I always appreciate the grassroots of games and see how they eventually grow, but unlike Devil May Cry, which I feel this game closely relates to(aside from the same producer and style of combat to an extent), there's no remnants of what it was which can still be seen in the game. While Bayonetta's characterization and the story in general feel much more prevalent in this game compared to again, Devil May Cry, its more or less brother; the awful QTE, Majority of bosses feeling nearly unfun to fight and janky controls takes a lot away from the great combat and fun if brief story. I enjoyed it up until a certain point, and then I wanted nothing more then to finish it and see how its sequel no doubt improved on the faults of the original.
wow... ass......
this is the most lesbian game ever created
Woman! Woooooo!!!!! I love woman!!!!!!!!!!!!!!!!!
its hard for games to get cooler than this
This game has so much good going for it that the rough edges and weird end game really stick out. The depth of combat and game feel is so perfect, it really didn't need those late game gimmick levels and annoying secret missions to pad it out. The first half is so good though, it's all I can really remember and I often find myself back in the city to kick ass with Bayonetta all over again
This version is terrible. I replayed this on switch a few years after I played this on ps3. I am a self confessed PlayStation fan boy but glitches, poor frame rate and overly long load times make me warn people to stay way from the PS3 version. Get any other version.
đ
THE SHADOW REMAINS CAST!
oh what a dayâŠ
oh what a dayâŠ
A Good Game is a title that can be described as having amenable qualities that either satiate or fulfill a playerâs expectations based on an established familiarity with the genre, or perhaps just the medium overall. A Great Game is often something that exceeds expectations, subverting or reinventing familiar mechanics, and therefore distinguishes itself as an archetypical pillar of exemplary assets and execution. A Special Game is something else entirelyâsomething which defies conventional measures of quality. Bayonetta is a Special Game. Immediately, the stylistic distinctions and fluidity of gameplay identify the experience as such, setting Hideki Kamiyaâs hack-and-slash successor apart from even its comparably distinguished spiritual predecessor. What keeps Bayonetta so distinguished are often the qualities which keep it compelling when all the mounting frustrations of the game threaten to derail oneâs enjoyment of the experience entirely. Such persistent detriments would surely sink any other arbitrary game of repute, let alone one which is merely merited as âgood.â Itâs what makes Bayonetta a Special Game, then, that allows it to rise above the guile. To rid itself of deserved criticisms, by way of its inimitable charms. An ineffable blend of sensual charisma, exuberant spectacle, exhilarating combat, and a strong vision of character allows Bayonetta to offset its somewhat convoluted nature, setting aside rote metrics of quality so that all thatâs left to linger are the unique aspects which determine its special status.
The first element likely to captivate a player is the gameâs brazen tone and sense of humor. The characterization of Bayonetta as this excessively sexual, otherworldly being of magic, equipped equally with an arsenal of flirtatious quips as she is effusive ammunition, gives the game a tenacious air of unending camp. The absurd grandeur of Bayonettaâs demonic powersâusing her hair as a conduit to summon maleficent beasts, or manifesting various torture devices to dispatch enemies while assuming various suggestive posesâexemplifies the awe-inspiring nexus of extravagant flare, seductive lure, and farcical extremity which combine to create the irresistable appeal of Bayonettaâs creed. Just as youâre ready to assume youâve hit the gameâs ceiling for maximalist scenarios, youâll be thrown into a motorcycle level where youâre running over hordes of biblical angels, or a boss battle where youâre surfing around a kaiju-like deity, or fighting on top of a giant cruise missile transporting you to the gameâs final area. Even the standard bouts of combat maintain this signature sense of flair, encouraging you to embrace its undulating nature, as you weave in and out of combo streaks, gliding around mobs of enemies in effortless evasions of their attacks, triggering the primary combat mechanic responsible for engineering the gameâs satisfying rhythm of fluidity.
