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Thread: The Shinji Mikami / Hideki Kamiya / Hideaki Itsuno Review Megathread

  1. #51
    Thing What Kicks
    Registered: Apr 2004
    Location: London
    Ooo, you're doing Dragon's Dogma?
    I hope you've played it already, as to get the most out of the game (and its expansion, Dark Arisen), takes significantly more time than the other titles you've been playing for this thread.

  2. #52
    Member
    Registered: May 2004
    I did end up putting 50hrs into RE7 with all the DLC. But yeah, I know I'm looking at about 40hrs for Okami and 50-60+ for Dragon's Dogma, and I haven't started either yet. I do at least own Dragon's Dogma already, and plan to get a head start on it soon. I don't think this thread will reach completion for at least another year...

  3. #53
    Member
    Registered: May 2004
    DEVIL MAY CRY: THE ANIMATED SERIES (2007)



    Studio: Madhouse
    Director: Shin Itagaki
    Writer: Toshiki Inoue, Bingo Morihashi

    The PS2 DMC trilogy didn't exactly manage to tell a coherent story between the 3 games - the first game had minimal story, the second's plot was pointless, and the third provided all the lore for the series but directly contradicted the first game in the process. Nonetheless, Capcom tried to flesh out the story of the series with manga, graphic novels, and finally n anime series created by MADHOUSE. They produced a single season of 12 25min episodes. The episodes are mostly self-contained stories, though a plot arc does take over in the last 3 episodes. There are some cute callbacks to the games in the way things are named - the episodes are referred to as 'missions', and the last two missions, 'Showtime!' and 'Stylish!', are named after the game's combat ratings. The story bridges story gap between the first game and DMC4 (in case I've lost you, the series chronology is DMC3 - DMC - DMC4 - DMC2 - DMC5 - they kept it simple). Due to the strange chronology of the series, filling in these gaps can be a bit dangerous - a graphic novel was already produced to bridge the gap between the first two games, and now this anime and DMC4 have to fit in there as well. It really doesn't all fit together, but that doesn't mean this anime isn't enjoyable of its own accord.

    There doesn't appear to be an English dub - this one is subtitles only. This means, once again, Dante's voice actor is different, and he sounds radically different from the others, with a much deeper voice. I'm still not managing to get a sense of who Dante actually is as a character out of all of this - he's much more soft spoken and laid back in this series, with his signature confrontational snarkiness coming across as much more dry. He eats nothing but pizza (no olives!) and has a new affinity for strawberry sundaes. We never see him in demon form. Because he had so few lines in the games (too few to draw a show character from), almost all of his characterization is new. The overall tone of the show is entirely different from the games, as well - it's much slower moving and less focused on over the top action (though there is a missile riding scene in the final episode as a cute tribute). The action scenes are quick moving, vague, and far less centered around crazy stunts. While the visuals are nice and quite moody, they're often a bit too dark and can excessively obscure. The style of the animation is pretty standard for Madhouse, but it's well executed.

    It's actually quite nice to see Dante going about the day-to-day of his demon hunting business, which we never actually see in the games - the details of his business were left quite vague. The monster-of-the-week format fits this series very well. Trish and Lady are finally developed further, though Lady's personality and focus are vastly different than they were in DMC3. Two new major characters are introduced - Morrison, Dante's agent, and Patty Lowell, Dante's temporary adoptive daughter. It's nice to see Dante's relationships with these character develop. The plots sometimes take illogical turns that I couldn't quite follow, but it's hard to know if it's a translation problem or the actual writing. Nonetheless, the writing here is much better than in the games, and the plots are more enjoyable, aside from one issue which pervades the first half of the show - sexism.

