Unsurprisingly, the quaint hybrid Nintendo Switch system sometimes has trouble keeping up with all of the madness. It’s as bonkers as it is awe-inspiring, but it never runs the risk of feeling strange to play compared to the usual combat scenarios. Another has the player switching between both Phantasmaraneae on a ground level and the avian Malphas in the air to double-team a towering hydra-adjacent Homunculus. One of these showdowns is a rock-paper-scissors type of battle that features an incarnation of the Godzilla-like Gomorrah towering well above the peak of the Tokyo skyline. Instead, the player can immediately sink into something that feels natural. So, by the time it comes to Bayonetta mounting the creature in an escape sequence, there isn’t a jerky whiplash distracting from the wonder and chaos of the scene that’s unfolding. Phantasmaraneae controls the same during that part of the chapter in Bayonetta 3 as it does in normal combat scenarios, with its movement and attacks being one-to-one, and players will have had almost an entire level’s worth of time prior to acclimate to the summon. However, moments like this feel like organic extensions in Bayonetta 3. Moments like this may have felt jarring in the context of the earlier Bayonetta titles (Many fans of the original game will cite the nod to Space Harrier as being a low point, for example.) - or even in The Wonderful 101, which can feel overwhelming on an initial playthrough with how often it pulls the rug out from under the player with a drastically different scenario.
She mounts it as the two traverse across the Tokyo city center rooftops, with some light platforming, mind-bending perspective tricks, and splashes of combat that culminates in an early-game highlight.
In one of the earlier missions in the game, Bayonetta summons her giant flaming pet spider, Phantasmaraneae. Not only does this give each battle an additional “wow” factor, with fully controllable kaiju being raised from the underworld at a moment’s notice to face off against enemies in non-scripted sequences, but it also makes the more scripted set pieces flow more naturally. But in Bayonetta 3, she can now summon these demons and use them as a part of her core combat move set on a whim, aside from the rare occasions when a fight is confined by a tighter in-doors arena. In previous entries, the eponymous heroine could only perform giant demonic summoning rituals during the climax of key encounters in chapters, which would result in a button-mashing QTE set to the scene of a foe being torn apart into bloody chunks by one of her grotesque minions. Bayonetta 3 takes that gushing creativity and runs with it, more seamlessly tying it into the core mechanics of the game with the new Demon Slave mechanic. Prior to Bayonetta 3, The Wonderful 101 probably exemplifies that point the clearest, with how it effortlessly carries its band of heroes from one stupendous action sequence to the next at a blistering pace. PlatinumGames has a penchant for placing the characters of its action titles in preposterous scenarios. Yet despite hardware limitations on the aging Nintendo Switch, Bayonetta 3 accomplishes the monumental task of going a step further, with its degree of spectacle being unmatched in its frequency, implementation, and scope. The first game kicks off with a set piece that’s more grandiose than what most action games can muster in their entire runtime, featuring a fully playable gravity-defying battle on a falling clocktower between an army of witches and angels, and comparable moments are frequent throughout both the first and second game.
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Bayonetta is a series that’s never been shy about showing off its bombast.
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