Witch Time is the central conceit around which Bayonettaâs buttery combat system is designed. Essentially, it is a dodge mechanic that slows down time temporarily, allowing you to extend your combos and pile on the damage in situations where youâd ordinarily need to evade or recuperate. As long as you keep timing your dodges correctly, Witch Time effectively allows you to continuously rag doll your foes about until theyâre defeated. Alongside your powerful Wicked Weave combo finishers (towering extensions of Bayonettaâs arms and legs manifested as demonic hair creatures), the combat feels intuitive and in a constant flow. Even if youâre just incompetently mashing buttons instead of executing calculated strings of inputs, the gameplay feels immensely rewarding. There are certain secret arenas hidden within the various levels of the game intended to test your capabilities at felling enemies in a minimum amount of attacks, but without a dedicated space to practice and learn specific combo patterns, these can be rather difficult to approach. Itâs very clear that the core system of combat designed for Bayonetta is absolutely overflowing with potential for creative expression and personal approach, but at the same time that potential feels just out of reach without a more comprehensive system to digest these various techniques. Even the weapons systems, which boasts an opportunity for more distinctive playstyles, ultimately feels somewhat arbitrary to a novice playing through the game for the first time. Itâs more than likely that there are more nuances to both the weapons system and overall combat that I simply failed to pick up on, but the perceived lack of distinction still led me to feel that the gameâs fantastic combat system is perhaps less intuitively complex than it initially appears. Itâs never not amazing to play, however, and any potential excess of mechanics doesnât sour the overall experience too greatly.
This sentiment unfortunately does not extend to the actual levels encounters take place in, though, as the spaces you explore are sorely devoid of place and personality alike, more often functioning as vaguely European-themed hallways connecting one combat encounter to the next. Vigrid, the fictional city in which the story takes place, remains as much of a foggy mess to us as the clouded memories of our protagonist wandering its barren streets. It apparently exists as an intersection between the heavenly plane and the underworld below, due to the overwhelming significance of its holy presence according to the convoluted backstory the game provides. The whole of the narrative for Bayonetta feels like contrived nonsense, marred by a trite amnesia conceit thatâs further muddied by an excess of lore attempting to paint a grandiose image of a centuries-old conflict between light and dark. If the central characters of the story werenât so compellingly depicted, the whole facade would quickly fall to pieces. As for the setting itself, itâs never evident where exactly youâre going or why, or what even distinguishes the latest level from the one before it, unless thereâs some unique gimmick, typically involving some kind of annoying hazard you have to navigate around. Thereâs nothing to explore in these copy-paste environments, as even when there are secrets to be had thereâs never any satisfaction in uncovering them. Each area is merely a waiting room between fights, one right after another until you reach the end, which is only evidenced by the fact that youâre fighting some kind of boss. This listless sense of progression is mirrored in the gameâs overall structure as well, haphazardly plodding along towards some uncertain climax. For as great as the gameplay and personality of the game is, it constantly feels wanting for a sense of direction.
As mentioned, though, if a game retains enough of its unique charms, fatal flaws can often be overcome. Thereâs just enough about Bayonetta to be quite unlike anything one could compare in its nature. The roots of its hack-and-slash gameplay are obviously well-founded in the genre, and itâs by no means the first game to be brazen and sexual in its presentation. But the way in which it melds these elements together, marrying exemplary combat systems with the stylistic characteristics of its protagonist, keeps oneâs thoughts hanging on those qualities in the face of its recurring frustrations. Beyond its asinine narrative and occasionally convoluted mechanics, Bayonetta feels plagued by its use of insta-fail quick time events and wickedly punishing boss fights, many of which are capable of retaliating with little to no notice, often destroying not only your combo strings, but any decent chance of getting a good score for the level as well. However, in spite of how unfair or uninspired certain aspects of the game end up feeling, itâs never not fun to play. The fundamentals are just too good to be dragged down, and the character of the piece too distinct to ignore. Bayonetta is not a Good Game. Bayonetta is not a Bad Game. Itâs something else entirely.
Unique; Distinct; Inimitable.
Special.
