I've waited quite a long time to play this game, and thanks to a good friend, I can do just that. BACKGROUND:
I've already summed up my history with the Bayonetta series in an old blog entry about my time with the first game. With regards to Bayonetta 3 in particular, my excitement was on another level due to how long the radio silence was between its initial announcement and any meaningful news on it. Bayo 3 was revealed on a Game Awards show many years ago (I want to say 2017?) and it took the turn of the decade for us to see anything about the game after that. I thought this game was in development hell, so finally seeing a trailer for it on a Nintendo Direct was quite exciting for me. I suppose I can't talk about this game without addressing the whole voice actor controversy that surfaced close to the game's release. While I ultimately felt like the conflict went in a direction that made me feel iffy about both sides, I still thought it was a shame to lose the original voice actor. And if there's any good that came from it, we at least put the conversation of properly compensating voice talent forward. For the record, my friend (who preordered this game before the whole controversy came to light, so don't start shit) graciously lent me this game so I could play it for myself. Once again, I'd like to thank them for giving me the opportunity to play more stuff, and I'm glad to have been able to return the favor recently by lending something of my own. PLOT: Our favorite Umbra Witch Bayonetta is back for another wild adventure, and this time, the stakes are much higher, and the scope is much wider. Cataclysm strikes in New York City just as Bayonetta was enjoying a day out, and after another wild battle, she meets up with Viola, a young, feisty Umbra Witch from a doomed universe. Viola warns that Singularity, a powerful entity, is traveling the multiverse and destroying everything to gain power, and wouldn't you know it, Bayonetta is the only one who can stop it. That's right, motherfuckers: Bayonetta has a multiverse now. The whole premise is super fun, since a huge chunk of the game sees our Bayonetta travel across the multiverse, meet alternate versions of herself, and kick a whole lot of ass as she does. The finer details didn't really hook me all that much; a lot of the game is just looking for magic macguffins, and Singularity didn't really hook me as a character (though he more than sufficed as a threat unlike anything else Bayonetta has ever faced). Also, bulk of the story was structured such that the exact same thing (with slight variations) happened multiple times, which made things a tad formulaic. Overall, this doesn't bother me too much, since I'm mostly here for the absurd horseshit that happens and for Bayonetta herself, and rarely have I ever taken the plot of the games in this series seriously. Bayonetta's still sassy and confident (albeit strangely more subdued than previous games), though this game is notable in that we get to see that always-confident disposition tested in the face of seemingly insurmountable odds. We don't get to hang out with the supporting cast of the previous games as much this time around, but the stuff I enjoyed from those characters are still present in some form. Rodin remains badass despite being in an otherwise silly situation (much like him being Santa in Bayo 2), Enzo is still a hilarious caricature, Jeanne gets to do cool shit (though she's sadly in the sidelines for most of the game), and Luka gets to be his trademark idiot self again. Jeanne, I feel, gets the real short end of the stick given how things play out after her subplot converges with the main story. We're introduced to Viola in this game, and I think she's a decent character. I liked her spunky attitude (which had a layer of self-doubt hidden beneath), and I thought her quest to gain Bayonetta's approval was amusing (since Bayonetta keeps rebuffing her attempts to look cool). You can smell the truth about who she really is from a mile away, though, so I wouldn't call that a particularly groundbreaking plot twist. She's a fun contrast to Bayonetta's unassailable swagger given she comes across as a goofball (not in a bad way) and isn't as refined a fighter yet. Unfortunately, we don't really get to spend time exploring the stories of the alternate Bayonettas, though simply seeing radically different versions of the character is fun in itself (especially considering the variants they went with are fun new takes on our favorite witch). If you want extra lore surrounding these variants, you'll have to go out of your way to find collectibles that give you mini-stories to read (something they continue from the previous games). I feel like those bits of lore were worth finding since they reveal interesting tidbits about each Bayonetta variant, and the fun is seeing how they are similar or different from the version we're most familiar with. That said, the fact that the main Bayonetta hardly interacts with her variants at all feels like such a missed