use one of the many powers that Tiger Woods players have come to know and love. That means whenever you spin your ball in mid-air, power it up before a shot, or lessen the size of your targeted landing zone in the fairway or use putt preview you’re going to lose focus. Deplete all of your focus and these abilities will be stripped.

One thing I didn’t care for with regard to the focus meter is that different golfers don’t have different levels of focus. That means if I play as Tiger Woods, he’s going to have the same number of powered-up shots as Natalie Gulbis. That doesn’t make a whole lot of sense.

Another mechanic making its way to Tiger Woods golf for the first time is the use of experience points. They’ve been seen in one form or another in the past, but they’re no longer being called cash, despite having similar abilities. Players assign these experience points to different attributes, though this year you’re not locked into your decisions. If you assign all your points to power, then enter a tournament and notice that you need more accuracy, you can hop into the attributes screen and dial back your power rating to give a little more love to your ability to hit spots on the course.

Pitching remains unchanged.

Experience points will also govern new elements like the size of the sweet spot on the ball and the diameter of your targeting reticule prior to applying focus abilities. Since XP has totally replaced cash, you’ll also use it to buy items in the pro shop (the only place cash still exists is on the PGA Tour leaderboards for your season). Of course, you can always take the easy way out and buy your pro shop equipment with real world cash or Microsoft Points.

Aside from these new gameplay features, Tiger Woods PGA Tour 11 comes complete with a few new courses as well. You’ll find Whistling Straights, Greenbrier and Liberty National have all been added and Liberty comes complete with the Statue of Liberty herself. New golfers include the likes of Paul Casey, Steven Aims, Bill Weekly, Danny Lee and Suzann Pettersen. I didn’t get a chance to see any of them in action, but I’m sure they’ll make fine additions to the already-announced Rory McIlroy.

Tiger Woods PGA Tour 11 looks to give virtual golf a note of realism that has been missing in past years. Check back here for more info on Tiger Woods as its June 8 release date draws closer on Xbox 360, PlayStation 3 (with PlayStation Move compatibility), Wii and iPhone.

However, over the course of the hours I poured into UFC Undisputed 2010, the seams began to show and the presentation actually began to annoy me a bit. I started hearing my fighter say the same things in interviews, the lady kept e-mailing me every frickin’ week, and Joe Rogan’s commentary was the same again and again.

Is the game fun? Yes. Is it the knockout fans were hoping for? No.

Fran’s going to knock you out — in our video montage.

UFC is of course Ultimate Fighting Championship, the premier mixed martial arts organization in the world. Here, competitors from all sorts of fighting disciplines – wrestling, boxing, jiu jitsu, and so on – come together to test their skills in the Octagon, an eight-sided mat surrounded by chain-link walls. If you want to win in the UFC, you have to be able to knock your opponent out, get him to submit, or win via the judge’s scorecard. Outside of the fingerless gloves, there are no pads.

Sounds rad, right? For millions of fans, it is, and living out the action on their favorite videogame console is a no brainer. There’s no doubt that when things are clicking, UFC Undisputed 2010 is fun. For me, being evenly matched in a fight, covered in blood, and pulling off that one sick punch to lay out an opponent – there are few things better in the game. You get the victory celebration in the ring, the ref raises you hand, and you get to see your victory again and again in instant replay form. It’s awesome.

Still, getting to that fun isn’t going to be super-easy for everyone. For better or worse, UFC Undisputed 2010 keeps the same complicated control scheme from last year. If you’re a seasoned vet, you’ll just need to get the new sways, moves, and ability to press folks up against the cage before you’re right at home in the Octagon. If you’re not pro, you’re in for a long haul. The face buttons punch and kick, there are height modifiers to get down, reversal systems for both the ground and the standup game, and so much more.

He’s going to break it off!