The first element likely to captivate a player is the gameâs brazen tone and sense of humor. The characterization of Bayonetta as this excessively sexual, otherworldly being of magic, equipped equally with an arsenal of flirtatious quips as she is effusive ammunition, gives the game a tenacious air of unending camp. The absurd grandeur of Bayonettaâs demonic powersâusing her hair as a conduit to summon maleficent beasts, or manifesting various torture devices to dispatch enemies while assuming various suggestive posesâexemplifies the awe-inspiring nexus of extravagant flare, seductive lure, and farcical extremity which combine to create the irresistable appeal of Bayonettaâs creed. Just as youâre ready to assume youâve hit the gameâs ceiling for maximalist scenarios, youâll be thrown into a motorcycle level where youâre running over hordes of biblical angels, or a boss battle where youâre surfing around a kaiju-like deity, or fighting on top of a giant cruise missile transporting you to the gameâs final area. Even the standard bouts of combat maintain this signature sense of flair, encouraging you to embrace its undulating nature, as you weave in and out of combo streaks, gliding around mobs of enemies in effortless evasions of their attacks, triggering the primary combat mechanic responsible for engineering the gameâs satisfying rhythm of fluidity.
Witch Time is the central conceit around which Bayonettaâs buttery combat system is designed. Essentially, it is a dodge mechanic that slows down time temporarily, allowing you to extend your combos and pile on the damage in situations where youâd ordinarily need to evade or recuperate. As long as you keep timing your dodges correctly, Witch Time effectively allows you to continuously rag doll your foes about until theyâre defeated. Alongside your powerful Wicked Weave combo finishers (towering extensions of Bayonettaâs arms and legs manifested as demonic hair creatures), the combat feels intuitive and in a constant flow. Even if youâre just incompetently mashing buttons instead of executing calculated strings of inputs, the gameplay feels immensely rewarding. There are certain secret arenas hidden within the various levels of the game intended to test your capabilities at felling enemies in a minimum amount of attacks, but without a dedicated space to practice and learn specific combo patterns, these can be rather difficult to approach. Itâs very clear that the core system of combat designed for Bayonetta is absolutely overflowing with potential for creative expression and personal approach, but at the same time that potential feels just out of reach without a more comprehensive system to digest these various techniques. Even the weapons systems, which boasts an opportunity for more distinctive playstyles, ultimately feels somewhat arbitrary to a novice playing through the game for the first time. Itâs more than likely that there are more nuances to both the weapons system and overall combat that I simply failed to pick up on, but the perceived lack of distinction still led me to feel that the gameâs fantastic combat system is perhaps less intuitively complex than it initially appears. Itâs never not amazing to play, however, and any potential excess of mechanics doesnât sour the overall experience too greatly.
This sentiment unfortunately does not extend to the actual levels encounters take place in, though, as the spaces you explore are sorely devoid of place and personality alike, more often functioning as vaguely European-themed hallways connecting one combat encounter to the next. Vigrid, the fictional city in which the story takes place, remains as much of a foggy mess to us as the clouded memories of our protagonist wandering its barren streets. It apparently exists as an intersection between the heavenly plane and the underworld below, due to the overwhelming significance of its holy presence according to the convoluted backstory the game provides. The whole of the narrative for Bayonetta feels like contrived nonsense, marred by a trite amnesia conceit thatâs further muddied by an excess of lore attempting to paint a grandiose image of a centuries-old conflict between light and dark. If the central characters of the story werenât so compellingly depicted, the whole facade would quickly fall to pieces. As for the setting itself, itâs never evident where exactly youâre going or why, or what even distinguishes the latest level from the one before it, unless thereâs some unique gimmick, typically involving some kind of annoying hazard you have to navigate around. Thereâs nothing to explore in these copy-paste environments, as even when there are secrets to be had thereâs never any satisfaction in uncovering them. Each area is merely a waiting room between fights, one right after another until you reach the end, which is only evidenced by the fact that youâre fighting some kind of boss. This listless sense of progression is mirrored in the gameâs overall structure as well, haphazardly plodding along towards some uncertain climax. For as great as the gameplay and personality of the game is, it constantly feels wanting for a sense of direction.
As mentioned, though, if a game retains enough of its unique charms, fatal flaws can often be overcome. Thereâs just enough about Bayonetta to be quite unlike anything one could compare in its nature. The roots of its hack-and-slash gameplay are obviously well-founded in the genre, and itâs by no means the first game to be brazen and sexual in its presentation. But the way in which it melds these elements together, marrying exemplary combat systems with the stylistic characteristics of its protagonist, keeps oneâs thoughts hanging on those qualities in the face of its recurring frustrations. Beyond its asinine narrative and occasionally convoluted mechanics, Bayonetta feels plagued by its use of insta-fail quick time events and wickedly punishing boss fights, many of which are capable of retaliating with little to no notice, often destroying not only your combo strings, but any decent chance of getting a good score for the level as well. However, in spite of how unfair or uninspired certain aspects of the game end up feeling, itâs never not fun to play. The fundamentals are just too good to be dragged down, and the character of the piece too distinct to ignore. Bayonetta is not a Good Game. Bayonetta is not a Bad Game. Itâs something else entirely.
