- Tested on Nintendo Switch
- Game purchased
- We beat up the monster for 20 hours, taking our time. We finished the adventure the first time, realizing the majority of the annex content, before re-launching in the higher difficulty.
- The editor is familiar with the license, while the DMC franchise is part of his identity.
- Home captures (for various technical and personal reasons you will find a mix of captures from several Bayonetta games.
If there is a regret to have about the rescue of the license by Nintendo, it is its exclusive character. The limited power dependence of the company's consoles is also a problem. After a second episode that was completely crazy, but financially sabotaged because of an exhibition on Wii U, eight years of silence followed. Almost a decade passed before the famous Umbra witch again talked about her. A return made at the end of 2022 with the publication of the long-awaited Bayonetta 3. A third opus came to push a Nintendo Switch that was not thought to support so much madness and ambition. Because, yes, the third episode makes validating all the certainties on the license, like those on the medium. To the point that we come to wonder what the licence really is. The answer may be there, in Bayonetta 3. Or maybe not.
A few words on a piano
In order to better understand our position on this title, the first two papers and the Devil May Cry to a lesser extent. While DMC continue to perpetuate a formula which has been partially born, constantly perfecting it, Bayonetta experiment. The witch's adventures reconnect with much more love « video game »Let us say, who has always guided Hideki Kamiya, his breeder. Although it is owed the creation of DMC, the work was built despite it by following a Gothic universe with horrific hints (prototype Resident Evil 4 Forced). Then she grew up without him, especially thanks to the investment of Hideaki Itsuno and her work on episode 3.
Itsuno has been able to redefine the identity of the series, in addition to saving it from a potential death. Landed at the end of the development on the second part to save the furniture, he will decide to impose a new opus in order not to bury the license and relieve a deeply touched ego. The bulk of the work will be done on writing and exploitation of the lore, attests to the direction taken since Devil May Cry 3 (Itsuno is still in charge of the series). In this capacity, writer and novelist Bingo Morihashi took care of the scenario of this DMC, then screenplay later Bayonetta 2. This digression seems to us necessary to understand the origins of the witch. Because Without Dante, no Cereza.
In this regard, Hideki Kamiya talks about an evolution. A playful evolution, on the design of the action precisely. In this way, DMC at one opus Bayonetta, despite different teams at work, inspiration is each time notable. PlatinumGames could have dealt with both licenses and we would have seen only fire. The two sides of the same room grow in parallel. A healthy competition that pushes everyone up. We want proof that the creator of Dante confessed to have replayed DMC 4 to find inspiration. It was enough to go through the first Bayonetta To convince yourself. The bright atmosphere and especially the angelic bestiary are strongly inspired by the work of Capcom.
The game designer also admitted that the demo of the title of Devil May Cry 4 impressed PlatinumGames' staff. To the point of revising their ambitions upwards. Bayonetta is clearly the luminous penchant of the license led by Itsuno. If humor has always irritated the demon hunter's adventures, the witch pushes the pottery to the fullest until she reveals a much less serious tone. No childishness, however, nor let go (not to say deviance, without this being a judgment), as in a Onee Chanbara or Lollipop Chainsaw. In 2009, Bayonetta The theme was sensuality and Cereza was the perfect incarnation.
Some love her hot
On this basis, Mari Shimazaki imagined the design of heroin, recognizable by her sexy poses, her eccentric approach and her outfit made of her own hair. Her improbable hair being the source of her power, sadistic attacks or invocations will often expose her. Without contempt or questionable deviance (even if, in the state, the qualities of the series would have counterbalanced the thing, unlike the two titles mentioned above). In any case, staging never loses time to focus on action, the heart of the experience. But Bayonetta remains sensual. When sexy pose is there, it's never free. This is only one way to express a theme, to affirm a femininity.
An expression according to certain clichés, of course, but a cliché is not necessarily problematic – its use may be on the other hand. These considerations in mind, seeing Cereza performing dance steps, regularly, will not be meaningless. The abundance of references to Italy is not without convoking seduction, while the dances presented are always from the west. And it's no coincidence. Traditional dances in Japan are not based on the same codes. In their culture, modesty is rigorous and bodies are usually hidden under fabric, movements are slower and anchored to the ground. In Westerners, the bodies are usually little clothed, the forms like the skin are apparent and the movements are faster, even aerial. Bayonetta Reappropriate Western dances to serve her sensuality. The same applies to the blood represented by rose petals, whose thorns recall the power and character of the witch.