It took me hours to feel comfortable in UFC Undisputed 2010. This isn’t a huge knock as the sport is extremely complicated, but it is an issue worth noting. There is a tutorial in the game, but it’s so cumbersome and unintuitive that I really didn’t learn what I needed to know in any kind of context. The game tells you the left stick moves you, shows a video of a guy moving, and then has you move. However, it never shows you what each ground position is, when to use it, or how to intelligently get out of it. This lack of direction is one of the game’s biggest failings.

Career mode is a good idea. You create a fighter, choose where he’s from, and set out on a 12-year career that’s filled with sponsors, interviews and championships. Unlike last year, your fighter isn’t stuck with a preset archetype, so you can go to fight camps if you like and learn whatever move you feel suits your contender. This is great. When I was creating my fighter – a hardened boxer who was always looking for a knockout – I was thrilled to be able to pop into gyms around the country and learn the most devastating punches.

Each week leading up to a fight, you can perform one action such as going to a fight camp, training, and so on. These actions play into your stats as well as conditioning and fatigue with the idea to have a high conditioning level and a low fatigue level when it’s fight night. However, if you decide to spar, you’ll earn attribute points that you can assign to your various strikes, grappling techniques, and defense. This is really where you assemble your character – where you pour on the points and make your kicks devastating or what have you. Trouble is, there’s no solid tutorial to walk you through this. You’re tossed into a career mode that’s menu heavy and asked to sort it all out on your own.

Bring the pain.

The career mode is fun – I loved hearing Rogan talk about my last match, I enjoyed assembling my fighter once I figured out how the stats worked, and knocking people out never gets old – but its spreadsheet layout and repetition knock some of the coolness out of it. Would I recommend playing it if you dig UFC? Of course. Having a coach, going to weigh-ins, and starting rivalries is great, but even something as cool as being awarded the honor of Knockout of the Year is deflated when you have to dig through menus to find out which of your matches won you the honor and that the game has no recorded video of the feat.

The career’s fun, but you have to do the work to make it that way.

Outside of the career, you have a number of options, but most are just variations of exhibition matches – that’s not bad, but it’s not necessarily exciting. You can have 16-player tournaments, go through a gauntlet of fighters in a Title Mode, and jump into classic fights packing specific objectives in Ultimate Fights Mode. Tournaments are fine, Title Mode is just a bunch of matches, and I preferred to just go at it in Ultimate Fights and not really worry about the in-game objectives like using a specific move in a specific place. Each of these modes has its place, but none is all that different from the last.

Online is mostly the same as last year – a bit laggy at times, go out and fight for an awesome leaderboard spot, earn medals, etc. – but UFC Undisputed 2010 does include Fight Camps. These are basically clans for you and your buddies to get into so that you’re fighting under a unified camp flag online. The mode sounds cool, but it’s a bit shallow. You name the club and pick a logo, but then you’re kind of done. You could modify the message of the day or chat with your members, but there’s not really a draw to pop into the mode. You can train with your club members, but this is either another hazy challenge where the game just lists moves at the bottom of the screen and isn’t that fun or a chance to try moves without worrying about getting knocked out.

You tell’em, Bruce.

Perhaps the biggest change to UFC’s online mode is that this year you’ll need to have a code to access the features. Each new copy of the game comes with a code to unlock the online features, but if you were to borrow the game or rent it and the code had been redeemed, you’d need to purchase the privilege to play online from either the PlayStation Store or Xbox Live Marketplace.

The single-player Career mode in Blur features some brutal A.I. While I was desperately trying to master my drifting skills and just maneuver the game’s treacherous tracks, the A.I. was busy launching attack after attack on me at the most inopportune moments. You see, in the world of Blur, despite all its real-world trappings, cars can’t just race and see who drives the fastest — they have to launch weapons at one another as well.

This isn’t that big of a problem in the smaller races of up to 10 cars, but in the larger races with 20 opponents, chaos will ensue, making racing frustratingly difficult on the Normal skill level. It’s one thing to be a great driver who can pull off awesome turns amidst a swarm of opponents, but it’s quite another thing to do so while explosions are going off every few seconds as well. Sometimes the A.I.’s ability to take me from first to 20th place with a barrage of shots just felt downright cheap.