    While there were certainly some sexists quips in the games, I found the portrayal of women to be a bit more pervasively questionable here. Dante's immediate response to meeting Patty (who is somewhere around 10-12 years old) is to dismiss her by saying he'll date her in 10 years. There are plenty of sexist stereotypes in this show, which really drag it down - for instance, Patty promptly decorates his place and then asks for expensive clothes. Trish and Lady are, as always, excessively sexily dressed side characters that just so happen to be super powerful badasses, but Lady drains Dante of his money (he's severely indebted to her from gambling), Trish is always fighting with him and 'trying to be his mom', and the two women get into a catfight just for fun. A female rock singer is, of course, possessed by a demon, and it's implied that she goes and lives a nice domestic life once freed of it. In another episode, a man starts stalking Dante in order to learn to be more like him to impress a waitress. The waitress still considers going out with this man after he spies on Dante, follows him into a woman's restroom, and breaks into his house, all in a desperate attempt to hook up with her.

    Thankfully, those issues are far less present in the second half of the season, which features less poor comic relief and gains a bit more focus. The story that takes over for the last few episodes is a bit reminiscent of the third game, with another plot about a demon who is trying to become the most powerful demon in existence. The effects of this spill over into the human world more than in DMC, and yet the resolution seems a bit more quick and painless, despite Dante enduring a bit more of an ordeal. As is probably clear at this point, I don't think this anime has much to add to the genre, nor do I think it will end up playing into the future games in any substantial way. It's hard to imagine the development of the relationships of these characters mattering in the games, as the familiar characters feel like different people here and the new characters never appear in the games. Nonetheless, it was an entertaining, if brief, diversion, and I don't regret watching it.

    Rating: 6.5/10 snarky masks


  4. #54
    Member
    Registered: Mar 2001
    Location: Melbourne, Australia
    There is an English dub of that. It has the same voice actor for Dante, as the video games. Watched that a few years ago. Excellent anime overall.

  5. #55
    Member
    Registered: May 2004
    Well, guys, I'm not sure DMC4 is happening. I get a crash to black screen every time I try to run it, and it appears that there's no fix for this for a lot of people. I even tried hex editing the exe to no avail. I've asked for a refund. Perhaps the non-SE will work, but it isn't on sale right now, so I'll try again later. As a result, everything else I post in this thread will probably be severely chronologically out of order, so here's a review of a game I consider to be rather underrated from a bit later.


    DmC: DEVIL MAY CRY (2013)



    Developer: Ninja Theory
    Producers: Motohide Eshiro, Yohei Uchida, Alex Jones
    Writer / Director: Tameem Antoniades
    Supervising Director: Hideaki Itsuno

    Devil May Cry is currently Capcom's 5th best selling franchise (Resident Evil is #1, of course), but in the early 2010s, they felt it could do better. They decided to reboot the series in an alternate universe with a Western developer. They wanted to create a game that was recognizably part of the series while being distinct (from Bayonetta as well as the older games) and easily accessible to new players. They chose English developers Ninja Theory (Enslaved: Odyssey to the West, Hellblade: Senua's Sacrifice) for their work on Heavenly Blade. Capcom closely monitored the development of the game to be sure that the combat fit the series, with Hideaki Itsuno serving as the supervising director. The fanbase was initially outraged to see a radically redesigned Dante without his signature white hair and red jacket (Capcom demanded this change to appeal to a younger demographic, and really he looks more like Nero from DMC4), with Hideki Kamiya leading the charge against it. Honestly, I think this complaint is a bit ridiculous, as Dante had a different look and voice actor in almost every game (or show) in the series so far. His now-signature weapons (the Rebellion sword and Ebony & Ivory pistols) were retained, at least.

    The plot borrows a lot of elements from all the past games. Dante teams up with his twin brother Vergil (DMC3), the leader of The Order (DMC4), to hunt Mundus, the demon responsible for killing his mother and imprisoning his father (DMC). Mundus is living on earth in human form in a giant crazy looking skyscraper (DMC2), where he exerts his influence over our world. All of these familiar elements come with a number of twists. Dante and Vergil are nephilim: half demon, half angel (they were half human instead of angel in previous titles), which makes them the only living creatures able to destroy a demon lord. The plot has also been modernized - for the first time in the game series, it really acknowledges the human world and the way demons interact with it and control it (this was, however, covered a bit in the anime). Dante is unaware of his heritage until he meets Vergil. He is, of course, eager to help Vergil take down Mundus once he learns the truth, and thus sets off on a quest to lure out Mundus by destroying the demons who run his two primary methods of control - a popular soda and a media company.

