It’s the developer turning traditional images of femininity into weaponry. Her most powerful attacks make use of her hair, which unravels off her body, leaving her naked, and pounds the enemy into oblivion. Bayonetta’s greatest power comes from her hair, which is long, feminine, and is actually her clothing. The English accent is perfect for Bayonetta’s sharp, cutting sense of humour, and controlling, dominant flirtatious tone. Part of this is due to the incredible delivery of Bayonetta’s likes through voice actor, Hellena Taylor. In that one, the game’s enemies are almost exclusively beings (“angels”) from heaven, and while they’re generally decked out in the glistening armour and clothing of pure white that we see in conventional imagery of heavenly beings, in Bayonetta these things have been twisted so that they take on a sinister tone. It’s no secret that the Bayonetta games are broad shots and the righteousness of faith – particularly in the first game.

Having played and replayed these games many times over now, there are three things that have really stuck out at me as the standouts features of these two games:ġ) The religious imagery. They are masterful examples of clinically accurate action games. So, rather than re-tread all my existing words on the game, I’ll link you to my original review ( read it here), and say that nothing has really changed about either of them in this port. The original comes as a bonus on the Nintendo Switch (or you can buy the two separately digitally). I reviewed Bayonetta 2 when it was released on the Wii U, and this is almost a straight port of that game.

There isn’t that much that I can say about Bayonetta 2 and its predecessor that I haven’t already.

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