Soooo, some pretty big news this week. In the event you hadn’t heard, PlayStation 4 is to be revealed on February 20th, JJ is directing Episode VII and Ross owns a human skull…..who the hell owns a human skull?

Anyway, we got the skull taken with the podcast but quickly realised that human skulls have shit chat. Luckily, Ross, I (Liam) and the returning Ross jr. once more deliver the products as we check the weeks big news and share our hopes and fears on all things movie and videogame.

Anyway, hope you enjoy and as always, please check us out on iTunes, Facebook and Twitter (@Brashcast).

Podcast: Play in new window | Download

1. Brashcast: Episode 19 – The Pilot
2. Brashcast: Episode 18 – 80′s Toys are the perfect!
3. Brashcast: Episode 14 – A Wii Little bit of Love
4. Brashcast: Episode 11 – The Sex Episode
5. Brashcast: Episode 10 – The Halloween Special
6. Brashcast: Episode 9 – The Star Wars Special
7. Brashcast: Episode 7 – The PS3 is Sh*t!
8. Brashcast: Episode 4 – Movements and Movies
9. Brashcast: Episode 2 – The best Gen Ever?
10. Brashcast: Episode 1 – a lifetime of Gaming

If the Gears timeline breaks down roughly as Boo! Waah! Bang! Small walls! Bzzz! Splurty! Dom’s dead! Mad World… cry – then Gears Of War: Judgment occurs just after the ‘Boo!’ and slightly before the ‘Waah!’

Halvo Bay is the setting. A smallish harbour town referenced frequently in Gears Of War 3 and residential of the COG’s Onyx Guard.

It’s currently being burnt flat by a Locust army led by new bad guy Karn, an uncharacteristically characterless (for the series) Locust boss, notable primarily for his chosen mode of transportation: an immense Corpser replete with gun-encrusted battle-knees. Gears Of War: Judgment is actually one long flashback.

Current events happen at an army tribunal at which Damon Baird and new compatriots Sophia Hendrick and Garron Parduk (in conjunction with returning favourite Augustus Cole), are accused of deliberately disobeying orders, which, because it seems, they’d to on the way to get the job done.

As a storytelling device it really works well in fundamental respects. In affording Paduk and Hendrick their very own testimonies – their very own slices of the sport as player-character – we receive a crash course of their personalities.

Further, Gears Of War: Judgment’s take care of a more personal storyline lets us focus on winning one battle at a time without needing to stress about saving the realm, which has allowed writers Rob Auten and Tom Bissell to circumvent the kind of overwrought melodrama we saw in Gears Of War 3.

From a gameplay perspective, things have changed enough to be different, but not enough to negatively affect its Gearsness. The ebb and flow of enemies, placement of canopy and the widely accepted stop-and-pop gameplay is modified almost beyond recognition; enemies are randomly generated, flanking is more frequent, and the velocity at which the sport as an entire runs is roughly 1 / 4 faster than any previous title inside the series.

Because of this you’ll spend less time cowering behind another mysteriously erected small wall and more time evading, chainsawing and defending yourself, frequently in panicked, twitch-reflex fashion.

Everything about Gears Of War: Judgment encourages you to play in a more brazen style. Each section, or ‘Testimony’, is divided into pieces, each comprising one or two major battles. a 3-star system awards points for beating your adversaries in stylish ways.

So while sitting in cover and pumping a full Lancer mag into some distant Grub will win you so few points it’s hardly worth it, against this, roadie-running full-pelt at them with intention to upset them point-blank will bump your score swiftly skyward.

And there are benefits to that. The quantity of stars you accumulate around the campaign unlocks in-game content – primarily skins and other ins and outs linked to multiplayer. a brief side note to that: Gears Of War: Judgment has a number of the wildest character and weapon skins we’ve ever seen; everything from harlequin to zebra stripes. A number of them are even animated – waves of sunshine and colour that ripple across your character’s body.

To extend the 3-star score multiplier, and therefore the danger of attaining the compliment on any given section, Epic and those Can Fly have provided another new gameplay feature: Declassified Testimonies.

Appearing as Gears’ traditional red cog with a red skull within the middle (or ‘Omen’, as it’s known a few of the Gears-fan elite), they represent optional challenges that layer difficulty and/or change fundamentally how the section has to be played.

Since the major story is told throughout the testimonies of its central characters, the declassified variety takes the shape of details you are able to decide to relate or not.