    This game has the most creative visual design of any title in this series. It takes place in Limbo (much like Bayonetta's Purgatorio, but much cooler looking), and as such everything looks hyperstylized and crazy - as if the Silent Hill otherworld were crossed with Inception and splashed with a whole lot of color. Limbo is a living dimension that wants Dante dead. The magical door seals of previous games are replaced here with Limbo sealing off areas to trap Dante - roads explode into the air and buildings move to try to trap or crush him. The level design itself is a bit simpler than that of the first or third games (partially due to the absence of puzzles), but the creative visuals and great ways to traverse them keep them engaging. There's more platforming than ever in this game, but it's a bit more fun that it used to be thanks to the angel and devil modifiers, which reflect Dante's two halves and come with their own weapons and abilities. The angel modifier can act as a grappling hook, pulling you towards enemies and locations, while the devil modifier pulls things and enemies towards you. They're both contextual actions, so they can't be used as freely or widely as, say, the grappling hook in the Batman Arkham games, but they do have a similar feel. The platforming is also much easier than in the past since falling respawns you where you left off, removing just a single bar of health. This makes it less frustrating than it used to be, as the older games made you work your way back up from the bottom every time you fell.

    The camera is modernized, as well, as it can be moved much more freely. The only issue I had with it was in the final boss fight, where it kept obscuring the boss. The character movement is the most fluid of any game in the series so far, which also makes combat feel fantastic. The combat actually reminds me a bit of DOOM 2016, even though it hadn't come out yet - the demon designs often look similar, and the explosion of orbs upon killing a demon is quite reminiscent of DOOM. The combat strangely feels a bit more accessible than previous titles, despite having way more combos than the early games and more contexts where only one modifier works. I think the amount of tools available make the gameplay feel more fluid, since you don't just need to alternate the same 4 combos - you can whip out a whole host of moves at any point. Devil Trigger is maybe a bit too overpowered this time - it freezes the enemies and throws them up in the air in addition to making you faster and more powerful and recharging your health, so the challenge lies in getting to as many enemies as you can before the timer runs out. It also turns your coat red, making Dante look a bit more old school, though this means we don't get to see what the nonhuman form of the nephilim actually looks like - a missed art design opportunity.

    The game's stylization can feel a little too Hitman: Absolution meets Hot Topic at times. It all just feels a bit more gratuitous than previous titles - for instance, the opening cinematic features a bunch of scantily clad women with angel wings followed by Dante sleeping with them in his trailer - I'd hardly consider this Game of Thrones-level sexposition. Dante's dialogue leaves a lot to be be desired - his catchphrase is 'fuck you', he really loves repeating things that people just said in a slightly reworded way (do they think the audience can't keep up?), and he makes lots of bad puns. Big, all-caps words pop up in the environment displaying its intentions in a weird combination of Alan Wake and They Live, which bash you over the head with whatever the game wants to convey. It's still the best writing in the series - I mean, come on, good writing isn't what these games are known for. The industrial nu metal soundtrack by Noisia and Combichrist doesn't help, either - it isn't necessarily any worse than the music from DMC3, but it still feels a bit too generic, which is a shame, as the ambient music is great. Thankfully, the movement and combat feel so good and the visuals look so pretty that it's easy to overlook these flaws.

