Primarily using a punch and a kick button, with the occasional swirl of the analog stick for more advanced moves, you'll produce a nearly infinite string of consistently outlandish combos, the best of which turn Bayonetta's hair-suit into gigantic fists, feet, or monsters that reduce your enemies to red paste. It then hurls that baton off a cliff, tears off all its clothes, and then jumps after the baton, laughing maniacally the entire time. The action in Bayonetta takes the baton from games like Devil May Cry. Even if you don't like what it's doing, you kind of have to respect the way it does it. What matters is that Bayonetta is an action game bursting at the seams with enthusiasm, a game that celebrates Japanese game conventions-with ample nods to both Sega's and Capcom's back-catalogs in particular-and then pushes them to their breaking point. There's a permeating hypersexuality here that could be derided as being deeply misogynistic just as easily as it could be hailed as a beacon of post-feminist self-actualization, except that the absurdity in Bayonetta is so bone-deep that it doesn't really matter one way or another. Imagine Ulala with a mean streak in skintight black leather, and you're almost there. She spends most of her time luring angels out of heaven so she can murder them using her sexy stripper dance moves and her guns, two of which are attached to the back of her stiletto heels. Bayonetta is a roughly 10-foot-tall amazonian librarian-slash-dominatrix with a posh, saucy English accent dressed in a skintight outfit made of her own hair. There are a lot of words that could be used to describe Bayonetta, the new action game from PlatinumGames, but the phrase I keep finding myself going back to is “fucking ridiculous.” Before you call the expletive unnecessary, consider the titular lead character.
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