Unique; Distinct; Inimitable.
Special.
A mess, but in charming ways at times.
Enjoyable game for the most part but flawed at times, gameplay stays more or less the same throughout the entire game with some new mechanics thrown at you from time to time. World building and Boss fights felt very refreshing and nice to explore. Music was outstanding the entire time, blessing to my ears everytime i booted up the game. Bayonetta herself đ».
One glaring flaw I had with the game is I wish instead of having those slideshow-esque reel cutscenes they would just substitude them for the regular animated cutscenes the game is already filled to the brim with. I didn't have a problem with the animated cutscenes in and between chapters, in fact I quite enjoyed them, it made the game feel more like a movie with interactive elements to it at times, which is a nice change of pace, but to have those very lifeless slideshow cutscenes just made the pace of the game feel a bit of a mess.
But overall I had a good time with the game, sure its flawed and im sure the sequel fixes up on those flaws, especially graphically since it'll have been a newer game, but all around it was a decent playthrough.
Enjoyable game for the most part but flawed at times, gameplay stays more or less the same throughout the entire game with some new mechanics thrown at you from time to time. World building and Boss fights felt very refreshing and nice to explore. Music was outstanding the entire time, blessing to my ears everytime i booted up the game. Bayonetta herself đ».
One glaring flaw I had with the game is I wish instead of having those slideshow-esque reel cutscenes they would just substitude them for the regular animated cutscenes the game is already filled to the brim with. I didn't have a problem with the animated cutscenes in and between chapters, in fact I quite enjoyed them, it made the game feel more like a movie with interactive elements to it at times, which is a nice change of pace, but to have those very lifeless slideshow cutscenes just made the pace of the game feel a bit of a mess.
But overall I had a good time with the game, sure its flawed and im sure the sequel fixes up on those flaws, especially graphically since it'll have been a newer game, but all around it was a decent playthrough.
If you want an over the top Hack and slash game, this is the game for you.
The action is brilliant with more moves you can buy with Halos you get from killing enemies.
The boss fights are easily the highlight with them being massive and needing more hacking than ordinary enemies.
The first problem is the camera. It isn't very responsive with being in the way. The second problem is the story due to being not interesting and the main villain is not seen until the very end.
Looking forward to seeing what the sequel will do and to see if it will fix any of the problems.
The action is brilliant with more moves you can buy with Halos you get from killing enemies.
The boss fights are easily the highlight with them being massive and needing more hacking than ordinary enemies.
The first problem is the camera. It isn't very responsive with being in the way. The second problem is the story due to being not interesting and the main villain is not seen until the very end.
Looking forward to seeing what the sequel will do and to see if it will fix any of the problems.
Hideki mostrando novamente como fazer um Hack and Slash divertidĂssimo, assim como DMC, a histĂłria nĂŁo tende a ser algo complexo e totalmente sĂ©rio, as propostas com comĂ©dia sempre foram o carro chefe como apresentação dele, e em Bayonetta essa ideia Ă© impulsionada ainda mais, a interação entre os personagens geram cenas totalmente hilĂĄrias, fora a pitada de humor nĂŁo sĂł nos diĂĄlogos mas nas açÔes dos personagens.
O design dos anjos de Bayonetta Ă© algo majestoso, toda a construção e design "bizarro" deles nĂŁo Ă© feito apenas para ser diferente, e sim como uma personificação dos seus papeis dentre a hierarquia angelical, as boss fights sĂŁo incrĂveis, a transversalidade que Ă© possĂvel fazer nos chefes Ă© algo bizarro, sou apaixonado por lutas contra chefes com tamanhos colossais, ainda mais quando Ă© bem feito que nem Bayonetta, diga-se de passagens as soundtracks que sĂŁo MAGNIFICAS, um clĂĄssico dos hack and slash.