The first opus was finally only a mouthpiece, the work focused primarily on the combat system. As for its continuation, it will be more crazy: identity had to assert itself more. The experience of the second part is such that it makes any video game look like a playful failure cooking both the over the top side astonished in the medium. Moreover, when it is the prerogative of a licence like this. Who's seen more crazy than Bayonetta 2 ? Not many people, no doubt. However, episode 3 wants to go even further in exuberance, demonstrating an excessive generosity to which we can only forgive many questionable decisions.
The worst being the new heroine, Viola... We will talk again about this young woman who, both in substance and form, has little to offer. Let us not scatter and try to show some clarity, even if, on this point, the license is clumsy, or the devs flout it, doubt is allowed. So let's bury the nails of the narrative coffin right away. Maybe for you it's obvious: Scenario and Bayonetta Seems incompatible. That's not necessarily wrong. After all, it is not for history that the series is retained. Nevertheless, some people, like the author of this paper, find that playing without context or goal makes an experience less engaging
We prefer a Mario in which the mustachu plumber wants to achieve a simple objective (save Peach), without having any particular message to convey, rather than an adventure without any motivation or context. It even gives thickness to a universe, consistency to a whole, moreover if narration and gameplay resonate. A lore can emerge and build over time. Failing to get out properly, the fault of a complicated narrative revealing all its stakes only at the end, Bayonetta first of the name allowed to appreciate the writing proper to Kamiya
Demolition Woman
Bayonetta shows it, especially on the 3rd: the scenario is for the guy only a way to bring a soul to the universe of the game, as well as justifying gameplay ideas. Instead of stupidly implementing them without consistency. Only the characters count a minimum, Cereza attests that from the beginning enjoys an asserted personality. It is much better characterized than many video game heroes and heroines. Attempts to deepen the character are sometimes awkward, but laudable. It is not only for her plastic and sexy poses that the witch is popular. Let us not neglect its effective characterization, with its irreverent tone and its natural nonchalance. A character that also appears in his singular gesture.
For those who wish to rediscover the plot of the first part with a functional narrative, we recommend the viewing of the OAV released in 2013, Bayonetta : Bloody Fate. Although bringing slight variations on the plot, the film traces the story more clearly than the game. Whatever you think, Bayonetta has a scenario, not uninteresting. If you understand what the heels are in, of course. And it is not in a work that wishes to pass a specific message, in no way. She doesn't pretend to want to do it either. Besides, bad story doesn't necessarily rhyme with bad character. Now, any good story begins with successful characters, what Cereza is.
Without losing philosophy Bayonetta centered around the gameplay, the second part managed to properly exploit this universe finally richer than we thought at first glance. Without covering the thickness and attractiveness of the DMCnor pretend to be more than a video game intended to entertain us. The universe here depicted deserves attention and episode 2 tried to prove it. Bingo Morihashi's presence was probably for something like Kamiya's absence from the script and the production (he will only be a producer). There is also a close friendship with Jeanne, echoing the rivalry between Dante-Vergil and Trish and Lady, since, like the latter, the two witches are not enemies.
Yet, Bayonetta 3 decides to demolish some of the narrative work done. Lore drafts are evacuated, not to stop telling a story, but rather to embark on an indigestible multiverse. At least this brings a singularity to each witch, and therefore to each game, the multiverse attesting to their difference (we do not embody the same Cereza each time). A pirouette intended to justify questionable writing decisions. As well as justify variations in game design from one title to another. This explains why this third opus can enjoy without having finished the previous ones, even if it is always better to understand the series as a whole.
Hamgurger movie sandwich
When the first game wants to fight pure and hard, taking back the demand and wealth of a DMCDespite an effort on accessibility, the suite is already less technical. The reduction of difficulty, the addition of too powerful skills, makes the experience more affordable but, in the long run, the gameplay is losing in depth. Bayonetta 3 follows the movement and pushes the nail further by denying foundations. The game is relatively easy in normal mode compared to its elders. The squid window is less permissive than in the 2, of course, unfortunately the adventure is often too simple. The fault, among other things, to the omnipresence of superpowerful blows.
The worst is the devastating invocations of Kaiju who, most often, end up annihilating any challenge. Readability is not spared and can become problematic in this opus (more than usual). Different timings, including esquives, invocations or too powerful blows that are easy to come out... we are no longer invited to experiment. Nothing alarming, it's not as if we were forced to invoke Kaijus, but the approach, probably motivated by the general public target to touch, does not seem relevant. It merely recalls, like the presence of a multiverse in the scenario, the crossovers of a time when one thinks only of enriching oneself by touching the greatest number. At the cost of a certain quality and infantilisation.