With the odd exception (finding and destroying clutches of Serapede eggs, for instance), these fall into three categories: weapon limitations (within which you can only use a particular loadout); environmental hazards (a mud cloud perhaps, or hurricane-force winds to make both movement and shooting near impossible) and debuffs (health that may not recover, damaging poison gas, tunnel vision).

The whole system is somewhat a double-edged cleaver. At the bright side, it funnels the Gears experience in a particular way – and that is not the style you’ve become familiar with. Because of the, gameplay feels fresh, exciting and regularly invites you to dive into the fray naked bar a shotgun and a prayer.

The downside? Well, in an effort to rate your performance, Gears Of War: Judgment has to bring things to a halt frequently enough to play havoc along with your ability to maintain your head contained in the fantasy.

One minute you’re battling to avoid a Mauler caving the skull of a comrade, the following you are looking on the scoreboard, cursing yourself for falling a number of points shy of a 3-star award.

So if Gears Of War: Judgment itself were on trial, we’d ask it this: Gears Of War: Judgment – are you trying to be absorbing, immersive and driven by your story, or are you obsessed by the abstract videogame concept of score? The dumb look on its face tells us it doesn’t know. It tries to stroll that fence with due care. Tries.

But fails to locate its balance often enough to distract. Gears Of War: Judgment is an archipelago of small, self-contained challenges, then, as opposed to something which feels homogeneous and full. It is a string of little islands on which to check skill and wit.

The problem with islands is if you are not looking hard enough they’re within the habit of appearing the identical: trees at their middle, sand encircling. The degrees are different enough, sure. It is not samey. But unlike the series of which it both is and is not an element, memorable set pieces fail to materialise.

Fighting your way out from the innards of a big worm. Orbital laser-f***ing a Berserker inside the eye. That point you twangsploded an Elite Theron Guard together with his colleague’s Torque Bow. Carmine’s multiple deaths. Razorhail.

When RAAM killed Kim. When Dom died. Maria! Despite Gears Of War: Judgment’s inarguable solidity as a shooter, creatively it feels barren alongside its predecessors.

We do not need to guess what exactly went wrong on this respect; to take action will be to feature two and two to make nine. However the proximity of Cliff Bleszinski and Rod Ferguson’s departures from Epic are going to push the thoughts of any sane mind in a selected direction.

Creatively rich experiences are likely to have richly creative figureheads, and while People Can Fly has performed admirably in most respects, Gears Of War: Judgment suffers a unique loss of creative vision.

Even the inevitable final battle with the aforementioned war-lobster feels dreary. Becuase unlike the Locust Queen, RAAM, and even Skorge, he just hasn’t done enough bad guy stuff to earn your contempt. Lancer-tickling him to death, then, feels neither satisfying nor necessary.

Gears Of War: Judgment is just not an extended game. You can be done with it in about seven hours, and while that figure compares averagely to others of its genre, it will feel brief – partly because it’s shorter than previous games within the series, but mainly end result of the techniques it uses to prolong its life. Techniques familiar to these with a good eye for game stretching.

For instance, every hour or so you’ll encounter a bit where you will have to stop it slow to defend a chain of enemy waves.

Like Horde mode, these are split by 30-second periods within which you could suck up fresh ammo and establish defences reminiscent of turrets, sticky grenades, or explosive traps launched from the BioShock-alike Tripwire Crossbow.

Further, you’ll often end up backtracking to fight at venues that only 20 minutes earlier hosted an all-but-identical fracas.

There’s a splash here of what we adore to name ‘the Lego effect’. The sense that another game (or games) have been split to its smallest pieces and rebuilt in a distinct shape. It’s a wierd thing to claim after we should not have accused either of the opposite Gears sequels of the difficulty, but it’s there nonetheless.

Saving the day to a point is Aftermath – a one to 2 hour long addition to the principle campaign unlocked by reaching 40 stars.

Taking place right in the course of Gears Of War 3, it shows us what happened through the mission wherein Baird was sent to Halvo Bay.

It eschews the hot star rating system in favour of a mission more in step with the ancient Gears Of War experience.

Less onslaught, more method, and so feels more like an add-directly to Gears 3 than it does an add-directly to Judgment.

There are a bunch of recent weapons available in Gears Of War: Judgment. But, contrary to our initial impressions once we were introduced to them in multiplayer a couple of months back, they feel not up to vital in the context of the only-player campaign.