    The game length is just about right at around 11hrs - more substantial than the early titles, but not quite as drawn out as 3&4. The game is certainly easier than its predecessors (DMC2 aside, of course), and a big part of the reason for that is that it has a real checkpoint system in the missions now. You can pick up mid-mission whenever you want now - you no longer have to play whole missions in a single sitting. There are some difficult enemies in the late stages, but what made the older DMC games so hard was the bosses, which are both less frequent and less difficult here. The final two bosses are reimagined final bosses from earlier games, and while they did present a small challenge, they were basically a joke compared to the ragingly difficult originals. The strategies needed to beat them just don't feel as involved, for some reason, maybe because they're easier to execute. There's still some creativity in the boss designs, though - I especially enjoyed fighting what was basically a demonic fox news talking head.

    The store works the same as it did in DMC2 onwards - the more of an item you purchase, the more expensive it becomes. Permanent health and devil trigger upgrades are no longer orbs - they've been replaced by crosses, which make things a bit clearer from the start for newcomers. As in DMC4, upgrades are no longer purchased using red orbs. White orbs serve that purpose instead of refilling your devil trigger - collect a certain number, and you'll get an upgrade point. There are way too many upgrades available to get them all in one playthrough between the 5 melee weapons and 3 guns, and I usually ended up with just 1-2 upgrade points per level. Beating the game unlocks several difficulty tiers, as always - there are 7 tiers of difficulty, with only 3 available at the start. There are even two tiers of difficulty beyond Dante Must Die this time - in the highest one, 'Hell or Hell', Dante dies with just a single hit. As usual now, beating the game also unlocks Bloody Palace mode if you're feeling a bit of grinding. I found this to be surprisingly fun this time around. There are also a number of locked doors which lead to secret levels. While the levels I played were a bit easier than in the earlier games (and also available from the main menu, so there's no pressure to complete them in the moment as with those titles), finding the keys to unlock the doors is pretty damn hard. I came across very few during my time with the game, and thus only managed to complete a few of these levels.

    Many gamers harbor a lot of vitriol towards this game and seem to believe it's not only not worthy of the series, but bad in its own right. I simply can't agree with that at all. It isn't a flawless title, but its merits are too great to dismiss. As the first western entry in the series, it's FAR more successful than, say, Silent Hill: Homecoming or Resident Evil: Operation Raccoon City. Itsuno liked it so much that he wanted to direct the sequel himself, though he realized that Ninja Theory should be the ones to do it, so he developed DMC5 instead. Yes, it's a more casual game than the others in the series on the highest difficulty available at the start - but fear not, because some wickedly difficult modes are unlockable. Unfortunately, the souped-up Definitive Edition (featuring all DLC, balance alterations, and many new modes) is not available for PC. That version features some especially hard modes, like 'Must' mode where enemies can only be damaged once at an S-rank combat rating. It's a lot easier to reach that rating than in previous titles, but that would still be wickedly difficult! I guess I can't complain, though, since the PC port was great and ran very smoothly. It may even have workable PC controls this time, though I got so used to playing with a controller in the early games that I stuck with it here - it just works better for combos.

    On the other hand, the story DLC, Vergil's Downfall, is deserving of ire. It's a brief, 6-mission episode which can be easily completed in an hour or two. It's got a couple new enemies and delivers more of the excellent gameplay, and it's certainly harder than the main game, but that feels more due to ability imbalance than increased difficulty. Vergil's new dash ability feels redundant with angel and devil modes, so the new abilities aren't much to speak of (and are pretty similar to his abilities in the last two games, anyway). The level design isn't very interesting, as the devs were content to recycle bits of the game in a single area of limbo, and there isn't even a real new boss. The main problem with this DLC is the writing. It's delivered in lazily animated cutscenes, which feel jarring interspersed with the in-game cutscenes, as if it was done to save money. The story tries to explain why Vergil became so power-hungry by following him through a limbo sequence where he fights images of Dante and himself after the main game, but it doesn't make a lick of sense. It tries to humanize him in a way that's inconsistent with his previous characterization and bas the unfortunate side effect of making him less interesting. Give this episode a pass.

    Rating: 7.5/10 butchers
    Last edited by froghawk; 30th Oct 2018 at 16:51.