O design dos anjos de Bayonetta Ă© algo majestoso, toda a construção e design "bizarro" deles nĂŁo Ă© feito apenas para ser diferente, e sim como uma personificação dos seus papeis dentre a hierarquia angelical, as boss fights sĂŁo incrĂveis, a transversalidade que Ă© possĂvel fazer nos chefes Ă© algo bizarro, sou apaixonado por lutas contra chefes com tamanhos colossais, ainda mais quando Ă© bem feito que nem Bayonetta, diga-se de passagens as soundtracks que sĂŁo MAGNIFICAS, um clĂĄssico dos hack and slash.
I kinda put off playing this game because 1. I had other games in my backlog and 2. I wasn't sure how much I would enjoy it, but after playing it, it looks like I didn't need to worry about that after all.
Yeah I really liked this game. I admittedly haven't played a whole lot of beat 'em up/hack and slash games outside of the night/Werehog stages in Sonic Unleashed (which honestly kinda gave me a bad first impression of the genre lol) and Hi-Fi Rush (which I really enjoyed) but I can certainly say that Bayonetta really kept me invested in the gameplay pretty much the whole time (aside for a couple sections which I'll get to). There's a lot of depth here with the different techniques and combos you can pull off, even just at the start with even more you can unlock as you progress plus different weapons you can unlock and choose from. The game does have a bit of that traditional 'Sega learning curve' and can be hard at some points, but I didn't really ever feel 'frustrated' with the game and when you do learn to pull off techniques and combos well, it becomes extremely satisfying in just how 'powerful' you feel. The enemies, bosses and stages are all generally well designed in challenging the player, timing your dodge moves for Dodge Offset and Witch Time, with a few puzzle elements here and there, and the ranking system also adds further replay value with everything else I just talked about.
That of course isn't to mention the story and characters which, well, I also really liked. There's a lot of worldbuilding and lore here that I liked, and I was genuinely interested in just seeing whatever happened as I played through the game and uncovering the backstory of the different characters. Bayonetta herself is just a complete girlboss which I can always appreciate and her interactions with the other characters (both the supporting cast and antagonists/enemies) did get some laughs out of me. I really gotta appreciate how the game couples the overall serious tone of the story with a lot of humor in how the characters interact leaving the game to be pretty damn quotable. (the "You're much too ugly to not put out of your misery" is such a good roast lmao).
The only real things I took issue with was the "Space Harrier" section in Chapter XIV (and to a lesser extent the motorcycle sections in a couple other chapters) which was a neat novelty at first in reference to Sega's past but did... kinda go on for too long and didn't really offer much in terms of depth. The rank system is also a bit harsh here which wasn't too much of an issue for me since at least in my first playthrough was just playing through the main game and story but admittedly it did feel somewhat defeating (for lack of a better word) when I kept getting Stone Enzo statues in every chapter except for the prologue. Yeah I know it's a skill issue on my part but I have heard that the game is pretty tight with it's requirements in general (from what I looked up supposedly deaths will automatically take away a single rank and there's also penalties for using items) so, word of advice to anyone playing the game for the first time, don't feel too defeated if you keep getting those stone enzo statues lol.
Overall though, yeah this is definitely a game worth playing and one I liked even more than I was expecting.
bayonetta and jeanne didn't kiss though so 0/10.
Yeah I really liked this game. I admittedly haven't played a whole lot of beat 'em up/hack and slash games outside of the night/Werehog stages in Sonic Unleashed (which honestly kinda gave me a bad first impression of the genre lol) and Hi-Fi Rush (which I really enjoyed) but I can certainly say that Bayonetta really kept me invested in the gameplay pretty much the whole time (aside for a couple sections which I'll get to). There's a lot of depth here with the different techniques and combos you can pull off, even just at the start with even more you can unlock as you progress plus different weapons you can unlock and choose from. The game does have a bit of that traditional 'Sega learning curve' and can be hard at some points, but I didn't really ever feel 'frustrated' with the game and when you do learn to pull off techniques and combos well, it becomes extremely satisfying in just how 'powerful' you feel. The enemies, bosses and stages are all generally well designed in challenging the player, timing your dodge moves for Dodge Offset and Witch Time, with a few puzzle elements here and there, and the ranking system also adds further replay value with everything else I just talked about.