Often, Declassified Testimonies will ask you approach a specific situation using just a particular weapon or loadout – forcing you to pick out up and take a look at weapons you can otherwise haven’t. Kudos for that.

But with the more traditional weapons within the series available alongside them, choosing a Markza over a Longshot, or a Booshka over a Boomshot, can feel not just superfluous, but mostly the inferior choice.

What we’re saying here’s that the hot weapons have negligible impact at the single-player campaign. In multiplayer, however, because of their difference in range, power, rates of fireplace, magazine sizes and more, they’re, tactically speaking, like night and day.

So when you are forced to exploit them in certain Declassified Testimonies, it could feel just like a multiplayer tutorial. “Here’s a brand new gun,” it kind of feels to assert. “Why not give it a try?”

There’s a bit, for instance, where the Declassified Testimony condition dictates your health won’t regenerate. The one approach to get through it’s to find and utilize Stim Grenades. Hence, we’ve been taught tips on how to use Stim Grenades – ready for multiplayer.

This isn’t necessarily an issue in and of itself, but it surely highlights something apparent throughout our time with the sport; that Gears Of War: Judgment’s primary focus is multiplayer, that the campaign, although far, away from an afterthought, is built to serve under it in relation to new weapons and new gameplay methodologies.

After all, it will be music to the ears of the numerous millions folks who buy Gears primarily to chainsaw their fellow humans, but perhaps less with the intention to those that don’t deal with multiplayer.

It was always going to be difficult for Gears Of War: Judgment to hit the floor roadie-running. Miraculous, in truth.

But what we’ve this is well-made, engaging and highly playable shooter, albeit one which lacks memorable highlights which have become hallmarks of the series.

Gears Of War: Judgment is sort of a crown with out a jewels; it’s still solid gold, sure, but that something is missing is the entire more obvious for the dimensions and style of the gems that have been once there.

Score: 8/10

Metal Gear Rising is coming to the united kingdom on February 22nd and in an try to drum up a wee little bit of additional interest, Konami have confirmed that each one European copies of the sport will come boxed with a download code for an extremely cool Gray Fox skin……just study the picture…..look how cool it’s.

Why this looks to be a eu only bonus is beyond me, but being from the united kingdom, I’m inclined to not give a monkey’s. Sure, he’ll probably still sound the image of Raiden, but c’mon, it still looks awesome and hey, you’ll also get to apply the signature Fox Blade. Good times indeed.

With Konami handling the tale and Platinum Games on development duties, all signs are pointing towards a totally special addition to the Metal Gear series and an opportunity for Konami to prove that Raiden isn’t this sort of whiny little bitch in spite of everything.

1. Metal Gear Rising: Revengence demo available on Xbox Live & PlayStation Network next month

137 Alerts, reads the sport completion screen. That’s 137 times (if no more) that we heard that telltale digital chirp to tell us that somebody had seen us. Every other Metal Gear game and we would be embarrassed to report so pitiful a stealth record, though it probably says more about Platinum’s change of direction for this spin-off than it does about our sneaking abilities. You spot, this is not a sneaking mission. Sure, you may silently take down guards. Sure, you’ll be able to take out cameras and slink past entire fight sequences if you need. And certain, you are able to hide in a cardboard box in the event you must. But if Raiden is able to such awesome feats of butchery, you will not wish to go undetected – you will need everyone to determine just how badass you will be.

Which, because it seems, is the whole badass. Raiden’s showboating antics in Metal Gear Solid 4’s month-long cut-scenes offered a window onto how awesome he was, but after more than one years training with Platinum, all his flashiest moves at the moment are only a button press or two away. The question we were asked most while playing through Revengeance was the way it stacked up again Ninja Theory’s excellent Devil May Cry reboot, but in reality there’s little comparison to be made. Dante’s relatively basic moveset means the depth to DmC’s combat lies in cancelling and chaining individual attacks into one monster combo, whereas Raiden… well, Raiden just goes nuts with a sword as you tap away at the controller. Canned combos are the order of the day, though that won’t to mention that the depth isn’t there, rather that it could be present in other aspects of the combat system.