  6. #56
    Member
    Registered: May 2004
    BAYONETTA (2009)



    Developer: PlatinumGames / Team Little Angels
    Producer: Yusuke Hashimoto
    Writer/Director: Hideki Kamiya

    Hideki Kamiya returned to the hack-n-slash genre with his Platinum Games debut, Bayonetta. He played DMC4 as research to see how far his series had come. He wanted to create a spiritual successor to DMC that pushed the genre's boundaries, and that's exactly what he did with his new Team Little Angels - though he chose to push them in some questionable ways. In order to take things more over the top, he decided to make a 'sexy' game starring an unnaturally long-legged witch with a British accent named Bayonetta. Bayonetta is the last surviving shapeshifting Umbra witch and the child of an illicit union between witch and sage. She spends her life fighting angels in order to prevent them from dragging her to the underworld while she searches a European city called Vigrid for the other half of her pendant. If all of this sounds almost exactly like the setup for Devil May Cry reframed with a female cast, it's because that's exactly what it is, only with more ridiculous outfits. Bayonetta ’wears' full tight leather garb (which is just her hair magically formed into an outfit, so she’s technically naked all the time) and platform shoes with guns strapped to them, while contorting her hair into a weird birthday hat looking thing with streamers. The game is as ridiculous as you'd expect based on that description - even the music contributes to the absurdity of it all, as it often has a low quality muzak feel that's quite sarcastic and funny.

    The game is once again based on Dante's Divine Comedy, with the different realms now explicitly named Inferno, Purgatorio, and Paradiso. In keeping with the theme, the levels are now called ‘Chapters’ and are subdivided into parts called ‘Verses' - but don’t let the verses fool you, as each Chapter still needs to be completed in a single sitting. Bayonetta's home base (the store) is a bar called The Gates of Hell, with its name displayed in the same sort of pink neon sign as that of Dante’s shop, Devil May Cry. The game is much more cutscene heavy than the PS2 DMC trilogy, though many of this cutscenes are rendered cheaply as stylized mostly still frames with film reel bars and voiceovers. I'm not sure if this was done for budget reasons, stylization, or both, but it does make the game feel a little bit underfunded and unfinished. It also gives it a somewhat slower feel than the DMC games at times, and that slower feel is at odds with the game’s increased ridiculousness. Unlike in DMC, the game also uses readable books to tell its story, and a lot of major plot points are revealed solely in the readables.

    The basic gameplay mechanics are the same as those DMC, with a couple small improvements and changes which make a big difference. Gunplay and melee combat are far better integrated that they ever were in DMC - since Bayonetta has guns strapped to her feet, holding either of the melee buttons unleashes a torrent of bullets in combination with a melee attack. There are also WAY more combos in this game than there ever were in DMC. All of the starting combos use the same two buttons, which means you're arguably better off button mashing and dodging than trying to memorize them all. Once you start unlocking more combos later on, a bit of memorization becomes necessary, but I found myself forgetting combos all the time - there were just too many. The loading screens allow you to try different combos, but they went by so fast that I didn't have time to try anything, even on the highest settings.

    The biggest change in gameplay is that the game places a huge emphasis on dodging, which I also didn’t manage to master - the game is so visually busy that I frequently missed when attacks were coming. Because of the tricky dodging and combo overload, I was still really bad at this game after completing it, which took nearly 15hrs. I got the lowest possible rating on all but 3 missions. Nonetheless, I enjoyed some aspects of these new mechanics. Dodging at the last second enables 'witch time' (bullet time), much like the quicksilver style from DMC. Witch time also allows Bayonetta to run on walls and ceilings when the moon is out, and having a fight on all available surfaces in this kind of action game is an absolute blast.