Not that all the Career events were lessons in frustration. I actually enjoyed the Destruction levels, where you have to shoot enemies to gain time and points, and the Checkpoint stages where you’re racing against the clock. But I think it’s telling that the best levels in the game’s Career mode were the ones where you generally were tasked with a single goal like attacking or racing, rather than having to combine the two together as the standard race mode makes you do.

I eventually swallowed my pride and switched it to Easy in the latter portions of the Career mode, but found these races to be too little a challenge. Granted, it made gathering “lights” — the in-game collectibles you get for placing in a race or for completing specific objectives in an event — much easier, but the thrill of beating worthwhile opponents was largely lost. Still, If you are going to slog through the single-player to unlock some items, Easy is a good way to go, especially if you want to focus on gathering “fans” by doing tricks and hurting opponents with weapons.

Fans actually play a huge role in Blur, and while they’re really just an arbitrary number rather than people you can see, they do give you a nice set of goals to constantly strive for. Fans are gained by driving well, doing specific objectives in a level, or by attacking opponents. You can gain lights for getting a certain level of fans in a given stage, but the primary purpose of fans is to unlock new tiers of cars for your use.

While fans didn’t make the racing fun in the face of being blasted repeatedly by my opponents, the constant sense of reward I got from seeing little numbers pop up as I hurt the other drivers, or worked towards some overall goal for my rival, started to scratch that same itch that competitive FPS games like Modern Warfare do. Perhaps with a more balanced A.I., or more options to tune them for a greater variety of skills as, say, other contemporary racing games are doing, Blur could have been an addiction for me.

Not that facing off against humans is much better. Sure, there’s something to be said for how much fun it can be smashing your friends with a well placed weapon, but the 20 player online matches quickly devolve into a chaotic mess where getting first is a secondary concern to just trying to survive in the flurry of firearms. Thankfully this is largely not a problem in the game’s fun team-based races and battle modes or in the smaller, 10-player races, which are the best way to play Blur online.

If you care about unlocking a bunch of items and doing an experience grind, then Blur’s online has you covered, with a host of items and mods — stat boosting items to help you in combat — to unlock. To me, a game like Blur is at is best when I’m playing with a few friends, which is why the inclusion of four-player split-screen is fantastic.

PlayStation fans need not panic, however. This doesn’t mean that franchises like Ratchet and Clank and Resistance will suddenly appear on the 360. Insomniac Founder and CEO Ted Price told IGN, “We definitely take a measured approach to what we do at Insomniac. We’ve never made overnight decisions about things and we’ve been thinking about going multiplatform for a while and planning it, and we’re now at the point where we can do that, as well as continue our relationship with Sony that we’ve maintained for the last 14 years.” Price continues by noting that Insomniac is “just as dedicated to Ratchet and Clank and Resistance as [it] ever [has] been.”

When asked how long this agreement has been in the making, Vice President of Marketing at EA Partners Craig Rechenmacher said, “We’ve been talking for a while. It’s a very small development community so everybody is talking all the time. This [agreement] grew organically out of conversations with Insomniac. We’re always looking for the best developers in the industry and when Insomniac expressed an interest, we were obviously very interested.”

Unfortunately, no information could be given on the new game itself, though we know that nothing will be shown at E3 this year. Price simply notes that Insomniac will reveal the game when “[the studio is] ready to show something awesome.”

What does Sony think of all this?

“Sony Computer Entertainment and Insomniac Games will continue to build upon a strong, successful, 14-year partnership that has led to more than 35 million games sold and enjoyed by fans around the world,” an SCEA representative said. “We look forward to unveiling Insomniac’s next PS3 exclusive properties in the near future.”

The Toronto team is mentioned to be almost entirely made up of the core team that Jade worked with in Montreal. The new facilities have a significant investment behind them with half a billion dollars coming from Ubisoft and $236 million CAD coming from the government of Ontario across a period of 10 years. It’s no surprise that Jade states of their projects “…we’re starting out of the gate with triple-A only.”