If there was a question to ask for the development teams and for Hideki Kamiya back to the screenplay, it was about how to pass after completion Bayonetta 2. Obviously, the second episode offered a new look at the series. The explicit influence of DMC disappearing a little more. There were fewer viable comparisons between the two works. No more than between the Sun and the Moon. Concerning Bayonetta 3, as we said, Bingo Morihashi's work is thrown in the trash. Back to writing, Hideki Kamiya delivers us a completely creepy scenario, carried by a barely digested narrative. A chaos that requires taking the magic map out of the multiverse to try to bring a semblance of coherence into it.
We might even believe that the game designer forces us to have nothing more to do. Nevertheless, taking into account the man's love for the arcade, especially the shmups, one can bring the experience closer to them. A clear pretext scenario, much more than usual, while the experience is focused on gameplay no more or less. Is there anything more important than that in the eyes of Kamiya? The gameplay and nothing else? Who knows? However, this legitimizes the delirium on the screen and the extravagances of game design, while proposing to incarnate, technically, different Cereza.
The Imaginarium game designer Hideki Kamiya
This is the function that narration seems to take here. Serving gameplay ideas, and that's what Kamiya and his teams deserve. A way to legitimize some changes in character writing: the witch of this opus seems a different hair, it is true, but it is Luka the most changed. Until then confined to the role of a comic ball without much interest, he gained some letters of nobility in Bayonetta 2 Without deviating from what it is. But here it is, Kamiya decided to turn him into a magical creature... If we put this on the account of a Luka coming from another universe and we ignore our personal tastes of his aesthetics – sympathetic in any case – there is no doubt that this transformation is not justified, nor is it presented in writing.
She acts like a hair on the soup, which is rather disconcerting. Moreover for those who followed the characters and the series a little bit. That being said, the effect « Wow. » works. From which to highlight the paradox at work in Bayonetta 3 : Immersion becomes expensive because of graphics and « scenario » allowing everything and anything, while we are caught by a video-ludic proposal at a frantic pace. The game multiplies good ideas; mixing prowess and dantesque sequences. It's kind of like Hideki Kamiya trying to ridicule the craziest projects.
As if, with his teams, he had mixed Sin and Punishment, God of War III, DMCInheritance BayonettaAnd what do I know again? The rogue also seems to remind us, shout us, that it is only video game. Bayonetta is a video representation intended to amuse us, make us laugh and marvel at us by its extravagance and captivating. A soup that stands and shines a thousand fires, the opposite of a FF XVI unable to assert or honor its influences, as we said in our dedicated paper. Here, Kamiya and her teams do everything they can to fill our eyes and fill our hands. Bayonetta versus The World, in short.
Yes, the game is a little ugly despite several respectable environments. That said, the framerate is solid (rare and minor slowdowns can occur, the Switch is pushed into its cuts) and the gameplay exemplary. The concept of generosity fits perfectly into this third part. At a time when many big games can only steal our time without hiding it, Bayonetta 3 reverse. No time dead and no adventure of 200 hours empty and tasteless. And yet, before Yusuke Hashimoto left PlatinumGames and thus the development of the game (he previously occupied himself with the realization of Bayonetta 2), an open world was envisaged.
Cereza Mnemonic
The remains are visible. More than ever in the license, the play areas are wider and finding objects in the environment makes more sense. This is not perfect: technical concessions and visuals that lack detail spoil a little immersion and the adventure side yet present (with what involves challenges and platform sequences) does not shine mastery. We will console ourselves with the variety of places visited, and especially with the incredible soundtrack. Quality and diversity are on hand to ensure a pleasant hearing journey. Probably the most impacting music in the series, according to us.
Too bad exploration is not better done. Although disconcerting for a series lover, the more open level design brings a new breath that is appreciated. In the state, even if a result suffering from the abandonment of the idea of an open world, the extended areas work, in addition to always succeeding in the form of levels. Even more when gameplay is often renewed, mixing genres, not to mention the possibility of walking in the form of a creature, each with its own ability to move. Grizzly!
Let us now address one of the major concerns of Bayonetta 3 : Viola. What comes to mind is the chara design. For us, the false step is obvious. The Emo/Rebel Emotion Allergic to Authority indicates a little with other characters. It is also characterized as a comical and messy spring, a role previously held by Luka (the first games). So we end up with some kind of embarrassing duplication. His plush companion is much more charismatic and successful. Apart from his gameplay turned around the handling of a katana – it takes back Vergil's movements – and oriented to the detriment of the switch time active on a parade, the character unfortunately has nothing memorable.