    There are also new finishing moves here, which involve Bayonetta summoning demons using her hair (including a spider demon which looks suspiciously like the first boss in DMC) - and this is where things get really controversial. Her outfits have a strange tendency to magically vanish from her body while she summons demons, with her flowing hair conveniently covering only her nipples and crotch. This gets especially weird when she’s using it against her dad. The male gaze in this game is the most extreme I’ve encountered in any game I’ve played, to the extent that playing it actually made me uncomfortable. She is framed in the most objectifying ways possible by the camera (read: lots of shots of ass-in-leather). The developers wanted to show off her body as much as possible - she even does a pole dance over the ending credits, followed by a silly dance sequence which ends with her mostly nude. Nintendo even hired a playboy bunny to cosplay Bayonetta as promotion for the sequel. The producers like to try and justify all this by pointing to the fact that the protagonist was designed by a woman, but this is a ridiculous defense. If there's any doubt as to the intentions of this character, Kamiya has made it clear by saying things like 'to one woman, all other women are enemies... ...women are scary' and that the character represents 'what everybody in the team wants in a girl’. Gross.

    The game is also plagued by quicktime events during cutscenes which come out of nowhere, as in RE4. Granted, if you die, it will respawn you right before the event you missed, but dying hurts your rating. To get a good rating, you need to die less than 5x per level, but good luck with that on your first runthrough. As always, you’re also penalized for using items. The items work a lot like those in DMC, only instead of stars, they're lollipops - awkward! Enemies drop gold rings instead of red orbs, and you can get extra gold rings to buy more items and upgrades by playing an arcade shooter minigame at the end of each chapter. To gain new weapons, you have to find vinyl records in the environment and bring them to Rodin, the bartender at The Gates of Hell. It's not explained how he makes weapons by obtaining records then going into the inferno, but he comes out awfully bloody. He also offers some really major upgrades from the start that are so expensive that you probably won’t be able to purchase them until you beat the game and enter hard mode. On that note, beating hard mode unlocks a ‘Dante Must Die’ style mode called ‘∞Climax’, in which witch time is disabled and enemies are much stronger, and that’s it for extra content.

    The level design is more of a linear traversal, a la DMC2. I don't enjoy this approach as much as DMC/DMC3's more hub-oriented system, and while it's far better executed than in DMC2, I must admit that it ended up being rather tedious for me at times, as the environments were VERY linear and the atmosphere lacked DMC’s gothic appeal. Each mission also tended to go on for too long, with too many consecutive difficult battles, which made the need to complete them in a single sitting irritating much of the time. As such, the game itself is also too long. The gameplay diversifies a bit in the second half with some vehicle segments (two motorcycle bits and a rocket ride), but these also overstay their welcome. There's some creative reuse of levels in Paradiso, but it doesn't hide the fact that there's a bit too much recycling here - both the level content and the story are stretched thin across the first 2/3 of the game. The final act is better on both fronts, but still tries to cram in too many reprised battles to fill time.

    The story pacing could have used a lot of work, with the main villain only being revealed at the very end. The mysteries were dragged out for quite a while, but their reveals came as no surprise by the time they finally happened. The story doesn't end up making a whole lot sense at all, but I can’t deny that many aspects of it are creative and weird on a level far beyond most of what I’ve reviewed in this thread. There's an implication here that the witches who serve demons are all women, while the sages who serve angels are men. This may initially seem like more sexism, but the way the game treats it is unusual. In this world, demons don't seem to be bad and angels don't seem to be good - the traditional view is presented as a human misconception, with the true importance lying in the balance between the two. Angels look like monsters here, and their designs are rather interesting, often combining babyfaced statues and gems with sharp teeth and claws. Ultimately, the villain in this game is a man who works for angels, while the heroes are two women who summon demons. In that sense, the story is a nice change of pace. It also deals with motherhood in an interesting and bizarre way, and I enjoyed the level where you have to carry a small child and defend her against attacks.

    The 4k visuals of the PC port were nice, but the port itself is a bit funny - it took a bit of doing to get it running properly. I had to change it to borderless mode to avoid white screens of death, and then it muted itself. It also started the game with the UI turned off, which didn't go so well. Once I got it working, the port ran quite well for a while, but then lagged quite a bit in the second half, which is bad news for such a fast paced game. I also encountered a repeated major crash in one area. All of these issues appear to be very common for this port.