The first of those is defence and with none style of block button or dodge roll in Raiden’s arsenal (a minimum of firstly), the parry is definitely an important ability inside the game for anything above Easy difficulty. Correctly time and direct a gentle attack to fulfill an incoming blow and it will contextually change from a strike right into a defensive stance – it sort of feels like poor design initially however the more you get into the sport, the more you’ll come to realize the sense of flow, risk, weight and (most strangely of all) realism it lends to combat. Every attack is telegraphed, though it is usually easy to strike your pose too early as a foe finishes up for an impressive strike, so learning audio and visible cues is important. Get it vaguely right and you may turn the incoming attack aside, while a superbly executed parry might be followed by an automated riposte, often opening enemies as much as either QTE executions or the game’s second depth charge, Blade Mode.

This gimmick lies on the very heart of what makes Revengeance’s combat so very satisfying. It may be used by itself any time Raiden’s Fuel Cell gauge is full, although it’s much more empowering (and useful) when it comes into play as a reward mechanic, a blood-soaked full stop on the end of a skilful passage. Certain attacks end with brief slow-motion windows, the blue tint and slowed action your cue to achieve for the left trigger and actually lay at the hurt. The precise analogue stick becomes your virtual sword while in Blade Mode and although this provides the supremely satisfying ability to dice foes to reserve or make clinical incisions, it is not quite as accurate because it can be. It’s greater than more than enough to take away individual limbs or strike weak spots for the foremost part, though, and if you find yourself cubing an enemy that had the audacity to check out to hit you, it’s unlikely that you will even care in regards to the one which got away.

That final act of chunking is a superb solution to say goodbye to regular foes, but more menacing opponents would require just a little more work. They sometimes have to be weakened before Blade Mode will do anything greater than minor damage, but once they’re ready for a slicing, weakened areas will glow blue. It really is your cue to get your sever on, and herein lies the game’s tactical element – do you opt for instant glory with an all-or-nothing parry attempt, whittle a crowd down slowly or single out individual foes and use Blade Mode to take away them as threats by hacking off legs and arms? It is a decision best made at the fly, though missing a chance to lop off a blue bit is little short of criminal. At the verge of death, vital organs are highlighted in Blade Mode too and as luck would have it, Raiden thinks those are delicious. Make the incision, wrench out the glowing blue innards and consume them to totally regenerate both health and FC gauges – it is a mechanic that makes keeping small-fry or near-to-death enemies around as sources of healing pretty important, though even at the higher difficulty levels, this full recharge still appears like slightly an excessive amount of of a reward.

Not that this’ll really count when you reach Revengeance mode, though. Here, rather a lot as a filthy look does a life-time bar of injury and while collectable auto-healing items and unlockable health upgrades can prevent from being murdered with a look, the sensible skills and perks you amass in attending to the tip end of the problem food chain are what is going to keep you alive. Remainder comes all the way down to player skill, which Platinum has previously put to the test with Bayonetta – where even the slo-mo mechanic was binned on the highest difficulty, so count yourselves lucky – and at this level, the insanely aggressive AI turns difficult fights into seemingly impossible ones. As mechanically complex as DmC can be, Revengeance is the tougher game, no doubt: on the highest level, one missed parry is the variation between life and death, making a sense of fear and pressure like nothing Capcom’s game can offer, at the least beyond its end-game gimmick modes. It’s brutally tough, but you will not hate it for it.

But quite a bit talk of mechanics and control when there’s narrative to talk about and… wait, what even happened within the story? Well, there are PMCs which might be bad and/or good and child labour that is bad and/or bad and armed forces coups which can be generally pretty bad but beyond that, it is all a piece silly. Revengeance lives as much as its Metal Gear name with cut-scenes that might struggle to make sense even to the individual that scripted them. There is a rival company that quite likes war (thanks to money). There are supporting characters, who rarely escape the stereotypes they’re cast into. There is a woman with as many arms as she wants, most of to be able to be hacked off in the future. After which there’s Raiden, the ‘good guy’ who, by the tip of factors, has gone quite mad. Despite which way you slice it, here is removed from conventional.

But Revengeance doesn’t wish to be conventional. It desires to be awesome and it succeeds on this most noble of endeavours. Though mechanically simple, it still has the flexibility to affect people who need to be impressed and challenge people who need to be challenged – a double whammy that few games can offer, at the least to this degree. And all of the while, crazy shit is going on throughout you. It’s brilliant, frankly.