opportunity. I will say that the game makes some choices with its story that I would describe as highly questionable. For one, the whole subplot centered around Luka came completely out of left field and I felt like the twist surrounding him (which itself isn't as shocking as the game makes it out to be) was not built up all that well. The ending, however, is where I found myself scratching my head. I understood what they were going for, and I was not opposed to the idea in a vacuum, but the execution left me going "this cannot be how this ends." Some key shocking moments had me exclaiming "you can't be fucking serious," the dramatic climax felt confusing (things kind of just happen and you have to just accept it), and I feel like the thing they were setting up in the aftermath (which itself was a head-scratcher, given how everything seemingly just... works out) could have been done in a more satisfying way. I totally understand why some people are not happy with the ending. In fact, my friend said something to the effect of "I want you to feel as miffed as I do when you see how the story ends" when they lent it to me (my initial reply to this was "it can't be that bad, right?"). When it comes to this game series, I don't really stress myself out with the minutiae of the actual lore (it's always been off the rails, and that's not why I care about the series anyhow), but I personally feel like the major choice they made in the end was exchanging what has made Bayonetta as a franchise so beloved for something that wasn't built up as properly. If they intend to move the series in this completely bold, new direction, I think getting fans invested is an uphill battle. PRESENTATION: Graphics-wise, Bayonetta 3 boasts some impressive visual fidelity. The models and environments look fairly polished, and the animations feel as smooth as ever. And as is tradition, the action (especially the cutscenes) is over-the-top spectacle, a fair number of goofy moments, and plenty of Bayonetta being a stylish fighter. Though we still get a few risqué scenes, it definitely feels like they toned down her sexy moments slightly; she's still kind of clothed when doing Wicked Weaves (most of the time), and there's pretty much nothing on the level of the more suggestive stuff from the previous games. I honestly don't care either way, as she still gets to do weirdly convoluted dances to control demons and show off her Bullet Arts fighting style. Although I am still quite partial to Bayonetta's design from the second game, I thought her design here looks pretty solid. Plus, with her alternate versions, she gets more designs on top of that, and they all have rather inspired themes (like the phantom thief outfit or the pharaoh outfit). You can unlock the option to switch between these costumes, and you can even mess around with the palette if you want. Bayonetta's various demon summons are back, and there's a wider variety of them than before. A lot of them look quite distinct, but what makes them special this time around is that Bayonetta can take on a Demon Masquerade form where she gets a transformation based on their designs. I'll talk about the gameplay aspect of this later, but these Masquerade forms look pretty unique. The Homunculi, which replace both the angels and the demons as the regular enemies you fight, don't feel that remarkable to me design-wise. Whereas the various types of angels and demons felt distinct from one another, the Homunculi just feel like the same green goop with white shells reconfigured in different ways. I don't think they're terrible as they are; I just felt like they were a step down from "angel whose face is on their sword" or demon bird. Thankfully, you can actually still fight some of the old enemy types and enjoy those designs in the game, albeit these moments are far from common. In terms of music, we have what I feel is another solid score with decent variety, from the jazzier tunes that I most remember from this series, a helping of pop punk in Viola's theme (and it is a banger), intense choir singing for epic moments, a track that feels like it's from an opera tied to one of the most creative sequences in the game, and more. Some remixes of old tracks return (like the iconic Climax theme), but it's mostly new stuff. Of course, I'll have to mention the voice acting. Bayonetta's new voice does what I think is a solid job at portraying the iconic character. However, having played the previous two games, I can certainly hear the difference, and I personally feel like you still can't beat the original (though I wouldn't say the margin is that wide). For everyone else, the voice acting is great across the board. Something I found notable is the addition of the Naive Angel mode, which tones down gore and suggestive visuals from the game. I did not turn this on since I don't care, but it's an option if you prefer it this way. I will say, however, that this feels pointless given the more revealing aspects of Bayonetta's Wicked Weaves are already quite reduced to