Raymond also states that the staff in Toronto will hopefully grow to 800 heads over the next decade and that applications have been flooding the studio.

Hmm, what could “Warriors of Rock” mean? Perhaps this sixth entry in the series will include some sort of adventure or quest mode, which is a direction we know music game newcomer Power Gig: Rise of the Six String is headed in. Unfortunately, the Amazon page does not include any details. We’re sure to find out more at E3 next month.

That announcement has come, and it is indeed a major shakeup.

This morning Engadget reports that J Allard, former head and spokesperson for the Xbox division, and Robbie Bach, the President of Microsoft’s Entertainment & Devices Division, are both officially leaving the company. The move is said to dissolve the division and give CEO Steve Ballmer “more direct oversight” over the products.

Engadget has obtained a copy of the letter sent to MS employees, which notes that Robbie Bach has chosen to retire, Don Mattrick (head of the interactive entertainment business) will report directly to Ballmer, and J Allard has decided to leave Microsoft.

IGN has contacted Microsoft and is awaiting comment.

And not a few people who jump into the gold buying and selling businesses. And here we give you a little picture of the gold price outlook to your business involved buying and selling gold is not experiencing losses and minimize our own losses exact numbers.

For details of information you can visit our website and there you can find some information about the price of gold, gold prices, gold spot and many more. Hopefully this article can give you information that is very profitable.

Unlock all songs in Quick Play mode:
Go to the option menu, then go to “Cheats” menu then press – Yellow + Orange, Red + Blue, Red + Orange, Green + Blue, Red + Yellow, Yellow + Orange, Red + Yellow, Red + Blue, [Green + Yellow]x2, [Yellow + Blue]x2, [Yellow + Orange]x2, Yellow + Blue, Yellow, Red, Red + Yellow, Red, Yellow, Orange.

Unlock Precision mode:
Go to the option menu, then go to “Cheats” menu then press [Green + Red]x3, [Red + Yellow]x2, [Red + Blue]x2, Yellow + Blue, Yellow + Orange, Yellow + Orange, [Green + Red]x3, [Red + Yellow]x2, [Red + Blue]x2, Yellow + Blue, [Yellow + Orange]x2.

Unlock Performance mode:
Go to the option menu, then go to “Cheats” menu then press Red + Yellow, Red + Blue, Red + Orange, Red + Blue, Red + Yellow, Green + Blue, Red + Yellow, Red + Blue.

No fail cheat:
Go to option menu and go to cheats and enter Red+Orange, Blue+Yellow, Orange+Green, (Yellow + Red)x3, Yellow, Red, Blue, Orange, Green, Green + Red, Blue, Green, Orange, (Red + Blue)x2.
Submitted by:Game master

Enable Hyperspeed mode:
Go to the option menu, then go to “Cheats” menu then press Orange, Blue, Orange, Yellow, Orange, Blue, Orange, Yellow. This code makes the charts go by faster.

Unlock all codes:
Go to the option menu, then go to “Cheats” menu then press Yellow + Orange, Red + Blue, Red + Orange, Green + Blue, Red + Yellow, Yellow + Orange, Red + Yellow, Red + Blue, [Green + Yellow]x2, [Yellow + Blue]x2, [Yellow + Orange]x2, Yellow + Blue, Yellow, Red, Red + Yellow, Red, Yellow, Orange.

Guitar Hero 3 song list:
Tracks in Single player career – main setlist:
1. Starting Out Small
Slow Ride – Foghat
Talk Dirty to Me – Poison
Hit Me with Your Best Shot – Pat Benatar
Story of My Life – Social Distortion
Rock and Roll All Nite – Kiss (Encore)

2. Your First Real Gig
Mississippi Queen – Mountain
School’s Out – Alice Cooper
Sunshine of Your Love – Cream
Barracuda – Heart
Guitar Battle vs. Tom Morello (Original composition)
Bulls on Parade – Rage Against the Machine (Encore)

