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Review of Bayonetta 3: For the Sake of Extravagance

By the third chapter’s conclusion, Bayonetta 3 is functioning on a scale that eclipses that of the majority of video games.

The bombastic conclusion to the opening three hours, which feel like they are moving at a mile per minute and are a never-ending barrage of stimuli, features buildings that twist and crumble like flimsy plastic, huge craters that pock-mark the earth, and mountain-sized creatures that destroy entire cities.

It’s annoying, noisy, and honestly a little bit tiresome. And the entire time, I was shouting and hollering.

The Bayonetta series has always been at its finest when you’re mutely saying, “What the hell is happening?” while gawking at your TV.

The violence, action, and sexuality in the series are all over the place by nature.

Rapid and repetitive combinations are followed by colourful, gory, and grandiose animations, all of which are bookended by silly sequences in which the title character, the witch, flaunts her sex appeal and uses it to divert, mock, and inspire those around her.

Naturally, Bayonetta 3 isn’t any different. You are thrust into massive battles right away, forcing you to manage many foes at once while changing weapons, summoning huge creatures, and evading blows.

As a result, playing as Bayonetta feels better than it has ever done for the franchise.

I enjoyed her fight for more than 12 hours, eagerly anticipating each new wave of adversaries and challenging boss.

This is partly because Bayonetta 3 alters the formula for the series. Infernal Demons, which are essentially big creatures Bayonetta summons to fight with her, are now a part of the game’s mechanics rather than only appearing in cutscenes at the end of boss battles.

You may nearly always summon one of these creatures, dubbed Demon Slave here, and command them as you battle as long as your magic gauge is full.

I primarily utilised mine as finishing techniques, which was rather against their intended function.

One of my four equipped monsters unleashing a devastating attack at the end of a combination felt strong and heavy, and it significantly improved my chances of defeating the game’s numerous bosses.

The Infernal Demons are frequently thrown at you in Bayonetta 3, and I enjoyed trying out each new one.

In spite of this, I tended to return to the first two stories the game provides you, Gomorrah and Madama Butterfly, outside of the gameplay-specific portions.

However, this is more a reflection of my complacency than a lack of interesting diversity.

The insane number of choices and variation in Bayonetta 3 may be its distinguishing feature.

The numerous weapons carried by Bayonetta, each with its own special ability, strength, and drawback, are comparable to the vast number of Demon Slaves.

My primary weapon was the swift, far-reaching Ignis Araneae Yo-Yo, with the enormous Dead End Express hammer-saw hybrid being used for slower, more powerful blows.

It was fun to quickly strike with the first, dodge to activate Bayonetta’s trademark Witch Time (which slows everyone but you)

pound adversaries with my enormous hammer, and then summon an Infernal Demon as a finisher. I would actually want more interactions.

After only a few massive combo strings, I frequently defeated the majority of my regular adversaries, forcing me to quickly look for the next moron to slaughter.

The 14 chapters of Bayonetta 3 alternate between various locations, taking you figuratively all over the globe.

Every level has an own visual style and central idea, whether it is in Japan, New York, Egypt, or beyond the limits of space and time.

But more than that, I enjoyed how each chapter ended with a grandiose. Larger-than-life setpiece that, more often than not, utterly flattened the level you just explored.

I loved trying to figure out where in the world I was heading next.
These include epic kaiju clashes (one of my favourites), a conflict high in the Earth’s atmosphere in which a creature the size of God sprays bubbles at their foe, and a combat of operatic proportions.

Although some sequences are superior than others, all of them are spectacles, so even the few that don’t feel quite as fantastic are entertaining to watch.

Everything rushes forward at a breakneck pace. The pace of Bayonetta is practically non-stop; you will be confronted with brand-new foes, bosses, and setpieces on a regular basis.

It’s a lot, but I really liked it. No matter how tiresome it may be, Bayonetta 3 will stop at nothing to keep your eyes glued to the TV or Switch screen because it doesn’t want you to be bored.

For what it’s worth, the plot of Bayonetta 3 is the easiest to understand of the entire series.

Which means it’s not primarily nonsense.
The majority of the cast of recurring characters, including Jeanne, Luka, and Rodin. As well as Bayonetta, are endearing throughout the entire film, although the main plot is a formulaic multiverse tale.

To dominate space and time, some terrible huge evil man is attempting to take over the many dimensions.

A late-game twist subtly changes the Bayonetta backstory. And thus introduces a variety of Bayonettas (a nice narrative approach to offer you those many weapons).

However, except from its brief entertainment value, the plot is basically forgettable.

The poorest aspects of Bayonetta 3 are, however. Introduced by the plot: all the stages where you don’t play as Bayonetta.

Viola, a teenage punk from a separate reality who needs Jeanne and Bayonetta’s assistance to rescue the multiverse. Is a new character that is introduced early on.

As a result, Jeanne sets out to find a scientist who can assist the group.

Although Jeanne’s stages are a stealth-focused side scroller.

There isn’t much to them beyond getting from point A to point B and occasionally facing a dull boss.

Viola’s few levels have some intriguing technical aspects.

But they don’t quite land. Viola is a hack-and-slash character, therefore parrying is how she uses her witch time rather than dodging.

That parry window is exceedingly small, and during my initial sessions with the new witch. I struggled mightily until I eventually figured it out.

At which time it became just somewhat more enjoyable.

As a throwback to earlier games, she does have a large cat named Cheshire that served as her personal Demon.

Slave and helped me out when I just wanted to force my way through stages.

Viola didn’t do anything for me, however I appreciate the notion of adding additional playable characters to the Bayonetta franchise.

She looks more like Spencer’s Gifts than 924 Gilman Street, the punk rocker version of an office worker.

Even yet, she lacks personality and intrigue. I fail to come up with one distinguishing quality other than her stupid mall punk style.

Despite the fact that the game requires you to spend several hours playing as her.

It’s bad that Viola is unmemorable and boring since despite the show’s sometimes shoddy writing.

The characters have always been hilarious.

I’m sad that Viola doesn’t have Bayonetta’s appeal given the suggestion. That she would have a bigger role in forthcoming games.

But compared to the sea of accolades, that is a minor quibble. For the overwhelming majority of its duration.

Bayonetta 3 is a blast.

It’s loud, lavish for the sake of being spectacular, and it actually leaves devastation in its wake.

I’ve already gone back through each level in an effort to get higher scores. And I don’t currently have any intentions to stop.

Even if I have my doubts about the series’ future, right now Bayonetta is at its finest.


John Michael is a resourceful game developer well-versed in all aspects of development. He's an important part of Aspired and has helped us grow and progress. Aspired helps businesses that aim to hire remote developers.

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