From cheeky dialogue and legacy characters to returning elements and subtle jokes, Platinum flexes its Metal Gear muscle at each opportunity. However the greatest callout to the stealth franchise is available in the shape of sneaking gameplay, with many fights entirely avoidable if you’ve the patience to slide by enemy patrols and the restraint not to just hack everything to bits on sight. The inability of any sort of vision cones or the like makes this a tough method to play – plus you may be intentionally missing out on the very best action of this generation – but it’s an option all of the same. As are the secondary weapons, the choice of bazookas, grenades, distraction tools and things to cover in rarely used despite only being a button press away. You just don’t want them whilst you can just slash everything into teeny tiny bits instead.

Moment on moment action is exceptional, boss battles one of the most most hectic and awesome we have seen in years and the presentation – from the bonkers cut-scenes to the brilliantly eclectic evolving soundtrack – is top-notch. If it weren’t for the limp ending and a few minor niggles (most of which involve shouting on the camera), we’d haven’t any problem slapping a 10 on Revengeance. The suitable parts of Platinum’s game design ethos meet the highest parts of Metal Gear as a brand and if that isn’t enough to get you excited… well, maybe gaming simply is not the right hobby for you.

Score: 9/10

So, i used to be really enjoying Sonic Generations; the Sega blue skies, the raft of nostalgia, the relative return to style of my favourite gaming mascot…..then the last boss happened. Well, actually, the last two bosses happened to be precise. i would not say that the horrifyingly poor design and subsequent frustration of those encounters ruined my experience with the sport, but they certainly left a nasty taste within the mouth and invariably tarnished my otherwise pleasant memories of the former 6-8 hours of gameplay.

The fact is, love them or hate them, boss battle are becoming an intrinsic aspect of videogame design and despite their overall prevalence waning slightly lately, are still a core tenant of the gameplay experience for most of the world’s leading developers (are you able to imagine a Zelda game without boss battles?). The object is, by naturally bookending a gaming narrative, they often represent your final experience with said game, and in a more immediate respect, close out any particular stage you can be playing through.

Their power is therefore great – they may be able to make or break a stage, heck, they may arguably make or break a whole game (they frequently prove the foremost memorable aspect of many peoples gaming experiences). Should they remain any such fundamental facet of game design? Well, despite my recent disappointments by the hands of Sega, I’m inclined to claim, yes. They offer a special challenge, are usually the visual centerpiece of a stage/game and do a very good job of providing variety to games which could potentially grow otherwise stale.

Simply put; don’t remove boss battles, just lead them to better. Shouldn’t have them for the sake of it, and maybe most significantly, don’t build the mechanics round the spectacle, but instead, build the experience from strong, well implemented gameplay (nobody wants another Jedi vs Star Destroyer fiasco). Basically, attempt to do it like this……….

Brash Games’ top 8 boss battles – (not in any particular order)

1)The Boss (Metal Gear Solid 3)

It’s amazing how often the tip of a videogame disappoints. All those hours installed only to be faced with an absolute wet fart of an ending (far too many to connection with count), but not Metal Gear Solid 3 though, oh no, sir! After hours of amazing gameplay and arguably the foremost compelling tale of the Metal Gear series thus far, everything finally involves a head against ‘The Boss’ in a single of one of the most beautifully set and downright theatrical battles of all time. It’s OTT, it’s melodramatic and yes, needless to say it’s self-indulgent, but hey, Hideo Kojima was pulling off this type of outrageous storytelling for years, and this is often where all of it comes together in its most perfected form. Oh, special mention to ‘The End’ too. Not everyone’s cup of team I’m sure, but come on, an hour long sniper battle that does not even happen if a) you’ve got the foresight to cap him earlier within the game or b) save the sport and patiently watch for him to die of old age. Now that’s ballsy.

2) Ganondorf (Twilight Princess)

It will possibly not be probably the most beloved entry inside the Zelda series, but there isn’t any doubting the standard of the multi-tiered finale against the dastardly, Ganondorf. Personally, I loved on the subject of every aspect of Twilight Princess (it is a very fantastic game), in order you are able to imagine, that brilliant final encounter did carry additional weight, but notwithstanding you found the former 20-30 hours a bit a slog, no less than it went out with an almighty bang. It’ll not be narratively dramatic but from a purely technical standpoint just could be the strongest entry in this list and beyond that, there’s the sheer scale and challenge to take into account – four forms, a chase across Hyrule field and a genuinely epic sword fight round off what’s surely the best boss battle in Zelda’s illustrious history.

