●●●○○

If nothing else, Platinum Games’ Bayonetta 2 is notable for one particular thing: it tries desperately to straddle the line between female empowerment, and attracting heterosexual males to play the game (it’s a well known fact that games that do not offer a male power fantasy are actually no fun at all). Unfortunately the producers have failed to realise that the latter completely undermines the former, and as a result Bayonetta 2 ensures that anyone who isn’t necessarily interested in fantasising about sexy game characters is still hit in the face with a bunch of crotch shots.

 

It is one of the most disappointing elements of the game, because the characterisation of Bayonetta is actually pretty great: she is wholly independent, can defend herself, and doesn’t need to be rescued by anybody at any point of the game. Her look has clearly been designed to eschew some of the conventional ideas of attractiveness, although her curves are pretty pronounced. Even her costume, designed to show off those curves, isn’t in and of itself problematic — although it does have a tendency to fly off her body should she want to perform a particularly effective attack.

 

It is just one example that shows how the problems all lie in how the producers, and specifically the chosen camera direction, choose to showcase Bayonetta. Within the first few minutes of gameplay, players are up-close-and-personal with Bayonetta’s crotch area, with the camera going on to trace the outline of her body up along her breasts to her face. That single act reduces what should be a hugely empowered woman (who arguably embodies sex-positive feminism) into an object. By the end of the game, players will be so intimately familiar with any part of Bayonetta’s body that can be considered sexy that it becomes eye-rollingly tedious when the camera unnecessarily scrolls over her for the umpteenth time.

 

The frustration is amplified given that the game is a very solid fighter. The controls are extremely simple: one button each for shooting, hand weapon, leg weapon, and jump, with the right shoulder button for dodge. And yet the depth of the combat mechanics are hugely engaging, from move combos to weapon combinations and skill upgrades. The customisation offered allows for some great experimentation in order to find the set-up that works for the player, which really pays off dividends in battle.

 

Those battles are absolutely mad, and can be pretty tricky: the “continue” screen is likely to appear frequently during most playthroughs, although the game does largely manage to ensure that the player doesn’t feel cheated into defeat, or that the obstacle in question is ever insurmountable. Players are ranked on damage taken, highest combo score, and time taken to complete each battle, with the ranks ranging from stone to pure platinum, so perfectionists are sure to get a kick out of this.

 

Described by the developers as a “non-stop climax action game” (and leaving aside the sexual connotations of that particular choice of words), this is actually one area where the gameplay falls down to an extent. Each battle is treated as being of utmost importance, with many leading in with a cutscene or introduction of the monster being faced. As a result, there is no way of distinguishing between regular battles and “boss” battles: instead, there can be a tendency for the game to tilt towards being a hack and slash game simply for the sake of it, instead of being motivated by any particular aim or narrative. The music is perhaps the only difference between various stages of the game, and it’s worthy of praise: from pop beats during the throngs of battle to choral-led symphonies during some of the more epic scenarios, it fits well into what is happening on-screen and uses a fresh style that differentiates it from many gaming soundtracks.

 

It’s worth noting that the main plot rarely leads the game’s actions, but rather serves as an attempt to draw the levels together in a threadbare fashion. Unfortunately, it also manages to make use of several narrative tropes, most obviously those involving damsels in distress and women in refrigerators. As a result it is unremarkable at best, and dull and offensive at worst.

 

Bayonetta 2 is ultimately hugely frustrating: remove all the visual elements and what is left is an incredibly approachable and fun, while also being mechanically complex and difficult, fighting game. With all the extra layers added, it takes on an extra veneer of sexism and objectification that is really hard to ignore. As a result, while it is easy to enjoy Bayonetta 2, it’s difficult to come away from it without feeling hugely disappointed by the lost potential.

 

Bayonetta 2 is available on Nintendo Wii U.