With the help of a short Mafioso caricature (who sounds suspiciously like Joe Pesci) and a towering arms dealer, Bayonetta searches for the answers behind her mysterious past, one dead angel-monster at a time.īut the story of “Bayonetta” is very, very much beside the point of the game. The angels in the world of “Bayonetta” aren’t so much pudgy-faced cherubs as giant, mono-eyed, muscle-bound, weapon-wielding monsters who show up in hoards, vying for the protagonist’s blood. She’s in the business of killing angels, and business is a-boomin’. Our protagonist wields four guns - two in her hands and two serving as high heels for her boots (which somehow remain functional) - and there’s not a broom to be found. While naked.īayonetta is a witch, though what we generally associate with “witches” is almost totally absent from the game. What’s so striking about Platinum Games’s new title “Bayonetta” is how it acknowledges these changes, paying homage to them and then flinging them into an exploding toilet, flushing them away with the heel of a stiletto that’s also a pistol. This is great for games and really great for gamers. But beyond that, there are new elements that are hard to put a finger on: maturity, a focus on the integrity of story, the ability to move the player emotionally.
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