It's barely if she has time to play in the end. The disappointment is therefore real, a fortiori when it is done for the benefit of Jeanne. The latter is relegated to the background, serving only to highlight a mini-action game in 2D. Quickly redundant sequences, but suggesting that the license has a card to play on this field or on beastly and mean Metroidvania. Only the apotheosis mode will allow to incarnate Jeanne, in the absence of a prominent presence in the main plot. Her actions, via the mini-game, impact the story, but let's admit it, we would have preferred to see the reverse roles between her and Viola.
To return to the latter, the character's problem goes further than his writing or design. Besides a game design that seems less precise in this Bayonetta 3 (although our playing time is still too limited to be categorical), Viola is more complex to handle than Cereza. This is a problem because although it strikes harder and its range of blows is limited, the cognitive load is therefore less, it is not known. So you have to learn to play it, so on few missions. Moreover, since it is based on counters, including for the switch time, the risk taking is much higher than for our witch. Less instinctive too, the license focusing on esquives.
Everything Everywhere All at Once
The idea behind is the same as that of Itsuno on DMC 4. Integrate a new character to target another audience, making it more accessible than others. An effective way is obviously to reduce the blows and techniques, and to have us play long enough, preferably from the beginning of the game, with the character in question. DMC did, to the detriment of Dante's monopoly, but not Bayonetta. If one likes being in Cereza's skin most of the time, everything suggests that Viola has never been a good idea. Would it be one of the results of the change of direction in the development of the game? And what about this clumsy conclusion... the words are weak.
Maybe it's a good thing that Hideki Kamiya chose to go and see elsewhere. Bayonetta 3 is the opus that takes back the fans, and everything leads to believe that the gentleman has his share of responsibility. Fortunately Cereza is there to comfort us, she and her gameplay, certainly more accessible, less technical and deep than her elders, but still mastering well beyond competition. The number of weapons is crazy, having a headache, what to compete with Dante in DMC 5. More weapons, this time easily recoverable, with very different styles, extravagant and unlikely too. Expect some damn surprises, 'cause there's fun.
On the other hand, we can only equip two weapons, against the double before. Mastering your weaponry is now becoming more tedious, even if it is hard to blame the game. This corrects a pitfall of the first part, too vile on the distribution of the arsenal. In 2009, limited choices required the control of weapons that were not necessarily appreciated. In Bayonetta 3, it's a gameplay « à la carte » which we are served, in order to satisfy as many players as possible. This is evidenced by the emergence of a tree of skills to unlock certain moves and moves (until now all combos were available from the start).
In theory, the game invites you to experiment, choose what you prefer (you can activate or disable skills), but in fact you buy the same thing, or even buy all the techniques as soon as possible. Since Bayonetta 2, the approach is accessible with easy combos and the feeling of mastery and power that one feels from the beginning of the game (inverse of a DMC). The first part remained accessible, but the difficulty of the game forced one to pull his fingers if one hoped to reach the end credits. Since the 2nd, we've also lost the aerial combos. They are still there, but are no longer at the heart of the clashes; The witch of the Umbra excels more on the ground. Says like this, the finding may seem mixed. However, this « regression » in the gameplay does not remove the excellence of the latter, especially as a balance is found with the generosity of the soft.
The best and least good of the show to the obvious, confirming that each soft is more or less unique in its proposal. For the sharpest of us, of course. More generous, less precise and demanding too, but done with an immense heart, this is what one keeps from adventure. At times we are outraged, while at others we are stunned, sometimes bewitched. The experience offered by Bayonetta 3 is so crazy, passionate and generous that we forgive her for her wanderings. A memorable video shoot. It is felt that the project has long sought and experienced; However, the teams go to the end of the delusion. If one could easily reconcile the 2009 episode of a DMC, the third opus did, despite the unwavering links between them. Released from this crazy video trip, we wonder if, during two games, the license was not in search of identity. And that it is with Bayonetta 3 that the series is finally found, but we are not convinced to have an answer. On the other hand, what's safe for us is that Bayonetta is the video game. A video theatre, quite simply. Put the curtains down.
For
- Always at the top of beat'em all 3D
- Crazy, generous and surprising
- The complete and varied arsenal
- Music
- Extended play areas
- Transformations
- Cereza, Cereza and Cereza
- Rich gameplay that fills the view
- A solid technique
Against
- Beastly reduced challenge
- Too many powerful blows and free invocations that break the game
- The writing work of Bingo Morihashi evacuated in favor of an indigestible narrative
- Less inspired artistic direction
- Visually disappointing
- Jeanne is back and her mini-game is redundant
- Viola
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