    Rating: 6.8/10 quadruped shark angel things - The combination of the game’s sexism, linear level design, poor story pacing, quicktime events, combat that wasn’t my speed, and wonky port made it a less enjoyable experience than DMC for me, despite some creative and novel touches.
    Last edited by froghawk; 8th Nov 2018 at 13:41.

  7. #57
    Member
    Registered: May 2004
    BAYONETTA: BLOODY FATE (2013)



    Studio: Gonzo
    Director: Fuminori Kizaki
    Writer: Mitsutaka Hirota

    'Bloody Fate' is a full length anime film adaptation of the plot of 'Bayonetta' by the prolific anime studio Gonzo. It was a Japanese language film, but the English dub reprises most of the voice actors from the game. It mostly retells the game's story verbatim, often with dialogue lifted straight out of the game's script, though some ordering and plot details are changed. In particular, the final battle plays out quite differently, but the plot is still essentially unchanged. The film makes some plot details which were inferred by the game more explicit, and actually made me realize I'd missed a couple things in the game. It's certainly a bit more on the nose than the game version, but I'm not sure why the game felt the need to be coy, anyway. It's also better paced in a lot of ways, and clearly demonstrates how most of the game's plot was crammed in at the end - the endgame starts around halfway through the film. It introduces important characters and plot points (that the game withheld until the end) right at the start, which provides a better setup and creates more impetus for the plot.

    With that said, this translation doesn't always work. Despite the improved pacing, it can feel a bit rushed and cursory, with an awkward and unnatural flow between scenes. It never really manages to establish a sense of forward momentum. While I wondered if the lack of anticipation I felt was the result of already knowing the plot, I think it was something more than that. There's a feeling of missing context here which makes me think I may have been confused by the film if I didn't come into it with plot knowledge. Even the tone feels a bit wonky - the opening scene lacks the ridiculous goofiness of the game's opening scene, by tries to compensate in other ways, like making Bayonetta frequently lick her lips in anticipation (the execution of which kind of squicked me out).

    The dialogue is still jokey, even including a couple cute winks towards Devil May Cry, but the voice acting in the English dub feels more stilted, despite using mostly the same voice actors. With the exception of Bayonetta herself, the voice acting sounds unrehearsed, as if the lines were being read off the page for the first time. The camera is, of course, still obsessed with her body. The animation isn't anything special, but it gets the job done. It often imitates the game's partial still frame cutscenes, which again leads this action-heavy affair to feel a bit more static than it should, but there's still plenty of visual busyness. In short, all of the elements are there, but the film nonetheless feels a bit dialed down from the game's ridiculous insanity. While it improves on the game's storytelling in many ways, the execution still leaves a bit to be desired.

    Rating: 6/10 deadly poses

  8. #58
    Chakat sex pillow
    Registered: Sep 2006
    Location: not here
    Hmm. RE: Bayonetta, while I don't disagree with your opinion on the uncomfortable sexism/protag tarted-up for the male gaze and muted graphical appeal (the environments are low-detail yet too busy, somehow), I have to say that dodging is the single most important mechanic in it, so if you were unable to get on with that, your enjoyment of the game would tank considerably. The thing is, the perfect dodge that slips everything into Witch Time is one of the most effective dopamine hits in gaming, because it initiates this electric frisson where you unload on these poor, frozen sods and end up with a huge dose of crunchy combos that makes things explode out of them, then time gets back to normal and you get to try it all over again. It's a beautiful, addictive loop.

    Also, playing half of the game with performance-related slowdown is... yeah, I'd have stopped, or lowered the resolution. Bayo is best experienced at 60 FPS+ or nothing; anything lower just compromises the silky fluidity it thrives on.
    Last edited by Sulphur; 8th Nov 2018 at 13:57.

  9. #59
    Member
    Registered: May 2004
    What is it with spectacle fighters and the Divine Comedy? That's like three games / game series already that explicitly lean on it.

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