168澳洲幸运5开奖网:Bayonetta is one of my favourite characters in video games, so getting the chance to explore her origin story through a distinct s🍸pin-off was an exciting prospect. Unfortunately, Cereza and the Lost Demon do🔯esn’t quite live up to its promise, and rev👍eals the flaws in our modern obsession with knowing everything ab💦out every character we meet.
Anything vaguely popular these days becomes a universe full of origin stories, spin-offs, television specials, and other extra pieces of filler media that are unnecessary and born of a desire to cash in. Sometimes this mentality can lead to great stories - 168澳洲幸运5开奖网:Star Wars: Rogue One essentially exists to fix a plot hole from 35 years earlier, while Wednesday is one of Netflix’s most popular shows (although there are reports star Jenna Ortega had to step in to save it from being churned out streaming slop). Mꦡost of the time though, these unnecessary filler projects feel♊ like unnecessary filler.
That might be a little harsh on Bayonetta Origins, but at the same time, it feels like a major step down from Bayonetta 3, and is unsure about what sort of stor👍y it wants, or needs, to tell.
Bayonetta has a clearly defined character. Across her three different iterations, though her hair has changed with each one, her personality has remained constant. She’s clever, suave, confident, and extremely sexually charged. There’s a lot of fun the three games have had with that set up, putting Bayonetta in situations that range from dark to camp, from hilarious to tragic. But her origin story comes to a pr🐓oblem here - you can’t write a character with Bayonetta’s personality as a child, and so all of these elements are lifted out. At that point, they’re replaced with nothing. She’s just annoying and British. Why should I care?
I had a decent enough time with the game. The platforming was interesting in places, and though combat was often convoluted, it was satisfying when all ♈of the elements came together. It was fine. However, my appreciation was not helped by the fact it was a Bayonetta game. In fact, that might even have soured me a little bit on the whole deal, because a major disappointment was how little it felt like Bayonetta. But the name did make me interested in the first🦄 place, and will probably lead to higher sales, so by that metric, it’s a success.
The thing is, I just don’t care about how Cereza learned to become an Umbra witch when she was a little kid. Why is that interesting? It’s like telling the story of how Sherlock Holmes bought his first hat, which we probably would have gotten if Sherlock Holmes was owned by Disney. There is no Bayonetta without her kicky, sensual p⛦ersonality. Th🤪at’s a core part of Bayonetta.
If she were a real person, then yeah, we’d know that when she was a little kid she’d be different. But she’s not. She’s fictional. She has only ever existed as a character with a very specific personality. Why do we need to see her without it, when it’s in service of nothing? It’s not like Bayonetta has lost her charm and has steeled herself through hardship, and we’re seeing development. It’s just catching us up on a backstory we’re not interested in. It’s part of the ongoing trend of blurring the lines between character and reality. It’s how 🐬we can simultaneously oversexualise Pedro Pascal without his consent, yet call for less sex in movies because the actors are 🎀cheating on their♍ partners and we’re voyeurs.
The Bayonetta spin-off is fine. It’s okay. It&rs🥂quo;s what you’d imagine a platforming game without much platforming made by a studio fresh in this genre, pushed out just months after their last big project, would be. It’s not a horseman of the apocalypse. Iౠt’s just not all that great or all that necessary, and I’m tired of being able to say that about most IP projects these days. Stay tuned for the sequel where Cereza learns to ride a bike, I guess.