The machismo on display in Bayonetta 2’s prologue is felt throughout every part of the games design. Its grandiose opening sets the stage for what is to come: an all out celebration of the Japanese way of developing action games. How else are we going to allow ourselves to be pulled into a reality where a hyper-sexualized witch, with two guns clasped in her hands and another two guns strapped to her legs, battles angels on top of an F-22 Raptor as it screams through the skies of New York City? Only an expertly executed combination of these elements would allow us to accept a level that comes to its climax with a mid-air battle against her own summon monster, a massive dragon-like creature who has run amok, climbing up the side of a skyscraper King Kong style – and to do this in its opening level.īayonetta 2 caps its opening level with a boss encounter that most games would save for their finaleīayonetta 2 is the epitome of this marriage of style, substance, and that extra level of the outlandish. This suspension of disbelief is an absolute must. This allows us, as the players, to be able to suspend our disbelief enough that we don’t outright reject what we are being presented. The Japanese infuse the ludicrous with enough style, substance, and quirky elements into something that is actually kind of cool. Japanese developers have a talent for being able to walk the fine line between something being ludicrous, as opposed to being absolutely ridiculous. If we are ridiculing something, then that means we are rejecting the concept of that something because we can’t accept it as plausible. Both words are synonyms of each other, however the word ridiculous is derived from the word ridicule. There is a fine line between something being ludicrous as opposed to being ridiculous.
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