That of course isn't to mention the story and characters which, well, I also really liked. There's a lot of worldbuilding and lore here that I liked, and I was genuinely interested in just seeing whatever happened as I played through the game and uncovering the backstory of the different characters. Bayonetta herself is just a complete girlboss which I can always appreciate and her interactions with the other characters (both the supporting cast and antagonists/enemies) did get some laughs out of me. I really gotta appreciate how the game couples the overall serious tone of the story with a lot of humor in how the characters interact leaving the game to be pretty damn quotable. (the "You're much too ugly to not put out of your misery" is such a good roast lmao).
The only real things I took issue with was the "Space Harrier" section in Chapter XIV (and to a lesser extent the motorcycle sections in a couple other chapters) which was a neat novelty at first in reference to Sega's past but did... kinda go on for too long and didn't really offer much in terms of depth. The rank system is also a bit harsh here which wasn't too much of an issue for me since at least in my first playthrough was just playing through the main game and story but admittedly it did feel somewhat defeating (for lack of a better word) when I kept getting Stone Enzo statues in every chapter except for the prologue. Yeah I know it's a skill issue on my part but I have heard that the game is pretty tight with it's requirements in general (from what I looked up supposedly deaths will automatically take away a single rank and there's also penalties for using items) so, word of advice to anyone playing the game for the first time, don't feel too defeated if you keep getting those stone enzo statues lol.
Overall though, yeah this is definitely a game worth playing and one I liked even more than I was expecting.
bayonetta and jeanne didn't kiss though so 0/10.
I feel like a f**king celebrity in this town!
Almost a sgood as soup
Played this in a few feverish sittings after being up with my son in the middle of the night. Not a bad way to play this. I was obsessed with the original Devil May Cry as a kid and this (obviously) reminded me a lot of that. I found the combat super entertaining, and the whole aesthetic of the game but particularly the protagonist herself was chef's kiss
this game's story was a bit confusing to me. it seemed to just jump from place to place with little to nothing connecting them. regardless, I enjoyed my time with this game, and Bayonetta is a spectacular protagonist. the combat is, of course, great.
good game but god damn I wish I could put my hand through the screen and smack that fine ass of hers,
Would be a 9 if it didn't have the worst final boss in gaming.
It's been said before... she's Dante in a catsuit and heels. She's GLORIOUS.
karai mĂł gostosa
Muy buen juego y gameplay, la historia se cuenta mĂĄs por libros que te cuentan el lore, supongo que por la fecha, pero sienta las bases de una saga muy querida
Eu nunca tinha jogado nada do gĂȘnero Hack and slash e devo disser eu me apaixonei pelo gĂȘnero toda a gameplay e super divertida que tinha vez que eu sĂł queria que a cena da historia acaba-se para mim poder jogar denovo
Been a while since I played this but I remember it being fun, with banging music to accompany it. I remember just buying the upgrades that work for the next stage only and buttonmashing through everything.
Only Bayonetta game I played, it didn't motivate me to try out the others.
Pretty fun game though!
Only Bayonetta game I played, it didn't motivate me to try out the others.
Pretty fun game though!
I've only played the first two bits so far but I feel as if I can summarize the gameplay so far. On the story end its mehhh whatever, these games arens story oriented anyways. Gaming, tech stuff, controls are DMC all over again. No seriously, when people said it was like DMC they fucking meant it. The controls are the exact same which makes handling after dedicating hundreds of on and off hours into DMC3 a clean fit experience and overall smooth. Main complaint so far is that something about this game feels dead, like the style was trying to be expiremental but failed miserably. If I didn't have an addiction to games of this genre I feel like I couldn't bring myself to fully enjoy bayonetta and the beginner friendliness of this game might as well be dead.