begin with, and that the violence is far from Mortal Kombat levels of gore. GAMEPLAY: Bayonetta 3, much like its predecessors, is a hack-and-slash action game where you play as the titular witch and mow down hordes of enemies with a variety of combos. A lot of the fundamentals are the same: you have various combos based on sequences of punch and kick buttons (plus a few command inputs or delayed input combos), the ability to extend combos/damage faraway enemies with the shoot button, and the iconic Witch Time mechanic, which slows down time when you dodge an enemy attack at the last possible moment. These basics still feel fluid, and Witch Time remains one of the most satisfying game mechanics out there. This game probably has the widest variety of weapons in the series thus far, as there are plenty to choose from with different play styles like slow but strong weapons, weapons with wide range, and even a few with some neat gimmicks. Loadouts aren't as customizable as Bayonetta 2 where you can equip different weapons for your hands and your feet, but you can seamlessly swap between two weapons after setting your preferences in the menu. What's nice is that nearly every weapon save a couple is unlocked just by playing through the story (as opposed to the old convention of finding collectibles or completing optional objectives), so you no longer have to take extra effort just to try out something different. The game's new gimmick involves the Demon Slave mechanic, which lets you use your magic meter to summon demons and actively control them in fights. Every weapon also has a corresponding demon associated with them, so you'll also unlock a decent variety of demons to wreck shit with. The demons don't have deep movesets but can deal a ton of damage or inflict major status, so it feels empowering to summon them on enemies. Plus, they're the most reliable to trigger the brutal torture attacks, which is a returning mechanic from previous games. That said, I did not find myself using this mechanic unless absolutely necessary, as the demons are a bit cumbersome to control, leave Bayonetta herself vulnerable, and mess with the camera angles due to the scale. The main thing I do like about the Demon Slave mechanic is the ability to perform what I liken to the Sync Attacks in Astral Chain. During specific moments (either before an enemy's big attack, or at the end of specific combos), you can press the summon button to unleash your selected demon to deal a burst of damage (and, often, a big knockdown or launcher to go along with it). Apart from that, I did not really find Demon Slave to be as engaging as the magic mechanics of the older games. There's also the Demon Masquerade mechanic, which allows Bayonetta to transform into the demons associated with her currently equipped weapon. The transformations typically happen automatically as the end of certain combos, but they also happen with certain attacks, and when you press jump three times, granting some sort of mobility bonus (like a forward dash, the ability to glide, and more). Moving around with these transformations is pretty fun, though the best use of Demon Masquerade for me is the ability to immediately dash towards enemies to close distance. This is a great way to keep the flow of combat going. Each weapon and each demon have a respective skill tree where you unlock new moves or add passive buffs. You spend orbs (typically awarded from racking up combos) to unlock the skills, so there is incentive to actually get good enough to keep a combo going. While you can probably get somewhere mindlessly mashing buttons (especially with certain weapons), I'd argue it's more rewarding to properly learn combos both to earn orbs and simply to get the most out of the game's combat. Although the enemies kind of blend together in my head visually, they do feel distinct when you actually fight them. Most enemies aren't simple punching bags, either, and carelessly fighting them will hurt. Some of them have tough attacks to navigate around, but it is satisfying to figure out the timing, activate Witch Time, and wreck shop with combos. Bosses are much the same in terms of feeling distinct from one another, though strangely, they're the ones I feel like are more punching bags (largely since you don't have to manage their numbers like you would regular enemies). Boss encounters start out with the typical combat, though often end in some sort of high-octane gimmick fight that involves the use of the demon summons. The actual fun of these gimmicks can vary, but the variety itself is undeniable (there are chase sequences, shmup sections, full-on kaiju fights, and even an unexpected rhythm minigame). Of course, quick-time events are back, though like before, these are typically just for score bonuses. Enemies drop cells, which you can spend at the Gates of Hell for consumables (like restoration items or buffs) and accessories (earrings you can equip for combat bonuses). You can also get crafting materials as drops, which you can use to