From the room of VHS tapes, to the security footage, to the bat sanctuary, to the theremin performance, to the camera’s final, extended retreat up the rickety helix of a spiral staircase; Act IV confronts us with scenarios that test and limit our perception.
[S]adly despite its lofty aims The Deer God doesn't gel, doesn't coalesce in any holistic way. Its disparate parts don't align toward the same end: the karma system doesn't mean anything here , just like the pixel art doesn't mean anything, and the roguelike bits don't mean anything. They're tangential to theme and subtext and meaning. They're words that don't string together into a coherent sentence. This is not in itself damning, but The Deer God could've been more than dumb fun, and it wants to be more than dumb fun.
Bayonetta 2 erects some of the most solid fighting mechanics and phantasmagorically gonzo visuals in gaming to date—certainly, something as compulsive and massive as this boosts the Wii U to the front of the pack—and through its formal choices communicates a singular, unfiltered vision of sexualization.