![]() After all, if Bayonetta 2 can have this much fun with itself and it’s willing to share that fun with all who seek it, how can you resist taking the game up on its offer? Naturally, these over the top performances produce the same charismatic pull that they did in the first Bayonetta. Indeed, the game begins with a similar over-the-top spectacle as the first, narrating the back story, before the game begins proper, as Bayonetta fights enemies on the top of a jet fighter speeding over New York City. Stylish cinematics, elaborate choreography, sweeping and purposefully ridiculous set pieces like the one the game begins on – these are what Bayonetta 2 delights in the most, and these are where Hashimoto’s visual design skills are most apparent. More often, it’s found in the game’s admiration for action movies, blockbuster video games, and the impossible stunts often associated with both. Sometimes that fun is found in a sly cultural reference (this time from sources like Alex Kidd, Jojo’s Bizarre Adventure, and Futurama) made just for the sake of making it. Other than that, he’s very much a villain molded after Balder: calm, in control, coded religiously, and exuding power in every scene he’s in.Ĭonfident and flamboyant, Bayonetta 2 seeks above all else to have fun with itself. Since Loptyr operates from afar for most of the story, his motivations remain vague outside his interest in capturing Loki. ![]() Also, he can transform into a squirrel at will. He can control the passage of time in certain areas and he attacks with magic infused Tarot cards. Some of that stems from his importance to the plot, but just as much stems from the competence his abilities gives him. His cocky attitude and inexperience allow Bayonetta to quip off him when the moment suits it, but he comes across as more sympathetic than Luka ever did. Narratively speaking, he’s somewhere between Cereza and Luka in terms of his role in the narrative. The deuteragonist who escorts Bayonetta to Fimbulventr and through the gates of Inferno. Outside them, there are only two new characters introduced for this story: Despite the change in setting, most of the cast from Bayonetta (minus Cereza, for obvious reasons) reprise their roles for this story, albeit with minor visual and inflectional changes: Jeanne’s longer hair, Luka’s more strongly pronounced role as a journalist and friendlier relationship with Bayonetta, Enzo’s slight contributions to the plot, etc. This forces Bayonetta in a race against time to get to Noatun, a mountain town located somewhere in Tibet (or maybe Belgium or Italy the game is surprisingly unclear on this point) climb the mountain Fimbulventr to open the Gates of Inferno at the top and break into Hell to retrieve her sister’s soul. Bayonetta maintains control throughout most of the early moments, but something unexpected happens: one of Bayonetta’s attacks accidentally sends Jeanne’s soul to Inferno. It doesn’t take long for an Angel fight to break out and interrupt this brief moment of peace. Set some time after the events of Bayonetta, Bayonetta 2 begins with several of the main characters (most notably Bayonetta and Jeanne) Christmas shopping in New York City. While supervised by Hideki Kamiya, it was directed by Yusuke Hashimoto, a visual effects designer who had previously worked with him on other projects (including as a producer on the original game.) Not only did the original leave a strong impression in players’ minds when it was released in 2009, but it was the kind of impression that would suit Nintendo’s needs and play into Platinum’s greatest strengths. ![]() The development studio offered Nintendo convenient solutions to the problems critics had levied against them for the better part of a decade: weak support from third party developers and a lack of games to attract the lucrative enthusiast market. Hence Nintendo’s willingness to publish The Wonderful 101 and hire them directly to work on their revival of the Star Fox franchise with Zero and Guard.īetween these projects was Bayonetta 2, the centerpiece of that partnership. In particular Platinum’s critical success brought them into contact with Nintendo. With games like Vanquish and Metal Gear Rising, they’d established a reputation for themselves a reputation strong enough to attract attention from Konami ( Metal Gear Rising), Microsoft ( Scalebound), and Yoko Taro ( Nier Automata). They weren’t a new studio relying on the big names working for them to build a reputation. ![]() The situation PlatinumGames faced while making Bayonetta 2 was completely different from the one they faced making the first Bayonetta.
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