craft consumables as an alternative to spending cells. I didn't rely on consumables too much (I don't know if that's due to my experience with the series or the difficulty of combat), but they're helpful in a pinch. As such, I had a surplus of cells which I spent on the helpful accessories. As is tradition, the 14 chapters of the game are split into "verses" (what the game calls enemy encounters), and on Normal difficulty and above, each verse has a medal rating upon completion. Medals are awarded for max combo reached, clear time, and damage taken, with stone as the lowest rating and platinum as the highest. Chasing for high ratings is mostly for one's self-satisfaction, but I personally was quite satisfied to be getting much higher medal ratings than I was when I first started the series. Speaking of difficulty, there are multiple settings you can choose from. I played on Normal, but there's a more casual mode, a hard mode, and a much tougher Infinite Climax mode only unlocked after beating the game once. Some of the chapters have you play as other characters. Viola's levels have you kick ass as her, but her options are severely limited given she only has one weapon, and her one demon summon forces you to fight bare-handed. I think her combat is fine for what it is, but I just greatly preferred the variety Bayonetta's combat provided. If there's one thing I did find interesting, it's how Viola's Witch Time is triggered by perfect blocking attacks, and I liked the challenge that brought to the table. Jeanne's levels are wildly different, as you play her in side-scrolling levels where you can sneak around stealth killing enemies. I felt like these levels aren't that strong since there was no sense doing anything other than sprinting to the end of the level (stealth is very much optional and the combat here is shallow), which is a shame because I thought the whole "spy action" conceit was an amusing concept. If it's any consolation, you can select her as a playable character in some of the normal levels, though she plays the same as Bayonetta. Many of the normal levels have a lot to explore given how surprisingly large they are, and there are a good number of well-hidden secrets to find. These range from chests with goodies, the various collectibles, and optional verses. The optional verses can simply be typical fights (except with non-Homonculi enemies like angels or demons), or challenge levels with specific restrictions and gimmicks. The challenge levels can vary in terms of difficulty (some of them are absolutely rough), but the rewards are worthwhile. Levels often have a few simple platforming sections (which aren't that tough) and the occasional puzzle rooms that use the demon summons in straightforward albeit unwieldy ways. The collectibles vary in usefulness. The main ones you want are Witch Hearts and Moon Pearls, which increase your health and magic respectively. You'll also be able to find the lore tidbits I mentioned previously, as well as various items you can view in the game's gallery. These include concept art, the ability to view 3D models, and even a jukebox where you can listen to the game's music. The most interesting collectibles are the Umbran Tears. Collecting all three Tears in a level unlocks that level's Phenomenal Remnant, which is like an extra level with an alternate challenge (like time trials or a boss fight). These tend to be tough challenges as well, but again, the rewards are typically worth going for. Most levels also have Bewitchments, which I liken to what most people would call achievements in other games. These challenges are specified on the chapter select screen after you beat a chapter once, though there's no real reward for completing them (apart from the satisfaction of doing them, I suppose). VERDICT: While I found Bayonetta 3's signature combat to be as fun as its predecessors, I can't quite ignore the fact that the story (despite its fun multiverse-hopping premise) makes some undeniably controversial choices, and that the Demon Slave mechanic doesn't feel like a seamless extension of the hack-and-slash gameplay I enjoy from the series. I still had plenty of fun with the game, and I'm glad that it finally saw the light of day after five years, but I must admit that I am skeptical about how the series moves forward from here (at least in terms of story; I'm still confident in the gameplay aspect). If you're new to this series, I would strongly advise against starting with this one and instead go in order. I feel like the previous two games feature Bayonetta at her peak as a character more than this game does, so I'd recommend starting there to get a proper sense of why she ended up becoming a beloved character. Don't worry about the gameplay being difficult, as the previous games do accommodate less experienced players. Once you're done with that, then I can recommend giving this one a go. - end -
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June 2024
Derryck
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