Damn, it’s already been close to five months since I wrote my review of Bayonetta. Time seems to pass by so damn quickly without me even realizing it. So much shit has happened since then, but I only mentioned that because I needed a segue. So yes, Bayonetta has an absolutely superb musical score. And this track is the first of many from this game I hope to cover at some point.
Bayonetta is a game that is all about spectacle and scope. While the base gameplay is certainly fun, one has to give a lot of credit to its presentation as well. I’ve mentioned in my review just how breathtaking the showdown against Fortitudo is. This is not only due to the enormous size and the brilliant set piece that the fight takes place on, or the build up that Fortitudo receives in the previous stages leading up to his fight.
The mini-boss battles with him in the stages leading up to this fight use only about half of the full track. It starts out intense, utilizing angelic choirs and church organs to enhance the divine nature of this colossal being. The second movement, that you only hear in the chapter IV battle, has the percussion and horns briefly silent, only for them to pick back up and display a level of intensity that you did not see in the previous battles.
All the way through, this track is brilliantly arranged and fits the battle perfectly. Similarly to the battle itself, this track would be considered overkill for the final boss of most other games. But given the sheer scale of this boss, it fits perfectly. After all, Fortitudo is a divine being with dragons for heads, and up to this point, you never even heard of Jubileus, so the average player would assume that Fortitudo is the main villain. And a less savvy player could genuinely mistake this battle for the final boss, only to be shown that Fortitudo is just a slightly stronger mook that is reduced to mini-boss status in later levels.
Yes, there will be more VGMs to come from this game. Also sorry for the delay on new blog content, but I’m back now.
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