3. Making the Video
When You Were Young – The Killers
Miss Murder – AFI
The Seeker – The Who
Lay Down – Priestess
Paint It, Black – The Rolling Stones (Encore)

4. European Invasion
Paranoid – Black Sabbath
Anarchy in the U.K. – Sex Pistols
Kool Thing – Sonic Youth
My Name Is Jonas – Weezer
Even Flow – Pearl Jam (Encore)

5. Bighouse Blues
Holiday In Cambodia – Dead Kennedys
Rock You Like a Hurricane – Scorpions
Same Old Song and Dance – Aerosmith
La Grange – ZZ Top
Guitar Battle vs. Slash – (Original composition)
Welcome to the Jungle – Guns N’ Roses (Encore)

6. The Hottest Band on Earth
Black Magic Woman – Santana
Cherub Rock – The Smashing Pumpkins
Black Sunshine – White Zombie
The Metal – Tenacious D
Pride and Joy – Stevie Ray Vaughan (Encore)

7. Live in Japan
Before I Forget – Slipknot
Stricken – Disturbed

Bonus tracks:
Through the Fire and Flames – Dragonforce
The Way It Ends – Prototype
Take This Life – In Flames
She Bangs the Drums – The Stone Roses
Ruby – Kaiser Chiefs
Radio Song – Superbus
Prayer of the Refugee – Rise Against
Nothing for Me Here – Dope
My Curse – Killswitch Engage
Minus Celsius – Backyard Babies
Metal Heavy Lady – Lions
Mauvais Garçon – Naast
In the Belly of a Shark – Gallows
In Love – Scouts of St. Sebastian
Impulse – An Endless Sporadic
I’m in the Band – The Hellacopters
Hier Kommt Alex – Die Toten Hosen
Go That Far – Bret Michaels Band
Generation Rock – Revolverheld
F.C.P.R.E.M.I.X. – The Fall of Troy
Down ‘N Dirty – LA Slum Lords
Don’t Hold Back – The Sleeping
Closer – Lacuna Coil
Can’t Be Saved – Senses Fail
Avalancha – Héroes del Silencio

Tracks in Cooperative career – Main setlist:
All tracks and bonus tracks in the original single player Career are
playable as bonus tracks in the Cooperative Career.

1. Getting a Band Together
Barracuda – Heart
When You Were Young – The Killers
Bulls on Parade – Rage Against the Machine
Slow Ride – Foghat
Sabotage – Beastie Boys (Encore)

2. We Just Wanna Be Famous
School’s Out – Alice Cooper
Kool Thing – Sonic Youth
Miss Murder – AFI
The Seeker – The Who
Reptilia – The Strokes (Encore)

3. Overnight Success
Paranoid – Black Sabbath
Welcome to the Jungle – Guns N’ Roses
Anarchy in the U.K. – Sex Pistols
Lay Down – Priestess
Suck My Kiss – Red Hot Chili Peppers (Encore)

4. Getting the Band Back Together
Holiday in Cambodia – Dead Kennedys
Black Magic Woman – Santana
Same Old Song and Dance – Aerosmith
Cherub Rock – The Smashing Pumpkins
Cities on Flame With Rock and Roll – Blue Öyster Cult (Encore)

5. Jailhouse Rock
My Name Is Jonas – Weezer
Black Sunshine – White Zombie
3′s & 7′s – Queens of the Stone Age
The Metal – Tenacious D
Helicopter – Bloc Party (Encore)

6. Battle For Your Souls…
Knights of Cydonia – Muse
One – Metallica
The Number of the Beast – Iron Maiden
Cult of Personality – Living Colour
Monsters – Matchbook Romance (Encore)
3′s & 7′s – Queens of the Stone Age
Knights of Cydonia – Muse
Cult of Personality – Living Colour (Encore)

8. Battle For Your Soul
Raining Blood – Slayer
Cliffs of Dover – Eric Johnson
The Number of the Beast – Iron Maiden
One – Metallica
Guitar Battle vs. Lou (The Devil Went Down to Georgia – Steve Ouimette)