3) Bowser (Super Mario 64)

In retrospect on the industry’s first tentative steps into the arena of 3D, it’s amazing (and disappointing) just what number of the games you remember so fondly out of your childhood are absolute turds by today’s standards. Whereas 16 bit era games (Super NES titles specifically) almost look nearly as good today because the day they were originally developed, PSOne / N64 era games often show the signs of an industry coming to terms with a  changing technology. Mario 64 really could be a kind of games, but hey, we’re talking about Nintendo here. Not just did they nail nearly every aspect of 3D game design at the first attempt, but in lots of respects, they perfected it. That’s never more apparent than in Mario’s battles against a now hulking Bowser. The mechanics are born out of the core experience and the challenge is built around that every one new 3D space – it is a boss battle that manages to encapsulate the entire features and potential of 3D game design via essentially the mostsome of the most basic of concepts, namely, by throwing a dragon by its tail.

4)Psycho Mantis (Metal Gear Solid)

Everyone remembers Psycho Mantis, right!? For sure you do. Not just home to a few very cool art design (isn’t that the case for all Metal Gear bosses?), but more importantly, home to at least one of the neatest, most subversive ideas in videogame history. Not just could this guy seemingly read your mind (well, your history of games played at the PSOne anyway), but he also seemed impervious in your attacks. In fact, as everyone knows, in spite of everything, it was simply a question of plugging the controller into the second one slot and breaking his apparent mind control over you, but heck, what a terrific idea. It’ll be noted too that, while this will were a very good idea today, this all happened at a time when the vast majority of folk did not have internet access. You could not just look this up; you needed to figure it out for yourself….or wait until the sport felt sorry for you and informed you via codec. Brilliant.

5) Del Lago (Resident Evil 4)

Resident Evil 4 is probably the greatest games of all time. From its then groundbreaking over the shoulder viewpoint to its perfect pacing, and naturally; its array of outstanding boss battles, Resident Evil 4 is arguably the ideal action/horror game. Now, anyone claiming this is not horror, for one; let’s not be silly. And, two; just look at the boss battles; demon midgets (is midget the proper term?….oh, it isn’t important – he was a demon), chainsaw wielding beasts and naturally, Capcom’s personal tackle Nessie. a really angry Nessie at that. In a game packed with fantastic boss battles, Leon’s boat based skirmish against the nefarious Del Lago effortlessly rises to the highest.

6) Glados (Portal)

Ok, so, i will be honest, a part of this decision came all the way down to what happened after the battle – yeah; that song! a very spectacular game which somehow, these days no less, came out of absolutely nowhere, happened to be outrageously well made and managed an extra shock when it arguably delivered the best credits sequence of all time (take a look at “Still Here”, well, here funnily enough). Fantastic song aside though, Glados proves a shockingly layered nemesis and a heck of so much more interesting than the more generic hulking behemoths that we have got become accustomed too over time.

7) Valus (Shadow of the Colossus)

In a game made totally of boss battles, it’s still that first encounter with one of the most mighty Colossi that leaves the longest enduring impression. Sure, many would argue a case for the flying Phalanx, but that first time I stumbled on Valus after tearing around the otherwise empty plains of the Forbidden Land on my trusty steed, Agro, proved a very unforgettable experience, and up to now, certainly one of my very favourite gaming moments of all time. The sheer size, the grandeur and the unusual sense of melancholy that accompanies each defeated foe all combine to create something truly unique and strangely moving – here’s an unforgettable boss battle in a game of unforgettable boss battles.

Mike Tyson / Mr Dream (Punch Out!!)

Man, what number of hours did I put into this game at the NES? Essentially a game of boss battles built into the context of a tender fighter moving up during the ranks of pro boxing; each opponent was both visually and technically unique, creating an experience built upon classic boss battle requirements – namely skill and pattern recognition. Aside from the laughably bad, Glass Joe, close to every opponent within the game is in a position to knocking you to your ass to your first attempt. Tyson/Mr Dream (is dependent upon which version you play) however; jeez, that guy will take your head off for the 100th time before laughing for your face. It’s a very unforgiving battle made no easier for the exemplary Wii remake. But hey, while taking over Tyson/Mt Dream could be one of the crucial more infuriating gaming experiences around, with eventually victory comes that ultimate sense of feat.

Oh, and if you are wondering why this was a top 8 instead of a top 10 list, well, as a matter of fact, I just kinda ran out of puff to be honest.