frustrating but also absolutely hilarious
Imported from my Backloggery:
This game is so fast, fluid, and complex in its combat. The story is interesting, but very light, which serves the rest of the game very well. The QTEs add to the rest of the game and makes the game feel more exciting as a whole. Bayonetta's character is oozing with charisma and is so fun to watch shoot, slash, and kick her way through angels. Platinum nailed the action genre once again. The only complaint is that the loading screens were so short on PC, I didn't have any time to practice combos
This game is so fast, fluid, and complex in its combat. The story is interesting, but very light, which serves the rest of the game very well. The QTEs add to the rest of the game and makes the game feel more exciting as a whole. Bayonetta's character is oozing with charisma and is so fun to watch shoot, slash, and kick her way through angels. Platinum nailed the action genre once again. The only complaint is that the loading screens were so short on PC, I didn't have any time to practice combos
has so much swag but i wish i was more into it
This review contains spoilers
Right out of the pearly gates, Bayonetta completely surprised me with the visual quality, exciting combo gameplay with a lot of variety, great voice acting, and unique music. Wasnât expecting to like this since Iâm not a fan of hack-and-slash. Then I just realized oh wait, itâs because I was playing the wrong hack and slash! The OG God of War series sucks ass! Cinematic and ugly button-mashing QTE gameplay. Itâs also ugly as sin graphically speaking. Kratos walks slowly as hell, the story is boring and melodramatic, and the needless puzzles, but I digress.
I love how over-the-top its story, cutscenes, and fighting animations are. Such a joy to watch even if the overarching plot of light vs dark is cliche and stale. Itâs funny too! I loved the world map as well. Helps ground you in the world as you progress.
I wasnât expecting this game to go so hard with the pervy camera angles and lustful design in general. Not a cutscene goes by without a shot accentuating Bayonettaâs assets. It feels less concerning though than other games that also have pervy fan service; it fully commits. Itâs not like in other games where characters wear skimpy clothing and then are not sexual in the slightest. Bayonetta plays into it and uses it to her advantage.
QTEâs are extremely overused and become more frequent in the later half of the game. Still not as frequent as God of War, but very annoying. If my hand hurts from button-mashing playing your game, something is fundamentally wrong here. It feels like an attempt to elicit excitement or intensity from the player during cutscenes, but it really just leads to me getting pissed off and a sore wrist.
I enjoyed most of the genre mixups. They have the rail shooter parts (the worst), the crash bandicoot-esque run away from lava part, the motorcycle race parts, and the guide the bullet lipstick and guide Jubileus the god past the planets into the path of the sun parts. It reminded me of Nier Automata with the genre changes, but less fun.
By the end, Iâd say the combat started to get stale as I used the same combos and got tired of trying out new ones. The story was annoyingly vague and inconclusive about the witches and sages, the different realms, and Balderâs motivations for wanting to reunite the realms. Also, I found Luka to be a whiny and weak character. His backstory was lame as well. Worst character by far. Bayonetta is so iconic. Sheâs a lot more than just an attractive character.
I love how over-the-top its story, cutscenes, and fighting animations are. Such a joy to watch even if the overarching plot of light vs dark is cliche and stale. Itâs funny too! I loved the world map as well. Helps ground you in the world as you progress.
I wasnât expecting this game to go so hard with the pervy camera angles and lustful design in general. Not a cutscene goes by without a shot accentuating Bayonettaâs assets. It feels less concerning though than other games that also have pervy fan service; it fully commits. Itâs not like in other games where characters wear skimpy clothing and then are not sexual in the slightest. Bayonetta plays into it and uses it to her advantage.
QTEâs are extremely overused and become more frequent in the later half of the game. Still not as frequent as God of War, but very annoying. If my hand hurts from button-mashing playing your game, something is fundamentally wrong here. It feels like an attempt to elicit excitement or intensity from the player during cutscenes, but it really just leads to me getting pissed off and a sore wrist.
I enjoyed most of the genre mixups. They have the rail shooter parts (the worst), the crash bandicoot-esque run away from lava part, the motorcycle race parts, and the guide the bullet lipstick and guide Jubileus the god past the planets into the path of the sun parts. It reminded me of Nier Automata with the genre changes, but less fun.
By the end, Iâd say the combat started to get stale as I used the same combos and got tired of trying out new ones. The story was annoyingly vague and inconclusive about the witches and sages, the different realms, and Balderâs motivations for wanting to reunite the realms. Also, I found Luka to be a whiny and weak character. His backstory was lame as well. Worst character by far. Bayonetta is so iconic. Sheâs a lot more than just an attractive character.